Nikon’s upcoming NIKKOR Z 28-135mm f/4 PZ (Power Zoom) lens is aimed squarely at the filmmaking community, marking another step in the company’s ongoing efforts to cater to video professionals. While Nikon has long been a key player in the world of photography, this lens represents their latest attempt to break into the cinema lens market. However, a closer look reveals a mix of promise and potential areas for improvement.
A Familiar Focal Length with Some Caveats
At 28-135mm, the focal length is a well-rounded choice, covering wide-angle to medium telephoto, which should satisfy a variety of shooting styles. However, the decision to label this lens with an f/4 aperture, rather than the industry-standard T-stop used by cinema lenses, is telling. An f/4 aperture rating suggests Nikon is still clinging to photography conventions rather than fully embracing the needs of professional cinematographers. In the cinema world, precision is key, and T-stops provide more accurate light transmission data—a crucial factor when matching lenses on set. This oversight may raise questions about Nikon’s full commitment to this market.
Power Zoom: Convenient, but Not a New Innovation
The Power Zoom function is being marketed as a key feature of this lens, allowing for smooth motorized zoom adjustments. For those unfamiliar, this can be useful for remote control applications or steady zooms during live shooting. While this may appeal to hybrid shooters and those working in smaller, less complex setups, the reality is that Power Zoom is hardly a groundbreaking feature in professional video equipment.
Power Zoom has been a common feature on consumer-grade cameras and camcorders for decades, where users needed the ability to zoom smoothly without manual operation. It’s been a staple in the consumer electronics market long before Nikon’s latest release, and its application in professional gear isn’t new either. Canon and Fujinon, for example, have implemented precise, quiet motorized zooms in their cinema and broadcast lenses for decades. Fujinon’s broadcast lenses, in particular, have long been the gold standard for live sports and event production, where operators rely heavily on smooth, controlled zooming capabilities.
Interestingly, the NIKKOR Z 28-135mm f/4 PZ bears a striking resemblance to Sony’s FE PZ 28-135mm f/4 G OSS, a lens released nearly a decade ago. Much like Nikon’s new lens, the Sony model features a similar focal range, constant aperture, and power zoom functionality. While Sony’s lens has held its own in the video market, it’s starting to show its age in terms of features and optics. If Nikon hopes to compete, it will need to demonstrate that this lens offers more than what has already been available for years, particularly when it comes to optics and build quality.
In contrast, Nikon’s implementation of Power Zoom feels more like catching up than breaking new ground. The key will be in the execution: how quiet the zoom is, how responsive it is in a production environment, and how well it integrates with professional workflows. Filmmakers who are accustomed to cinema-grade lenses will be looking for reliability and precision, two factors that Nikon will need to demonstrate convincingly if they want to compete in this space.
Nikon’s Acquisition of RED: A Glimpse of What’s to Come?
A significant development for Nikon in the world of cinema is their acquisition of RED Digital Cinema earlier this year for $85 million. RED is a name synonymous with high-end digital cinema cameras, and the acquisition could signal Nikon’s intent to become a serious contender in the filmmaking space. While this lens alone might not revolutionize the market, Nikon’s integration of RED’s expertise could pave the way for more cohesive, cinema-focused products down the road.
As someone who made the transition from film to digital using a Nikon DSLR, I find it exciting to see Nikon making moves into the cinema world. However, the company still has some distance to cover in aligning their products with the expectations of professionals working in the field.
The Industry Context
The NIKKOR Z 28-135mm f/4 PZ arrives in a market saturated with competition from brands like Canon, Sony, Panasonic, and Sigma, all of whom have more established cinema lens lines. Canon’s Cinema EOS lenses are well-regarded for their precise T-stop ratings, superior optics, and mechanical build, tailored specifically for filmmakers.
Meanwhile, Sigma has been pushing boundaries with innovative approaches, such as with the Sigma 28-45mm Concept, which we covered recently on The Cine Lens . The Sigma lens concept offers filmmakers a different direction entirely, integrating essential gears for zoom, focus, and iris control, all of which are standard on dedicated cinema lenses, along with accurate T-stop ratings that provide the precision filmmakers need on set. Sigma’s approach highlights the gap between true cinema lenses and hybrid designs like Nikon’s, which, at least for now, remain closer to their photographic roots. The question for Nikon is whether they will fully embrace cinema standards moving forward or continue to cater to a hybrid user base.
Although Nikon has yet to confirm specific technical details, it’s reasonable to expect that this lens will be available exclusively in Nikon’s proprietary Z-mount, which stands in contrast to RED and Sigma’s more flexible, agnostic approach to lens and camera mounts. Additionally, Nikon has not provided any information regarding the pricing or release timeline for this new zoom lens.
A Step in the Right Direction, But More Is Needed
While the NIKKOR Z 28-135mm f/4 PZ Power Zoom lens shows promise, Nikon still has a lot to prove in the professional cinema market. The lack of a T-stop rating and the reliance on photography-based conventions suggest that this lens may be more suited for hybrid users rather than dedicated cinematographers. That said, Nikon’s entry into the cinema lens space is worth watching, especially with the potential innovations stemming from their acquisition of RED. If Nikon fully commits to developing tools specifically for filmmakers, future products may become serious contenders in the industry. For now, this lens is a step in the right direction, but not yet the game-changer many in the industry might be hoping for.
Sadly, Nikon has always been behind Canon in term of lens innovations, wether it is in construction or lens speed. Now that they have a chance to score some points, the only thing they can come up with is an f: 4.0 lens (not even f: 2.8) with a 10-year old design lens that looks exactly similar to the one created by Sony ? How disappointing !
You pretty much nailed it. I thought I was pretty critical of Nikon in my article – but reading your comment, I think I may have pulled the punches. Let’s hope Nikon learns from this and listens to cinematographers moving forward.
This is in stark contrast to Canon”s newly released hybrid lenses. Dedicated focus and aperture rings (no T stops though), compatable with existing Canon zoom motors and extenders. Also f2.8 70-200 with L glass. I hope Nikon takes a better look at the market for their next release.
I’d used the Sony version years ago on the original FS7 for event coverage. It was a useful focal range for the job, with pleasant image quality, and this is where the power zoom function was great– for smoothly reframing as you followed a performer or speaker. What I want to note is that the FS7 was ALSO designed to be great for this purpose, with extended runtimes (no recording time limit, dual card slots with automatic switchover), solid built-in sound capabilities, and good ergonomics for this type of work.
Aside from the fact that it’s not particularly innovative, what task did Nikon design this lens for, and which body would that suit? I’m only aware of their DSLR-format offerings, which have stellar quality, but don’t seem like a good fit for event coverage. I suppose they could be used for interviews and B-roll, but I personally prefer to be able to go to 2.8 for those tasks, and I wouldn’t probably make much use of the power zoom function.
I have covered some events on cameras from Red, but a new Komodo with Z mount wouldn’t be my first choice. Maybe there’s a Nikon/Red hybrid coming in a body closer to Sony FS or Canon C series?