The SMB-1 is a matte box for 6.6”x6.6” filters and below, while the SMB-2 is optimized for 4”x5.65” filters.

Main features:

 

• Built-in Tilt Module
• Stackable filter stages
• Anamorphic conversion set available

The SMB-2 Tilt has an integrated Tilt Module that tilts and extends; the SMB-2 Basic includes only an extension module similar to those of the MB-18, without tilting function.

The Tilt Module can tilt the whole matte box assembly and also integrates the extension feature; the Basic Module is just an extension module, similar to those of the MB-18. It has no tilting feature.

Yes. You only need to add the Tilt Module itself, which can be done easily and quickly.

Yes. You can replace the SMB-2 Tilt Module with the SMB-2 Basic Module. It can be done easily, and within minutes.

15° down and 10° up.

This is dependent on many factors, although most situations will be solved by tilting down 2-7°. The SMB-2 Tilt is capable of tilting downwards 15° and upwards 10°.

When greater angles of tilt are required, it is necessary to use the dedicated Tilt Filter Ring to allow the ring to follow the movement of the matte box.
Any R2 rubber filter ring can also be used, up to a certain degree of tilt.

You have the choice of using the full tilting filter ring or just half of it, depending on what kind of tilt you want to achieve. You can split the unit in half and put it back together within seconds.

Yes. However, there are limits to the degree of tilt achievable using these existing R2 rings.

No. The SMB-2 is designed as a studio matte box for 15 mm or 19 mm standard studio rods or for 15 mm lightweight support.

Yes. There is a specifically designed arm available, allowing the SMB-2 to be used on 15 mm lightweight support rods.

The SMB-2 has a stackable filter stage system (1- and 2-filter stages), so you can add as many stages as you want. However, you should always test the camera, lens and SMB-2 together to avoid vignetting.

Yes. Any generation of MB-18 filter frames, geared or non-geared, will fit the SMB-2.

Each filter stage can be rotated individually…

 

• Two filter frames at a time with the 2-stage module
• One filter frame at a time with the 1-stage module

Yes. Polarizers and grad filters can be rotated, as with the MB-18.

The wide-angle coverage of the SMB-2 exceeds that of the MB-18. Suitable testing is required.

You can fit the top/bottom flag to the top or bottom of the matte box with the 4:3 and 2:1 sunshades, providing you fit the optional bottom flag holders. Please note, for the 4:3 sunshade, special anamorphic mattes and side flags are required.

Both are compatible with the 4:3 sunshade, which is included with both SMB-2 modules. The SPH (spherical) mattes are for spherical lenses, while the SPH/ANAM (anamorphic) mattes are required when using anamorphic lenses with the 4:3 sunshade. You can customize the SMB-2 with the Anamorphic Upgrade Set, making it perfect for anamorphic work.

The weight of the SMB-2 is very similar to that of the MB-18. The SMB-2 is around 5% heavier when fully equipped, due to its new features and solid build quality.

The top and side flags have new adjusters, allowing the flag angle to be adjusted very quickly by pressing a small button. More precise adjustment is still possible via the big screw.

Main features…

• Built-in Tilt Module
• Stackable filter stages
• Anamorphic conversion set available
• Ready for ALEXA and 12 mm Master Prime
• Ready for ALEXA and Angenieux Optimo 24-290 mm
• Special donuts optimized for tilt available

The SMB-1 Tilt has an integrated Tilt Module that tilts and extends; the SMB-1 Basic includes only an extension module similar to those of the MB-14 and MB-28, without tilting function.

The Tilt Module can tilt the whole matte box assembly and also integrates the extension feature; the Basic Module is just an extension module, similar to those of the MB-14 and MB-28. It has no tilting feature.

Yes. You only need to add the Tilt Module itself, which can be done easily and quickly.

Yes. You can replace the SMB-1 Tilt Module with the SMB-1 Basic Module. It can be done easily, and within minutes.

15° down and 10° up.

This is dependent on many factors, although most situations will be solved by tilting down 2-7°. The SMB-1 Tilt is capable of tilting downwards 15° and upwards 10°.

Any R1 rubber filter ring can be used, up to a certain degree of tilt. When greater angles of tilt are required, it is necessary to use the dedicated Tilt Filter Ring to allow the ring to follow the movement of the matte box.

You have the choice of using the full tilting filter ring or just half of it, depending on what kind of tilt you want to achieve. You can split the unit in half and put it back together within seconds.

