Kolari ir chrome VS. Aliexpress Aerochrome filters: Part 3

In my previous articles, I presented the main technical aspects and a colourimetric analysis of both the the Kolari IR Chrome filter and The Crimson v1.2 (a.k.a. the Aliexpress Aerochrome Filter)

Several photographers have inquired about the practical differences between the Kolari IR Chrome filter and the Aliexpress variant, known as The Crimson (QB19+GRB3). While the technical specifications of these filters are of interest to a niche group of enthusiasts, the majority of photographers are primarily concerned with their real-world performance. To address this, I conducted a series of field tests to evaluate how each filter behaves under practical shooting conditions. This article presents the first set of results, including straight-out-of-camera (SOOC) JPEGs, RAW files, and post-processed images.

testing methodology

The weather on the test day was overcast, providing an opportunity to assess how both filters perform under diffuse lighting conditions. The study focuses on their behavior in open spaces as well as in shadowed forested areas, where variations in light absorption and reflection are particularly relevant for infrared photography.

Given that the test was conducted during winter, I selected a location near Barcelona characterized by perennial vegetation. This choice ensures consistency in foliage representation, minimizing seasonal variability and allowing for a more controlled comparison of the filters’ color rendering and infrared response.

For these tests, I established a custom white balance using a grey card under overcast lighting conditions. Additionally, I adjusted the in-camera color balance for each scene as needed. It is worth noting that Fujifilm cameras allow users to fine-tune white balance along the Red-Blue (R-B) and Yellow-Green (Y-G) axes.

To ensure a well-balanced exposure and facilitate an accurate color analysis, I configured the camera’s film simulation to Provia, a standard profile in Fujifilm cameras. Additionally, I applied specific in-camera adjustments: +3 Saturation, +1 Shadows, and -1 Highlights. These settings were chosen to emphasize the strengths and weaknesses of both filters while maintaining a controlled and consistent output for the final JPEG images.

Ritchie Roesch provides a comprehensive explanation of this functionality for Fuji X-series cameras, so for those unfamiliar with this setting, I highly recommend referring to his work.

Field TEStS

STRAIGHT OUT OF CAMERA (SOOC)

The first set of images presented in this study showcases the behaviour of both filters when used with a Fujifilm X-T30, which features an IV-Trans sensor. All images are straight-out-of-camera (SOOC) JPEG files, with no adjustments made to color temperature, hue-saturation-luminance (HSL) settings, or tonal curves. This approach ensures an unbiased representation of each filter’s rendering characteristics under controlled conditions.

A noticeable difference between the two filters emerges in the forested scenes, where variations in infrared (IR) light response are more pronounced. This discrepancy is primarily due to the amount of IR light reaching the sensor. Vegetation reflects a significant portion of IR radiation, which can easily overwhelm the sensor when visible (ViS) light levels are low. In such conditions, the Kolari IR Chrome filter demonstrates superior control, as it attenuates a greater portion of IR light compared to The Crimson. This results in more balanced exposure and color rendering in shadowed environments.

Conversely, in open-field scenes, another key difference is observed. The IR Chrome filter exhibits a noticeable blue cast over white and grey surfaces. As anticipated, the camera’s white balance adjustment is insufficient to fully neutralize this strong blue shift. In contrast, The Crimson filter produces a slightly warmer tone than expected, likely due to excessive IR leakage, which affects color accuracy in brighter conditions.

Despite these tonal differences, the total light transmission between the two filters remains comparable. Each pair of images was captured using identical aperture and shutter speed settings, ensuring a controlled comparison of their respective colour and infrared rendering characteristics.

RAW files (unprocessed)

The following images showcase the RAW files of each filter with WB as shot, no HSL or Curves adjustments were done.

Unprocessed RAW files reveal distinct baseline characteristics for each filter. The Kolari IR Chrome tends to shift towards an orange hue, while The Crimson leans more towards yellow. These differences are directly related to the technical design and spectral properties of each filter, influencing how they interact with infrared and visible light.

Unlike JPEG files, RAW files remain unaffected by in-camera fine-tuning. Instead, white balance (WB) and green-magenta (G-M) hue compensation values are determined solely by the camera software based on the grey-card custom WB. The recorded values for this test were:

WB: 50.000 Kº
Green-Magenta: -7

KOLARI VISION IR CHROME

The fact that Lightroom sets the WB to its maximum limit of 50,000 K is particularly noteworthy. This suggests a fundamental limitation in the Kolari IR Chrome filter’s ability to achieve a neutral white balance. The extreme temperature adjustment required indicates that the filter introduces a significant colour shift that the camera cannot fully compensate for.

On the other hand, the G-M axis compensation is relatively well-balanced, thanks to the filter’s blue-cyan tint, which naturally corrects green wavelengths without excessive software intervention. This suggests that while the Kolari IR Chrome struggles with white balance at a broader level, its spectral response allows for a more stable handling of green-to-magenta tonal shifts in infrared photography.

