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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

PL Mount 11-16mm f2.8 Prototype, Manual Iris

No worries, Matthew. It was mostly an observation. Actually it seems to be smoother now that I've rotated the zoom back and forth a few times. But like you say, I can feel and hear the zoom components. I've encountered similar operation with other SLR lenses, so I'm not worried about it. I'll play with the lens more tomorrow, I'm really liking it so far!
 
I just watched the "this one goes to e'le'van" video and as much as I was getting exited as heck over the lens I couldn't help but notice some severe distortion on the pan ending at 1:16. Notice the lifeguard stand as it travels from the edges of the image to the center and back towards the opposite edge. Severely noticeable on the palm tree if you pause at 1:15/1:16. I thought this sort of distortion was not present on this lens, even at eleven! :) Something tells me that shot had to be doctored... I was certain that there was nowhere near as much distortion on this lens... it looks like a weak fish eye or something. I am very confused.

I plan to use it as a prime on it's sweet spot really, so I would GREATLY appreciate if someone with one would shoot a chart or something that showcased pin-cushion and posted an ungraded 2k. It would really help. Also if they could post something pushing the lens to show all it's CA.

Matt, please don't get this post the wrong way. I am completely sold on the lens for it's price point. The same video tells you why you absolutely must get it, even if you have a 14mm RPP in your plans... 12.5mm (what I think is the sweet spot as far as I've read) is so f'ing wide! And significantly wider than 14mm. It may very well save an interior sequence that badly needs a wider shot than the 14mm can afford, and if you need it badly enough, it still goes to eleven! And so long as it doesn't look like that lifeguard and palm tree shot (really hoping there is an explanation behind it) I thought you would be able to get away with it in many, many circumstances.
 
Roberto Lequeux said:
Severely noticeable on the palm tree if you pause at 1:15/1:16. I thought this sort of distortion was not present on this lens, even at eleven! :) Something tells me that shot had to be doctored... I was certain that there was nowhere near as much distortion on this lens... it looks like a weak fish eye or something. I am very confused.
Click to expand...

The palm tree frame left @ 1.16 is leaning over to the right severely and kind of bowed, not the lenses fault!. Look at the horizon line of the ocean - it's quite straight.

Pretty much every shot in "It goes to 11" was shot at 11mm except for the times it zooms out or in during the shot. As you can see at 11mm the distortion is quite minimal.

Matt Uhry
www.mattuhry.com
 
Roberto Lequeux said:
Severely noticeable on the palm tree if you pause at 1:15/1:16. I thought this sort of distortion was not present on this lens, even at eleven! :) Something tells me that shot had to be doctored... I was certain that there was nowhere near as much distortion on this lens... it looks like a weak fish eye or something. I am very confused.
Click to expand...

Matt Uhry is right. The palm tree in the shot is leaning over very far and is bowed. I think the best example to note for distortion is the portion from the light columns at 1:35-2:11.
 
Yes, I thought the tree would probably be slanted so while I didn't make myself clear I was focusing on the lifeguard hut as it came in and out of the center of the image.

I am very happy to hear that most of it was at 11mm. And again, while I know you guys are not taking my words the wrong I'd like to reiterate that it is a phenomenal glass when you consider how f'ing wide it is and how affordable it is.

Subjectively, I completely felt confident when I saw the light column sequence at the very end, however I think the lifeguard would have bothered me enough on the pan to try to reset the same shot at a longer setting and hope to get the same feeling. Then again, a lot of the feel of the shot is the perspective. That is why I think I would try to shoot at 12mm-13mm hoping that the distortion spikes toward the wide end and I'd be avoiding a lot of it with little compromise. There is a lot though that would work very well at 11mm, as made evident by the video. (thanks for sharing BTW)

That is why I would love to see some grids at 2k though, so I can get a better idea of what is going on and I know what to look for with my non-DP eyes.
 
Roberto Lequeux said:
Yes, I thought the tree would probably be slanted so while I didn't make myself clear I was focusing on the lifeguard hut as it came in and out of the center of the image.

I am very happy to hear that most of it was at 11mm. And again, while I know you guys are not taking my words the wrong I'd like to reiterate that it is a phenomenal glass when you consider how f'ing wide it is and how affordable it is.

