It appears that site after site is using the phrase "Nikon's first Cine lens" to describe the just introduced 28-135mm f/4 PZ lens. My Hollywood friends are saying Nyet to that. I agree. I'd call the new lens a sophisticated Video lens.
Lens for still cameras can skip a number of attributes that videographers and cinematographers value, and even among those latter two groups there are differences in opinion about what's necessary in a lens. So let me explain:
Beyond the attributes we'd associate with a still lens, here's how I see the differences:
- Video lens adds:
- little or no focus breathing
- power zoom capabilities, including speeds
- Cine lens adds to the Video lens attributes:
- T-stop aperture specificity
- parfocal (focus stays the same during zoom)
- Does not change size in any way during zoom or focus (internal zoom, internal focus)
- clear focus marking
- 0.8 MOD gearing on all rings
The 28-135mm f/4 PZ fits into those things this way:
- Has little or no focus breathing
- Has power zoom, including speed control
- Does not have t/stop specification, so harder to integrate with other lens use on set
- Is only partially parfocal (from 55-135mm)
- Doesn't change size during zoom or focus
- Has no focus markings
- Does not have 0.8 MOD gear rings (though Nikon has shown someone's slip on addition to provide this)
Hollywood isn't going to see the 28-135mm f/4 PZ as a "Cine lens," therefore. If Nikon really wants to move RED (and themselves) forward in the high-end world, Nikon will eventually need to either supply or associate itself with a set of real Cine lenses.
Another thing to note in all the discussion is that the Raptor-X is an 8K video camera that plays more to the cine crowd, while the Komodo-X is a 6K video crowd that is more attractive to the run-and-gun video crowd. However, note that the Komodo-X is a Super35 sensor camera, which is essentially APS-C or DX, so on the Komodo-X the new lens is effectively something closer to a 42-210mm f/4 lens.
The way I look at all this is "it's a start." Nikon and RED still have a great deal to work out before the full synergy of their products will be demonstrated.
I'll say this: from the standpoint of a wildlife photographer who goes deep into the wilds, the Komodo-X would be an excellent option now, as I could standardize lenses between both my still and video gear. If I were still supplying footage to the big animal shows, I'd be 100% on top of both the new Komodo-X and the new lens.
