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Best Nikons for Nikon Mount?

C

cinemano

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Which Nikon lenses get the best results to use for the RED's Nikon Mount?
thanks..
 
The f1.4 85mm AIS. . . simply the best of the best of the best, sir.

One lens I did NOT like at all (and quickly sold because I thought it was WAY too soft) was the f1.2 50mm AIS.

Stephen
 
Stephen Pruitt said:
The f1.4 85mm AIS. . . simply the best of the best of the best, sir.

One lens I did NOT like at all (and quickly sold because I thought it was WAY too soft) was the f1.2 50mm AIS.

Stephen
Click to expand...

I second that. It never comes off my Red Rock.
 
50mm - 1.4 is sweet, f.... sweet
I sold it, and am a bitch.:)
Edit:
My mistake
Just came back from my first Red-shoot:)
I meant the canon 1.4
apologize
Albert
 
I do really like that 50mm f1.4 Nikon AIS. . . but not that f1.2. I originally bought it because it was so fast. . . but I sold it because it was so soft. Not even close to the same league as the f1.4 (which is 1/2 the money at best).

Stephen
 
Remember sample variation and age make a difference, I have about 5 Nikon 50mm lenses the best of all of them on my D3 is the AIS 50mm f1.2, it was actually sharper wide open than my 58mm F1.2 Noct. My AF-D 50mm f1.4 is only slightly behind it but the AF makes it the one I keep with the body. The cleaner and better condition the lens the better it's going to perform. For the most part the 50mm 1.4 is the better deal but if you find a very very clean 1.2 I'd grab it.
 
Hey guys, I have something like 8 Nikon lenses sitting here of various vintages. I'm trying to think up tests any of us could do with limited resources so we could all share info about lenses we come across.

What kind of stuff do you care about? Sharpness, breathing, mechanical build for focusing...

And what type of tests could we all do on our own. I'm thinking of avoiding charts so we don't all have to buy the charts. They probably would not need to be identical tests, but they'd have to be representative enough to be valuable. An ingenious ideas? Is this idea even worth pursuing?

As Evin rightly says, samples will vary.
 
Are there Nikon lenses out there that have unique characteristics that aren't readily found in the cinelens world? I'm not thinking so much about things like autofocus and meta-data, more just the innate visual quality of the lens.
 
jimarri said:
Are there Nikon lenses out there that have unique characteristics that aren't readily found in the cinelens world? I'm not thinking so much about things like autofocus and meta-data, more just the innate visual quality of the lens.
Click to expand...

Take a look at the ones which have been converted to PL mount. Also the ones used on Bourne.

There was a demand for those lenses for cinema uses because there was no competing PL mount lens already existing.

So, I'd say... 8mm fisheye (or even the crazy 6mm one), long fast primes...
Plus their 2.8 zooms cover a wide range, are lightweight and optically good (why they were used for Bourne). Some of them aren't perfectly suited to filmmaking (focus rings, etc) but clever people can get around that, depending on the type of filmmaking you're looking at doing.

Bruce Allen
www.boacinema.com
 
Evin Grant said:
Remember sample variation and age make a difference, I have about 5 Nikon 50mm lenses the best of all of them on my D3 is the AIS 50mm f1.2, it was actually sharper wide open than my 58mm F1.2 Noct. My AF-D 50mm f1.4 is only slightly behind it but the AF makes it the one I keep with the body. The cleaner and better condition the lens the better it's going to perform. For the most part the 50mm 1.4 is the better deal but if you find a very very clean 1.2 I'd grab it.
Click to expand...

You can still buy the 50mm 1.2 new at nikon. They're really not so soft compared to the 50mm 1.4 because they are designed to shoot wide open unlike the 1.4 .
 
Bruce,

Bourne example is not about Nikkor lenses at all.

It's about ARRI.

The Bourne crew demanded the lightweight zoom lenses

that were impossible to find in the existing stocks from any famous cine lens brand.

ARRI took a Panavision route.

They found something interesting on the still lenses market.

The Nikkor-light-weight-high-quality zooms.

ARRI rehoused them and make them the CINE lightweight zooms.

After all they did not look like Nikkor still zoom lenses at all.

Instead Zeiss glass ARRI took Nikkor glass.

If you are interested in that set you could rent them from ARRI.

Also it's like a Panavision stuff, you cannot buy it BUT you can rent it.

This is the MAIN point.

So with this example people should look and LEARN more serious at ARRI like a CINE lens maker then about Nikkor or even Zeiss.

Because the most people talking about Master Primes, Ultra Primes or Super Speeds like a Zeiss LENSES.

O.K., it's a Zeiss (glass) but the CINE design and look gave them ARRI.

Hope that the most people are now getting the point.
 
Nikon 17-35mm F/2.8 ED and 80-200mm F/2.8 ED
Smart choice
 
Zf is a secret weapon of the nikon followers.
I shot side by side yesterday with the zeiss standard primes.
Guess in whose favor?:)

Albert
 
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