Tiffen color filter set for subtle color grading — Olden adds warmth, Tri-Delta creates delicate color separation. Classic for portraiture and romantic scenes without diffusion.
Olden/Tri-Delta Filter
Tiffen has introduced two color filters, the Olden and the Tri-Delta, that differ subtly but effectively. Both work without the softening diffusion that can sometimes be too much for portraits. The Olden is your classic warm filter with a subtle amber or honey tint. It raises the color temperature by approximately 150–200K without appearing intrusive. On set, you'll notice immediately: skin gains presence, appears more vibrant, less pale under artificial light. Especially valuable for daylight shots in shadow or when working with cooler LED light and you don't want to color correct in post-production.
The Tri-Delta works completely differently—it creates subtle color separation instead of simply warming. The filter consists of three overlaid color layers (hence the name), which produce slight color halos and a painterly quality without becoming diffuse. Where the Olden directly affects color temperature, Tri-Delta creates depth through color shift. You place it in front of the lens, and suddenly your highlights have a subtle magenta or green tint, while the shadows drift in the opposite direction. This is not a prism effect—much finer, almost imperceptible at first glance, but the overall mood changes significantly.
In practice, the Olden filter works best when you already have good lighting and just need a thermal push. Romantic scenes, beauty shots, close-ups in warm artificial light—here, the Olden is your standard tool. The Tri-Delta, on the other hand, is the weapon for images lacking dimension. In flat light or when you're looking for an artistic quality without true diffusion, it creates exactly that—not soft, but color-shifted. The light appears more voluminous, the skin gains a soft modulation without the eyes blurring.
Both filters are available in different strengths—1/8, 1/4, full strength—depending on how much influence you want. Mount them directly onto the lens or into a matte box system. In the digital age, many DoPs use them less because the color space is arbitrarily manipulable in post, but on set, you immediately recognize the difference: the image looks more alive when it comes through the right filter—not after 23 minutes of color correction.