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O-Focus DM Vs Arri MFF-2

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Dan Carr

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Has anyone got experience with both of these systems ?

My initial primary use will be with Canon lenses. I like that the o-focus comes with the friction wheel but it looks like a small wheel so I'm worried about it having enough reach for smaller lenses ? Likely less of a problem with the swing arm design of the MFF-2 ?

Both of them have options to have different gearing which is nice for photo lenses but I want to also be able to use Cine lenses in the future. The Arri has a wheel with adjustable gearing but the O-Focus you can just attache the CFF-1 wheel to it. If anyone had used both and can compare that would be great!
 
Ok maybe there is nobody who has used BOTH of them then :)

What about people who have used either of them ? Care to share brief experiences ?
 
Hi Dan,

A little bit about the O-Focus for you; it's a compact, double-sided direct drive follow focus unit optimized for both still and cine camera lenses.

There are two versions of the O-Focus DM; Photo Set and Cine Set, each with its own unique transmission ratio. This is accomplished by the use of two different types of handwheels, each interfacing with the main bridge to generate the optimized transmission output. Changing the transmission ratio is as easy as changing a lens: no tools are required, just swap out the handwheel(s) and you are ready to shoot!

The precision gear drive of the main bridge is designed with a gear ratio of 1:0.75 so that 360 degrees of input results in 270 degrees of output (i.e. rotation on the drive gear.)

The Photo Set utilizes the new Hard Stop Handwheel which has a transmission ratio of 1:1. (input: output.) When coupled with the O-Focus Bridge it yields a follow focus industry first; a 1:0.75 transmission ratio. This translates to a longer, more exacting focus pull when using limited barrel rotation still lenses for use in digital cinematography. In addition the hard stops enable the operator to set minimum and maximum focus points for lenses with unlimited rotation and also carry out hard focus stop pulls. For unexpected movements, the handwheel incorporates a unique single-handedly operated hard stop on/off switch, allowing for instantaneous disengagement of the end stops for critical adjustments even during the shot.

The Cine Set utilizes the existing CFF-1 Studio Handwheel; and has a transmission ratio of 1:1.8 (input:output.) When coupled with the O-Focus Bridge it yields a 1:1.4 output transmission ratio well suited for Cine lenses with an expanded focus scale. The Studio Handwheel is also offset; meaning it has 360 degree rotation for optimum placement and view of lens witness marks. It allows the camera to be set on the ground without the rig weight resting on the handwheel.

The O-Focus is the perfect unit for someone who wants to future proof their equipment investment.

C1242-0001-2_01.jpg
 
Which Canon lenses will you be using? Large L lenses should be fine. The 50 f1.8 EF is too small. Jim Elias tells me that they are working on a prototype to solve this issue.
 
Don't forget that you can also use ring gears for small lenses, and the final drive ratio will be better for it.

Friction drive can work for some things, but it is never as good as geared drive and I am starting to get the feeling that the cart is being put before the horse. We are looking at making a larger friction driver, but the main advantage of the O-Focus as regards still lenses is the exceptionally low drive ratio, as Eric describes above.
 
Satsuki Murashige said:
Which Canon lenses will you be using? Large L lenses should be fine. The 50 f1.8 EF is too small. Jim Elias tells me that they are working on a prototype to solve this issue.
Click to expand...

All sorts... 8-15 , 24mm 1.4 , 24-70, 70-200, 300 2.8 , 100mm macro I do also have the 50 1.8

Perhaps something like the larger RedrockMicro gears would be a good use with this ? They add some diameter , more than other zip gears I have seen.
 
Dan,

Yes, the RR gears do add some much needed diameter, they make the lenses a bit trickier to pack tight though. The last three years the rings have never budged a millimeter, it's the only RR gear I own but those are some well made chunks of plastic.
 
Dan,

The MFF-2 has all the features of the MFF-1 and the additional features of removable focus knobs (choice of three - hard stop, standard, two speed)).

