Why Matte Boxes on DSLRs or Video Cameras when using still lenses??

[David W. Jones]

^ Always purchase filters which will cover your largest front lens element^

In my case the majority of my filters are Panavision size 4x5.65, which is a little more future proof and versatile than the smaller 4x4 filters.

[richg101]

when a decent filter costs £150 per piece, you want to be able to buy just one of each. if each lens has a different filter thread you need a set for each lens! cheaper than a 4x4 + sunshade combo.

most clients see a square sunshade and they see a 'cameraman' doing video work. clients see a round sunshade and they see a 'photographer' who is using the video mode - everyone and their grandma can shoot 1080p on their camera nowdays. anyone can order a £5 rubber lens hood. only professionals who value being professional and more importantly (unfortunately) perceived as professional will invest in a proper setup ready to accept pro grade filters.

in todays world, where everyone reads the net, with diy tutorials, it takes more to stand out and get the real clients coming up and asking for you card. anyone who thinks different is likely missing out on work.

I get asked for my card about 5 times per job i carry out. i never have to follow up. they get in touch with me. these guys havn't even seen my work before contacting me. they contact me initially because I try my best to exhibit an air of professionalism while i am working. Unfortunately we live in a world where the gear you use is a walking advert for your success. its the same as idiot salesmen driving over expensive cars. what ever can give you the upper hand in a world of competitors is worthwhile in my book.

Using attractive gear is sometimes annoying. you end up being cornered 10 times per job by camera buffs who read these forums too much, and all know more than you do! question your methods, try talking about gear, when you have deadlines to hit!

[mcbob]

MB's can be useful in some situations - the filters are generally better and the flags help immensely for controlling light in highly-lit sets.

As I work, I've never found them more useful than the cheap plain rubber collapsible screw-on hoods. They're bulky and just another thing to smack up against doorways, macro subjects, milling crowds, etc. Every extra bit of weight and encumbrance is just a little more incentive to not bother moving that camera into more interesting positions, and stick to "safe" locked-off blah angles. I don't use them, work quicker, and still manage to get steady work.

My limited experience has shown me that clients who are significantly influenced and impressed by glitzy paraphernalia festoonery generally wind up being annoying clients to work for... not always, but often enough.

[brunerww]

I use a matte box because it is not only more convenient than screw-on, but also less expensive. My $50 matte box and inexpensive (~$8) Cokin filters cost less than screw-on filters and are a lot easier to mount and dismount.

What puzzles me is people who spend almost as much for the matte box as for the camera :-)

Cheers,

Bill

[MitchGV]

I do agree with ErikTande on the previous page, showing up to a gig with only a dslr and lenses can give a psychological affect towads what your client's think you will be able to use, so I would say there is a major aesthetic aspect to using a mattebox with a DSLR

[vision_filmz]

I'm looking for a decent matte box I can buy, grow, learn and possibly upgrade. Not sure if I want to spend big money yet, but a decent matte box and some filters can really help me out. Any suggestions?
Thanks

[New_Zealand]

I use the matte box for the filters but most of all the balance of the camera when I go hand held and also it looks really great as a prof setup.

[Michael Carter]

I've got one of the indian matte boxes and it's held up well for a couple years; it's rod-mounted vs. screw on, which I prefer by far.

The only issue I had with mine was when you have all the metal flags on it, they can get a little "clanky" when you move; I used some self-adhesive velcro in the corners where the flags touch, just enough for them to stick together and have some padding. I keep a set of alan keys in my bag, since you occasionally have to tighten the mounts for the top flag.

Been very happy with it and there have been times when all those flags have been priceless; though often I just use it without flags, or just the top flag.

I have to disagree with the "clients who are impressed by gear are often pain in the rear clients" comments. When I shoot DSLR with flags, loupe, FF, shoulder mount and rails, even my nicest clients remark about it -"man, I'm not getting near that thing, bet it costs more than my car" kind of stuff - and they feel like they're getting their budget's worth. And they are- I use that stuff because it helps get perfect footage with minimal time and hassle. Funny thing is, I've done some BTS video shoots of high-budget fashion still shoots for well-known brands, lots of people like putting that stuff on their sites, using it for model search, etc. At those gigs, where the shooter has three assistants and two data wranglers, it's the industry people that freak over my rig. A room fool of 5D's and those amazingly expensive Profoto packs, and everyone's like "man, I wanna camera rig like that!"

Funny, when I get a killer shot with groovy lens flare, slomo, hair blowing, it's a blast to stick the loupe up to the big-name stills guy and his crew and watch 'em go "man, I am SO getting into this video stuff..."