These are the best Tokina cine lenses when you want consistent color, low breathing, smooth mechanical feel, and cinema-ready ergonomics for narrative, doc, commercial, and live event work—and here’s what to look for as you buy: prioritize lenses with parfocal zoom behavior (hold focus through the zoom), uniform 0.8 mod gears, long focus throws (~300°) with repeatable marks, matched front diameters (most Tokina Cinema zooms/primes use 95 mm), minimal focus breathing, and image circles that fit your sensor (Super35 vs full-frame/VV); pick compact zooms if you gimbal/shoulder often, and fast T-stops (T1.5–T2.9) for low light and separation; if you need special flare character, consider single-coated variants. Full-frame/Vista prime heroes: Tokina Cinema Vista T1.5 set (18/25/35/40/50/65/85/105/135) with huge 46+ mm image circle, beautifully even field, gentle falloff, and excellent skin rendering—workhorse primes for A-cam drama; Vista One versions add single coating for controllable, cinematic flare while keeping the Vista mechanics. Full-frame/VV zooms: 16–28mm T3.0 (FF coverage, true parfocal, great for handheld interiors, car rigs, and establishing wides) and 24–70mm T3.0 (where available) as a mid-range companion; pair with a prime (85/105 T1.5) for interviews and low-light inserts. Super35 zoom workhorses (light, matched, production-friendly): 25–75mm T2.9 (compact all-rounder with close focus and minimal breathing—lives on a shoulder rig), 50–135mm T2.9 MK II (tight coverage for dialogue, stage, and sports B-roll; shares 95 mm front and gear positions with 25–75 for fast swaps), and 11–20mm T2.9 (ultra-wide S35 gimbal favorite—steady corners and good flare control); the classic 11–16/12–28 T3 class can still shine on S35 for budget builds. Specialty macro: Tokina Cinema 100mm T2.9 Macro (1:1) for product, beauty, and tabletop with smooth focus throw and pleasing contrast. Hybrid/compact notes: the Tokina zoom trio 11–20/25–75/50–135 is a “same balance” S35 set—95 mm fronts, near-identical gear spacing, parfocal designs—and grades well with Vista or Vista One primes for A/B cam consistency. Practical buyer tips: build a two-zoom spine for S35 (25–75 T2.9 + 50–135 T2.9 MK II) and add 11–20 T2.9 for establishing shots; on full-frame/VV, anchor with Vista T1.5 primes and add 16–28 T3.0 for speed; keep 95 mm clip-on matte boxes and a single-diameter filter stack to simplify rigs, and verify image circle vs camera mode (open-gate/6K/8K crops); if you crave stylized flare, sprinkle in Vista One; test breathing and parfocality on your body and update lens support/rails for heavier builds. Cine-shooting tips: lock a 180° shutter (1/48–1/60 s), rate exposure by T-stop not f-stop, mark focus on the barrel and use wireless FIZ with hard stops, set AF off and rely on the long throw for precise pulls (Tokina’s damping shines), keep moves deliberate to show off parfocal zooms, and avoid stacking filters that invite ghosting; for gimbals, favor the 11–20/25–75 for compact balance and matched gear spacing; whether you’re crafting dialogue-heavy drama, fast doc walk-and-talks, tabletop product, or music promos, the best Tokina cine lenses combine robust mechanics, honest color, and controlled breathing—so your focus pulls hit, your flares feel intentional, and your footage looks cinematic straight off the timeline.