Nikon is no longer just about still photography. With the launch of its first compact cinema camera, the Nikon ZR, the company has made it clear that filmmaking is now a central part of its future. Alongside that announcement came confirmation that Nikon is developing a full line of Nikkor Z Cinema lenses, designed both for RED cameras that now feature the Nikon Z-mount and for Nikon’s own ZR users.
Nikon has started producing RED cinema cameras with the proprietary Z-mount bayonet. These include the RED Komodo-X and the RED V-Raptor.
This shift didn’t come out of nowhere. In 2024, Nikon surprised the industry by buying RED Digital Cinema for around $87 million. Many had expected Canon to make that move, since RED had already adopted Canon’s RF mount for its cameras. Instead, Nikon seized the opportunity, and it has wasted no time in making changes.
One of the boldest decisions was to slash the price of RED’s popular Komodo camera to $2,995, opening it up to a much wider audience of filmmakers. The Komodo kept its advanced features—like 6K recording, a global shutter, and REDCODE RAW—but suddenly became accessible to creators who could never have justified its original cost. Nikon also began offering RED’s Komodo-X and V-Raptor models with the Z-mount, which not only allows greater lens compatibility but also benefits from Nikon’s autofocus technology.
The lens weighs 1120 grams without a tripod foot, and 1210 grams with it.
To support this push, Nikon introduced its first cinema-style lens, the Nikkor 28–135mm F/4 Power Zoom, priced at about $2,050 USD. It’s a substantial piece of glass with a nine-blade aperture, smooth power zoom, and the ability to extend its range when paired with the Nikon Z8 or Z9. Some in the industry have called it more of a hybrid than a true cinema lens, but it shows Nikon’s intent to create gear that bridges stills and video in meaningful ways.
The most striking development so far has been the debut of the Nikon ZR camera, a compact model created in partnership with RED. It delivers 6K video in 12-bit REDCODE RAW, features a large, bright four-inch display that outshines rivals like Sony’s FX3 or Canon’s EOS C50, and records in 32-bit audio. It’s the clearest sign yet that Nikon wants to compete directly in the cinema camera market, not just in the hybrid stills/video segment.
Nikon representatives have officially confirmed the information about the development of special cinema lenses.
Looking ahead, Nikon has already teased dedicated Nikkor Z Cinema primes. Early images show lenses with consistent design, aperture and focus rings, and the trademark gold ring that Nikon reserves for its high-end optics. While details like focal lengths, pricing, and release dates are still unknown, it’s obvious that Nikon plans to build a serious lineup to rival Canon’s RF cinema series.
In the space of just a year, Nikon has gone from acquiring RED to releasing a new cinema camera, launching cine-oriented lenses, and reshaping RED’s pricing strategy. It’s an incredibly fast transformation for a company once considered a photography-first brand. By blending Nikon’s expertise in optics and ergonomics with RED’s legendary codecs, the company is staking its claim in the cinema world.
The message is clear: Nikon isn’t dabbling in video anymore. It’s here to stay, and it’s coming for the filmmakers.