Subjectively, I completely felt confident when I saw the light column sequence at the very end, however I think the lifeguard would have bothered me enough on the pan to try to reset the same shot at a longer setting and hope to get the same feeling. Then again, a lot of the feel of the shot is the perspective. That is why I think I would try to shoot at 12mm-13mm hoping that the distortion spikes toward the wide end and I'd be avoiding a lot of it with little compromise. There is a lot though that would work very well at 11mm, as made evident by the video. (thanks for sharing BTW)

That is why I would love to see some grids at 2k though, so I can get a better idea of what is going on and I know what to look for with my non-DP eyes.
Click to expand...

Objects like the lifeguard hut look distorted due to basic perspective, closer objects look bigger, the front of the lifeguard hut is closer than the back. Nothing bad about the lens, that's just perspective at work and what happens when you go wide.

imageslandscape-perspective.jpg


The enemy with wide angles is barrel distortion. This is an example I
grabbed off the web, I don't know what lens it was shot with.

distortion_radcorr_image.jpg


Now Check out these frames:

Zeiss 12mm
http://www.mattuhry.com/reduserimages/074-SALT-TEST2.jpg

Tokina @ 12mm
http://www.mattuhry.com/reduserimages/075-SALT-TEST2.jpg

Tokina @11mm
http://www.mattuhry.com/reduserimages/076-SALT-TEST2.jpg

The Tokina has very little - look at the top of the wall where it meets the ceiling.


Matt Uhry
www.mattuhry.com
 
Just used my new Tokina PL on a shoot today. It's awesome! Don't want to miss it.

I noticed that it flares quite heavily but very nicely.

It's definitely a must-have item for every REDographer if you don't already own some other wide angle lenses.
 
Matt Uhry said:
Zeiss 12mm
http://www.mattuhry.com/reduserimages/074-SALT-TEST2.jpg

Tokina @ 12mm
http://www.mattuhry.com/reduserimages/075-SALT-TEST2.jpg

Tokina @11mm
http://www.mattuhry.com/reduserimages/076-SALT-TEST2.jpg

The Tokina has very little - look at the top of the wall where it meets the ceiling.


Matt Uhry
www.mattuhry.com
Click to expand...

Wow! Amazing difference compared to the Standards!

Thank you so much for posting! (should I check the SALT thread?)

Adrian T. said:
I noticed that it flares quite heavily but very nicely.
Click to expand...

I noticed the flares on the Disney house and felt the same. Strong flares, but pleasing.
 
More than a handful of these lenses are out in the field... What do you guys think ? Show us some sample shots !

Matt Uhry
www.mattuhry.com
 
Matthew Duclos said:
Jeff,

some of what you are feeling I just the internal zoom components from the original Tokina lens. If it is a concern for you, we would be more than happy to adjust it to the best of our ability.
The same goes to all who purchased our lens. If there are any problems or concerns, please don't hesitate to let us know. We stand behind our products firmly.
Click to expand...

Mine is smooth as butter! Thanks Matt. Awesome job:)

M
 
What filters?

What filters?

What size of filters is needed for this lens? I read that the Cooke 15-40cxx zoom requires 6x6 filters.
Is 6x6 enough on the widest setting for this Tokina based zoom too?
 
It supports a 77mm screw-on filter. So far I have tried a screw-on Hoya Pro1D circular pola and it seems to work at 11mm w/o a problem. I am going to add a hot mirror screw-on on top of the pola to see if it still works at 11mm.

This weekend I also plan to test with MMB1 w/ pola in bellows, plus two stages to see if it works.
 
I used a MB-20II with two stages and 4x5.65 filters and an LMB-5. No problem for the whole range.
 
Adrian T. said:
I used a MB-20II with two stages and 4x5.65 filters and an LMB-5. No problem for the whole range.
Click to expand...

Very encouraging. What filter did you have on the last stage?

I wonder if an MB-20 would also clear it on the wide end using a solid NB or IR on the last stage. I am also concerned with the use of 4 x 5.6 grads on the first stage and not having enough room to adjust their line on the sky enough.
 
as for the mattebox question, the mattebox that we are offering with the lenses uses 4x4 filters and they work just fine for the RED One.
So anything larger than that obviously works fine as well
You can also use a screw in 77mm filter.
 
Miltos Pilalitos said:
Hey Matt! Any idea about when will the second batch start shipping?
Click to expand...

The second batch has begun. This batch is larger and we are trying to keep up with our normal service work in addition to building the 11-16mm.
Anyone who requested to be added to the second batch will receive further instructions when we are ready to proceed. I'm very loosely shooting for 6-8 weeks. This time frame will probably change. The last batch barely made it out within our original estimated time frame. Thank you all for your patience and support.
 
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