This is such a great and in-depth review for someone beginning to invest in Cine Lenses. Coming from the still photography background, of course its a whole new-related world. Your review not only give pertinent info, but also instructs on certain features of a cine lens of which I had no prior knowledge. Thanks
Been on the fence about cine zooms recently but Tokina stands out - we were looking at the ATX series but with full frame the vista is just so powerful and as a pair with A&B seems logical
Nice going! I have the stills versions of their AT-X Cinema line-up, so the 11-16, 16-28 and 50-135mm f/2.8, they make for a great and consistent set. Especially nice to have because I mostly shoot 4/3 systems and they're definitely on the wider end compared to my other set of zooms: Nikon AF(-S) Nikkor ED 17-35mm f/2.8 D, 28-70mm f/2.8 D, 80-200mm f/2.8 D. Of course, the Sigmas are looking interesting as well! But Cinema Vista will be hard to beat, especially shooting bigger sensors.
Hi Kelly! Thank you for this very interesting review of the 16-26 MKII. I'll really appreciate you took the time. Reviews of the Tokina Cinema zooms are really rare. Myself I've got 2 of the Tokina Cinema 50-135mm T3 and the Tokina Cinema 11-16 T3. It seems the first generation of Tokina Cinema zooms are suffering a bit from series spill. My first 50-135 has a bit of grinding in the focus ring at some point and the lens support part is a bit out of the horizontal plane so I can't use a screw-in support. My second one has none of those issues but when I open up the iris from 4.0 to 3.0 there is no more change in brightness, although that's a difference of ~ 3/4 stop. Focus breathing is quite strong on both. But they are my work horses on the URSA Mini 4.6k when I do a lot of fast paced shooting for corporates. Love them for interviews. The bokeh is really creamy as you mentioned with the 16-28 MKII too. Wide open they tend to get a bit of highlight haliation, just like some of the old Angenieux lenses. I am looking forward to Tokina's upcoming 11-20 Cinema zoom, which I hope will replace my beloved 11-16 with its wider range and hopefully less color fringing. When it comes out - are you planning to test a sample of that one too?
Out of curiosity, had you had a chance to compare the CV 16-28 to the ATX 16-28? I particularly like the option of changing lens mounts on the CV, but I don't know if it's worth the added costs, given my need. So I'm curious if you have any thoughts on other potential downsides/compromises in the ATX.
Hey, no. I haven’t tried the original version. I did speak with a Tokina directly and was provided with the list of differences as I explain in the video. It’s the same glass, apparently there is a bit more lens flare on the original version and the new one is all metal. The pros of the first version are the price (I’ve seen it for $1500 off the already cheaper price at B&H Photo, which is a steal). The other plus is the original is lighter. :)
Hey, thanks for your quick reply. I did see the current sale on at B&H, which is part of the reason I'm thinking about pulling the trigger on the ATX. With (nearly) the same optics for about half the price, it's a bit easier a decision to make, y'know?
Thank you for this smart review! This looks like a great choice for FF cinema zoom for EF mount for doc work on my c500ii, and you have helped me find the perfect lens. Which projects have you shot with the Tokina? Any doc projects?
Cinema Vista lenses in my opinion far exceed the quality of the Xeens, particularly wide open and they show less chromatic aberrations and breathing. Xeens are a good price.
@@NiceLadyProductions That's what I thought. I just got a 20hr Sony F3 which has similar Super35mm sensor coverage of your Red Raven, and was debating between getting this Cinema Vista, the Xeens, the Sigma Cine Zoom 18-35 or the Fujinon MK 18-55mm. I know the Xeens are cheap, though at the moment, I'm mostly going to be a one man show until I'm financially able to get second person as an AC, hence the Zooms are better solution for me.
@@0311uli Oh! Sounds like you scored a nice camera. I'm filming with the Fuji 18-55 tomorrow. The Sigma 18-35 is a great all around lens but it's not parfocal, so when you zoom in or out and focus, you have to refocus at the other end of the zoom.
@@NiceLadyProductions That's what most have mentioned. I've known the Sony F5/F35/F55 and the high end F65. Though, never heard of the F3 til the last semester I went to Film School. I checked some videos on Vimeo and was shocked at the footage its able to reproduce. I was looking for second hand Canon Cinema cameras on Adorama and came across this one. I thought oh no, I'm not letting this puppy get away even if the ergonomics are not on par to today's film cameras. I had to call them to make sure I wasn't seeing things, and they said, oh yeah its basically brand new. I jumped for it. With the lenses, I agree with the Sigma 18-35mm. Someone shot a short with the F3 and that lens, and both together create some lovely images, though its a bummer that's not a parafocal since I was finding contradictory information about that. Though, I might consider it still since its the cheaper of the zooms since I'd love to get the Cinema Vista or the Fujinon though oh their costing a pretty penny. Please let me know your experience with the Fujinon.