No ring is needed. The tilting filter ring has a maximum diameter of 150 mm and will not fit the Optimo 24-290 (which is 162 mm). You can still fit the lens directly on the back of the SMB-1 (diameter of 165 mm) and use the tilt function; with a difference of only 3 mm, flares will not be a problem.

Please note that at the long end of the zoom only minimal tilt angles will often be required. Experience shows that film crews tend to favor self-made neoprene rings between the lens and the matte box, which would suit this situation perfectly. Depending on the filter and filter stage being used, there might be some vignetting.

Yes. However, there are limits to the degree of tilt achievable using these existing R1 rings.   

No. The SMB-1 is designed as a studio matte box for 15 mm or 19 mm standard studio rods.

No. The SMB-1 is designed as a Studio Matte Box for 15 mm or 19 mm standard studio rods.

The SMB-1 has a stackable filter stage system (1 and 2 filter stages), so you can add as many stages as you want. However, you should always test the camera, lens and SMB-1 together to avoid vignetting.

Yes. Any generation of MB-14 filter frames, geared or non-geared, will fit the SMB-1.

Each filter stage can be rotated individually…
Two filter frames at a time with the 2-stage module
One filter frame at a time with the 1-stage module

Yes. Polarizers and grad filters can be rotated, as with the MB-14.

The wide-angle coverage of the SMB-1 exceeds that of the MB-14. Suitable testing is required.

You can fit the top/bottom flag to the top or bottom of the matte box with the 4:3 and 2:1 sunshades providing you fit the optional bottom flag holders. Please note, for the 4:3 sunshade, special anamorphic mattes and side flags are required.

Both are compatible with the 4:3 sunshade, which is included with both SMB-1 modules. The SPH (spherical) mattes are for spherical lenses, while the SPH/ANAM (anamorphic) mattes are required when using anamorphic lenses with the 4:3 sunshade. You can customize the SMB-1 with the Anamorphic Upgrade Set, making it perfect for anamorphic work.

The top and side flags have new adjusters, allowing the flag angle to be adjusted very quickly by pressing a small button. More precise adjustment is still possible via the big screw.

The weight of the SMB-1 is very similar to that of the MB-14. The SMB-1 is around 5% heavier when fully equipped, due to its new features and solid build quality.

The LMB-6 is the successor to the LMB-4A, a wide-angle lightweight matte box with expanded features.

With the LMB-6 the largest filter frame that can be used is 6.6″x6.6″.

With the LMB-25 it is 4″x5.65″.

There are some accessories that can be used for both LMBs and are already known from the LMB-25: tray catcher, 3/8″ accessory attachment, top/bottom flag holder.

No. They are not compatible. The LMB-6 has larger filter stage guides.

They are not compatible, though they have the same concept. LMB-6 clamp adapters are larger at the back.

On the bottom right of the LMB-6 is a hole where you can secure the matte box to the camera body, for example with a karabiner, when working on a crane or car mount. If the clamp mechanisms come loose because of heavy vibration, the matte box will be caught before falling and causing damage or injury.

The ARRI/ZEISS Ultra Prime UP-8R.

Due to the wide range of cameras with numerous sensor sizes using different types of lenses, ARRI no longer prints focal lengths on the masks. We suggest that you test the mattes with your camera and the lenses you are using for a project prior to filming. The mattes are simply numbered from 1 (widest) to 5 (smallest).

Please check
Configuration Overview LMB-6 or/and
Configuration Overview Rings.

 

All listed clamp-on rings can be used with LMB-6 clamp adapters. If you still do not find the proper ring for your lens, please let us know. We can then consider making an additional one.

The LMB-6 is a clamp-on matte box, so filters cannot rotate.

The LMB-25 is a clamp-on matte box that expands the feature set and creative possibilities of the LMB-15, while retaining the low price tag and weight of an entry-level LMB-5.

For further information please visit the product page of LMB-25.

Only LMB-15 masks are compatible with the LMB-25 (and LMB-25 masks are back-compatible with the LMB-15).

No. They are not compatible. The LMB-25 has its own dedicated filter stage guides.

Yes. All filter frames, clamp adapters and the light shield from the LMB-5/LMB-15 are compatible with the LMB-25.

No. New accessories like the tray catcher, 3/8″ accessory attachment and top/bottom flag holder are not compatible with the LMB-5 and LMB-15.

Yes. The clamp adapter, with different diameters, fits LMB-25, LMB-15 and LMB-5.

