Ryan Constantino

Sale closed. Going to go another direction! -Ryan

I'm selling my Arri MB-18 Mattebox, it's in excellent condition and comes with the following: - 3 stage rotating mattebox, swing away 19mm rod setup. - 3 horizontal 4x5.65 trays - 3 vertical 4x5.65 trays - comes with top, bottom and side flags - hard matte set - Mastercase travel case; newly re-foamed. image album here: https://imgur.com/a/hN0peXO Edit: Also comes with two 19mm rails 17" long. Filmtools website has more information about this mattebox: https://www.filmtools.com/arri-mb-18-matte-box-10441.html $3000 firm or willing to trade for similar value mattebox that is 4x5.65, 3 stage, 15mm LWS. Item is located in Los Angeles.

Thanks very much for the info! I think I'd like to try the venice on a shoot and see how I like it.

Kinda off topic but how did you have it rigged for those two videos you posted? Were you using an e-z rig for the handheld stuff? Or was your build light enough to do shoulder?

Still available! Great deal!

New price 800.

Price drop to 1000

New price, 1300. Brand new light kit worth 2300.

Hello, I have a brand new Lowel pro power tungsten LED kit, never used. It's a great kit of 3 powerful LED fresnel type lights that are perfect for on the go shooting. My production company is going in a different direction with our lighting package and needed something different. All three LED lights plugged in once to test, but never used otherwise. Images here: https://imgur.com/a/XBjYGhz kit cost 2300 through B&H, asking 1500. Kit is in located in Hollywood/Los Angeles CA.

Interesting, yes that's exactly why I'm using it with a Ninja V. I wanted to go direct to prores. I'm hoping this combination along with 10bit vlogl will get me a good image.

That's interesting, thank you for your response, so then do you know if there is any difference between 10bit vlogl and 10bit Cinelike D for example?

Hello, I recently purchased the GH5 vlogL upgrade from Adorama, and came across this negative review in the comments section of the product page: I still have a lot to learn with regards to Log recording methods and am curious if what this reviewer is saying holds any truth? From my experiences with VlogL so far, it seems like it's stretching what the GH5 sensor can do. Anyone know more about this? Adorama link: https://www.adorama.com/r/ipcvl-reviews

There are already a bunch of great ideas, but here is another. There are these "anti- burglary" devices that make it look like you have a tv on: https://www.amazon.com/Hydreon-Corporation-FTV-10-US-Burglar-Deterrent/dp/B003S5SOLG it's like 30 bucks and might be a cool option.

If you're actually referring to a physical grain pattern on the image there are a few different ways this could happen. The Alexas sensor has a rather pleasing digital noise pattern, with certain exposures you end up seeing more noise but it looks kinda like film grain, which is cool. Otherwise you can add grain in post production using a variety of products. Such as http://www.gorillagrain.com/ or http://rgrain.com/ However, it should be noted for future reference: If a camera such as a dslr is used for a shoot, and it has a bunch of blocky noise patterns, simply adding more grain on top of that won't make it better. You would need to "denoise" your footage first before adding a fake film grain. Something like https://www.neatvideo.com/ (my personal favorite, it's like magic) will get the job done. Many productions add film grain in post because it gives it a certain look. Even Steve Yedlin ASC mentions in his resolution demos when comparing film to video that you can create a grain "algorithm" that matches film pretty much exactly. We may never precisely know the methodology behind the way the film looks because workflows tend to be secretive, that way as a colorist or DI company you can offer something to your clients others cannot.

This is funny that this thread was raised from the dead over such a topic. I can give you the 100% absolute definitive answer here and now, as well as why I know this in the form of a story. Arri is pronounced "ARE-REE" The "are" comes from Arnold and the "ree" comes from Richter. Arnold & Richter Cinetechnik: https://en.wikipedia.org/wiki/Arri It's not "Air-ree" because his name was not "Airnold". Here's why I know this; at the end of last year, Arri held an instagram photo contest in which the first prize was a free trip to the Arri factory headquarters in Munich Germany. I was lucky enough to win that first prize and took a trip to the Arri manufacturing facility in Munich, as well as the Lighting factory in Stephanskirchen. Everyone in Germany I spoke to pronounced it "ARE-REE". One night during my trip I was speaking with a few of the marketing people and I brought it up in conversation. I said something like "boy I'm glad to hear you guys pronouncing Arri the way you are because I always thought it was that way." They replied with something like "Yes, even some of the people that work for Arri don't say it right." I agreed with them and mentioned how there are many many people in Los Angeles that say it wrong. But of course, I don't correct them because then that would make me a jerk.... :lol: :lol: So if you get into a debate with someone about it, tell em' I told you it was Arri! Here is a link to my instagram if anyone wants to see some cool photos from my trip! https://www.instagram.com/p/BgoirDeBeX7/?taken-by=ryantothec

Interesting, that's worth a shot in the meantime. Would I get it from the craft store do you think?

