Tokina 11-16 PL mount on Bmpcc

Has anyone used the Tokina 11-16 PL mount on the Bpmcc and if so where there any problems?
Considering buying the Bpmcc and getting PL mount with Xeen and Tokina 11-16.

If anyone has any feedback about using PL mounts on the Bpmcc please advise, I'm waiting to hear more about the Ursa mini 4.6 PL before buying.

I have the lens and camera combination of which you speak using the Wooden Camera PL pro adapter and a Wooden Camera rig. With the right EVF, this lens/camera combination is to me, fabulous. The new Tokina has a longer focus throw, the outer diameter of the lens barrel is more matte-box friendly. To me, this lens is the best choice for practical use of the BMPCC. The WC PL adapter is robust and in combination with the cage, make use of other PL-mount lenses on the Pocket reliable and convenient.

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Paul,

You got me on that: I don't know. Been using variable ND without IR cut filter. I had owned the previous version of the 11-16 in the EF mount. This earlier lens had a 77mm filter mount which did not vignette with the variable ND filter but did vignette when fitted with a matte box and zoomed to 11 mm. I'm guessing that when Tokina made the PL version, they enlarged the filter size to 82mm to address vignetting issues.

Tom

Thanks Tom.
I'm not ready to buy but I've had my eyes on this lens for a while. It's good to know it will work with a PL adapter.

Paul the SLR Magic VND II has a 82mm front end and a 86mm front, so stack the UV/IR cut on the inside, and you will be good to go. Remember, the Tokina is. APC/S35 lens, so the Pocket camera is taking a crop out of the center if the image circle. Cheers

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I agree Paul, and I am also tempted to buy one for the same reason. I did not like the original still version, had too many issues. But both still have a somewhat limited zoom range, a 11/12 to 18 would be better. But for $1500, the 11-16 is hard to beat. Cheers

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Tom.
I'm having doubts that I will be able to put this lens on a PL to EF adapter like the Ceicio. PL lenses that can be used on EF are restricted to those with a short protrusion into the mount and it looks to me like the Tokina might protrude too far. Can that black ring on the bottom of the lens be removed?

While Paul is right about adapting PL to EF, we are talking about BMPCC which has m4/3 mount natively. There are no restrictions to using PL lenses with PL>m4/3 adapters.

You can also get it with MFT mount.

http://www.tokinacinema.com/11-16mmT3.html

Paul, you,do not want to stack multiple adapters anyway. Just go PL adapter to MFT. If you have the Wooden Camera Pocket camera cage, you can get the away PL adapter which screws to the cage to make a very solid rig.

If you get the EF cine version you can also use it with a speed booster on your Pocket.

We've used both the EF and PL versions of the Tokina 11-16mm cine on the Pocket, and while they produce great color and contrast, they are also rather clinically sharp. Sort of takes away the film feel the Pocket has.

Also, it's a weird zoom length: zooming from 11 to 16mm on the Pocket is basically the same as holding the camera close to your body and then extending your arms all the way out. Really. Makes me wonder why they even bothered making it a zoom.

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In case this hasn't been definitively answered here:

The Tokina 11-16mm T3.0 Cine lens with PL mount will NOT fit on a PL/EF adapter - the lens protrusion is too long.

The EF version of this lens works very well with a BMPCC Metabones Speed Booster on a Pocket cam.

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What is the point of an expensive EF cine version of this lens?
It's 3 times the price of the stock version.
Add a gear ring and same thing.

Not that it matters too much on a super-wide zoom, but the cine version is parfocal, and the stills version is absolutely not. The focus ring on the stills version spins endlessly, whereas the cine version has hard stops. Also, the cine version seems devoid of CA and is razor sharp to the edges even at T3. Much better than the stills version.

So yes, the cine version is better than the stills version. Is it 3x better? Quite debatable.

Paul, why do you want to,out rhe 11-16 on the BMPCC speed booster? That would give you a 6.38 to 9.28 lens, very short zoom range. If you want a super wide, just get a 8mm Optima S16 or Zeiss Super Speed 9.5mm lens, both are available in PL mount, and use a PL/MFT adapter. Without the SB, the 11-16 makes more sense to me, going from a good wide shot to almost normal field of view.

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Agreed. And less CA and sharper sounds good to me. I was hoping to get everyhting in one lens. Apologies for being prickly.

No problems, Paul. It's difficult to really decide if you don't have a fully stocked camera shop nearby - I certainly don't, but I'm fortunate enough to have had these lenses pass through our facility where I could test them extensively. Any way you look at it the cine version is the better lens. Ultimately, I would recommend trying to find a deal on a used or open box copy of the cine version. Hope my experiences with these lenses helps.

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Is there any news or rumour of the Tokina 11-20mm becoming available as a Tokina Cinema ATX PL mount lens?


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Is there any news or rumour of the Tokina 11-20mm becoming available as a Tokina Cinema ATX PL mount lens?

Everything I've heard is no, no plans. Their cine lens lineup is pretty complete. I have heard whispers of a new 11-16mm cine lens with all new glass and housing (larger diameter and longer focus throw), but so far it's only been an elevated rumor (above scuttlebutt, below substantiated rumor).

Oh, speaking of focus throw, the current PL version of the 11-16mm Tokina cine is different than its EF/MFT cine cousins: it's a different housing and has a slightly longer focus throw - just an FYI.

Thanks, Bill. Not sure if I'd ever use a zoom as wide as 11mm. The Bright Tangerine matte boxes are described as supporting 14mm lenses, but I do have a personal email that mentioned they may still be able to support 10mm on a Super35 sensor, so it is a future consideration for me. A circular ND might work, but shooting that wide the lens maybe needs a matte box to shade the sensor from the flare of unintended light sources getting in, or near, the frame edge.


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