Tiffen fog filter for subtle contrast reduction. Simulates natural haze, giving images a cinematic, softened look.
Technical Details
The Smoque is manufactured in standard sizes 4x4", 4x5.65", 6.6x6.6", as well as screw-on variants from 52mm to 114mm. The filters are available in five strengths: 1/8, 1/4, 1/2, 1, and 2, with the number indicating the degree of light diffusion. The transmission rate ranges from 92% (1/8) to 73% (strength 2). The special surface structure is applied through a controlled acid etching process, where hydrofluoric acid compounds create micro-fine depressions of 0.2-0.8 micrometers in depth.
History & Development
Tiffen developed the Smoque in 1987 as an alternative to costly fog machines and hazardous smoke cartridges. The filter first found commercial application in 1988 in Ridley Scott's "Black Rain," where DoP Jan de Bont used it for the nighttime Tokyo sequences. In 1994, Tiffen expanded the series with the Warm Smoque variant, featuring an integrated 81A color correction filter. In 2003, the Pro-Mist series followed as a further development with more gradual diffusion.
Practical Application in Film
Roger Deakins used Smoque 1/2 filters for the prison sequences in "The Shawshank Redemption" (1994) to enhance the oppressive atmosphere without elaborate fog effects. In "Blade Runner 2049" (2017), Deakins combined Smoque filters with practical fog machines for consistent atmosphere between different takes. The filter reduces contrast by 15-30% and lifts shadow detail, giving digital sensors a more film-like characteristic. The Smoque is particularly effective in backlight shots and nighttime scenes with point light sources.
Comparison & Alternatives
Unlike practical smoke, the Smoque produces reproducible results without continuity issues between takes. Tiffen's Black Pro-Mist filters offer stronger highlight diffusion, while the Smoque primarily lifts shadows. Schneider-Kreuznach Classic Soft filters create similar effects, but with less specific smoke characteristics. Modern digital alternatives like DaVinci Resolve's "Film Grain" or Red Giant's "Magic Bullet" achieve comparable looks in post-production, but cannot replicate the optical properties of light diffusion in front of the sensor.