Tokina Cinema ATX: affordable cinema lenses (€2,500–3,500) with eight prime focal lengths (11–100mm T1.5), offering 70% cost savings versus comparable Zeiss or ARRI optics.
The series consists of eight prime lenses: 11mm, 16mm, 25mm, 35mm, 50mm, 85mm, and 100mm T1.5, as well as an 11-20mm T2.9 zoom. All lenses feature a 114mm front diameter, 0.8 Mod gears on focus and iris, and a uniform length of 130mm (except for the 11-20mm: 145mm). Minimum focus distance ranges from 0.25m (25mm) to 0.8m (100mm). The lenses weigh between 1.6kg (25mm) and 2.3kg (11mm) and fully cover Super35 sensors. The optical design is based on the proven AT-X Pro still photography lenses but has been optimized with special coatings and mechanical adjustments for film productions.
Tokina introduced the Cinema ATX series in 2014 in response to the growing demand for affordable cinema lenses. The company utilized the optical design of their successful AT-X Pro still photography lenses from the 2000s and further developed them for film use. In 2016, Tokina expanded the series with longer focal lengths and in 2018 with MFT mount versions for smaller cameras like the Blackmagic Pocket Cinema Camera. The latest development is the Vista series (2020), positioned as a premium successor with improved optics and T1.5 aperture up to 105mm.
The Cinema ATX lenses are primarily used in independent productions, documentaries, and smaller commercial productions, as they are 70% cheaper than comparable Zeiss CP.3 or ARRI Master Prime lenses. Typical workflows include use on RED, ARRI Alexa Mini, or Blackmagic cameras with wireless follow focus systems like the Teradek RT. The lenses offer organic bokeh characteristics and warm color rendition, but tend to flare in backlight and exhibit visible vignetting at wide apertures on full-frame sensors.
Compared to high-end cinema lenses like ARRI Signature Primes (starting from €20,000) or Zeiss Supreme Primes, the Tokina Cinema ATX (€2,500-€3,500) offer a cost-effective alternative with 80% of the optical performance. Direct competitors include the Sigma Cine Primes, Samyang XEEN series, or Canon CN-E lenses. While Sigma delivers sharper imaging, Tokina excels with more consistent mechanical properties and reduced focus breathing. For productions with limited budgets or as a B-camera set alongside more expensive primary lenses, the Cinema ATX are a practical choice.
Ich schätze die einheitlichen mechanischen Eigenschaften der Cinema ATX – alle haben den gleichen 114mm Frontdurchmesser, sodass ich Mattebox und Filter nicht wechseln muss. Bei T1.5 liefern sie brauchbare Schärfe, auch wenn die Ränder nicht mit Master Primes mithalten. Die minimale Fokusatmung macht Fokus Pulls sauber, aber bei Backlight muss ich mit Flares aufpassen.
Die warme Farbcharakteristik der Tokina passt perfekt zu organischen, menschlichen Geschichten – das Bokeh wirkt nie technisch oder steril. Mit der durchgängigen T1.5 kann ich auch bei Available Light arbeiten und bekomme diese weiche, cinematische Trennung zwischen Vorder- und Hintergrund. Für Nahaufnahmen nutze ich gerne die 85mm, die Hauttöne sehr schmeichelhaft rendert.
Ein komplettes 6er-Set Tokina Cinema ATX kostet mich 18.000€ statt 120.000€ für vergleichbare ARRI Primes – das macht kleinere Projekte erst finanzierbar. Die Objektive sind robust genug für 4-6 Wochen Dreh und der Wiederverkaufswert ist stabil bei 70%. Versicherung und Transport sind unkompliziert, da sie als Mittelklasse-Equipment gelten.
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