Thread: Poor man's Angenieux - Tokina AT-X-Pro 28-70mm F2.6-2.8

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  1. #231  
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    Does anyone know if the optical formula of Angenieux 28-70 f2,6 is the same as that of Tokina 28-70?

    In the same way, would Angenieux 70-210 f/3.5 zoom be closer to the Tokina 28-70 image than the Sigma APO 70-210 zoom f2.8? If someone could release some pictures or had test it? I think about the possibility of making a documentary with these two focal zoom but I want to be sure that the two optical formulas are equivalent (on the beautiful film directed by Frank Glaincairn, I have a small doubt).

    ULTIMATE QUESTION: if you had to choose a zoom lens with a zoom range wide enough for a s16 documentary; usable on the BMMCC; which has a detailed image while remaining soft, which zoom would you choose? Tokina/Angenieux? Canon? Zeiss? Fujinon MK?
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  2. #232  
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    Quote Originally Posted by bmpcc_bel View Post
    Does anyone know if the optical formula of Angenieux 28-70 f2,6 is the same as that of Tokina 28-70?

    In the same way, would Angenieux 70-210 f/3.5 zoom be closer to the Tokina 28-70 image than the Sigma APO 70-210 zoom f2.8? If someone could release some pictures or had test it? I think about the possibility of making a documentary with these two focal zoom but I want to be sure that the two optical formulas are equivalent (on the beautiful film directed by Frank Glaincairn, I have a small doubt).

    ULTIMATE QUESTION: if you had to choose a zoom lens with a zoom range wide enough for a s16 documentary; usable on the BMMCC; which has a detailed image while remaining soft, which zoom would you choose? Tokina/Angenieux? Canon? Zeiss? Fujinon MK?
    I've already made that decision. I purchased a Canon 8-64mm T2.4. Arguably one of the best Super16 lenses ever made.

    There are other S16 zooms that are longer or wider, but the 8-64 is not front heavy, compact and well balanced, but is still fast with a very usable 8x zoom range. Optically it's superb and has an excellent build quality. The only caveat is that it's a vintage lens and, like many vintage S16 glass, may be difficult and/or expensive to repair or replace parts for. But that said, they are built to last a long time if you don't abuse them.

    In fact I just purchased an URSA Mini Broadcast as it's effectively a digital reimagining of the Super 16 camera with an UHD sensor. Very happy with that combination.
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  3. #233  
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    May I ask how much the Canon 8-64mm T2.4 zoom cost you? I have been looking for one also, and have found nothing under $4K.
    Dies rhenkens cover the Broadcast sensor at 8mm without darkening on the corners?

    I have the Angenieux 17.5-70, also, a lovely lens, and have to switch to either the Duclos 11-16 or the Elite Mk4 9.5mm For side shots. The Elite matches the Angie IQ, but the Duclos Tokina is more like a Zeiss IQ.
    Cheers
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  4. #234  
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    Quote Originally Posted by bmpcc_bel View Post
    Thanks Denny. I understand how the SB add extra light on the sensor. It's really add 1.5 stops of extra exposure?


    Anyway, with my Sigma 18-35, it's clear: i control the lens only with the Speedbooster. But with the Tokina, if I want to use the iris on the lens (something i understand: 2.6, 4, 5.6, 8, 11... and not SB 1, 2, 3 etc), I set the iris of the Speedbooster at max closing, to '7'. If I don't do that, i can't use the iris of the Tokina and nothing changes on my aperture. Or i set the iris of the Tokina to 22 and I control the iris with the Speedbooster using 1, 2, 3, 4... But it's strange for me to close the iris of the lens or the one of the speedbooster to have the control of the aperture - and add extra stops to expose.
    Yes, the BMPCC Speed Booster model adds 1.5x more exposure. As far as the SB iris control, thst is how it is supposed to work. Their is a little tab on the back of thrnlens, thr SB Iris co trol engages to control the Iris, which is how a DSLR Camera controlled the lens iris. So the SB will only go between wide open and the f/stop value you set on the lens.

    I would set the lens f/stop to the vs,use I wanted to use, like f/3.5, then turn the SB control to open the iris up to focus, and close back down to shoot. Worked like a charm, but it does take some getting used to.
    Cheers
    Last edited by Denny Smith; 08-05-2018 at 12:48 AM.
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  5. #235  
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    Quote Originally Posted by trispembo View Post
    I've already made that decision. I purchased a Canon 8-64mm T2.4. Arguably one of the best Super16 lenses ever made.

