Managing exposure on such small sensors is always a technical challenge, especially when trying to comply with the 180-degree rule to achieve smooth movement in videos and avoid that annoying stroboscopic effect typical of fast electronic shutters. I therefore opted for this specific set because I needed a quick solution to modulate the incoming light when shooting outdoors with strong contrast, where the dynamic range of the camera is put to the test and the skies often tend to burn out.

The construction quality of the glass is immediately noticeable. I did several tests with the CPL to see how it managed reflections on glass surfaces and water, and the polarization is effective without introducing those strange chromatic dominants that sometimes afflict economic filters. On the contrary, I love how it manages to recover the blue of the sky without making it look artificial, an aesthetic rendering that sincerely struck me for its naturalness.

The screw fastening system is solid, although I must admit that the attachment requires a certain millimetric precision and, in situations of haste, I may hesitate for a second in fear of not having inserted the correct thread immediately. In practice, however, once tightened, they become one with the lens and do not affect stabilization or size in the least, allowing the camera to be used as if it were naked.

As far as ND is concerned, the optical density seems consistent with the stated values. Going from ND8 to ND32, I didn't notice a drop in sharpness at the edges, a fundamental detail when working in high definition. They do not distort the camera's performance, but they allow it to work in its optimal conditions, maintaining a clean and manageable image then in post-production.