Photo Gallery Which Filter is Right for Me? Filter Instructions Shop Our Filters


August 21,1999
Dear Kirk :

I hope that all is going well with you. Thanks for your time on the phone last week.

Thanks for all your help in the past. I've enclosed a copy of the National Geographic article that features my story "Under Antarctic Ice." As I mentioned, I will be returning to Antarctica this coming season to produce a high-definition television (HDTV) film on underwater Antarctica. I look forward to using your CY and GR filters (in optical plastic) in this production and seeing how they will enhance the HDTV footage. Since visibility in ranges from the clearest in the world (1000 feet visibility has been measured at the beginning of the diving season) to the greenest (plankton bloom in mid-December), your CY and GR filters should find use throughout this season. I have used both of these filters to great advantage in my past underwater productions and recommend them highly for any videographer, filmmaker, or still photographer.

For the HDTV production, I will be using Sony HDW 700A cameras with Fujinon lenses in Pace housings. I have been told that I should request plastic URPRO filters in an approximately 4-3/4" size. Pace makes a filter holder for the lens that accommodates 4-1/2" round filters. I will be putting diopters in the filter holder, and taping the URPRO filter over the diopters -- therefore, the slightly larger size of filter. This will allow me to shoot macro scenes using ambient light only. I am also bringing cable-supplies tungsten lights (two 650W PAR36 bulbs) and portable HID lights (Light and Motion portable lights, daylight balanced). I will also be shooting stills, and my crew will be shooting a "making of" film with another HD-CAM and VX1000 camera in Gates housing.

I've just been selected as a Pew Fellow in Marine Conservation, a grant which will allow me to pursue a marine conservation-related project for the next three years. I plan to document the state of coral reefs, fisheries, and "conservation hotspots" for magazine articles, websites, and a book. I'll also be spending the next two years producing been a high-definition television (HDTV) program on Antarctica's underwater world of PBS Nature. Our web site is at www.norbertwu.com.



Norbert Wu



Summer 1998

Dear Kirk:
More than I can say, I appreciate all your help and support over the years...(and) for my first generation of underwater cameramen, URPRO filters provided dependable color balance to an otherwise monochromatic blue world.

Today the name URPRO is synonymous with the best in underwater filters and the only company dedicated to the development and continued improvement of this specialized product. I depend on them.

Happy summer to you,
Stan Waterman

30 July 1998

Dear Kirk:

Below is a statement that may be of use to you and may be used in any way that you wish.

More than I can say, I appreciate all your help and support over the years and write the below piece with complete sincerity.

Happy summer to you,

Stan Waterman (U/W cameraman since 1954, 5-time Emmy Award winner)

"For my first generation of underwater cameramen, URPRO filters provided dependable color balance to an otherwise monochromatic blue world. Today the name URPRO is synonymous with the best in underwater filters and the only company dedicated to the development and continued improvement of this specialized product. I depend on them."

Stanton A. Waterman
13 Greenwood Ave.
Lawrenceville, New Jersey 08648 

17 June 1998
Dear Sir:

I am pleased to endorse your (URPRO) GR filter for improving the quality of the images we obtain with digital video during our research off Cape Cod. The green murky water has always limited our capability for obtaining high-quality behavioral data on squids and fishes. We have found that the GR filter significantly improves the clarity and color balance of our images, and this enables us to observe details of behavioral interactions when we analyze the tapes back in the laboratory.

I also compliment you on the quality of the RED filter (URPRO CY) that we use when filming in the Caribbean. In these clear waters, we are more interested in obtaining some warmer tones, and this filter provides those tones with excellent definition and rendition.

I expect that anyone who needs improved images - either for better scientific analysis or simply for aesthetic purposes - will find that your well-designed filters provide that capability.

Thank you very much for a fine product.

Yours sincerely,

Roger T. Hanlon, Ph.D.
Senior Scientist
Director, Marine Resources Center

October 10, 1997
Dear Kirk,

One of the most important qualities that separate professionals from amateurs in the world of underwater video is color balance. At best it is very difficult to maintain consistency from shallow water to deep water. The other significant challenge is mixing natural light sources with artificial light. After an exhausting series of experiments and tests, I have recently rediscovered the value and quality of one of my most trusted tools... the URPRO Filter.

