IBC 2016 Tokina 35mm, 50mm, 85mm T1.5 Cinema Lenses

JackCarter

JackCarter

Well-known member
Tokina-50mm-85mm-35mm-1024x684.jpg


These look sweet!

http://www.newsshooter.com/2016/09/...-85mm-t1-5-cinema-prime-16-28mm-ii-t3-lenses/


''Tokina is pricing these at $3999 for the 35mm and 50mm, and $4,499 for the 85mm. Delivery is expected in January 2017. To make things even more exciting, Tokina has said that they’ve got an 18mm and 25mm T1.5 coming later in 2017, also covering full-frame.''

Test footage from the primes.


And the new Tokina improved full-frame 16-28mm II T3 zoom, which will come in PL, EF, MFT, and E mounts.

Tokina-16-28mm-II-T3-Cinema-Zoom-1024x690.jpg


http://www.tokinacinema.com/lenses.html
 
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Their ATX zoom line costs the same. Not sure how those ever did, but they've been out for a while now.
 
2016 is looking to be the year of glass for large sensor cameras! Great news for all of us.
 
hgf4 said:
Looks at picture, "Yeah, those do look pretty sweet." Looks at price. "LOL"
Click to expand...

One thing that stands out for these is that they are the first, built from the ground up, prime cinema lenses designed for Full Frame (everything else out there is based on existing still lenses or a zoom). Because of that, they should have significantly less vignetting at that image diagonal than the other Full Frame offerings. The Sigma Cine lenses, for instance, will vignette quite a bit at Full Frame, while most purposefully designed cine lenses have very little vignetting.

The lack of vignetting is one of the things I appreciate the most in a properly designed cinema lens, especially because there is less aberrations in general in the corners since the lens is not seeing all the way to those corners, like most still lenses do. (The designers are cropping out the edges and giving you the sweet spot of the lens - much like putting a Full Frame lens on APS-C or Super 35mm).

Arguably, the biggest stand out, though, is the seemingly complete lack of breathing on these lenses. I'd bet that there's some highly complicated cam mechanisms going on under the hood, with multiple groups / elements changing position at the same time.

These lenses will probably be a very attractive option for someone shooting 8K Weapon who wants to maximize light input and lens coverage without getting very dark corners.
 
Why the hell would they make these for MFT but ***NOT*** make the mount be swappable by the user?? It boggles the mind.
 
Joshua Cadmium said:
One thing that stands out for these is that they are the first, built from the ground up, prime cinema lenses designed for Full Frame (everything else out there is based on existing still lenses or a zoom). Because of that, they should have significantly less vignetting at that image diagonal than the other Full Frame offerings. The Sigma Cine lenses, for instance, will vignette quite a bit at Full Frame, while most purposefully designed cine lenses have very little vignetting.

The lack of vignetting is one of the things I appreciate the most in a properly designed cinema lens, especially because there is less aberrations in general in the corners since the lens is not seeing all the way to those corners, like most still lenses do. (The designers are cropping out the edges and giving you the sweet spot of the lens - much like putting a Full Frame lens on APS-C or Super 35mm).

Arguably, the biggest stand out, though, is the seemingly complete lack of breathing on these lenses. I'd bet that there's some highly complicated cam mechanisms going on under the hood, with multiple groups / elements changing position at the same time.

These lenses will probably be a very attractive option for someone shooting 8K Weapon who wants to maximize light input and lens coverage without getting very dark corners.
Click to expand...
Good point. If they fill a niche and others consider them useful, more power to those folks. I'm used to the price of their still lenses, so it's probably more a case of sticker shock than anything. But those of you who regularly use high end cinema glass probably won't bat an eye at these prices.
 
Tokina’s 1.6x PL Expander lets you use Super 35mm lenses on Full-Frame cameras

From News Shooter.....

http://www.newsshooter.com/2016/09/...expander-super-35mm-lenses-full-frame-camera/

Sensors larger than Super 35mm have become the norm for lots of uses, and in response to that, Tokina has introduced two different 1.6x expanders that increase the image circle for full-frame cameras. There will be two versions of this 1.6x expander, a PL to PL and a PL to Sony E-Mount. These sorts of adapters are perfect for those who have invested quite a bit of cash in lenses, or for those occasional full-frame shoots. They are also handy if you’re adding a full-frame 4K camera — like an a7S II — as a B-cam to complement something like an FS7 and you’ve already got some PL lenses. The expander (and others like it) will be especially useful for those wanting to put Super 35mm glass on sensors like the WEAPON 8K, which has a diagonal over 46mm.


Unlike Speed Boosters that reduce the image circle for increased brightness and clarity, optical solutions for increasing the image circle are usually going to result in slightly worse performance overall — though this greatly depends on the adapter and how you’re using it. You’re also going to get a bit of light loss — in this case 1.36 stops. Tokina recommends that you use it with lenses that have a maximum aperture of T2.0 or larger, and that you stop down the lens to at least a T2.8. Stopping down any lens will usually lead to better sharpness, and it becomes especially important when you’re introducing other variables like a focal expander.

You can see the difference between the expander on Full-Frame vs. APS-C below:

Tokina-Image-Sample-PL-Expander-600x388.jpg

Full-Frame mode on the left and APS-C mode on the right

The 1.6x adapters will be available in November, priced at around $2,000.
 
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