It is available with two different gear ratios. MFF-2 Cine has a gear ratio of 1:2 dedicated to the cine lenses and MFF-2 HD with a gear ratio of 1:1 is dedicated for still photo as well as ENG broadcast lenses.
Sometimes camera operators who are pulling focus by their own also prefer the Cine version on still photo and ENG broadcast lenses because the length of the focus pull is not as long as with the HD version and therefore its easier to pull focus while operating the camera.
We are offering many different focus gears - for film, ENG (Canon + Fujinon) and a friction gear. There are also zip gears available with which you could add a gearing to your still photo lens which then works with our 0.8 pitch cine focus gears.

Philip Vischer
Product Manager
Pro Camera Accessories
ARRI Munich
 
From Phillip’s explanation above it seems that this is an apples to oranges comparison.

The ARRI MFF-2 is a single sided, dedicated gear ratio unit. Unlike the O-Focus the gear ratio cannot be changed by switching handwheels. It looks like you would actually need two follow focus units; the Cine version for PL glass and the HD version for photo glass.

The OConnor O-Focus DM is a double sided follow focus with a gear ratio dependent upon what handwheel you are using. Due to this feature there is no need to buy separate units for PL and photo lenses; you simply swap out the handwheel. This future proofs your equipment investment as many people are using photo lenses now, but looking to upgrade to PL lenses sometime in the future.

The O-Focus also ships with 5 diver gears: .5 (Canon ENG), .6 (Fujinon ENG), two .8 (Cine pitch 35 tooth and 43 tooth) and the new toothless friction driver- all included in the package. For comparison these 5 gears from ARRI would cost $1000- as Homer Simpson would say that’s a lot of D’ough!

C1242-0001-5_01.jpg
 
Thanks for the info Philip, I'd been looking at the MFF-1 or 2 for still lenses but thought they were only 1:2 ratios (cine-friendly), nice to see ARRI is looking out for us still lenses users too :)
 
Eric,

I did not compare two different systems I only described the MFF-2 as it was aked by Dan.

By the way - I do like apples and oranges - they both taste very good - it all depends if they were reared well.

I will definitely not jump into a comparison with of a competitor product. That is not my style. Let the professional users decide...

Philip Vischer
Product Manager
Pro Camera Accessories
ARRI Munich
 
Eric, does the O-focus have a reversible gearbox for use with Nikon still lenses? And which of the drive gears that you offer would be compatible with Nikons?
 
Cüneyt Kaya said:
take a arri ff4, if you ever suddenly need money, you can sell it in a heartbeat for almost retail. my 2 euros
Click to expand...

The FF4 is not light or small enough for filming in remote locations. It's great for studios.

I really like the adjustable arm on the MFF-2. It's definitely my favorite feature.

Eric, what do I need to shoot with Nikon lenses? What gear or knob? Also, can I exchange the standard 15mm LWS bridge that comes with the unit with the 15mm studio bridge?
 
The interest in a reversing drive for the O-Focus has not really been all that much. We may offer one if there is more interest in the future. But it doesn't appear that most who really want double-sided FFs have much interest in reversing per se, when it finally comes down to purchase decision.

Nikon still lenses do not have gearing, so it depends on the particular lens and how you wish to drive it. Manual focus lenses will definitely require gear rings, for example. In any case, if you buy an OConnor unit, you don't need to worry about picking out gears.

As said earlier, there are double-sided and single-sided follow-focus units. Each has advantages that the other one cannot have, and attendant disadvantages. You have to decide on which you want based on your application. The title of this thread has unfortunately ended up misleading some people, because it implies that the units are somehow more similar than they are. In fact, it really shouldn't take more than a few minutes to decide whether double- or single-sided, and the hard decision might then be whether to go with an alternative manufacturer. Of course we'll tell you about advantages of the O-Focus with which you may be unfamiliar, because the design does have new elements, but if we had wanted to get involved in the single-sided world, we would have.

To be frank, if you have to ask if you need a double-sided unit or not, it's likely that you're not working in the milieu where you would need one.

Jeremy: if you want to use the O-Focus on studio rods, you should use an LWS plug adapter.
 
Yes it is possible BUT will only work with very large barrel diameter lenses. Due to the vertical height difference between the LWS and Studio rod standards it is best to use an adapter such as the AB-1519 to position the O-Focus higher up from the studio rods ( i.e. where it would be positioned if it was still being supported by the LWS rods. )
 
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