During recent work for National Geographic Explorer, CBS Wild Things, and PBS New Explorers, the quality and color of light was extremely important. If it's not just right it won't fly with my client. I discovered the hard way. I was losing too much light and was not getting the right colors with other filter manufacturers. The URPRO VLF filter is the perfect match for my needs.

Wes Skiles


October 13, 1997
Dear Kirk,

I have been using URPRO filters since 1986 and have found them to be indispensable whether I need to photograph beneath Arctic ice or in tropical water-- They restore color loss in either blue-green or green waters.

My URPRO filters comes along on any project because I can utilize them with any format -- Sp 16mm, 16mm, 35mm movie cameras, Digi-Beta video or, stills.

Nick Caloyianis,

October 31, 1995
Dear Kirk,

I wanted to drop you a quick letter to commend you on your CY filters. They were very helpful for filming the underwater sequences of Universal's 1996 Summer release, "Flipper" the motion picture. The filter was used extensively below 15', and at times, down to 50'. I was extremely happy to see that it still provided remarkable color without having to use any artificial light.

I'd also like to thank you for your technical advise and explanations on what the filter was capable of doing. I'm looking forward to further experimentation and will gladly inform you of the results on future projects.

Best regards,

Pete Romano

August 11, 1994
Dear Kirk,

Sorry I haven't sent you the info you requested but I've been shooting "Sea Quest", a feature "Trade Off" and two commercials in the past three weeks.

Over the years I have been using your filters with great success. They have been an absolute life saver on many occasions. Think the first time I really became sold on your products was during the 24 shows we did on Sea Hunt (1987) off of Freeport in the Bahamas. We filmed 6 day weeks for 108 days and during that time I saw the difference between shots on the same day in the same water. It took about one week to realize that your filter should be in front of my lens at all times.

The following is a partial list of projects that have benefited from the URPRO filters: Sea Quest, Trade Off, Jaws The Revenge, Splash, Cocoon, World of Sharks & Barracudas, Lanier and many many more.

Jordan Klein
Thanks for making underwater filming a bit easier.

August 9, 1994
Dear Kirk,

Now that our first underwater 3D film "The Last Wilderness" is well into production, I'd like to take this opportunity to thank you on behalf of Imax Corporation for your patient assistance in configuring your unique filter materials for our wide angle 3D camera (see the sketch at the right), the result of a $2,000,000 development program entered active production early last year. One of the many unique features of this camera is the custom 30mm fish-eye lens pair designed and built for us by Hughes Leitz Optical Technologies Inc.. The 150 degree horizontal field of view of this lens makes it impossible to put filters conventionally in front of the lens, and filtering was therefore configured into the optical design as an internal element, to be changed through a slot mechanism built into the lens housing (as illustrated in the diagram at the left). This places stringent requirements on the optical tolerances for the filters, which must have a precise optical thickness to avoid compromising image quality. When the lenses were being built we asked Hughes Leitz to supply the usual set of motion picture camera filters constructed to the appropriate standard, assuming this would see us through the first few years of production.

In fact the very first film production to commit to using the new camera was "The Last Wilderness", a film about ocean ecosystems, to be directed by noted underwater cinematographer Howard Hall. At our first technical production meeting we asked Howard to produce a list of the accessories he might need that we did not already have available. Among these were the URPRO blue water colour correction filters.

The development process through which we all jointly figured out how to mate your filters to glass substrates to obtain the required optical characteristics destroyed a lot of filter material, which you cheerfully replaced on short notice and in several configurations. Satisfying Howard's needs on time for the start of the filming would not have been possible without this help, and again I'd like to express our appreciation.


Hugh Murray
Optical Systems Specialist
Imax Corporation 



Phone: + 1-630-357-1646 • Fax: + 1-630-961-2622 OR + 1-630-778-0459.


©Underwater Research Products, International LTD 2004
Designed & Hosted by NetSource
Home Home View Cart Check Out