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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 :)

Tokina 11-16mm

USlatin said:
the difference being that with FF35 sensors we'd have a wider FOV and shallower DoF.
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Almost right. The lens would give you a wider FOV if used with a FF35mm sensor opposed to a 35mm academy sized sensor but the DOF (if you don't change any other parameters like aperture) would still be the same...
 
Michael Althaus said:
Almost right. The lens would give you a wider FOV if used with a FF35mm sensor opposed to a 35mm academy sized sensor but the DOF (if you don't change any other parameters like aperture) would still be the same...
Click to expand...

USlatin said:
Just to clarify my rant about DoF being affected by the zoom setting of the camera onto the GG, this does NOT affect DoF, easy to notice since nothing changes on the taking, it is only a crop so it only affects the FOV... After having that clarified today I had to slap myself in the forehead. Just wanted to be perfectly fair and point that out.
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Beat you to it! But thanks for clarifying that for me today Michael! I got all of it up there in my skull already but sometimes I still mix it up a bit.
Need to shoot more, pre-produce less. :turned:
 
Just mounted the lens for the 1st time tonight...super fast, nice and wide and minimal distortion for sure. Build quality is solid but does not compare to a Zeiss ZF for example, I am a bit spoiled with the ZF mechanics. Tomorrow I will do some Run and Gun and share some footy. Also with the NIkon DX modified mount, is there a right and wrong way when using it? I just dont want to F^&* anything up.

Cheers.
 
Yea, but the price of the wider ZF's is too high and this thing is so incredibly wide, and a zoom... I really think it is an excellent buy for ZF owners. I'd love to hear more from you about that. Perhaps a comparison for the coloring... the ZF's are color matched so a little color balance preset applied to shots with the Tonkina would do the trick and give you very little work to do, so long as you made sure and got all of the shots marked of course.
 
Paris thanks for the info. Ill start calculating:)

about the nikon gdx mount:

there is a "right" way of using the gdx modified mount - keep the knob as close to the center of its movement before you mount or dismount lenses - or you could damage the iris ring on the lens - that was how I understood it when I asked longvalley equipment (who makes the mount).
 
hi just wondering how you adjust the aperture on this lens as its a dx ??
 
Just got my 11-16. Fabulous. I will try to post some footage. Anyone tell me the best way to do that? So far I've just posted how to videos on Youtube and some clips on my iWeb site.

Oh, here's why you get effectively a shallower depth of field with larger sensors/formats:

Let's say you are shooting with a 35mm movie sized sensor camera, like an Arri 235 or a RED. You have a nice head and shoulders shot of your lead actor, who is Mickey Rourke (seems to be the actor of the day). You're using a 30mm lens, or thereabouts, which is about a "normal" lens for that format.

Now, you pull out your "full frame" Scarlet, or Epic, which has a sensor about the same size as your old Nikon still film camera. To get that same head and shoulders shot of Mickey - that is, keeping the same head and shoulders composition of him - you have to use something like a 50mm lens. Your depth of field is shallower because you have to use a longer lens. The longer 50mm lens is "normal" - not telephoto or wide angle - for the full frame sensor.

And that's a bitch, because boy howdy it's already hard to keep actors in focus with 30mm lenses in 35mm 4 perf at 2-2.8. Even F4. Just watch Keifer Sutherland's ears have all the focus in 24, but not his eyes, on some shots!! Gadzooks. So going to a larger sensor is going to be that much more difficult - unless you can stop down, which means that for me, I'm really going to need a faster full frame sensor. Like, shoot all the interiors at 5.6-8 split. So, ASA 1600 would be nice. Fingers crossed.
 
1600 won't happen... that would be way too good to be true, though I'd take an equally clean 400ISO to the current 320 and the 320ISO somehow even better :D all speculation of course

I like the idea of being able to shoot FF outside for super wide FOV establishing shots

I have a question... from a review I saw that the 11-16 didn't vignette only at 16mm on a full frame DSLR, however the review said that for some reason the way that he tested it exaggerated the amount of vignette... how wide can the Tokina be used on a FF? If I understand it right 16mm at FF is 180 degrees of FOV... so that is needless to say, plenty... but how wide can it really be used?
 
I think it's built for digital still sensor, not FF, so I would imagine that it would vignette throughout it's range if you put it on a FF cam. Maybe it almost covers at 16mm focal length, but there is still some vignetting at the edges in FF? Is that what the reviewer meant?

I bought it because it's wild and fun and inspirational on the RED. Not thinking about FF now.
 
There were shots at 11, 12, 13, 14, 15 and 16. The 16mm setting seemed very usable with only a sliver of vignette at 15... then again it wasn't a gray board being shot and I might have missed it in the small picture size that he used for the web page.
 
How will this lens work on the new S35 sensor, as i recall the red one has a 24.4mm x 13.7mm sized sensor. The S35 on the epic has a 30X15 sized sensor, will DX lenses cover this size sensor without vignetting or increased softening at the edges? Wish I knew what size area the dx lenses cover, anybody know?
 
Douglas Underdahl said:
And that's a bitch, because boy howdy it's already hard to keep actors in focus with 30mm lenses in 35mm 4 perf at 2-2.8. Even F4. Just watch Keifer Sutherland's ears have all the focus in 24, but not his eyes, on some shots!! Gadzooks. So going to a larger sensor is going to be that much more difficult - unless you can stop down, which means that for me, I'm really going to need a faster full frame sensor. Like, shoot all the interiors at 5.6-8 split. So, ASA 1600 would be nice. Fingers crossed.
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So true Doug !!!

I may get the FF35 just for the 16 bit Monstro sensor, but use only the 5K center portion for that very same reason.

In real life action, staying in focus wih a normal cinema 35mm pickup is a full time job.

Antoine
 
Dan Riordan said:
How will this lens work on the new S35 sensor, as i recall the red one has a 24.4mm x 13.7mm sized sensor. The S35 on the epic has a 30X15 sized sensor, will DX lenses cover this size sensor without vignetting or increased softening at the edges? Wish I knew what size area the dx lenses cover, anybody know?
Click to expand...

Supposedly it will work fine at 16mm, and it vignettes a bit at 15mm. The examples posted were small and not done on a gray board, but with a landscape, so there might still be a very light vignette at 16mm. However I think the reviewer called it a clean frame at 16mm.
 
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