How do you feel this compares to the Sigma 18-35 cine? Seems that they are in direct price point competition for similar features. The focus throw is shorter on the Sigma, has a nice 82 mil filter thread, and electronic pins for camera feedback. Be nice to hear your thoughts or maybe even see a lens comparison from you.
Honestly? I would rather have the Tokina than the Xeens. No lens swapping and I don't find the Xeens usable at T1.5 (not sharp enough for a good image). Lens support on the GH5 would be important for either.
I completely love the look. However, the lens flares on the Schneider Xenon FF are amazing little spaceships of beauty that make me warm and fuzzy inside. Tokina's are very monochromatic, and a bit disapointing.
@@corneliusdobeneck4081 Actually, the Tokina Vista Prime Ones are made to do just that. They're literally the same as the prime versions of the lens shown in this video, but designed to be a tad softer with better flares.
@@jaggedtoothX I get what you mean. Probably should have used another wording. Manufacturer do not create lenses to HAVE flares but they try to make them as less annoying as possible since you can not avoid them completely. ;)
Vast improvement? Well... you have effectively back up that assesment but I presume you left the most importante Information... as I believe the glass is exactly the same...
This review was shot on the GH5, so all the footage of the lens and BTS was captured with the GH5. All the rest of the footage actually using the lens was shot with the RED RAVEN.
This is such a great and in-depth review for someone beginning to invest in Cine Lenses. Coming from the still photography background, of course its a whole new-related world. Your review not only give pertinent info, but also instructs on certain features of a cine lens of which I had no prior knowledge. Thanks
I’m so glad you found the review helpful. Thanks for watching
Well done. Lens looks great. Love the reviews. No BS.
I think these are some of the most beautiful test shots ever. That camera/lens combo is awesome! I really want a Tokina lens now. 😱
Oh, thanks so much!! Love these lenses. Just shot a short film with them.
@@NiceLadyProductions That's awesome! Is it still in post or can I see it via youtube or vimeo?
Awesome review as always! That test chart was so sharp it nearly triggered a migraine.
They are also planning to release 18 and 25mm lens primes. They are quite almost close to that cooke-like feel.
i just really like seeing pretty video work and hearing you talk is so soothing for some reason. it’s nice to have a coffee too ☕️
I want to buy everything you talk about. Great review
Been on the fence about cine zooms recently but Tokina stands out - we were looking at the ATX series but with full frame the vista is just so powerful and as a pair with A&B seems logical
Great review as always!
Informative, thorough and concise! Thank you for another amazing review.
Nice going! I have the stills versions of their AT-X Cinema line-up, so the 11-16, 16-28 and 50-135mm f/2.8, they make for a great and consistent set. Especially nice to have because I mostly shoot 4/3 systems and they're definitely on the wider end compared to my other set of zooms: Nikon AF(-S) Nikkor ED 17-35mm f/2.8 D, 28-70mm f/2.8 D, 80-200mm f/2.8 D. Of course, the Sigmas are looking interesting as well! But Cinema Vista will be hard to beat, especially shooting bigger sensors.
Your reviews are my favorite! Thank you.
Thanks again Nice Lady! I appreciate your time and the review.
Hi Kelly! Thank you for this very interesting review of the 16-26 MKII. I'll really appreciate you took the time. Reviews of the Tokina Cinema zooms are really rare. Myself I've got 2 of the Tokina Cinema 50-135mm T3 and the Tokina Cinema 11-16 T3. It seems the first generation of Tokina Cinema zooms are suffering a bit from series spill. My first 50-135 has a bit of grinding in the focus ring at some point and the lens support part is a bit out of the horizontal plane so I can't use a screw-in support. My second one has none of those issues but when I open up the iris from 4.0 to 3.0 there is no more change in brightness, although that's a difference of ~ 3/4 stop. Focus breathing is quite strong on both. But they are my work horses on the URSA Mini 4.6k when I do a lot of fast paced shooting for corporates. Love them for interviews. The bokeh is really creamy as you mentioned with the 16-28 MKII too. Wide open they tend to get a bit of highlight haliation, just like some of the old Angenieux lenses.
I am looking forward to Tokina's upcoming 11-20 Cinema zoom, which I hope will replace my beloved 11-16 with its wider range and hopefully less color fringing.
When it comes out - are you planning to test a sample of that one too?
fantastic video thank you
great review!
How did you Do the animation with the spinning orange bits
Out of curiosity, had you had a chance to compare the CV 16-28 to the ATX 16-28? I particularly like the option of changing lens mounts on the CV, but I don't know if it's worth the added costs, given my need. So I'm curious if you have any thoughts on other potential downsides/compromises in the ATX.
Hey, no. I haven’t tried the original version. I did speak with a Tokina directly and was provided with the list of differences as I explain in the video. It’s the same glass, apparently there is a bit more lens flare on the original version and the new one is all metal. The pros of the first version are the price (I’ve seen it for $1500 off the already cheaper price at B&H Photo, which is a steal). The other plus is the original is lighter. :)
Hey, thanks for your quick reply. I did see the current sale on at B&H, which is part of the reason I'm thinking about pulling the trigger on the ATX. With (nearly) the same optics for about half the price, it's a bit easier a decision to make, y'know?
