Amazing work as always Sean! Super detailed and informative. I would like to offer a tip that you may not have covered, but can come in handy for some fellow AC’s: For older lenses with rotating barrels (Hawk C or Lomo anamorphics), I find using those R2 bellow rings ideal as you can create a light proof seal with the lens, and have it spin as the plastic material is smooth enough for rotation. I typically place the focus range of the lens in the middle, then butt the LMB with bellows right up to the lens. This way it should clear the calibration range of those lenses as the barrel slides in and out.
a great product, just wish you could make a swing away for LF still cameras to fit on the monorail, as it would be a great solution (as you have 67-110mm diameter sizes for the mounts)- having filter holders which fit LF lenses eg: Shnieder, Roddenstock, Nikon, Fujinon; most of which are larger than the main filter holder makers make for mirrorless slr still cameras {48-62mm dia.} and here it is still vital to have the use of filters, especially for the wider focal lengths of 90mm and below, which is not uncommon to have 95mm dia. and above.
Okay now here is something for debate... I always like to insert the filtertray the other way around than shown here, so turned 180° horizontally. I think that way the filter and LMB is better closed off from the elements and most of the time I can still see what is writen on the filter itself to tell them apart.
Hey Luca, thanks for the comment. The design is mainly intended with the "closed" side of the tray to be pointing towards the sensor to minimise internal reflection. If you prefer the other way, then go for it! There's nothing mechanically wrong about that.
@@ARRIChannel hey, I began doing this 4 months ago after reading this comment, but I just did a job where we rigged the camera to a dirt bike, due to the vibrations and bumps, I had a clear filter fall out of the front of the mattebox, in hindsight I should've taped things off, but I didn't think the filter could fall out the front. Is there anything I can do to prevent this or should I rotate the trays when the camera is in rough scenarios? Your thoughts would be appreciated.
Hey Ben. Sorry to hear that - yes it is possible in rather extreme circumstances, we'd suggest running the front tray "backwards" if you need to for extra security.
@10:43 how do you secure the clamp-on adapter on to the matte box when it's in its 2-stage configuration? There don't appear to be any black tightening knobs on the 2-stage section. Do you have to swap out two of the silver guide markers for separate tightening knobs? Or do the silver tightening knobs on the side of the "basic module", pull those silver guide markers down to lock the clamp-on adapter in place?
Hey there - your second guess is correct. The silver knobs on the side of the basic module filter guides are for tightening the clamping mechanism, which works with either a clamp adapter or one of the extra filter stages. This slimmer clamping mechanism also allows the use of very large clamp adapters such as the 162mm, which will not work on the more simple mechanism found on the extra filter stages (or previous generation LMB-25).
They just cut out extra light hitting the lens and go smaller the longer your focal length is. So you use them if you want a cleaner image with better contrast
I didn't realize I needed a 45 minute explanation of the ARRi LMB until just now
Amazing work as always Sean! Super detailed and informative.
I would like to offer a tip that you may not have covered, but can come in handy for some fellow AC’s: For older lenses with rotating barrels (Hawk C or Lomo anamorphics), I find using those R2 bellow rings ideal as you can create a light proof seal with the lens, and have it spin as the plastic material is smooth enough for rotation. I typically place the focus range of the lens in the middle, then butt the LMB with bellows right up to the lens. This way it should clear the calibration range of those lenses as the barrel slides in and out.
Fantastic tip - thanks Jackson!
That's a whole heap of options! Seriously though, gotta appreciate that ARRI maintains backwards compatibility as much as possible.
a great product, just wish you could make a swing away for LF still cameras to fit on the monorail, as it would be a great solution (as you have 67-110mm diameter sizes for the mounts)- having filter holders which fit LF lenses eg: Shnieder, Roddenstock, Nikon, Fujinon; most of which are larger than the main filter holder makers make for mirrorless slr still cameras {48-62mm dia.} and here it is still vital to have the use of filters, especially for the wider focal lengths of 90mm and below, which is not uncommon to have 95mm dia. and above.
Many T-Shirt colors for one video 😊
Great video. And, great matte box. However, the one huge oversight I see is that the new Arri Rota Pola doesn't have a geared wheel! The horror.
Okay now here is something for debate...
I always like to insert the filtertray the other way around than shown here, so turned 180° horizontally. I think that way the filter and LMB is better closed off from the elements and most of the time I can still see what is writen on the filter itself to tell them apart.
Hey Luca, thanks for the comment. The design is mainly intended with the "closed" side of the tray to be pointing towards the sensor to minimise internal reflection. If you prefer the other way, then go for it! There's nothing mechanically wrong about that.
@@ARRIChannel hey, I began doing this 4 months ago after reading this comment, but I just did a job where we rigged the camera to a dirt bike, due to the vibrations and bumps, I had a clear filter fall out of the front of the mattebox, in hindsight I should've taped things off, but I didn't think the filter could fall out the front. Is there anything I can do to prevent this or should I rotate the trays when the camera is in rough scenarios? Your thoughts would be appreciated.
Hey Ben. Sorry to hear that - yes it is possible in rather extreme circumstances, we'd suggest running the front tray "backwards" if you need to for extra security.
@@ARRIChannel got it
@10:43 how do you secure the clamp-on adapter on to the matte box when it's in its 2-stage configuration?
There don't appear to be any black tightening knobs on the 2-stage section.
Do you have to swap out two of the silver guide markers for separate tightening knobs? Or do the silver tightening knobs on the side of the "basic module", pull those silver guide markers down to lock the clamp-on adapter in place?
Hey there - your second guess is correct. The silver knobs on the side of the basic module filter guides are for tightening the clamping mechanism, which works with either a clamp adapter or one of the extra filter stages. This slimmer clamping mechanism also allows the use of very large clamp adapters such as the 162mm, which will not work on the more simple mechanism found on the extra filter stages (or previous generation LMB-25).
@@ARRIChannel good to know, thanks!
Nice! What are Spherical and Anamorphic Mattes used for?
They just cut out extra light hitting the lens and go smaller the longer your focal length is. So you use them if you want a cleaner image with better contrast
Luca is exactly right - they can be used instead of, or in addition to the top flag to control lens flares.