MPB
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The video experts Award-winning used equipment dealer MPB is staffed with specialists who not only make films, but are there to help and advise I f a camera equipment retailer
is staffed with experts who are passionate about creating stunning work, while being hugely knowledgeable about the gear used to make it, you know you’re among like- minded professionals. That’s certainly the case with used equipment specialist MPB, whose three branches around the world are filled with people who live for making images – and love the kit doing it. As a lot of MPB’s stock is based around stills cameras and lenses, many of the staff are keen photographers. But with the video side continuing to expand at a rapid rate – and the crossover in hybrid shooters and cameras that handle both – it’s only natural that MPB has more moviemakers on hand now than ever before. Two recent recruits are typical of the passionate filmmakers that not only get to check out the latest kit in MPB’s vast stock, but also spend their days shooting
and editing videos for the firm’s YouTube and social media channels. Justin Patricolo is based in Brooklyn, New York, and has a background in directing, producing and shooting for clients, as well as his own movies. Across the pond in Brighton, Jakub Golis has a similar background, spending the past decade as a cinematographer, editor, colourist and digital effects creator. So, you’d think working at MPB, with its massive range of stock on hand, is like being a kid in a sweet shop. “The difference in image quality between the latest and slightly older equipment is often not that big at all”
“I’m really interested in the equipment, and I get to see and test lots of new kit to do reviews,” says Golis. “But we all have our own kit that we use to make the videos. Both myself and Justin use the Sony FX3 as our main camera.” “We use all Sony products,” says Patricolo. “The FX3 offers a great balance of size and capabilities. Its 10-bit codec is good, the slowmotion is great and it’s fantastic in low light, which can be important. It will also be good for some travel films we’re planning. “I use the Sony 24-105mm G Master lens a lot, but also work with non-Sony mount lenses with an adapter. I had a Canon EOS 5D Mark III, then my own Sony A7S II, as well as a Sony FS7, Canon EOS C200 and C300. I even used Arris and Reds, which to me are still the gold standard. But Sony is my workhorse,” he continues. “I had a Canon 70-200mm f/2.8 zoom – and still use it with an adapter. That’s exactly the sort of equipment we sell.” It’s testament to not always needing the newest and most expensive gear to make successful films. Purchasing used makes so much financial sense. “You don’t need to buy the very latest kit every fewmonths,” says Golis. “The
SPECIAL FX The hybrid Sony FX3 is the camera of choice for two of MPB’s in-house filmmakers, due to its compact size and stunning image quality. MPB always has plenty of mirrorless and cinema cameras in stock, even the latest launches
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