ARRI MB-14 6.6X6.6 STUDIO
The MB-14 is a production matte box designed for wide-angle and large diameter lenses. It slides onto 19mm rods, swings away for an easy lens change. Main Features Maximum filter size 6.6″ x 6.6″ / round 6″ Standard configuration with 4-filter stage; several other filter stages possible One of each filter frame pair toothed for operation by knob or flexible shaft Swing away 90° to the front Top / bottom and side flags Set of masks Wide carrier MB-14 for lenses from 9.8 mm Technical Specs Min. focal length 12 mm (9.8 mm with MB-14) Max. number of filters (with a 4 filter stage back): four 6.6 x 6.6 filters one 138mm or 6″ round filter Camera attachment for dia. 19 mm support rods Dimensions 372 x 260 x 155 mm (14.6 x 10.2 x 6.1 in) Weight approx. 2,450 g (5.4 lbs)
ARRI Mini Follow Focus MFF-2
The Mini Follow Focus MFF-2 Cine Base from ARRI is a main building block of the MFF-2 follow focus system. This sturdy, single-sided unit snaps onto any 15mm rod lightweight support (not included). The Cine Base is designed with a 2:1 knob-to-gear ratio for quick but smooth focus pulls on cine-style lenses, with their typically large range of focus barrel rotation. The base’s reversing feature can be used to maintain the standard direction of the focusing knob.
ARRI Operator Control Unit OCU-1
he ARRI Operator Control Unit OCU-1 provides the means for a camera operator to quickly take over and relinquish control of a WCU-4 system’s focus, iris, and zoom axes. Use this compact, single-axis FIZ controller to save time while framing shots and executing challenging focus pulls.
SPECS:
Mounting Thread: 3/8″-16
Dimensions: 1.7 x 2.6″ / 44 x 65 mm
Weight: 5.4 oz / 153 g
ARRI SMB-2 4X5.65 TILTING STUDIO
The SMB-2 Tilt Matte Box Module from ARRI is composed of a 4:3 sunshade, a tilting extension module, and an R2 ring–compatible back plate. A mounting arm is not included nor are any filter stages or tilting filter ring. The SMB-2 has a modular design, and is ready to accept stackable 4″ x 5.65″ filter stages, either the 19mm or 15mm rod mounting arm, and other separately available components as you wish. The SMB-2’s swing-away design provides easy access to your lens without having to slide the matte box off the rods.
ARRI SXU-1 SINGLE CHANNEL LENS CONTROLLER
ARRI‘s SXU-1 Single Axis Unit is a wireless hand unit offering single-axis focus, iris, or zoom control. The compact SXU-1 features remote camera start/stop and tally, an ergonomic wooden handgrip, and a backlit, super-smooth control knob. This simple unit can be used in conjunction with the WCU-4 or with the SMC-1 single-motor controller.
SPECS:
Software Update: Via SD card
Encoder: 16-bit
Power Supply: Sony-type NP-FM500H
Dimensions: Knob Diameter – 3″ (76 mm)/ LCD Display – 1.2″ (31 mm) (diagonal)
Weight: Including Battery: 1.5 lb (700 g)
ARRI UMC-4 MOTOR CONTROLLER
Use the versatile ARRI UMC-4 LDS Universal Motor Controller to remotely control focus, iris, and/or zoom, and to record lens metadata for post and VFX use. The UMC-4 Controller can govern up to three lens motors, and is compatible with WCU-4, SXU-1, Master Grip, and ARRI zoom controls. This controller is compatible with any ARRI or third-party pro camera, and with CLM-3/4/5 lens motors.
SPECS:
Connectors: 2 x 7-pin serial/ 1 x 5-pin LCS/ 1 x 12-pin CAM/ 3 x 12-pin motor/ 1 x RS input/ 1 x TC in/out
Receiver Channel: 8 x Channels: 2.410 to 2.475 GHz
Mounting Thread: 3/8″-16
Dimensions: Without Antenna – 4.2 x 1.5 x 3.9″ (107.7 x 38.5 x 98 mm)/ With Antenna: 4.2 x 1.5 x 6.1″ (107.7 x 38.5 x 153.9 mm)
ARRI WCU-4 3 CHANNEL LENS CONTROLER
The ARRI WCU-4 Wireless Compact Unit is a 3-axis handheld controller featuring an integrated lens display. Control camera functions, focus, iris, and/or zoom from a distance, such as when shooting handheld or using a stabilizer, gimbal or crane. The WCU-4 is compatible with the ARRI ALEXA Mini, ALEXA Plus, and Studio cameras, and with ARRI UMC-4, SMC-1, EMC-1, and AMC-1 motor controllers. Camera functions are controllable for ARRI ALEXA Mini, Plus and Studio, and ARRI AMIRA when used with the UMC-4 motor controller.
