does the m2 adapter support nikon DIGITAL SLR LENES

b_boy

b_boy

Active member
Hey All. I Doing A Little Research And I'm Trying To Find Out If My Nikon Digital Slr Camera Lens Support The Red Rock M2 Adapter. I Went Out And Got The New D60 So I Can Use The Lens On My Adapter (when I Get One.) I Just Making Sure That The Lens Will Work With The Adapter.


Thanks Guys
 
It is my understanding that it is not a good idea.
The digital lenses do not have an aperture ring.
Second, the area of the ccd in those DSLR cameras is smaller than SLR 35mm.
I know that you must multiply the focal length on a normal 35mm SLR by 1.5 for use with a DSLR.
There may be issues with that.

See below chagchag seems to be happy with them tho...
 
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actually the size of the nikon dx sensor is just about the same as academy 35mm film (35mm still frames are much bigger than cinema 35 because still 35 film is laying horisontally in the camera whereas it's traveloing vertically in a moviecamera)

So yes, your lens will work, but if you got it with a d60 it's probably a slow lens 3,5 - 5,6 and not well suited for the m2 as it is a lighthog. In addition to that it is not very practical due to the lack of aperture ring and the infinty traveling focus ring.

To use it you have to stick something in the springloaded lever that opens and closes the aperture (int the mount), to set it to wide open.
 
zergtherobot said:
Actually no it wont work because a lens without an aperture ring, IE dx lens is forever stuck at its highest F number unless attached to a digital slr. Nor is the nikon sensor even close to 35mm unless your using a d3. I have used a DX lens on my film camera, which is a digitally controlled film camera, and you just need to zoom in alot to get over the crop factor, especially at wide angle.
Click to expand...


You are plainly wrong here. Please re-read my previous post. You can indeed use a DX lens on a 35mm adapter. I've done so myself. Academy 35mm format is 22 mm by 16 mm, the DX sensor is 23.7mm by 15.5mm. The DX format is actually WIDER than 35

35mm refers to the width of the actual film strip, with perfs and all, not the size of the frame. Which is, as I mentioned in my previous post, bigger on SLR's than on moviecameras due to the fact that the film is traveling sideways in an SLR.

And YES you can use DX-lenses on an 35mm adapter if, as mentioned earlier, you stick something in the spring-loaded lever on the lens. This wil open the aperture wide open.
 
I have gone a head and deleted my previous post as my information was indeed wrong. However it is going to be much easier to use a good fast prime lens with an aperture ring.

Question: Why would anyone want to shoot in academy format anyway, it appears that most of the time people either matte or crop in post, so why not shoot in the widest ratio you can get without vingetting?
 
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Academy format is usually matted (letterboxed) in the cinema-projector to display the correct aspect ratio (like 1,85:1). When we shoot with our 16:9 videocameras, we allready have the format we want (unless we further letterbox to 2,35:1 etc)

Using a 35mm adaptere we usually aim to get shallow depth of field, and by using a bigger area of the diffusion screen we will indeed get a shallower depth of field in regard to the apparent width of the lens.

HOWEVER: Shooting with a zoomfactor similar to academy format have a few advantages, like learning ourselves what lenses to pick in a given situation and still use that knowledge those times that we find ourselves lucky enough to shoot on 35mm film.

Also Iif our shots are beeing used in comp/3d/tracking etc in post the VFX/Comp artists need to know what lenses we shot on, and if we shoot formats different than standard ones (like 2/3", 35mm academy, anamorphic etc) that 20mm lens you used will not carry the characteristics that the post-artist would expect and make his/her job a whole lot more difficult.

As a bonus, zooming in to an aproxemate academy format we minimize problems with vignetting and unsharp edges...


It is of course very much also a matter of tastes, and ultimately just another tool in our palette.


But all said and done, yes, manual full-frame still lenses are definetively a better choice.
 
chagchag said:
Academy format is usually matted (letterboxed) in the cinema-projector to display the correct aspect ratio (like 1,85:1). When we shoot with our 16:9 videocameras, we allready have the format we want (unless we further letterbox to 2,35:1 etc)

Using a 35mm adaptere we usually aim to get shallow depth of field, and by using a bigger area of the diffusion screen we will indeed get a shallower depth of field in regard to the apparent width of the lens.

HOWEVER: Shooting with a zoomfactor similar to academy format have a few advantages, like learning ourselves what lenses to pick in a given situation and still use that knowledge those times that we find ourselves lucky enough to shoot on 35mm film.

Also Iif our shots are beeing used in comp/3d/tracking etc in post the VFX/Comp artists need to know what lenses we shot on, and if we shoot formats different than standard ones (like 2/3", 35mm academy, anamorphic etc) that 20mm lens you used will not carry the characteristics that the post-artist would expect and make his/her job a whole lot more difficult.

As a bonus, zooming in to an aproxemate academy format we minimize problems with vignetting and unsharp edges...


It is of course very much also a matter of tastes, and ultimately just another tool in our palette.


But all said and done, yes, manual full-frame still lenses are definetively a better choice.
Click to expand...

Well put, man. Well Put.

Especially on soft edges and light fall off. Very very very well put!
 
chagchag said:
Academy format is usually matted (letterboxed) in the cinema-projector to display the correct aspect ratio (like 1,85:1). When we shoot with our 16:9 videocameras, we allready have the format we want (unless we further letterbox to 2,35:1 etc)

Using a 35mm adaptere we usually aim to get shallow depth of field, and by using a bigger area of the diffusion screen we will indeed get a shallower depth of field in regard to the apparent width of the lens.

HOWEVER: Shooting with a zoomfactor similar to academy format have a few advantages, like learning ourselves what lenses to pick in a given situation and still use that knowledge those times that we find ourselves lucky enough to shoot on 35mm film.

Also Iif our shots are beeing used in comp/3d/tracking etc in post the VFX/Comp artists need to know what lenses we shot on, and if we shoot formats different than standard ones (like 2/3", 35mm academy, anamorphic etc) that 20mm lens you used will not carry the characteristics that the post-artist would expect and make his/her job a whole lot more difficult.

As a bonus, zooming in to an aproxemate academy format we minimize problems with vignetting and unsharp edges...


It is of course very much also a matter of tastes, and ultimately just another tool in our palette.


But all said and done, yes, manual full-frame still lenses are definetively a better choice.
Click to expand...


My god thank you for that! Academy format is like the hidden secret of the adpater area of these boards, few do and those who do don't seen to mention it. How do I zoom in and frame for academy? Because right all this time i've been shooting weird. I zoom in just enough and then when I'm using a 24mm I zoom in more, which pisses me off because it ruins the field of view relative to all the other lenses I'm using.

You know what don't answer here, I'm going to make a separate post for this.
 
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