“The Sony/Schneider combination is incredible. “I’m really excited about this season’s look,” Reynolds says. He can sit at the waveform monitor and adjust the stop without jumping on the radio, allowing his assistants to concentrate on focus. Reynolds runs two F35 cameras at a time, each equipped with wireless transmitters, including a wireless remote for control of the f-stop. Without the need of a color timer to ‘guess’ where the look should be, I can deliver final color so that, when we get to post, the final colorist doesn’t have to go back and find stuff.” “This way, our deliverable off the set is timed dailies. To capture the look for this series, Reynolds chose to switch from the Genesis camera to the Sony F35.”With the F35, I can shoot in hyper gamma,” he explains.

What’s more, when I shoot clean wide shots, the images cut beautifully with those that have been filtered.” It takes away the flaws but it isn’t over filtered. “With other filters, if you put a two on, you would think it is seriously diffused. “I use the full range from a quarter through a two,” he adds. Adding the Hollywood Black Magic does away with that.

When you are shooting HD, you are suddenly looking at an unfiltered image.

“They combine the smaller lenslets of HD Classic Soft and added Black Frost.

“They are nothing short of amazing,” he says, enthusiastically. “One of my first choices was to add Schneider’s Hollywood Black Magic filters to our lenses,” says Reynolds. When cinematographer Brian Reynolds began prep for the Fox/ABC half-hour comedy series Better Off Ted, his challenge was to trim the budget and keep the quality look as well as the 11-hour work day.

Hollywood blackmagic filter