    There are other S16 zooms that are longer or wider, but the 8-64 is not front heavy, compact and well balanced, but is still fast with a very usable 8x zoom range. Optically it's superb and has an excellent build quality. The only caveat is that it's a vintage lens and, like many vintage S16 glass, may be difficult and/or expensive to repair or replace parts for. But that said, they are built to last a long time if you don't abuse them.

    In fact I just purchased an URSA Mini Broadcast as it's effectively a digital reimagining of the Super 16 camera with an UHD sensor. Very happy with that combination.
    you must be very happy. This zoom is an object of art.

    I used several times a Canon 11,5-138 T2,5. It's a marvelous zoom. I lost opportunity to buy one on ebay very recently, at a decent price. Now it's very difficult to find it. There are always some to sell but the prices are exorbitant: 7000$ for a used and old zoom! Not for me.

    Found this one but his performances are worse:
    https://www.ebay.fr/itm/Canon-Optex-...IAAOSwJtdaTKR7

    I did not really care about the ursa mini Broadcast but that sounds interesting. Specifications are well. Anyway, the 12 diaph are for me an obstacle and also I don't understand some points: HD and UHD? 2/3 sensor but EF/PL mount? What is a "digital reimagining" of the S16 camera? Do you have some examples I can see?
    Last edited by bmpcc_bel; 08-05-2018 at 05:00 AM.
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  6. #236  
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    Quote Originally Posted by bmpcc_bel View Post
    What is a "digital reimagining" of the S16 camera?
    That means it uses a Super 16 sensor (not 2/3"), but with all the benefits of digital - audio inputs, EVF, internal ND, DNG RAW etc - in a shoulder mount form factor which I love; especially using long zoom lenses.

    I built a Super 16 rig with my BMPCC, which worked pretty well. But it's a franken-rig, and only HD. The URSA Mini Broadcast is Super 16 but UHD. A bit less dynamic range, but still totally usable. I just have to be more careful with the highlights.
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  7. #237  
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    Quote Originally Posted by Denny Smith View Post
    May I ask how much the Canon 8-64mm T2.4 zoom cost you? I have been looking for one also, and have found nothing under $4K.
    Dies rhenkens cover the Broadcast sensor at 8mm without darkening on the corners?
    I bought it from a broker in Australia, selling on behalf of a private owner, for AU$4000. He bought it from one of the big hire companies in Sydney. It needed collimating, but had no problems.

    It's has been a stellar performer, and covers the URSA Broadcast (and Pocket) without any vignetting. It really is a great combination those two.
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  8. #238  
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    Well, you got a very grand deal my friend.

    Someday, someday... I will get you Canon 8-64!
    Meanwhile, I still have my Angenieux, which also covers the larger Broadcast sensor.
    Cheers
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  9. #239  
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    Quote Originally Posted by trispembo View Post
    That means it uses a Super 16 sensor (not 2/3"), but with all the benefits of digital - audio inputs, EVF, internal ND, DNG RAW etc - in a shoulder mount form factor which I love; especially using long zoom lenses.

    I built a Super 16 rig with my BMPCC, which worked pretty well. But it's a franken-rig, and only HD. The URSA Mini Broadcast is Super 16 but UHD. A bit less dynamic range, but still totally usable. I just have to be more careful with the highlights.
    Thank you. Very tempting regardless of 12 diaphs.
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  10. #240  
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    I tried to do the same thing with the Micro cameras, both the Cinema and Studio 4K, but it too was a little awkward, and while it worked, was not as easy to use as my AF100, or the Ursa Broadcast, and could not take the longer range B4 lenses. Both cameras needed either a monitor on top or an EVF thst was al ost as big as the camera. So my the time you got it rigged out, it was no longer small, or very well balanced. Worked OK on sticks, but...

    I sold up, and got the Ursa Broadcast also, added the PL mount, and can use by S16 glass quite nicely with out any adapters, extra monitors, or other kit hanging off of it. The BM EVF, half the size of my Cineroid EVF, is a pleasure to look through, and reminds me of the great ENG monitors Imused to use. Looking to add an Angenieux B4 8.5-125 Zoom for shooting events, which is what I mostly do now.
    Cheers. The DR on the Broadcast is much better than the AF100, not to mention much better resolution.
    Cheers
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