Collection of various filters and optics used to deliberately create lens flares — for creative light effects and atmosphere.
Technical Details
Standard flare sets include linear polarizing filters with 0°, 45°, and 90° orientations, multi-image prisms (3-way, 5-way, 6-way), and streak filters with transmission values between 85-95%. Pro-Mist filters in strengths 1/8, 1/4, 1/2, and 1 complement the set for controlling contrast and highlights. High-quality sets use optical glass with multi-coating, while inferior equipment uses plastic optics. The filters are mounted in matte box systems or directly onto the lens via 77mm-138mm screw threads.
History & Development
Tiffen developed the first commercial flare set for feature film productions in 1974, after cinematographers like Gordon Willis experimentally used stockings and Vaseline for image manipulation. Schneider-Kreuznach introduced the True-Streak series in 1979, followed by Formatt-Hitech in 1983 with more affordable resin filters. Digital intermediate workflows from 2000 onwards reduced the use of optical flare sets, as corresponding effects could be created in post-production. Manufacturers like K&F Concept and NiSi reactivated the market since 2015 through Instagram-oriented influencer sets.
Practical Use in Film
Steven Spielberg systematically used Tiffen Pro-Mist 1/2 filters in "E.T." (1982) for emotional scenes, while Ridley Scott employed multi-image prisms in "Blade Runner" (1982) for multiplying city lights. J.J. Abrams established exaggerated lens flares as a stylistic device from "Star Trek" (2009) onwards, produced by specially developed Anamorphic-Streak filters. Shooting is usually done at apertures of f/2.8-f/4, as closed apertures reduce flare intensity. Modern LED panels with a 5600K color temperature produce the strongest prism effects.
Comparison & Alternatives
Flare sets differ from diffusion filters by causing targeted light scattering rather than overall contrast reduction. Anamorphic lenses (Panavision, ARRI Master Anamorphic) produce natural horizontal flares without the use of filters. Software solutions like Red Giant Optical Flares or Sapphire LensFlare simulate identical effects more affordably. However, in-camera flares offer authentic interaction with practical light sources and fog atmosphere, while digital flares must be added later in the compositing phase.