RED Digital Cinema’s latest move to adopt the Nikon Z Mount has sparked heated debates online. Some say it’s the beginning of the end for RED, a brand that has built its reputation on cutting-edge cinema cameras. Others see it as a bold and strategic decision that could expand RED’s user base and lens compatibility in significant ways.

We fall into the latter camp—and here’s why.

The Nikon Acquisition and the Path to Z Mount

The RED x Nikon connection didn’t come out of nowhere. When Nikon acquired RED Digital Cinema in April 2023, it was clear that there would be major shifts in RED’s lens ecosystem. Now, ten months later, we’re seeing the first major impact of that deal: the integration of the Z Mount into RED’s Komodo-X and V-RAPTOR X cameras.

For those unfamiliar with the Nikon Z Mount, this might seem like an unnecessary shake-up. But in reality, the Z Mount is one of the most adaptable mounts in the industry.

Z Mount: The Most Adaptable Commercial Lens Mount?

So, why is the Nikon Z Mount such a big deal? It comes down to engineering and adaptability.

• Largest Diameter: At 55mm, the Z Mount has the largest diameter of any full-frame mirrorless lens mount. This means better light transmission and optical performance, especially for fast-aperture and wide-angle lenses.
• Shortest Flange Distance: The 16mm flange focal distance is the shortest among major commercial mounts. This is a huge advantage because it allows almost any lens to be adapted to a Z Mount camera.
• Superior Adaptability: The combination of a large diameter and short flange distance makes it one of the most adaptable mounts ever commercially patented. That means RED users will soon be able to mount lenses they never could before—including Sony E-mount glass, which was previously incompatible with RED cameras.

What About RF? RED Isn’t Abandoning It

A major concern among RED users is whether RF mount support will disappear. The answer? Not at all.

RED has RF mount licensing in perpetuity, meaning it will continue to support Canon RF lenses. If you’ve already invested in RF glass, you’re not being left behind. Instead, the Z Mount adds more options rather than replacing anything. They’ll continue to manufacture native PL mount as well.

Nikon’s $160 Million Lens Investment and What It Means for Filmmakers

RED’s move to Z Mount isn’t just about adaptability—it’s also about future lens support.

Nikon has been making serious moves in the cinema lens space. The company recently announced a $160 million investment into its lens development, signaling a major expansion into high-end video production.

This isn’t just speculation. Nikon has already begun rolling out cinema-friendly lenses, including the NIKKOR Z 28-135mm f/4 power zoom. This lens alone is a huge leap forward, offering:

• Internal zoom mechanics (eliminates focus shift)
• Constant f/4 aperture
• Power zoom control

With Nikon actively investing in lenses for video production, it’s clear that the Z Mount will only become more attractive to professional filmmakers in the coming years.

What Do You Think?

Is RED adopting Z Mount a game-changer, or do you see it as a misstep? Let’s discuss in the comments.