Tiffen

Tiffen 45650UC12 4x5.65 Ultra Contrast #1/2 Glass Filter

Precision-ground 4x5.65" Ultra Contrast 1/2 glass filter that opens up shadows without introducing flare.

$489.00*
In Stock on Amazon.com
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*Price sourced from Amazon.com. Last updated:Jul 15, 2026.Price and availability are subject to change.

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Overview

The Tiffen 4x5.65" Ultra Contrast 1/2 filter addresses a specific cinematographic challenge: how to open up shadow areas and reduce overall image contrast without sacrificing sharpness or introducing unwanted optical artifacts. Unlike diffusion or Pro-Mist filters that achieve a softer look by scattering light — often creating halation around highlights — the Ultra Contrast filter works by redistributing light uniformly across the frame. The result is lifted shadows and a reduced contrast ratio while highlight rendition and image detail remain untouched. The 1/2 designation indicates a mild strength, offering subtle correction that works well for naturalistic shooting where heavy filtration would be inappropriate.

Build quality reflects Tiffen's professional-grade standards. The filter uses ColorCore technology, where the contrast-reducing layer is sandwiched between two pieces of optical glass rather than applied as a surface coating. This makes it significantly more resistant to scratches, cleaning abrasion, and environmental damage over years of field use. The glass is ground flat to tolerances of a ten-thousandth of an inch, and precision aluminum rings ensure consistent, snug seating in standard 4x5.65" matte boxes used across film and broadcast production. For cinematographers who prefer to shape the image in-camera rather than relying entirely on post-production grading, the Ultra Contrast 1/2 is a reliable and predictable tool.

Key Features

Uses Ambient Light to Open Shadows

Lightens Shadows to Capture More Detail

Lowers Contrast Evenly Throughout

Generates No Flare or Halation

ColorCore Glass

Made in the USA

10-Year Warranty

Specifications

Size
4 x 5.65"
Filter Type
Ultra Contrast #1/2
Material
ColorCore Glass (Laminated between two optical glass pieces)
Construction Tolerance
Ground flat to a ten-thousandth of an inch
Mounting
Precision Aluminum Rings

Pros & Cons

👍 Pros

  • Reduces contrast and opens shadow detail uniformly without softening the image or reducing sharpness
  • ColorCore laminated glass construction protects the filter layer from scratches and cleaning wear
  • Precision-ground to tolerances of a ten-thousandth of an inch for optical accuracy
  • Does not produce flare or halation around light sources, unlike diffusion-type filters
  • Standard 4x5.65" size fits professional cine matte boxes used across the industry

👎 Cons

  • The 1/2 strength effect is subtle and may not be sufficient for high-contrast scenes that need stronger correction
  • 4x5.65" rectangular format requires a compatible matte box and cannot be threaded onto a lens directly
  • Higher cost compared to round screw-on contrast filters due to the larger glass size and ColorCore construction
  • Effect is baked into the footage and cannot be adjusted in post, unlike digital contrast adjustments

Frequently Asked Questions

It reduces overall contrast uniformly across the frame by lifting shadow detail, without affecting highlights or introducing halation around light sources. The 1/2 strength provides a subtle effect.
ColorCore is Tiffen's proprietary process where the filter effect is laminated between two pieces of optical glass. This protects the filtering layer from scratches, cleaning damage, and environmental wear, making it more durable than surface-coated filters.
This filter measures 4 x 5.65 inches, which is the standard size for professional cine-style matte boxes used in film and broadcast production.
Unlike diffusion or Pro-Mist filters that soften the image and can create halation around highlights, the Ultra Contrast filter reduces contrast while maintaining full sharpness and does not produce glow or flare effects.
The 1/2 grade is a mild strength, providing a subtle contrast reduction. It is often chosen when you want slight shadow recovery without an obviously filtered look, making it suitable for naturalistic cinematography.