WB: 15.000 Kº
Green-Magenta: -53

THE CRIMSON (QB19 + GRB3)

In contrast, The Crimson filter compensates for white balance by employing a deeper blue tone. This design choice reduces the presence of green wavelengths, necessitating a stronger software adjustment towards green to achieve balance. As a consequence, vegetation may take on a yellowish tint in certain scenarios, particularly in situations where infrared leakage is significant.

This colour shift can be understood in terms of additive colour mixing principles:

Green + Red = Yellow

This effect is more noticeable in high-IR environments, where the filter’s limitations in controlling infrared light become more pronounced. The stronger software compensation required for green correction may introduce inconsistencies in colour rendering, particularly in vegetation-heavy scenes.

Field tests conclusions

As anticipated, neither of the two filters produces red vegetation straight out of the camera (SOOC), despite what their names might suggest. However, the on-camera Live View provides a useful reference for the final image’s potential. It becomes evident that post-processing is necessary to achieve the desired colour rendition. The critical question at this stage is how effectively Lightroom can handle the colour adjustments required for each filter.

post-processing and Colour Adjustments

The following images have been processed in Adobe Lightroom from the RAW files, applying two distinct color grading techniques: Red and Magenta versions of each filter are presented.

This dual approach provides a comprehensive representation of the capabilities, similarities, and differences between the Kolari IR Chrome and The Crimson filters. By analyzing both grading styles, it becomes easier to understand how each filter responds to post-processing and how flexible they are in achieving different infrared aesthetics.

RED-tone Postprocessing

This initial comparison of processed images highlights the red-toned variant. As observed, once the images have been processed, the differences between the two filters become negligible. Achieving this level of consistency requires precise white balance adjustments on a neutral reference or manual correction.

In Adobe Lightroom, the required HSL adjustments for each filter in this scenario are:

RED: -100
ORANGE: -100

KOLARI IR CHROME

RED: -100
ORANGE: -100
YELLOW: -100

THE CRIMSON

This distinction is relevant because, as previously noted, The Crimson tends to render a slightly more yellow tone compared to the Kolari IR Chrome. Consequently, additional adjustments in the yellow channel are necessary to achieve a similar final color balance.

Pink tone Postprocessing

In this case, the pink/magenta hue is achieved by adjusting the camera calibration settings in Lightroom version 6, applying the following values to both filters:

RED PRIMARY: -100
GREEN PRIMARY: +90

KOLARI IR CHROME & THE CRIMSON

The HSL values remain unchanged from the previous red-toned processing, meaning that red, orange, and yellow adjustments stay at -100 where applicable.

This calibration shift allows the foliage to take on a magenta tone, demonstrating the flexibility of both filters in post-processing.

Note that different light conditions might demand for different approaches, but generally speaking, both filters are expected to perform equally well.

Conclusion

Both filters are capable of achieving the same final results despite their technical differences. These tests were conducted in challenging lighting conditions, requiring extreme adjustments in post-processing. While different lighting scenarios may call for slightly different approaches, both filters generally perform equally well—or equally poorly—under the same conditions. No filter consistently outperforms the other in practical use.

The main difference lies in the straight-out-of-camera (SOOC) results. The Crimson tends to produce yellow-toned images, while Kolari IR Chrome leans more towards orange. However, since both yellow and orange can be post-processed into deep reds and candy pinks, the final output remains the same. In that sense, both filters are capable of delivering a look reminiscent of the Kodak Aerochrome film.

Important Note: Neither of these filters will shift naturally red objects towards yellow.

DISCUSION AND Final Thoughts

The Kolari IR Chrome is an option for those willing to pay a higher price for a slightly more refined SOOC image. However, since post-processing is still required to achieve the Aerochrome look, the added cost may not justify the difference.

On the other hand, The Crimson offers a much more affordable alternative while still performing equally well in post-processing. Given that both filters require editing to achieve the final look, the choice becomes clear: one can achieve the same result at a fraction of the cost.

Regarding Kolari’s Marketing Claims

Kolari advertises its filter as:

«This Infrared+Visible lens filter is designed to make your full-spectrum digital camera achieve the look of Kodak Aerochrome IR film, straight out of camera, without the need to channel swap.»
«Fused, dual-glass construction engineered to replicate Kodak Aerochrome IR Film.»

– Kolarivision

However, these tests clearly demonstrate that achieving the Aerochrome look SOOC is not possible. Whether Kolari misinterprets the term «SOOC» or simply targets photographers unfamiliar with infrared photography, their marketing claim does not hold up under practical testing. The results show that a good-quality alternative can be obtained at a significantly lower price, making it clear that the Aerochrome look requires post-processing, regardless of the filter used.