Best Nikon Lens?

[fox mccoy]

Zeiss ZF's are the best bang for your buck. They feel like cinema lenses and they are very smooth. I have the 28mm f~2, 35mm f~2, 50mm f~1.4, 85mm f~1.4 Zeiss lenses. The 80-200mm f~2.8 Nikon Zoom is also really nice.

Here here... :beer: :thumbsup:

 

[Steve Gibby]

I see Gibby recommending the 28 - 70 which I suppose would cover more...any other zoom lenses in this range?

The Nikon 24-70 is also a very good lens. I haven’t used one on RED, but on a Nikon DSLR I really liked it. I bought my Nikon 28-70 used because at the time I was using the stock RED Nikon mount, and the 28-70 has a manual iris ring. The 24-70 is a G series lens, and doesn’t have a manual iris ring. Since then I’ve replaced the original RED Nikon mounts on two of my RED cameras with Doug Underdahl’s modified Nikon mount – on which I can use basically all Nikon lenses, including those without a manual iris ring. My 28-70 is optically very good, though it doesn’t hold focus well throughout a zoom, requiring a re-focus of the lens after zooming. I use my zooms as variable primes anyway, and I almost always eye focus RED, so a quick re-focusing is a annoyance, but not a big problem. BTW, all of my other Nikon zooms hold focus quite well throughout a zoom.

For doco work I find the 28 - 70 the most useful range.

I definitely agree with that. We do a lot of documentary work, and the Nikon 28-70 gets a lot of action on them. The only drawback with my particular 28-70 for doco work is the need to re-focus after re-framing via zooming. As I remember with the 24-70 I’ve used, it held focus throughout a zoom much better than my 28-70 does. As you rightly pointed out, 28-70 (or 24-70) is a great focal range for most doco work using RED One. If Nikon made a good 18-85, that was a continuous f2.8, that would be even better.

--------------------------------------

A word on the new RED Electronic Lenses:
When I shift over to my RED DSMC cameras, I'll definitely be getting each of the new electronic zooms RED has announced: 15-25 f2.8 AF, 25-100 f2.8 AF Stabilized, and 70-200 f2.8 AF Stabilized. I expect each of those lenses to be excellent. For the genres I normally work on, I think those three lenses could be the perfect three zoom lens kit. I also expect those three lenses to be some serious motivation for me to sell off a lot of my Nikon lenses. The RED electronic lenses will be designed to work in unison with the new breed of sensors in Epic and Scarlet – including when I need it I’ll have the option of auto-focus, and two of the lenses also feature image stabilization. For docos, the RED 25-100 will most likely be the “go to” lens most of the time, replacing my Nikon 28-70. The RED 15-25, especially on the FF35 DSMC cameras, should be excellent for water housing work, closed in spaces, landscape scenics, sports, etc. It will most likely replace my Nikon 14-24. The RED 70-200 will most likely replace all my Nikon 80-200 lenses (I have three). I’d really like to see RED make a broad focal length electronic lens too – maybe a 28-300 f2.8 AF Stabilized

 

[James Brundige]

The Nikon 24-70 is also a very good lens. I haven’t used one on RED, but on a Nikon DSLR I really liked it. I bought my Nikon 28-70 used because at the time I was using the stock RED Nikon mount, and the 28-70 has a manual iris ring. The 24-70 is a G series lens, and doesn’t have a manual iris ring. Since then I’ve replaced the original RED Nikon mounts on two of my RED cameras with Doug Underdahl’s modified Nikon mount – on which I can use basically all Nikon lenses, including those without a manual iris ring. My 28-70 is optically very good, though it doesn’t hold focus well throughout a zoom, requiring a re-focus of the lens after zooming. I use my zooms as variable primes anyway, and I almost always eye focus RED, so a quick re-focusing is a annoyance, but not a big problem. BTW, all of my other Nikon zooms hold focus quite well throughout a zoom.

)

BTW, thanks for all your input over the last year. I work in a lot of the same situations you describe and the time and thought you put into sharing on this forum is appreciated.