Thanks for the reply. Yes you are correct I had to reach out to Arri for the part number. Appreciate the suggestion!

I just picked up a Zeiss LWZ2 which is a 114mm front and I have an Arri MB18 which comes with a filter ring with rubber donut that says it has a 114mm diameter. However there is the slightest gap between the ring and the lens. Here is a photo: https://imgur.com/a/u9DhLMy Is this normal? I would be concerned about a little bit of light getting in there. Any suggestions?

That sounds like a nightmare! Any time I see a TV with these settings turned on, if I have access to the remote control I turn them off. I'm like the Johnny Appleseed of anti-motion smoothing. No one ever in the history of forever has ever said to me "hey I think that motion smoothing looks pretty good." Why can't TV manufacturers come up with some other gimmick that doesn't mess with the directors vision....

I don't think I've ever seen a broadcast TV show exhibit in "scope" 2.35:1 but as mentioned in other comments here there are a few shows out there that are doing the scope/anamorphic thing on Netflix. Black Mirror has a few episodes that are in widescreen format. I suppose these shows are in fact TV shows, but at 45min or even 1 hour long they are blurring the lines between "TV shows" and "films" it seems. I think consumers are used to seeing black bars on TVs but I certainly wish that 21:9 tvs caught on. I would much prefer to watch a movie movie fill the screen and see regular TV have bars on the left and right.

Perhaps you could take an image from google image search and trace it out in photoshop or illustrator? You could cross reference the lens length from Arri and make sure the cutout is the correct length: http://www.arri.com/camera/cine_lenses/prime_lenses/master_prime_lenses/

I'm curious about how renting a lens through a rental house (or otherwise) affects the resale value of the a cinema lens? For example if a lens is only owned by one person and never rented through a rental house, it's likely to have a higher asking price under the assumption that they took really good care of it and didn't get used as much right? Would this also mean that a lens that has been rented a lot will likely be less expensive because of general wear and tear? And finally, if a lens is rented through a rental house a lot and is evaluated by duclos or abelcine etc. as being in good condition would that asking price be more like the single owner price?

One scene which is frequently noted to contain both handheld and static shots is the end scene from "Se7en" https://www.youtube.com/watch?v=1giVzxyoclE spoiler alert haha. Maybe something what you're looking for. There are also scenes in The Matrix that combine dolly movement and handheld: https://www.youtube.com/watch?v=RwtifqCmGuw There are many more examples out there, maybe if I thought long enough I could remember more. The combination can certainly be done. There just needs to be a method behind the madness. The way the cut is assembled matters more than the shots themselves in the sense that if you are moving with the handheld camera, you typically cut into the next shot, dolly or otherwise in a moving state. The Five C's of cinematography refers to this method: https://www.amazon.com/Five-Cs-Cinematography-Picture-Techniques/dp/187950541X I think it's in the "cutting" section. So you could very much do both, just know how you're cutting it together. Personally I don't think it's all that much different than cutting together steadicam and dolly shots, conceptually.

I'll be there! I went last year and enjoyed it very much! If you see a guy wandering around in a giant camera costume shaped like an Alexa mini, that's me. :D On monday I'll be looking for a Zeiss LWZ2. I want to check it out because I think it's the lens I'm going to buy if I like it. last year I was looking for the Alura 18-80. I found it and geez it's beautiful. Slightly too expensive for me though. Anyway, I like seeing all the latest stuff and am looking forward to a lot of things. See ya all there!

https://imgur.com/a/gmR2C Here is an album of images from my visit to the Arri headquarters in Munich, Germany. Last december I won the Arri100contest instagram contest for my posts of my Alexa mini costume I made for Halloween last year. The prize for winning the contest was a free trip to Munich to visit the headquarters which I just got back from last weekend. I was able to see a lot of great stuff, meet the amazing people that work for Arri and experience a little bit of the German culture. I wanted to share the photos with everyone here because it was such a cool experience.