No. They are not compatible. The LMB-6 is a 6.6″x6.6″ matte box and requires a bigger clamp adapter.

No. The LMB-25 is a clamp-on matte box, so filters cannot rotate.

The basic version is for one 4″x4″/4.5″ round filter frame and one 4″x5.65″/4″x4″ frame, with the 4″x4″/4.5″ round filter frame allowing full rotation.

The double version provides two 4″x5.65″/4″x4″ filter frames, one of which can rotate.

 

For more informations click here

Please see also Configuration Overview MMB-2

Both the MMB-2 Basic and Double have a back diameter of 114 mm.

No, this makes no sense, since the filter stage which has to be changed is the most expensive part from the whole MMB-2 module.

Yes, with a specific 15 mm lightweight console you can use this matte box on 15 mm lightweight support standard.

This matte box is not meant to be used for 19 mm or 15 mm studio configuration.

 

rod standards

Yes, with specific clamp-on rings. Lenses with a diameter of 114 mm can be used without any rings.

Please see Configuration Overview MMB-2

All Compact Primes 2 (besides the 50 mm Macro) with a front diameter of 114 mm can be used. This is the same as the back diameter of the MMB-2, so you can use the MMB-2 directly with CPs, without an additional ring. 

For still photo lenses where lens elements move forward and back during operation, you need the flexible light protection. The MMB-2 in combination with the flexible light protection does not work in clamp-on mode (only with the 15 mm LWS console on rods).

The reduction clamp-on rings clamp on the outer diameter of the lens. The still lens clamp-on rings have a thread on the inside and can be screwed onto the filter thread of still lenses.

The MMB-2 has a smaller back diameter (114 mm) than the MMB-1 (143 mm or 138mm). It is lighter, more affordable and more compact than the MMB-1. 

Like the MB-20 System I, the MB-20 System II is a matte box designed to accommodate even wide-angle lenses like the Fujinon 13×4.5, while still being lightweight enough to be used handheld. ARRI’s innovative, patent cage design allows for the use of videography-style light shields without sacrificing durability, and gives full protection of the sunshade against shocks.

 

Configuration Overviews:

MB-20 System I & II
MB-20 System I
MB-20 System II

Yes. There are three MB-20 systems: MB-20 system I, MB-20 system II, MB-20 wide angle 16×9.

A little black plate (marked red in the picture) is delivered with the MB-20 16×9 basic module with sunshade. This plate has to be mounted between the swing-away module and the console for the matte box to be optically centred.

Only the basic modules and the specific light shields are different. The MB-20 wide angle also has specific accessories.

No. The MB-20 wide angle 16×9 also has specific accessories (filter stage, filter).

Yes. There is a specific clamp-on adapter available, although we recommend lightweight matte boxes like the LMB-6 or LMB-25 for clamp-on operation.

Yes. There is a specific console for lightweight support available.

Yes. There is a specific console for 15 mm and 19 mm studio support available. There is even the possibility to use the lightweight support and a specific adapter for 15 mm and 19 mm studio configuration.

Camera & Accessories Configuration Overviews

The top load version takes one filter frame from the top and one from the side. The side load version takes two filter frames from the side to avoid problems when using cameras with a top-mounted microphone, which would get in the way when pulling filter frames from the top of the matte box.

 

For more informations regarding MMB-1 please click here

There are two versions: 138 mm and 143 mm.

138 mm.

Yes, with a specific 15 mm lightweight console. We do not recommend using the MMB-1 on studio rods; ARRI does not offer studio adapters for this matte box.

Yes, with specific clamp-on rings.

For more details please see Configuration Overview MMB-1

The MMB-1 has a bigger back diameter (138 mm or 143 mm) than the MMB-2 (114 mm) and can therefore be used with lenses of a larger diameter.

The MMB-1 is available in both top and side load versions.
The MMB-2 is smaller and weighs less.

Please see Configuration Overview MMB-1 – there you will find the listed filter frames.

No ring needed. The front diameter of the Optimo 24-290 is 162 mm, so it fits directly into the back of the MB-14, which has a diameter of 165 mm. With a difference of only 3 mm, no light leak is possible. Depending on the filter and filter stage being used, there might be some vignetting.

No ring needed. The front diameter of the Optimo 24-290 is 162 mm, so it fits directly into the back of the MB-28, which has a diameter of 165 mm. With a difference of only 3 mm, no light leak is possible. Depending on the filter and filter stage being used, there might be some vignetting.