I'm also really looking forward to the Red electronic lenses. There's no reason a Red shouldn't be able to snap to an auto focus (or iris) like a DSLR, which is very handy in fast moving situations, and a nice starting point for any set up. I know this is not cool for the feature folks, who have time to compose and light each set up, but quite handy for us solo artists. I wonder if these features will work on Nikon lenses as well.

 

[Steve Gibby]

Thanks for the kind words James. When I get the time I'm always happy to contribute...

No, when using Nikon and Canon lenses on the RED DSMC cameras, the electronic auto features of the lens will not work. RED confirmed that a while ago. They did note that its conceivable that a 3rd party add-on accessory maker may design an adaptor for such, similar to the Birger adaptor for RED One, but that will remain to be seen.

The RED electronic lenses should be designed and coated to dance in unison with the sensors and electronic components in Epic and Scarlet, and the new RED mount, to enable auto focus if needed, stabilization, I'm just guessing that maybe auto-iris may be included, and who know what else

For hybrid shooters who shoot motion and stills, I'm guessing there will be a lot of advantages to using the RED electronic lenses on the DSMC cameras, over using Nikon or Canon lenses on them.

 

[Jarred Land]

Hey Gibby,

Specifications, prices and delivery dates are subject to change. Count on it.

 

[Harry Lipnick]

Hey Gibby,

Specifications, prices and delivery dates are subject to change. Count on it.

Do you happen to be talking about mounts for the Nikon lenses here? Cause that would be great.
Peace,

-Harry

 

[Steve Gibby]

Hey Gibby,

Specifications, prices and delivery dates are subject to change. Count on it.

Yup...I've been counting on it all along, through the entire RED One development process, and now with the new cameras. I have a good handle on that

I was just summarizing for James the info on the electronic lenses that has been stated by RED Team to date...and in my posts, any conjecture of my own I prefaced with "I'm guessing" or "should be"

 

[James Brundige]

Hey Gibby,

Specifications, prices and delivery dates are subject to change. Count on it.

Can you direct me to what is known about the specs, prices, and dates of the Red electronic lenses? I understand these are subject to change.

 

[FocusOptics]

Yes Ruby!!!

Yes Ruby!!!

For a wide zoom the Nikon 14mm to 24mm is great. It is the same lens Focus Optics is re-housing with what they call the Ruby.

For those who don't already know, We have re-housed the Nikon 14-24mm T2.8, Also coming soon, proto-types of the 24-70mm T2.8 and 70-200mm T2.8. These lenses are extremely SHARP and have been made to Cine Style!! We are currently working on doubling the expansion of the focus.

Here is some useful information about the "RUBY"

Front diameter is 105mm
Largest diameter is 110mm which is the focus gear.
Weight: 3 pounds

Overall length is 138mm. Purchaser will have a choice of 105mm front or 110mm front depending on your needs.

View attachment 12821 View attachment 12822

 

[James Brundige]

For those who don't already know, We have re-housed the Nikon 14-24mm T2.8, Also coming soon, proto-types of the 24-70mm T2.8 and 70-200mm T2.8. These lenses are extremely SHARP and have been made to Cine Style!! We are currently working on doubling the expansion of the focus]

Great news! Will the 24-70 zoom without extending?

 

[Lee Saxon]

Great news! Will the 24-70 zoom without extending?

No, the front racks out, just like the 28-70. It doesn't rotate though.

 

[Steve Gibby]

The guy who started the thread asked about info from those who've used Nikon lenses on RED with the Nikon mount. The Ruby conversion will be a PL mount...

Many who use Nikon lenses on RED need mobility, work in small crews, aren't interested in going PL, don't want the added weight of a follow focus, eye focus their Nikon lenses, use screw on filters, and don't want or need the added bulk of cine style accessories.

The Ruby PL conversion of the 14-24 will undoubtedly be good - but for many of us Nikon lens users (myself included) who don''t (or rarely do) shoot RED cine style, but rather shoot hybrid EFP style, a stock Nikon lens with a Nikon mount is the usual ticket.

