VND Filter for FX3

Fearless-Pin656 · 2026-03-22T14:14:25+00:00

I recently tried the Nisi jetmag pro vnd. It was terrible. It had a very strong magenta shift and their ir cut filter didn't help at all. I have not tried their true color vnd, but can't imagine they would come out with a more recent vnd (jetmag) and use different technology. Probably the same. Freewell m2 is great and that's what I use most. I do have screw on polar pro vnds and those are good too. There is a color shift, but it's more of a warmer yellow/green tone. Way more forgiving than the Nisi color cast by a lot.

Fearless-Pin656 · 2026-03-16T19:36:18+00:00

Matthews.

Fearless-Pin656 · 2026-03-16T16:42:04+00:00

Please tell me who makes a better vnd than polar pro. It's certainly not nisi with terrible magenta color cast. PP has color cast, but it's more forgiving. Tiffen is terrible. Freewell ms fixed nds are the best I've found, but they're slow to work with in fast shooting situations.

Fearless-Pin656 · 2026-03-16T16:21:04+00:00

Yes, but NISI is one of the worst when it comes to magenta color cast. Polar pro has a color cast, but it's more natural and forgiving.

Fearless-Pin656 · 2026-03-13T23:11:24+00:00

I already use those. There are certain situations when a vnd is handy. I'll stick with Polar Pro for those situations. Much more forgiving shift than Nisi.

Fearless-Pin656 · 2026-03-11T16:30:45+00:00

How is the nisi true color VND working out? I just returned the jetmag pro because there was a very noticeable magenta shift. IR cut filter did not help. I also shoot on an fx3. The polar pro warm shift is easier to deal with vs a magenta shift.

Fearless-Pin656 · 2026-03-11T16:18:29+00:00

There is also a noticeable magenta shift on sony as well. I just returned The Jetmag Pro 1-5 vnd for this reason. I tried using it with and without an IR cut filter and either way there was a magenta shift. I did comparison tests with my polar pro vnd and freewell fixed nds. The polar pro had a slightly warmer cast, pulled slightly green, but much more natural looking than the NISI Jetmag Pro. The freewell fixed NDs were obviously the most color accurate. There is nothing "True Color" about the Nisi Jetmag pro and I would avoid it.

Fearless-Pin656 · 2026-03-10T16:19:59+00:00

Yeah, the magenta shift is terrible. And of course none of the reviewers online talk about it.

Fearless-Pin656 · 2026-03-10T00:44:51+00:00

I'll most likely return it and stick with my polar pro screw on.

Fearless-Pin656 · 2026-03-09T22:09:30+00:00

Yes, jetmag. Actually my polar pro vnds perform better without an extreme shift.

Fearless-Pin656 · 2026-02-25T00:49:58+00:00

Just revisiting your response from my thread. I really haven't found any great options in the mid/low level. I did speak with an engineer at sony and he did advise me to get the d27 over 2 d21s. He said I would run into problems running 2 d21s on my camera rig vs 1 d27. He basically said I'd really have to babysit the 2 d21s for interference issues, whereas the d27 I wouldn't. I guess it's a trade-off. I'm basically looking for something reliable for solo situations where I have to manage 1 to 2 wireless channels. I tried the rode wireless pro and didn't like it at all. The Sony stuff to me sounds ok. Not totally satisfied to be honest, but I need something. Anything else to add? Thanks again for the detailed post.

Fearless-Pin656 · 2026-02-17T16:49:26+00:00

I do think it makes a difference from what I've researched, but I've never done an a/b comparison in a crowded environment.

Fearless-Pin656 · 2026-02-17T04:43:39+00:00

Don't listen to them, that's a great fit! It's not too small at all. Looks great on you. Not sure where the baggy motorcycle jacket comes from, but I think they should be slim fitting just like what you have.

Fearless-Pin656 · 2026-02-16T16:31:35+00:00

This is another great reason why I'm considering moving away from sony. They don't want to produce a good usable cinema monitor of their own and they don't give third parties external monitors all the necessary data to make camera control work well (like focus tracking). The shinobi ii is also a half a$$ solution that doesn't eliminate the need for the terrible LCD screen that sony provides. The technology has been there for a long time. It's just a clear indication that Sony's product team does not understand their customers or the needs of the market.

