andy lee

BTW this is not shot at T1.3 and T1.5 or only their noses would be in focus , this is more like 2.8 - 4 region (or even 5.6 as this is full frame 5D ) in reality or the focus puller would not be able to track them at all! (Act of Valor shot on 5D had to stick to 5.6 of they could not keep pulling focus accurately enough on full frame , they scrapped all the 2 weeks they shot at f2.8 at the start of the filming schedule as it was all too soft!) I'm not seeing anything here I couldnt do on the Nikon 28-70mm f2.8 Bourne lens with a speedbooster at a fraction of the cost too, its a full production you are watching here not just the lens , set design , lighting design , costumes props , atmosphere and acting all add to the final look as does the grade , the glass is nice but its not creating the look the Director is creating the whole look with all his choises to make this happen. Just buying these lenses will not suddenly make your films look like this!!

here are some frame grabs from a moving image (so Ive tried to grab the infocus bits as Im filming arty farty narrow dof here ), from a job I just did all with the Tokina (I've covered over the bits you are not supposed to see on this forum) This is the Tokina AT-X PRO 28-70mm f2.6-2.8 version 1 all this filmed on the long end of the lens @ 70mm f2.8 on a Zhyongy Lens Turbo speedbooster , making this an f1.8 lens so very narrow dof , it has a very filmic look this lens especially on skin! shot on Panasonic G6 , Natural , 4000k with an amber lighting gelled set up all these frame grabs are straight out the camera no processing or grading, thats just how I shot it so you can see the lens in its raw form, not my grading!! '' target='_blank'>> '' target='_blank'>> '' target='_blank'>> '' target='_blank'>> '' target='_blank'>>

its a very good lens I highly recomend it , it has a certain je ne sais quis that Angenieux have designed into this lens , it makes things look good! slighlty less contrast than modern plastic aspheric lenses and slightly softer all makes for a more filmic look in my book!!

I have never ever used auto focus , its all fully manual focus on what ever lens I'm using , new, old, native, vintage .

ps these are all f2.6-2.8 ATX-PRO lenses WITH manual appertures (I got mine de clicked so its smooth ) not the later version with fly by wire appertures

yes correct, I have the version 1 77mm screw on thread, thats the one to get as it is 100% Angenieux design before Tokina started messing with it , avoid the SV (SPECIAL VALUE ) version as its far removed from the Angenieux design . I also have the Version 2 with bayonet hood front ,I use as a spare and I cannot tell any differance optically , so I do think Version 2 is also Angenieux design they just added a more fashionable bayonet hood mount as all other makers where doing that at that time , after version 2 it all goes a bit pear shaped as to exactly what Tokina did do the element groupings and adding aspheric elements and if they are still parfocal ..... this is the best read on the subject http://nikonglass.blogspot.co.uk/2009/11/tokina-at-x-pro-28-70mm-f26-28.html

Mitakon is Zhiongy its the same maker

The Tokina is what I call a Classic Cinema lens it has that Angenieux look to it , it has no aspheric elements so it is not quite as sharp as the Nikon when wide open at f2.8 - BUT it does have a superb look to this lens the drop off Bokeh is great and I do like the way it looks wide open at f2.8 Im using it on a Zhiongy Lens Turbo so it is in fact sharpening up the lens at f2.8 so Im not noticing anything too soft there its a nice look - Angenieux know what they are doing with zoom lens designs and this lens IS parfocal , internal zooming internal focusing , all metal construction no plastic , built like a tank , Arri matte box sits on the end of the lens on my rig all works fine. I just shot 4 days straight with this lens shooting Playboy type glamour videos for a US client , it makes skin look very nice when wide open at f2.8 on a speedbooster so its around f1.8 in reality The Nikon is a great lens is a different way it has a very clean look , nice blacks and colours , is very sharp wide open at f2.8 so great for fast low light sharp shots , BUT is is not parfocal so I use it as a big fast vari focal prime , its is big and heavy it does extend when zooming about 2.5 cm , it focuses internally , but it has a look this is very nice you can see why it was used on so many big movies like Bourne Ultimatum etc it is very clean neutral looking. It has very very little focus breathing at all , practically zero ! which is amazing , it breaths less than the £15k Carl Zeiss 28-76mm cinema lens , so I think that makes it popular with the Directors that use it alot like Paul Greengrass Both lenses need rigs they are big and heavy the Sigma is a new 'clean modern lens, so the Nikon will cut well with it , but in reality you can make the Tokina fit too , use a speedbooster and stop down 1 stop to f4 (speedbooster makes this f2.8 in reality) the Tokina sharpens up a whole bunch by just stopping down this 1 stop from f2.8 to f4

Im using Canon 24-105 F4 EF Mount on a Lens Turbo Zhyongi EF- Micro 4/3 speedbooster and it is great very sharp superb images no issues at all, The Lens Turbos are great they work very well and have very good glass in them , makes your image alot sharper wider and faster by one stop

Tiffen recomend for the BMPCC - The TIFFEN Hot Mirror Infra-Red Neutral Density Combination Filter (or stacking a TIFFEN Hot Mirror and a TIFFEN IRND Filter).

