SKU: 45748323820

Manfrotto MT055CXPRO3 Carbon Fiber Tripod with 054 Magnesium Ball Head Kit

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Description

Manfrotto MT055CXPRO3 Carbon Fiber Tripod with 054 Magnesium Ball Head KitLoad Capacity: 19. 8 lb Max Height: 71. 5" Min Height: 8. 1" Folded Length: 28. 6" Weight: 5. 7 lb Leg Sections: 3 Quick Power Leg Locks 90 Center Column Ball Head QR Plate This B&H Kit pairs a Manfrotto MT055CXPRO3 Carbon Fiber Tripod with a 054 Magnesium Ball Head. The tripod can hold 19. 8 lb of gear, extends from 8. 1" to 71. 5", and folds down to 28. 6" for transport. It features a Quick Power Lock System that allows you to completely extend the

  • Load Capacity: 19.8 lb
  • Max Height: 71.5"
  • Min Height: 8.1"
  • Folded Length: 28.6"
  • Weight: 5.7 lb
  • Leg Sections: 3
  • Quick Power Leg Locks
  • 90° Center Column
  • Ball Head
  • QR Plate

This B&H Kit pairs a Manfrotto MT055CXPRO3 Carbon Fiber Tripod with a 054 Magnesium Ball Head. The tripod can hold 19.8 lb of gear, extends from 8.1" to 71.5", and folds down to 28.6" for transport. It features a Quick Power Lock System that allows you to completely extend the tripod legs with just one hand. Once set up you can use the MT055CXPRO3's rapid center column in standard vertical mode or swing it into horizontal position like a boom with Manfrotto's 90° column feature. Enlarged tabs on the individual leg angle selectors allow you to get down to only 8.1" for macro work with the column in horizontal mode. And once you're down there you can attach any of Manfrotto's flexible or articulated arms to hold lights or reflectors via the Easy Link plug built into the tripod's spider.

The 054 ball head is made from magnesium alloy, and has one lock for the movement of the ball, and another for the 360° panning. A notch in the head has an angle selector that allows you to put your camera in portrait mode at either a 90° or 105° angle. Included with the head is a 200PL quick-release plate for attaching your camera to the head.

  • Manfrotto MT055CXPRO3 Carbon Fiber Tripod

    The Manfrotto MT055CXPRO3 Carbon Fiber Tripod is a 3-section support that replaces the 055CXPRO3 tripod. It has a load capacity of 19.8 lb and extends from 3.5" to 66.9". Its carbon fiber legs are secured by the Quick Power Locks. These updated flip locks increase the tripod's rigidity by 50% compared to its predecessor.

    A redesigned center column has a "one finger" operation, and includes an Easy Link 3/8"-16 attachment for attaching accessories such as an LED light or a reflector via a compatible arm. The center column can be positioned horizontally, allowing for low-angle and macro photography. The upper disc where a tripod head is mounted has been redesigned as well, and now has a bull's eye bubble level that rotates 360° so you can locate it where you can see it. This allows you to level your camera on both the horizontal and vertical planes.

    UPC: 719821364641
  • Manfrotto MHXPRO-BHQ2 XPRO Ball Head with 200PL Quick-Release System

    Accurately adjust your camera position with the MHXPRO-BHQ2 XPRO Ball Head with 200PL Quick-Release System from Manfrotto . Able to hold up to 22 lb, the 1.1 lb ball head is strong enough for most applications and ideally suited for an equally sturdy tripod. The XPRO lets you fine-tune your adjustments, thanks to separate knobs for both the ball and the 360° panning as well as a friction control knob for more exacting placement.

    The 200PL quick-release clamp and plate allow for quick camera attachment and removal, and two bubble levels let you adjust your camera so the horizon is level. A numbered scale around the base of the head makes repeating exact pans an easy task.

    UPC: 719821378297
In the Box

Manfrotto MT055CXPRO3 specs

  • Manfrotto MT055CXPRO3 Carbon Fiber Tripod
    General
    Load Capacity 19.8 lb / 9 kg
    Maximum Working Height 66.9" / 169.9 cm
    Max Height without Center Column 55.1" / 140 cm
    Minimum Working Height 3.5" / 8.9 cm
    Folded Length 24" / 61 cm
    Head Mount Type 3/8"-16 Screw
    Weight 4.3 lb / 2 kg
    Materials Carbon Fiber
    Bubble Level Rotating
    Legs
    Leg Lock Type Flip Lock
    Independent Leg Spread Yes
    Leg Sections 3
    Center Column
    Center Column Sections 1
    Center Column Extension Type Rapid
    Lateral / 90-Degree Center Column Yes
    Packaging Info
    Box Dimensions (LxWxH) 25.0 x 5.5 x 5.5"
  • Manfrotto MHXPRO-BHQ2 XPRO Ball Head with 200PL Quick-Release System
    Load Capacity 22 lb (10 kg)
    Quick Release Yes
    Bubble Level Yes, 2 bull's eye
    Friction Control Yes
    Separate Panning Lock Yes
    Pan Range 360°
    Tilt Range -90° / +40°
    Tripod Mount Thread Size 3/8"-16 with 1/4"-20 bushing adapter
    Height 4.5" (11.5 cm)
    Weight 1.1 lb (500 g)
    Packaging Info
    Box Dimensions (LxWxH) 5.3 x 4.9 x 3.5"
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SKU: 45748323820

