RED Revives Nikon Z-Mount: A Win for Filmmakers

Credit: Nikon

 

After 17 years without Nikon in the mix, RED Digital Cinema has brought Z-mount compatibility to their flagship cameras with a major hardware update. This isn’t just a callback to old times—it’s a clever blend of Nikon’s photographic strengths and RED’s cinematic power, catching the eye of hybrid shooters and used camera shoppers alike. Let’s unpack what this brings to the table.

 

Why Z-Mount Stands Out

The Z-mount hits the mark with a 55mm inner diameter and a 16mm flange distance, topping the older F-mount by letting in more light and opening up lens design possibilities. Paired with RED’s top-notch sensors, it delivers sharp, vibrant footage that excels in low light—think late-night scenes or soft golden hour glow. Nikon shooters get a bonus: your Z-mount lenses slide right onto RED bodies, smoothing out the jump between stills and video. With hybrid projects on the rise, this feels like perfect timing.

 

Komodo X: Z-Mount in a Nimble Package

The Komodo X packs Z-mount compatibility into a small, versatile rig:

• Super 35 sensor with global shutter—no distortion in fast action
• 6K at 80fps, or 4K at 120fps for smooth slow-mo
• IP connectivity to tweak settings from afar
• Micro V-Lock batteries for long days
• Light enough for gimbals or drones

Picture it on set: a Komodo X with Nikon’s Z 50mm f/1.8, nailing a documentary shoot—compact, balanced, and rich with RED’s signature look. If you’ve got an older Komodo, conversion kits keep it current. New buyers start at $6,995, or you can bundle it with Nikon’s Z 28-135mm f/4 PZ lens—a great hybrid option.

 

V-Raptor X: Full-Frame Z-Mount Muscle

The V-Raptor X steps up with full-frame Z-mount support:

• 8K sensor with global shutter tech
• Over 17 stops of dynamic range for unreal depth
• 120fps at 8K for fluid shots
• Sturdy Z-mount lock for big lenses
• Cooling to handle long takes

Priced at $29,995, it’s aimed at big films or high-end ads where quality can’t slip. Nikon’s full-frame Z-mount glass pulls every ounce of detail from that sensor, and conversion kits let existing V-Raptor owners join in.

 

Adapters That Keep Up

RED’s adapters make mixed setups a breeze, offering Z-to-PL options for cine lens fans and electronic ND filters adjustable from 2 to 7 stops in 1/3-step increments. You also get Cooke /i metadata support for post-production flow and tough mounts that hold heavy glass steady. These keep the camera and lens working together, adding practical touches like exposure control on the fly.

How It Shakes Up the Market

This Z-mount shift is making waves. As pros upgrade, older RED bodies—say, EF or PL mounts—might hit the pre-owned camera equipment market, easing prices a bit. Keep an eye on GearFocus for great deals. Meanwhile, Nikon Z-mount lenses could see a resale boost as more creators jump on board. It’s a good time to scout used cameras or lock in glass that works across platforms.

 

F-Mount vs. Z-Mount: The Numbers

Feature	F-Mount (Old)	Z-Mount (Now)
Inner Diameter	44mm	55mm
Flange Distance	46.5mm	16mm
Contact Pins	8	11
Max Aperture	f/1.2 (roughly)	f/0.95 (in theory)
Autofocus	Hit-or-miss	Locked in
Lens Metadata	Barely there	Loaded

 

The F-mount did its job, but Z-mount takes it further. It’s got a 44mm inner diameter to Z’s 55mm, and a 46.5mm flange distance compared to Z’s 16mm. With 8 contact pins on F-mount and 11 on Z, plus max apertures of f/1.2 versus f/0.95, Z-mount’s design supports better autofocus and richer lens metadata. That wider, shorter build plays right into RED’s low-light strengths.