These are the best Tokina lenses for video when you want low breathing, consistent color, smooth mechanics, and rigs that balance fast for narrative, doc, weddings, YouTube, and travel—and here’s what to look for as you buy: prioritize parfocal designs for zoom moves, uniform 0.8 mod gears with long, damped focus throws, matched front diameters (Tokina Cinema is largely 95 mm), clean T-stop transmission, and image circles that fit your sensor (Super35 vs full-frame/Vista); for hybrid/photo lenses, favor quiet AF, linear-feel MF, minimal breathing, and threaded fronts for one quality VND (and a mild 1/8 diffusion if you like halation); pair lenses with strong IBIS or a gimbal, and keep weights similar across your set for quick swaps. Cine workhorses (Super35): Tokina Cinema 11–20mm T2.9 (parfocal UWA, low breathing, close focus—gimbal/handheld darling), Cinema 25–75mm T2.9 (compact A-cam mid-range—excellent close focus and consistent color), and Cinema 50–135mm T2.9 MK II (tight coverage for interviews, stage, sports B-roll—parfocal with silky mechanics); together they form a color-matched, gear-position-matched spine. Full-frame/Vista prime heroes: Tokina Cinema Vista T1.5 set (18/25/35/40/50/65/85/105/135) with huge image circle, velvet focus rolloff, and gentle flare; Vista One variants add tasteful single-coated flare for stylized looks while keeping the same mechanics. Full-frame/VV zoom: 16–28mm T3.0 (true parfocal, great interior/car rig lens) can anchor wides on FX/6K open-gate. Mirrorless hybrid primes for small rigs: atx-m 85mm ƒ1.8 FE (quiet AF, flattering tele interviews), FiRIN 20mm ƒ2 FE (AF or MF—bright, clean wide with smooth MF), and FiRIN 100mm ƒ2.8 FE Macro (1:1 detail with elegant contrast—product/beauty inserts); APS-C mirrorless standout: atx-m 11–18mm ƒ2.8 (tiny UWA for vlogs/rooms with tidy breathing). Still-photo zooms that cut well into video kits: atx-i 11–20mm ƒ2.8 CF (APS-C—bright, sharp, gimbal-friendly), AT-X 24–70mm ƒ2.8 FX (agency-grade mid-range—adapt with solid EF/F adapters), and atx-i 100–400mm ƒ4.5–6.3 FF (reachy B-roll for events/wildlife); Nikon shooters wanting optical stabilization get AT-X 70–200mm ƒ4 VCM-S (smooth OIS and balanced feel—great on monopods). Practical buyer tips: build a two-zoom cine spine (11–20 T2.9 + 25–75 T2.9, add 50–135 T2.9 for reach) or a lightweight hybrid set (FiRIN 20/2 + atx-m 85/1.8 + atx-m 11–18/2.8 for A/B/gimbal), keep a single-size matte box/filters (95 mm clamp or step-up rings on stills glass), test breathing/parfocality on your camera, and verify image circle coverage if you shoot open-gate or anamorphic desqueeze modes. Video shooting tips: lock a 180° shutter (1/48–1/60s), ride a good VND for exposure, set AF-C with subject/eye detect and slow transition speed/low responsiveness for elegant pulls—or switch to manual and mark focus on the barrel; enable breathing compensation where supported, combine IBIS with careful handheld technique (disable stabilization on sticks), avoid stacking filters that invite ghosts, and shade the front element against LED/spot flare; keep rigs balanced and repeatable—Tokina’s matched gear spacing makes building muscle memory easy—so whether you’re crafting dialogue-driven drama, run-and-gun doc, wedding coverage, product beauty, or travel films, the best Tokina video lenses combine controlled breathing, trustworthy color, and smooth, cinema-friendly operation—so motion feels natural, focus transitions are intentional, and your footage looks polished straight off the timeline.