Ok, let’s repeat this once more: This lens exists! The only question is whether someone is going to built it with a Nikon mount or not.

The most laughable part is how they’re talking about “only” going to 100mm instead of 105mm. Do you REALLY think the 24-70 stopped at 70mm for no reason at all? (and it’s already pretty hefty. To extend the range to 100mm, and maintain sharpness, AND add VR… currently impossible…

=Matt=

I add this question to the topic:
Does RED design and build their own sensors?
Maybe they can share that technology with Nikon if they work together somehow

for Mysterium Monstro 645 / 617 – from Nikon just not any lenses (yet)

http://www.engadget.com/photos/reds-digital-still-and-motion-camera-system-now-official/1155680/

While photography lenses do change focal length when focusing (breathing), this can be significantly reduced in re-housing the lens. Furthermore, some past Nikon designs breath very little.

Here people are thinking that Nikon and Red might be sharing a lens.
I won’t dispute that they might get glass from Nikon, but to continue their quoted principle they wouldn’t sell a lens under there banner that is identical to Nikon. The problems arising from price differences would be horrible.

Anyway, aside from Nikon’s PC-E lenses, anything Nikon is making is less desirable for RED ONEuse as the G lenses don’t offer aperture control.
Their new Epic range may use electronic and even G lenses, I don’t know, but their adverts display the 15-25mm with no aperture ring and electronic contacts.
They don’t really say if their FF35 lenses are for use with cinema or just still but I’d imagine many lens pullers being disatisfied with no manual control of aperture.

RED glass is relatively cheap and in the world of cinema the performance is average. None the RED glass can hold a candle to something like the Cooke S2, S4 or Arri Masterprime series.

In the past Nikkor lenses have been popular in the movie business for shooting the Vista Vision format. Vista Vision is primarily used for visual effects work.
But in recent years Leica R (SLR) glass has taken over this task, because Nikon has neglected their prime lens line up. You simply can’t cut footage that was shot with an old Nikkor 2/28mm against modern cine lenses from Cooke and Zeiss and not see a ‘pop’. The Leica R glass is a lot more expensive, but you get what you pay for. The barrels are also very heavy and you still get full manual control of the aperture.

http://www.camerapedia.org/wiki/Elcan

http://www.red.com/faq/who-makes-red-lenses/

Last Updated at Apr 29 by admin

RED has taken upon itself to offer optics that are as revolutionary as the camera they attach to, both in price and performance. To achieve this end, RED has searched the world for the best partners to meet this goal. Suffice to say, when RED puts their name on a lens, it is a design specific to RED and not available from anyone else. It is more the rule than the exception that camera companies in the rarified world of Digital Cinema, be it HD, 2K or 4K, go to the experts in optical design and sources are always held in confidence.

they announce something each month, publish a new render, but never get anything done. what i really think is that Red isn’t selling as much as they like. probably because of the rolling shutter which is not acceptable for hollywood.

they’re doomed unless someone actually implements the global shutter.

Red rumours are just crappy marketing. i don’t understand why nikonrumors has them. a waste of time.