Thank you for this smart review! This looks like a great choice for FF cinema zoom for EF mount for doc work on my c500ii, and you have helped me find the perfect lens. Which projects have you shot with the Tokina? Any doc projects?
Thanks for the review. I noticed you reviewed also the Xeen lenses from Rokinon. Which one do you think is better, the Xeen or the Cinema Vista?
Cinema Vista lenses in my opinion far exceed the quality of the Xeens, particularly wide open and they show less chromatic aberrations and breathing. Xeens are a good price.
@@NiceLadyProductions That's what I thought. I just got a 20hr Sony F3 which has similar Super35mm sensor coverage of your Red Raven, and was debating between getting this Cinema Vista, the Xeens, the Sigma Cine Zoom 18-35 or the Fujinon MK 18-55mm. I know the Xeens are cheap, though at the moment, I'm mostly going to be a one man show until I'm financially able to get second person as an AC, hence the Zooms are better solution for me.
@@0311uli Oh! Sounds like you scored a nice camera. I'm filming with the Fuji 18-55 tomorrow. The Sigma 18-35 is a great all around lens but it's not parfocal, so when you zoom in or out and focus, you have to refocus at the other end of the zoom.
@@NiceLadyProductions That's what most have mentioned. I've known the Sony F5/F35/F55 and the high end F65. Though, never heard of the F3 til the last semester I went to Film School. I checked some videos on Vimeo and was shocked at the footage its able to reproduce. I was looking for second hand Canon Cinema cameras on Adorama and came across this one. I thought oh no, I'm not letting this puppy get away even if the ergonomics are not on par to today's film cameras. I had to call them to make sure I wasn't seeing things, and they said, oh yeah its basically brand new. I jumped for it. With the lenses, I agree with the Sigma 18-35mm. Someone shot a short with the F3 and that lens, and both together create some lovely images, though its a bummer that's not a parafocal since I was finding contradictory information about that. Though, I might consider it still since its the cheaper of the zooms since I'd love to get the Cinema Vista or the Fujinon though oh their costing a pretty penny. Please let me know your experience with the Fujinon.
How do you feel this compares to the Sigma 18-35 cine? Seems that they are in direct price point competition for similar features. The focus throw is shorter on the Sigma, has a nice 82 mil filter thread, and electronic pins for camera feedback. Be nice to hear your thoughts or maybe even see a lens comparison from you.
The main difference besides the size is the Tokina lenses are par focal and the Sigma is not, so zooming and not having to refocus is a nice bonus.
Grate review, thank you.
Cool review!!
How would you rate this against the Sigma 18-35 T2 which 500 costs less.
Would you rather have a set of Xeen lenses or a 16-28 Tokina for Gh5 and Gh5s?
Honestly? I would rather have the Tokina than the Xeens. No lens swapping and I don't find the Xeens usable at T1.5 (not sharp enough for a good image). Lens support on the GH5 would be important for either.
Last question. How does Veydra primes stack up with Tokina?
In large format camera example Alexa LF Red V Raptor 8k VV this is the best lens.💯👍❤️
So would renting something like this be a waste of money if I have g85 bodies (gh5 little brother)?
Alex Taylor thanks for the advice!
Kelly for the win as always #nerdmafia
Any more sample footage?
I did film some extra stuff for a commercial I'm working on but no, this is all the footage. Sorry.
I want this lens sooooo bad
I completely love the look. However, the lens flares on the Schneider Xenon FF are amazing little spaceships of beauty that make me warm and fuzzy inside. Tokina's are very monochromatic, and a bit disapointing.
lol No manufacturer creates lenses to have nice flares.
@@corneliusdobeneck4081 Actually, the Tokina Vista Prime Ones are made to do just that. They're literally the same as the prime versions of the lens shown in this video, but designed to be a tad softer with better flares.
@@jaggedtoothX I get what you mean. Probably should have used another wording. Manufacturer do not create lenses to HAVE flares but they try to make them as less annoying as possible since you can not avoid them completely. ;)
Vast improvement? Well... you have effectively back up that assesment but I presume you left the most importante Information... as I believe the glass is exactly the same...
👍💯❤️
It’s the weight. Not so great for gimbal work. But I would love to own one
What a great fucking review! God fucking bless you woman, for I have found my lens! :)
Where's the GH5 footage?
This review was shot on the GH5, so all the footage of the lens and BTS was captured with the GH5. All the rest of the footage actually using the lens was shot with the RED RAVEN.
You are awesome Lady!!
Thank you.
Black magic cameras also dont have sharpening
Cap obstructs the text 16-28... That's really amateurish.
Who cares in an online TH-cam review video. This is not about DP/Focus Puller work. Its about the lens! lol
It’s just glass. Any glass can resolve 8k. 😂