There's two main, but different ways to use RED: cine style and hybrid EFP style (usually using adapted 35mm stills lenses). The bottom line is to figure out what genres you will mostly be shooting, then match your accessories and lenses up for that.

To each their own when choosing...

 

[James Brundige]

There's two main, but different ways to use RED: cine style and hybrid EFP style (usually using adapted 35mm stills lenses). The bottom line is to figure out what genres you will mostly be shooting, then match your accessories and lenses up for that.

To each their own when choosing...

Not trying to stray off topic, but this is relevant to lens shoppers. I will probably stay with Nikon glass for the reasons you mentioned, but the conversions are an alternate way of doing that, without adding follow focus and matteboxes. I'm considering PL mount Nikons just because I'm not happy with the way the Nikons seat on my Red/Underdahl mount. (those add-on bushings help a bit, but the long lenses are not stable.) Hopefully the Epic will improve that situation. If not, the PL conversions may be a way to have the light weight set up you describe with a better lens/camera interface. Or the Red electronic lenses. Or different mounts on multiple cameras (like you have), as the Scarlet may make that possible for the rest of us.

 

[Steve Gibby]

James,

Understood...there are a lot of factors to consider. Everyone has to analyze what will work best with their field workflows, genres serviced, budgets, shooting style, mounts, etc.

Two of my three RED cameras have Underdahl Nikon mounts on them, and one has a PL mount. I don't rent my cameras out and me and my crews rarely use PL mount lenses. The only reason I even keep a PL mount on one of my cameras is so I can use my Canon FD 150-600 zoom, which has a Century PL mount conversion, and my RED 300, which is obviously PL. If I didn't have those two PL lenses, frankly all my cameras would have Nikon mounts on them.

I've had none of the problems you mentioned with the Underdahl Nikon mount - loose fitting lenses, etc. Mine don't have any add-on bushings, and I regularly use most of my 21 Nikon lenses on those mounts, and they all fit snugly like they should - even my long Nikon lenses (400 f3.5 AIS and 50-300 f4.5 AIS). I've also had no problems with the twist knob iris control for my Nikon G series lenses (and Tokina 11-16 with Nikon mount).

When I was a DP for the 10 RED camera coverage of Journey in concert in the Philippines in March, we used multiple Nikon lenses for the hand held and jib cameras - all of them mounted on Underdahl Nikon mounts - and all of the lenses fit snugly - we had no problem with all five Underdahl Nikon mounts on that production. We also had several PL mount cameras for the long lenses (multiple Optimo 12x).

As you may have heard, Jacek at Optitek has developed a new RED Nikon mount, that the L.A. RED User members report is robust and stable. As we speak Jacek has one of his new Nikon mounts on the way to me to beta test. It just may be a good, solid other option for RED Nikon shooters - we'll see. I'll be posting my findings here on RED User sometime in the future.

Everything is subject to change with RED specs (as we all know), but so far RED has said they will have RED, Nikon, Canon, and PL mounts available for Epic and Scarlet - all of which reportedly will be changeable by four quick bolts. If that works out that way, IMO it would be great - field changes quickly to whatever lens type you need, quick back focus adjustment, then back to work. How that turns out will remain to be seen....but I really like the concept because it could seriously enhance the flexibility and utility of Epic and Scarlet.

If someone shoots all Nikon lenses, doesn't rent their cameras out, their Nikon mounts are solid, they regularly shoot hybrid style without a FF and MB, and they eye focus RED (and Epic and Scarlet), I see no reason for them to pay the extra bucks to go to PL mount lenses and PL conversions.

If you need PL, by all means go for PL, if you don't, save yourself some serious coin by staying with the stock 35mm stills lens mounted on RED with a solid mount in the lenses native variety.

 

[Matt Zervos]

Thanks for all the help. I think I've heard all the options in the world now. I'm thinking about doing the following:

Either:

Purchasing a few Zeiss. 35, 50, 85.

OR

80-200mm f~2.8 Nikon Zoom.

