Totally agree about the soft focusing issues with super wide angle lenses. I get soft shots with my Canon CN-E 14mm and both copies of Laowa 12mm (EF mount and E mount) lenses frequently enough. That’s why I think it’s funny when I hear people saying to just lock it off at infinity. No…you still have to focus, but like you said it’s harder to see with the really wide lenses since the background isn’t as separated.
You do realise that this Tokina and the 11-20 CF normal version optically is exactly the same lens? I owned both and I kept the regular CF version. Why? Because for a run and gun lens you need to focus fast from point A to B using your fingers and that lens has a very short super smooth focus ring and distance. It's also parfocal as well. With the Cine basically you get a metallic body and gear rings. Nothing more ( and the PL mount of course)
I thought the TOKINA AT-X PRO 11-20/2,8 DX was the stills version of this lens? It's the only one I've seen pop up in reviews. How do you know it's the ATX-i CF and not the AT-X PRO DX? Eyeballing all these version so that's why I'm curious to know since I obviously want the correct version if going for the stills equivalent.
@@damiencooper The stills version is exactly the same lens and it is indeed parfocal. I got 2 copies. I could send you a video to prove that to you. You just need to adjust the infinity focus using the 3 small screws under the focus ring,really easy
If you do youtube vids i can see why you kept it, but when it comes to filmmaking the cine housing helps the lens become more precise, i would never use a flimsy lens for focus without aperture.
Totally agree about the soft focusing issues with super wide angle lenses. I get soft shots with my Canon CN-E 14mm and both copies of Laowa 12mm (EF mount and E mount) lenses frequently enough. That’s why I think it’s funny when I hear people saying to just lock it off at infinity. No…you still have to focus, but like you said it’s harder to see with the really wide lenses since the background isn’t as separated.
Great video Damian!!
nice one, also enjoyed the vibe of the video with you talking outside. 🤙
You do realise that this Tokina and the 11-20 CF normal version optically is exactly the same lens?
I owned both and I kept the regular CF version. Why? Because for a run and gun lens you need to focus fast from point A to B using your fingers and that lens has a very short super smooth focus ring and distance. It's also parfocal as well.
With the Cine basically you get a metallic body and gear rings. Nothing more ( and the PL mount of course)
I addressed all of this in the video 😉
And the stills version isn’t parfocal
I thought the TOKINA AT-X PRO 11-20/2,8 DX was the stills version of this lens? It's the only one I've seen pop up in reviews. How do you know it's the ATX-i CF and not the AT-X PRO DX? Eyeballing all these version so that's why I'm curious to know since I obviously want the correct version if going for the stills equivalent.
@@damiencooper The stills version is exactly the same lens and it is indeed parfocal. I got 2 copies. I could send you a video to prove that to you. You just need to adjust the infinity focus using the 3 small screws under the focus ring,really easy
@@billzidis2656 wow that sounds interesting, could you maybe do a video about that? I would like to do that!
If you do youtube vids i can see why you kept it, but when it comes to filmmaking the cine housing helps the lens become more precise, i would never use a flimsy lens for focus without aperture.
Damien do you use a variable nd filter with this lens? If so, what size and is there any vignetting?
Top, man! Tmj por aqui.