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4.4 ★★★★★
Based on 28 reviews
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Paula Cappa Reviews
Dallas, US
★★★★★ 5
If you can only afford one craft book on Dialogue, this one is it.
Format: Hardcover
The art of dialogue. How does a writer get it just right to be effective, yet original, dramatic but not too dramatic, captivating and satisfying, and most important of all convincing? The thrust of this book is how McKee spends time on characterizations and the art of the subtext—vital to thrilling and effective dialogue. McKee explains how subtext works, the thinking behind it, shows you its most effective moments, why it works well or poorly, and gives you the tools to make it work. The result: amazingly clear insight. No kidding, if you want to fully understand subtext in dialogue and sharpen your skills, this is the writing book to get. Conflict in dialogue, turning points, even sentence designs techniques. McKee describes the “suspense sentence” and the “periodic sentence.” Because prose is a natural medium for storytelling, you will learn how Charles Dickens used ‘counter pointing exposition’ and its effectiveness for the reader. I hadn’t seen this kind of hook in writing before, hadn’t heard this term before. Very powerful technique; of course none of us writes like Dickens, but what an example on how to swoop the reader in. What’s one of the takeaways in Dialogue by Robert McKee? “Quality storytelling inspires quality dialogue.” Which inspires a read of McKee’s other remarkable craft book “Story”—a great companion read as both books belong on any serious writer’s bookshelf.
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Reviewed in the United States on July 28, 2016
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Bookworm
Lowell, US
★★★★★ 5
It's All Right Here. All of it.
Format: Hardcover
I shouldn't even be writing this review because doing so only creates my competition. I'm writing it for Robert McKee out of respect and love for him as one of the best instructors I've never met. I have both STORY and now, DIALOGUE in hardcover, on my Kindle, and the audio version (he narrates his books) in my headphones. I read it, I listen to it and take it with me when I travel. Sometimes I listen and read at the same time. Most nights I listen to the audio version in my sleep. In other words, I eat, sleep and breathe this book. I did the same thing with Story, his other book. I may go to my grave never fully comprehending the vast wealth of knowledge contained in these two books. That's OK. What I can tell you is this. With nothing but STORY as my guide, my very first screenplay took seven months and thirty-five drafts from start to finish. But. That screenplay became a Hallmark Movies and Mysteries feature film. The producers liked it so much they gave me another assignment. That one took six weeks, and they bought the first draft. I'm now working on my fifth script; this one is in the six-figure category, with five figures upfront just for the Treatment. And I owe it all to everything I've learned from studying Robert McKee, supplemented by what I learned from everyone else. Over the past thirty years, I’ve studied with forty plus instructors and highlighted hundreds of books and listened to dozens of recorded seminars. All that information is summed up and thoroughly explained in Robert McKee's two books STORY and now DIALOGUE. I won't live long enough to absorb everything he teaches. And I still study two hours a day as a warm up for my writing. I’d recommend Aaron Sorkin, Warner Hertzog, William Goldman (both Sorkin and McKee say he's the greatest), Blake Synder, Chris Vogler, Michael Hauge, William Akers, and anybody else you can find who’s willing to share their knowledge. Because you never know when a concept you didn’t realize you didn’t understand or needed is going to show up. Especially when presented from a different perspective. Having said that, if you are serious, and I mean dead serious, about becoming a working screenwriter, or any other kind of fiction writer for that matter, then you have no choice but to study McKee like your literary life depends on it. Buy the hardcover, buy the Kindle version, and buy the audio version of DIALOGUE and STORY. And supplement these two works with any other material that speaks to you. If you do this, you will become a first class screenwriter or novelist or playwright, because all three genres are only different ways of presenting a Story. If you can’t commit to this, unless you’re a genius or prodigy, you’re wasting valuable time which could be spent following your true life calling. But if your heart’s desire is to become a working writer, then sooner or later you’ll have to know everything in McKee’s two books. So, you might as well bite the bullet and jump in head first. It's all right here in STORY and DIALOGUE. All of it. Thank you, Mr. McKee. You, sir, changed my life.-- Jimmy Hager
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Reviewed in the United States on September 21, 2016
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jk Smiles
Port Orchard, US
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
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Reviewed in the United States on August 30, 2018
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Lori T. Sly
San Leandro, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
R
Verified Purchase
Ray Pryor
Los Angeles, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017

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