Nikons & Nikkors In The Movies

[John Geerts]

Another Swedish movie     A rather strange and violent 'Revenge-Movie':  'Thriller, en grym Film' (Thriller A Cruel Story, 1973) by the Swedish director Bo Vibenius (also the assistant director in Bergman's Persona). Quention Tarantion remarked "The roughest revenge movie ever made".  One of those 'weird' films from the early seventies breaking all existing film conventions.  Swedish censorship banned the film in April 4, 1973.

Took some screenshots from the DVD.

[Bjørn Rørslett]

Surely, it takes more than showing off a half naked female to get censored?

Again, the actor is clearly not comfortable with handling the camera.

[John Geerts]

Yes, it gets even worse. He uses the motor drive and comes closer without focussing    Too embarrassing to take a screenshot.

[Gary]

Spy Game

[richardHaw]

200mm f/4 Ai-S. 

[richardHaw]

Macgyver

he is smart and a personal favourite of mine a long time ago, but with all his intelligence, he forgot to leave the duct tape off of the focusing ring

[Bjørn Rørslett]

A fix-focus rig.

[RonVol]

In the 1994 movie 'Clear & Present Danger'; a digital camera is used..............where a Nikon F90/N90 film camera is attached to a Kodak digital back and branded the Kodak DCS-420.
The way the set up is shown in the scene suggests that some sort of 'live-view' is taking place. I'm not sure if such an early digital camera was capable of this feature.
The image shown on the monitor appears to be infrared, there was a version of the DCS-420 that was specifically sold as an infrared camera.
Attached to the Nikon body is a Relfex-Nikkor 500mm.

This is the earliest movie that I know of which shows a digital SLR being used.

[Mongo]

along the themes of Nikons/nikkors used in movie making, one of the most famous and rarest of nikkors (the 300mm f2), was used in cinematography in the early 1990's.

[Bjørn Rørslett]

Famous it may be, but not very rare as  over 400 units were made.

I had one of them for some years. Very heavy beast and not very practical to carry into the wild for sure. I finally sold it off, but kept the special edition TC-14C that came with it as it could do duty on my 200/2.

[Mongo]

True Bjorn but 400 is still a very small number in runs of sometimes many thousands. Plus, some 35 years later there may be much less than 400 now.

The T2.2 version of this lens which was also used for this purpose had a production of a little over 20 units at the time. Who knows how few of these are now left in good working order.

[richardHaw]

True Bjorn but 400 is still a very small number in runs of sometimes many thousands. Plus, some 35 years later there may be much less than 400 now.

The T2.2 version of this lens which was also used for this purpose had a production of a little over 20 units at the time. Who knows how few of these are now left in good working order.

don't get to see these very much

[Bjørn Rørslett]

I know personally of at least two samples of 300/2, four of the 200-400/4 ED, and one example of the 6/5.6, to name but a few lenses made in less than 500 units.

[Mongo]

I know personally of at least two samples of 300/2, four of the 200-400/4 ED, and one example of the 6/5.6, to name but a few lenses made in less than 500 units.

Yes, again, no doubt true but the point being discussed  is the Nikon lens or cameras used in movies or movie making. Mongo is unaware of any  200-400 mm and 6mm used for this purpose notwithstanding that relatively very few were made. It may be easier if Mongo's original post is read  by omitting the words "and rarest of ".  What is rare is a relative and sometimes subjective thing and for the present purposes is not directly relavant in any event. So,  whether or not it is rare is best abandoned for the present.

[richardHaw]

george miller used a D800 as scout camera on location.

the madmax seris is so special to me, that until this day and at my age, i still wear a mohawk