The option to have one lens with different focal lengths is great. But the quality of the Zeiss seems like it is too good to pass up....thoughts?

Another option could be (to cover wide) the Nikon lens PLUS the Zeiss 35. Not trying to spend a lot of money right now...

 

[Harry Lipnick]

Thanks for all the help. I think I've heard all the options in the world now. I'm thinking about doing the following:

Either:

Purchasing a few Zeiss. 35, 50, 85.

OR

80-200mm f~2.8 Nikon Zoom.

The option to have one lens with different focal lengths is great. But the quality of the Zeiss seems like it is too good to pass up....thoughts?

Another option could be (to cover wide) the Nikon lens PLUS the Zeiss 35. Not trying to spend a lot of money right now...

Obviously I'm not sure which genre you shoot most, but if it were me, either of those options (especially the zoom) would leave me begging for something wider. I shoot with Nikons (right now on a DVX with Redrock, but looking to upgrade to S35 Scarlet) and my go to lenses are the Nikon 28 2.8 and the Nikon 85 1.8. You might consider, instead, something like the Nikon 17-35 or 17-55 (depending on whether or not you need FF or G series) and another bigger zoom. Unless of course you already have wides that you haven't mentioned, in which case disregard this.
Peace,

-Harry

 

[Alexander Alexandrov]

the f1.2, which is a piece of garbage as far as I'm concerned

why is the 1.2 50mm garbage as compared to 1.4?

 

[Antoine Fabi]

James,

....but I really like the concept because it could seriously enhance the flexibility and utility of Epic and Scarlet.

If someone shoots all Nikon lenses, doesn't rent their cameras out, their Nikon mounts are solid, they regularly shoot hybrid style without a FF and MB, and they eye focus RED (and Epic and Scarlet), I see no reason for them to pay the extra bucks to go to PL mount lenses and PL conversions.

If you need PL, by all means go for PL, if you don't, save yourself some serious coin by staying with the stock 35mm stills lens mounted on RED with a solid mount in the lenses native variety.

Quite rebel vision...
What's happening...

...I agree 100 %

You'll save $, and you'll also save weight!!!

Only depends on "how" you have to work on a specific job.

and beleive it or not, we've been able to acheive some nice FF with a full zoom 80-200mm without a FF system. I would not recommend that as a rule , but it worked great....and it was NOT with actors...it was oh...he's going there....and oh...there!

Nice post Steve.

Antoine

 

[James Brundige]

James,

Two of my three RED cameras have Underdahl Nikon mounts on them, and one has a PL mount. I don't rent my cameras out and me and my crews rarely use PL mount lenses. The only reason I even keep a PL mount on one of my cameras is so I can use my Canon FD 150-600 zoom, which has a Century PL mount conversion, and my RED 300, which is obviously PL. If I didn't have those two PL lenses, frankly all my cameras would have Nikon mounts on them.

You can get an adaptor from Schneider Optics to install the 150-600 Century short conversion into the Nikon mount. That's how I use mine. But it wiggles a bit, like any of the lenses over 200 mm I use. I'll be interested to see your evaluation of the new mount.

I'm glad to hear your success with the Nikon mounts in general. I guess after years of working with B4 and PL I expect the lens to be rock solid on the camera, which mine are not. If you grab the lens, it wiggles. Still works fine, but just doesn't feel like A-List equipment. Maybe my mount isn't up to spec, but I suspect it is more tied to design, hence the new Optitek. Either way, I hope the Epic will improve the situation. (put Jacek on the team!)

 

[Lee Saxon]

The option to have one lens with different focal lengths is great. But the quality of the Zeiss seems like it is too good to pass up....thoughts?

Another option could be (to cover wide) the Nikon lens PLUS the Zeiss 35. Not trying to spend a lot of money right now...

Cine guys like the 'Zeiss' (Cosina) lenses because they're overweight, overpriced, and have a lot of focus travel. Like cine lenses.

Image-quality-wise, they don't offer you anything over the Nikons.

If it was me I'd get the Nikon 35/2 which is a great lens at half the price of the Zeiss 35/2.