Tiffen Water White ND filters all the way , they are the best , Shane Hurlbut just used them on the Film Need For Speed I NEVER use Vari NDs they are awful , stack your NDs to get the exposure you want - thats how they do it in Hollywood!! http://www.tiffen.com/press_release_hv_filter_kits.html

the Tokina is very good it has character and the Angenieux design so it has that classic look to it very cinematic , The Nikon is also very good but more modern clean looking good contrast and slightly sharper but not much when wide open , both work very well on speedboosters making then very fast zooms

what software are you using to do this , there is a quick easy way in Permier

yes when I said APSC I was meaning Canon ASPC as that is the most common and the one I use too - I should have been clearer - doh !!

FOR SALE: CARL ZEISS VARIO SONNAR ZOOM LENSES Carl Zeiss Vario-Sonnar 28-70mm f3.5-4.5 T* Contax C/Y mount http://www.ebay.co.uk/itm/231291211088?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1586.l2649 Carl Zeiss Vario-Sonnar 24-85mm f3.5-4.5 T* Contax N mount http://www.ebay.co.uk/itm/231291223300?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1586.l2649 stunning very sharp lenses modern Zeiss Glass at its very best - superb colours and rich blacks - these lenses are the closest you can get to Carl Zeiss PL Mount Cinema glass without spending 15k on one lens I have 2 of each so I've decided to sell one set . Great on GH4 ...4K and Zeiss glass ! = way cool !

not a chance! focal reducers will not work on APSC cameras , flange / mount distance is the problem

Im sure its a good lens stopped down to f5.6 ish its soft and blooms at 2.8 , its just you have paid top price for it at £250 quid, you can get the AT-X Pro version for that price on ebay http://www.ebay.co.uk/itm/Tokina-AT-X-PRO-80-200mm-f-2-8-AF-Lens-for-Nikon-/231279711956?pt=Camera_Lenses&hash=item35d95856d4 the version you have is about £90 on the bay http://www.ebay.co.uk/itm/Tokina-AT-X-SD-80-200mm-f-2-8-Zoom-MF-Lens-for-Nikon-Ai-N-AI-f2-8-From-Japan-/111416685697?pt=Camera_Lenses&hash=item19f0f3b481 while we are on about Tokina's THE LENS TO GET is the Angenieux designed Tokina AT-X PRO 28-70mm f2.6-2.8 all metal all internal zoom all internal focus so matt box fits on the end all ok . Stellar lens I have 2 and its a real work horse I use alot superb bokeh and narrow dof on MFT , I use it on a Lens Turbo Zhyongi speedbooster which makes it an approx 20-50 f1.6 insane bokeh zoom !!

yes its great , you have to modify the rear so it fits on a micro 4/3 adaptor , but its as sharp as my Carl Zeiss C/Y F1.7 50mm Planar I also use the Fujinon 35mm f1.7 which is a Zeiss Distagon Equivilant - its that good!!

the Tokina AT-X PRO 80-200mm is all internal focus and all internal zoom so great for follow focus as nothing extends and its a better lens sharper too as its newer , its still Nikon Mount so your adaptor will work with it . Its a Killer lens the AT-X Pro version almost on a par with the Nikon 80-200mm f2.8 (the Bourne Lens) which is the best you can get thats why its used on Hollywood films.(Casion Royale, Captain Phillips , Green Zone etc etc)

the Fujinon 25mm f1.4 c mount is very usable wide open at f1.4 and a fraction of the cost of the Leica

what frame rate are you filming in and what frame rate is your tv set to? then we can help you

ps: 20mm on a speedbooster is ace!!

Vivitar is a brand name they dont make lenses they get 3rd party companies to meke them for them so yes the optics are the same Cosina make the Vivitar 19mm

Ok here is plan B Ive been doing this for the past 2 months since speedboosters came along cheaply now 28mm f2.8 AIS prime - Nikon - micro 4/3 lens Turbo speedbooster = 20mm f1.8 fast sharp wide prime cheaply the Nikon 28mm AIS 8 element lens is the best lens Nikon ever made it out performs all their lenses in tests http://www.kenrockwell.com/nikon/28f28ais.htm

oh I forgot now this is good cheap lens Cosina 19-35 mm f/3.5-4.5 and viviar series 1 version of the same lens yes its a zoom but a good zoom that is aspheric AND rectilinear (does not go bendy at edges) http://www.ebay.co.uk/itm/Cosina-19-35-mm-f-3-5-4-5-Lens-Nikon-/221500748589?pt=UK_Lenses_Filters_Lenses&hash=item339279332d