Filmmaker Crescenzo Notarile decided to go for Schneider True-Streak Filters when shooting the legendary sci-fi TV series

When Hollywood filmmaker Crescenzo Notarile landed the dream job of shooting the Star Trek: Discovery TV series, he knew he could rely on his trusty set of Schneider-Kreuznach True-Streak filters to make something that would live long and prosper.

“I previously used the True-Streak filters on a show CSI: Crime Scene Investigation,” he explains. “Working in the CSI laboratory with all the layers of glass and forensic lights truly was calling for these filters. It became my signature look.

Crescenzo Notarile on-set using a Schneider True-Streak filter

“I then brought this approach to my next show, called Gotham. We were often shooting at night in dark alleys and the Gotham detectives would often pull out their flashlights to see where they were going. To see a flare of light explode across this dirty landscape frame, via a True Streak filter, always gave me a lift! It’s exciting to see the energy from light dance across your frame!”

When it came to shooting Star Trek: Discovery, Notarile had all the best equipment at his disposal. He used up to five Arri Alexa SXTs, two huge Technocranes, two Steadicams worked by experts François Daignault and Michael Carr, and lots of LED lights programmed into a dimmer board with hundreds of channels individually available to fine-tune the look.

One of the major looks many sci-fi films use is the unique results you get from anamorphic lenses, with the trademark long flares. It’s no surprise Notarile chose Cooke SF anamorphic lenses. “When I got a call to do a sci-fi show, the first thing that came to mind was explosions and flares of light. You are in darkness in outer space, and when the sun rakes in, it explodes with energy.

“So we used Cooke special flaring lenses, as we wanted to embrace flaring and I enhanced this with the Schneider True-Streak filters,” he says. “I love these filters and carry them in my personal kit wherever I go. I have a range of colours: blue, green, orange and clear. Depending on the emotion of the scene, and of course the lighting. I choose the colour carefully, so it subconsciously works without standing out as indulgent. The trick is to do with integrity, not taking away from the story.”

Using Schenider True-Streak filters on already flare-prone anamorphic lenses gives the ultimate in long flares. It’s a look that also works very well on standard lenses, giving an anamorphic-style look. It’s no surprise they were voted as best Lens Accessory in the Pro Moviemaker Gear of the Year Awards. Nothing highly illogical there.

“I love these filters because I love the energy of light. I love when light refracts, flares and dances across the coatings of the lens,” says Notarile. “To me, this is the art of what we do – provide visual stimuli.”