BLACKMAGIC URSA CINE 12K LF
FIRE STATION Mounted on a tripod and slider, and fitted with a sharp Tokina prime, the Ursa offers incredible footage, from super high res to creative slow motion
THE FAST AND THE FLAWLESS
40mm, often the unsung hero of focal lengths, feels like a normal lens on full-frame; a perfect choice for dialogue scenes or intimate coverage with minimal distortion. The 85mm is a portrait powerhouse, offering compressed backgrounds and dreamy bokeh. Colour reproduction across the trio is consistent and neutral. The bokeh is round and organic thanks to the nine-blade iris, and lens flare is well controlled. There’s character here, but it’s not overbearing. At £7498/$7499 for the widest lens, £7620/$7499 for the 40mm and £5754/$5999 for the 85mm, Tokina’s Vista primes aren’t budget glass, but compared to legacy cinema primes from Arri, Cooke or Zeiss they offer good value. The trio is a versatile kit, and well matched for easy grading in post. Tokina offers 18, 25, 35, 50, 60, 105 and 135mm options too. tokina-cinema.co.uk
Tokina might not be the first name that comes to mind when thinking of high-end cinema glass, but its Vista primes are becoming a serious contender. Designed from the ground up for full-frame and beyond, we tried the Ursa Cine 12K LF with the 29mm, 40mm and 85mm T1.5 trio in PL mount, and found creamy rendering with rock-solid mechanical reliability. Just like the Blackmagic camera, all three lenses are built like tanks. They are housed in machined metal barrels with matched 114mm front diameters and consistent gear positions for fast changes on-set. The 300° focus rotation is smooth, while the consistent T1.5 aperture across the range opens up options for low-light and shallow-depth-of-field shooting. What sets the Tokina Vistas apart is their optical personality; sharp but not clinical, with a subtle roll-off that flatters faces and preserves
skin texture, leaning towards vintage softness. Wide open at T1.5, they maintain excellent contrast and sharpness even on high-resolution sensors. Stopped down, they resolve more detail with almost no breathing across the range – a huge plus for narrative and commercial work. The 29mm offers a wide field of view that’s ideal for handheld work or shooting interiors. The
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