SPECS:
Dimensions: 5.9 x 6.3 x 3.5″ (151 x 161 x 90 mm)
Weight: 1.6 lb (750 g)
Atlas Lens Co. Mercury 72mm T2.2 1.5x Anamorphic Prime Lens (PL Mount, Feet)
Designed by cinematographers for professional videographers, the Mercury 72mm T2.2 1.5x Anamorphic Prime Lens is part of the compact and lightweight Mercury Series from Atlas Lens Co. This series offers native full-frame coverage, enhanced bokeh, near-zero chromatic aberration, and a buttery vintage look that is warmer than that of the Orion series. The ARRI PL-mount Mercury series includes 36, 42, and 72mm primes plus 54 and 95mm and one telephoto focal length still in the pipeline.
- This lens creates 1.5x the horizontal field with the same vertical field of view as a similar spherical lens.
- It offers a vintage anamorphic look with golden flares, pleasant barrel distortion, and almost no chromatic aberration.
Cine-Style Design
- The Mercury lenses feature cine-standard 0.8 MOD gearing, a 95mm front diameter, and focus marks in feet.
- The standardized 95mm front diameter is compatible with many filters and matte boxes.
| Focal Length | |
| Maximum Aperture | |
| Lens Mount | |
| Lens Format Coverage | |
| Filter Thread | |
| Image Stabilization | |
| Electronic Communication |
| Maximum Aperture | |
| Minimum Aperture | |
| Lens Mount | |
| Horizontal Squeeze (Anamorphic) | |
| Flare Color | |
| Lens Format Coverage | |
| Angle of View | |
| Focus Scales | |
| Filter Thread | |
| Minimum Focus Distance | |
| Aperture/Iris Blades | |
| Image Stabilization | |
| Gear Standard | |
| Electronic Communication | |
| Diameter | |
| Length | |
| Weight |
Attenuator Color Graduated Neutral Density Filter
The horizontal filter is compatible with filter holders that can accommodate 4mm-thick, 4 x 5.65″ rectangular filters. It is densest across one of its 5.65″ edges, which corresponds to a reduction of light entering a lens by 1 stop and tapers to clear at the opposite edge. This landscape-format, 5.65″-wide gradation can be used to selectively darken an image from edge to edge, allowing for wider apertures or reduced shutter speeds. While this filter’s density can be applied to bright skies, the remaining regions of the image are exposed with a progressively decreasing effect.
Specs
Strengths Available: .3/ .6/ .9/ 1.2
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Beachtek DXA-ALEXA Low-Noise Preamplifier for ARRI ALEXA Mini Camera
Designed primarily for the ALEXA Mini, but compatible with cameras such as the RED DSMC2, the Beachtek DXA-ALEXA is a low-noise preamplifier which connects directly to your camera, capturing audio through its transformer-balanced inputs and obviates the need for external syncing. The preamp itself sports a 100 dB dynamic range, and the construction of its inputs ensure galvanic isolation, as well as high common mode rejection in the face of common obstacles, such as electromagnetic interference.
Beachtek DXA-PRE Two-Channel Preamplifier for Cinema Cameras
Connect professional XLR-equipped microphones or line-level signals to your RED, ALEXA, and other cinema cameras or DSLR/mirrorless camera with the compact, rugged, and easily mountable Beachtek DXA-PRE, a two-channel preamplifier with phantom-powered XLR inputs. Its powerful preamps offer up to 60 dB of gain while delivering low noise and a wide 100 dB dynamic range. Thanks to its integrated shoe mount, the supplied brass mounting foot, and the included V-CLICK quick-release plate, the DXA-PRE accommodates an array of mounting configurations, including rail mounting with an optional third-party accessory.
Each channel features a balanced XLR mic/line input with switchable 48V phantom power for condenser mics, low/high gain settings, and a trim knob. An easy-to-read LED meter helps you keep track of your levels. Select mono or stereo for the output signal.
SPECS:
| Frequency Response | |
| Maximum Input Level | |
| Gain | |
| Dynamic Range | |
| THD+N | |
| Channel Separation |
Black Glimmer Glass
Responding to the demands of cinematographers, the Black Glimmerglass Filter features a grade 1 density and is designed to take the crisp edges off the images that modern lenses and digital cameras produce. The filter subtly softens the image and lowers detail resolution for those who want to simulate the look of film footage while shooting on digital gear. This black Glimmerglass model reduces contrast and overall sharpness and can smooth out unwanted blemishes, wrinkles, or other fine details in a subject’s face while keeping the general image in focus. Manufactured using ColorCore technology, the filter is designed to be accurate in its effect and to produce consistent results.
Size available: 4×5.65
Black Pro Mist
The Black Pro Mist helps to reduce the value of the highlights while slightly lowering the overall contrast. This filter is especially useful for smoothing out and softening facial wrinkles and other blemishes. While designed for use with movies, this filter can also be used for fashion and beauty applications. Unlike a traditional diffusion or soft focus filter, Pro-Mist filters provide little loss of detail across the image. The 1 density provides a subtle amount of contrast and highlight reduction and allows for a soft, pastel-like quality of light.
Strengths Available: 1.8/ 1.4/ 1.2/ 1/ 2
Sizes Available: 4×5.65/ 6.6×6.6/ 138mm/ Series 9/ 40.5mm/ 4×4