F55: Lens Info on F55 Display

C

cmus

Active member
Hi,

I was wondering if someone who shoots F55 could tell me what the options are in terms of displaying lens information on an external monitor. Is iris info and focal length communicated to the camera? And is this info available only with specific lenses? I am an underwater shooter, and the housings for this camera don't allow you to see the lens barrel, so having this info displayed on a monitor is essential.

Thanks,
Craig
 
you will get focus position in meters and f-stop info according to the manual... but I couldn't tell you about which compatible lenses will give you this info. The standard should also be listed in the manual.. (maybe ARRI LDS lens or Cooke/i lenses?)
 
Dennis, thanks for your reply. Yes, I see that in the manual, but I am interested in real world experience with this. The manual shows those options for display in the viewfinder. What I am specifically wondering is if that info is seen on an external monitor - either attached via sdi or hdmi and what lenses are able to communicate this info to the camera. Is it only Arri and Cooke lenses that speak this camera's language?
 
cmus said:
Dennis, thanks for your reply. Yes, I see that in the manual, but I am interested in real world experience with this. The manual shows those options for display in the viewfinder. What I am specifically wondering is if that info is seen on an external monitor - either attached via sdi or hdmi and what lenses are able to communicate this info to the camera. Is it only Arri and Cooke lenses that speak this camera's language?
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THere's two lens communication protocols. Arri and Cooke.

And only some from each manu have encoders in the lens to generate the info. Look for "LDS" on Zeiss lenses, and "/i" on Cooke lenses.

The new Fuji Cabrios support Cooke /i and LDS, to my knowledge.

Also, the discontinued Red 18-50 and 50-150 support Cooke /i info, and I get that info in my F55. These are the most inexpensive lenses I know that do this. These lenses really are a godsend for people trying to save money, most folks have no idea. They are not perfect, but they are just what many people need.
 
Don't forget Canon still lens info in the VF and monitor with the OptiTek Canon ProLock-i mark2 adapter
 
optitek said:
Don't forget Canon still lens info in the VF and monitor with the OptiTek Canon ProLock-i mark2 adapter
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What about the Canon Cine lenses? They have contacts for communication as well and display aperture information on Canon bodies.
 
Thanks everyone. Unfortunately, the Canon lenses are not an option for me since that adapter is not compatible with the housing for the F55. Here is a list of lenses that are supported: http://www.gateshousings.com/upload/medialibrary/619/619091d2661bada17d602be459eb9f46.pdf
Since the MTF Nikon adapter doesn't transmit any info, it looks like I am limited to exclusively PL mount glass. I have read the Zeiss CP.2 lenses do not communicate any info. Can anyone with real world experience confirm this? I don't know if the Arri lenses listed on here are the LDS versions or not. I'll try to find out from Gates.
 
cmus said:
I have read the Zeiss CP.2 lenses do not communicate any info. Can anyone with real world experience confirm this? I don't know if the Arri lenses listed on here are the LDS versions or not.
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Yes. There are no data encoders/contacts on Zeiss Compact Primes.

Ultra Primes in the LDS variety are somewhat rare, I've never seen any on a job. Most folks if they absolutely need lens metadata at this production level are shooting plates or effects, so Master Primes are the more popular choice.

I'm guessing Gates measured/tested the non-LDS versions.

I really think your best bet for price, flexibility and lens data is going to be a Red 18-50. Cheap, easy to find, and a great zoom range when you can't change lenses fast.
 
Craig,

Are you sure you really want to make your lenses choices based on whether or not they display the f-stop in the viewfinder? I agree, that all things being equal, having the lens info display is better than not having it. But with that said, does it really make that big of a difference to you? Only a few of my own PL lenses are capable of communicating the data, but I never even bother to turn that fucntion on when I'm using those lenses. If I want to know the f-stop, I can just look at the barrel of the lens. Unless you're doing 3D work, or somehow actually using the lens metadata in post, I'll wager that you might be putting to much importance on this minor feature at the expense of selecting other lenses that might make more sense in terms of budget, focal, length, performance, and ease of use.

BTW, you will never be able to have the focal length displayed in the viewfinder no matter which lens you're using.
 
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Nate Weaver said:
I think you missed the fact he's working in a big Gates housing?
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I guess I did! Oops.

But I still wonder what difference it makes to see the lens info or not? If the external monitor or EVF has zebras for setting exposure, I wouldn't really care too much what the actual f-stop was. Is he using a light meter underwater to determine the exposure, and therefore needs to dial that f-stop in on the lens?

I don't shoot underwater so maybe there is something I'm missing, so maybe I should just shut up now. :-)
 
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Thanks for info all. Turns out the options are very few. Doug, yes shooting in a housing precludes seeing the lens so there is no way to know what f-stop/focus distance you are shooting without this feature being active. Proper exposure and focus is still done by looking in the monitor and at waveforms etc., but filming wildlife underwater means you need to be ready for the action before it starts happening. So, setting the camera as close to the correct settings as possible before approaching some wary sea creature is a must. Sharks, seals, and gobies do not hold a mark until the director says action:) Nate, the Red 18-50 doesn't seem very well liked. I have never shot one myself, do you feel it is underrated? You have any footage shot with it you have shared anywhere?
 
Interesting that the lens info for the Sony 18-252 is displayed with decimal accuracy on the F55. Although the F55 lacks the superimpose feature the F3 has, it's nice to know I could match the focal length on the zoom quite precisely; I just rarely use it. Its possible to add dandelion chips onto F mount lenses with the Leitax adapters, but I don't believe the F55 reads Nikon data now. Agree that having the data is nice, but is a small asset in lens choice. What I liked most was seeing the depth of field clearly displayed - that was good info to have.
 
cmus said:
Nate, the Red 18-50 doesn't seem very well liked. I have never shot one myself, do you feel it is underrated? You have any footage shot with it you have shared anywhere?
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The mechanics on it are variable, which is enough to put people off of it. Some are a little stiff, some are a little loose, and the way they are built internally makes it impossible for lens techs to get them working as smoothly as a more respected cine lens.

The optics are fine. As in, it's a modern Japanese design that is sharp enough to hold 4K resolution in most situations. Wide open, at the edges of frame, at both 18 and 50mm are it's weak spots, but that can be said for almost any zoom. Edges of frame at 16mm @2.8 on a Rouge isn't tack sharp either. It's as good as say, a mid-line EF mount Canon zoom.

It was a tough sell at it's original price of $6500 that Red sold it for. A lot of original Red buyers bought them at that price and were disappointed, and maybe rightly so, because $6500 isn't pocket change. It eventually started going for about 3500 used, and I think that's about what it's worth at that price.

The below piece was shot completely on my 18-50 and 50-150 Red zooms:

http://nateweaver.net/?portfolio=ritz-carlton-memories

The fact of the matter is that 18-50 is an amazing range to have in such a small package that works as well as it does. If you're shooting with stills lenses, it will be a step up because you will finally have hard stops on zoom and focus, and proper gears. If you are shooting with ancient 70s cine zooms, it will be a step up because it will be drastically sharper.
 
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