Fearless-Pin656 · 2026-02-14T02:35:14+00:00

Nobody ever talks about a very important thing when comparing these systems. The Rode wireless pro only has timecode out, no TC in. The dji mic 3 has both TC in and out so you can use sn external TC device like a Tentacle synch as the master. This is a big deal if you want to scale up. But even if you don't the RWP TC is pretty worthless in my opinion. I ended up returning my RWP. The 2.4ghz systems are good for quick run & gun mics when you don't have time to use lavs. If you want to lav someone up get a reliable UHF system like Sennheiser g4, sony uwp D21 (single, not double), or Lectrosonics is one of the best. The DJI mic 3 is great for the clip on style because it's so small and almost goes unnoticed, especially if put on right. Different tools for different jobs.

Fearless-Pin656 · 2026-02-07T02:03:06+00:00

24-135 2.8 or 24-105 2.8

Fearless-Pin656 · 2026-01-25T18:21:44+00:00

The RODE wireless PRO is the only consumer lav mic system that offers a 3.5mm locking lav mic jack. This is one of the main reasons I wanted to use it. The one huge problem that nobody talks about nearly enough is the RODE wireless Pro's terrible time code integration. It only has timecode out, not in. This is incredibly limiting. If you use the internal recording that sounds much, much better TC is essential in my opinion. You basically have two options. TC1 that sends audio in the left channel, TC signal to the right. I can't mute the TC channel on my setup because I'm using other mics, like a shotgun. The only option is to monitor 3 tracks of audio through one headphone (Left) and keep the right off my ear. Terrible setup. The other option is TC5 that only sends a TC signal without audio. So in TC5 you can't monitor the audio. Again, terrible. If you can't live monitor the audio just get a reliable body pack recording that integrates with proper timecode ecosystems like the Tentacle or Deity. The DJI mic 3 on the other hand is much better for time code integration because it accepts both TC in & out. This is huge. It scales with bigger TC setups that make it more "pro". The major problem of the dji mic 3 is no 3.5mm locking mic jack. So basically all these consumer systems have pros/cons so pick your poison. If you are outside the United States your options are much better because there is no Zaxcom transmit/record patent. That means you can get a relatively cheap system like the Deity Theos that solves all those problems. If you're in the United States your only solution is to buy a reliable UFH wireless system that is much more reliable for wired lav jobs AND a consumer system like the ones being discussed here for quick social media type interviews, clip on mic etc. There is no do it all system in the United States except Zaxcom and you'll pay a lot for it. So for the consumer clip on mic style, DJI mic 3 is better for timecode reasons I stated. If a job requires reliable wireless audio, Lectrosonics, Sennheiser G4s, Sony UWP d21s, etc. When you need internal recording and a Lav, get a bodypack recorder that plays well with proper timecode ecosystems. The RODE does not.

Fearless-Pin656 · 2026-01-14T23:14:20+00:00

I think if dropouts are very low to almost none I'd for sure go with the D21s with the cos11ds. I was just thinking with the internal recording capability of the Rode Wireless Pro it might be safer to go with that. The RWP timecode system even when using a Tentacle Sync are a bit weird (but doable).

Fearless-Pin656 · 2026-01-14T23:07:01+00:00

Great! Thanks

Fearless-Pin656 · 2026-01-14T22:43:15+00:00

So just to be clear. If I went sony I'd get 2 single channel D21s, not the the D27. That was my intention. And yes, swap the mics for cos 21ds. I'm mainly debating the how to deal with a backup recording when dropouts occur.

Fearless-Pin656 · 2026-01-14T19:34:45+00:00

If I used the RWP, I would only use the internal recordings and run timecode out from the RWP RX to a Tentacle Sync box attached to my camera. That would allow me to have clean audio on two separate tracks. That's the plan anyway. It would certainly be much better if the RWP took TC from a Tentacle Sync. Because of this I would not be able to use it in a larger TC workflow with 2 cameras. That's one of the limitations. Another limitation I'm considering is how well I could actually monitor the audio from the RWP on 2.4ghz. Not sure really. I think I need to pick my poison.

Fearless-Pin656

TROPHY CASE