ProGlass Cine IRND Logo

A new standard in neutral density filters for cinematography.

Precise Neutrality

Our ProGlass Cine range of neutral-density filters has been designed to meet the exacting needs of all cinematographers — whether shooting digitally or on film.

They are remarkably neutral, eliminating infrared pollution and ensuring all colours remain absolutely accurate and true. This simplifies workflow, saves time and enables cinematographers to focus on their creative goals.

I recently got the opportunity to test the new LEE Pro Glass Cine IRND's in snowy mountain landscapes.

I was extremely impressed by the true stop every ND gave me throughout the whole range right up to ND2.1 Every time I changed the filter I deliberately preset the stop to check the accuracy and it was always spot on without fail.

Also I didn't notice any colour shift when changing filters or combining 2 filters. They were neutral all the way to the ND2.1, something I was often struggling with when using other brands. This should make life easier when shooting multiple camera set ups and consequently will help the grade a little further down the line.

A fantastic set of filters which will become part of my kit for any future project. Martin Fuhrer, BSC — Director of Photography

Martin Fuhrer BSC

Designed for Durability

Manufactured from 4mm-thick, optically flat, scratch-resistant glass, and edged with a metal rim, ProGlass Cine filters not only prevent focus shift, they are also durable and long lasting.

The ProGlass Cine range has been endorsed at the highest level in the movie industry and have been used successfully on a number of major feature films and TV dramas.

The main advantage of these filters is their neutrality, especially when using 4 stops (1.2ND) or above.

When I use other IR ND filters I normally have to compensate for a colour shift in the grade, but with these I haven’t seen any noticeable colour shift. They are by far the best front of camera ND filters I have used. John Lee — Director of Photography

John Brawley Tests LEE ProGlass Cine IRND 2.1


The 2.1 ND is a real test because at that density you generally see lot’s of variation in colour and consistency. As an extra check I’ve also shot using no filters at all. John Brawley — Director of Photography

Shot on an Alexa Mini, shooting ProRes 4444 Log C 1920.

I recently used these ND filters on a television project shooting with Arri Alexa XT cameras, they performed beautifully.

The true colour rendition was spot on throughout the range, making the grading process easier when using multiple cameras. The several filter sets I used matched exactly on ND level and IR cut, also the high quality and robust construction make them a perfect tool for digital cinematography. Andy McDonnell — Director of Photography

Available in Two Sizes and Seven Densities

4" x 5.65"

6.6" x 6.6"

  • 0.3 ND

    1 Stop

  • 0.6 ND

    2 Stops

  • 0.9 ND

    3 Stops

  • 1.2 ND

    4 Stops

  • 1.5 ND

    5 Stops

  • 1.8 ND

    6 Stops

  • 2.1 ND

    7 Stops

LUDWIG - Independent ProGlass Cine IRND Tests

Arri Alexa Mini
Leica 135mm T1.4 Summilux C
Integrating sphere (Ulbricht sphere)
White Point
Leader LV 7700 magnify 5x

Independent tests by Ludwig Kameraverleih

RED Camera Tests with ProGlass Cine IRND (0.3 / 1.2 / 2.1)

RED Weapon with Dragon 6K sensor


RED Weapon with Helium 8K sensor


Precise Optical Density across the Spectrum

2.1 ND - 7 Stops: uniform attenuation across the spectrum

Optical Density

Light Wavelength nm


Near IR

Visible Spectrum

How to clean and store your filters


ClearLEE Filter Wash & Cloth


Filter and System Pouches

Angela Nicholson, Reviews Editor at Camera Jabber, takes a look at our ClearLEE range - designed especially to ensure your filters stay optically perfect and free of marks and smudges.

She also demonstrates our Filter and System Pouches and shows how she keeps everything organised and ready to go when you need it.

ProGlass Cine IRND Logo Contact us for your nearest stockist

The full range is available now.