Get started with video using the NIKKOR Z 24-70mm f/2.8 S II

Known for working in extreme landscapes and fast-changing environments, Norris was the perfect choice to put the new NIKKOR Z 24-70mm f/2.8 S II through its paces, testing it across a winter-gripped Iceland, including filming a snow-swept sequence atop Siglufjörður’s Mount Strákar. Here, he shares practical set-up tips for photographers ready to make the move into motion and explains why the new zoom is an ideal lens to start with.

Step 1: Pack and prep

“Every gram counts when you go up mountains, so the NIKKOR Z 24-70mm f/2.8 S II being lighter than the older model makes a big difference,” says Norris. “It’s insanely sharp, its constant f/2.8 is great for low light and creates foreground blur and background bokeh, which is great for isolating the subject, plus its wide focal range is perfect for filmmakers. You can record people between 50-70mm, landscapes at 24mm, as well as interiors and details. In fact, the close focusing was one of the biggest surprises for me. Also, if you film in 6K or 8K, you can crop in and not lose the quality. I’ll also pack my Z6III, a variable ND filter, usually an on-camera directional shotgun mic for sound, and if I’m filming a lot of low angles, a camera cage for spicing up the perspective and sometimes a tripod or gimbal.

“Before heading out, always have a vision and make a plan. Start with a simple storyboard and scene list. Conditions will change, plans will shift, but having a framework means you know how to steer in the right direction. Going out with no plan is like throwing ingredients at a wall and hoping it turns into a great dish.”

Step 2: The set-up

“To start with, treat video exactly as you would photography,” Norris advises. “But instead of freezing a moment, you want to absorb a few seconds of it. And if you can use what you already know about composition and exposure, you can make things look good very quickly. Calm, static, longer clips are actually one of the easiest and most effective ways to start with video, so simply put the camera on a tripod or keep it as still as you can, and record five seconds.

“When you’re ready to progress to the next level, there are a few other things to think about. First, film in N-Log. It will change your life. It’s like going from photographing jpeg to RAW but in the video world. You get a lot more creative input and range to play with. Next, think about frame rate. I almost always use 24fps, which gives a nice natural motion blur, or 50-60fps when I want slow motion or smoother footage with less shake. I personally find 120fps way too slow and a bit boring when it’s overdone, which is easy to do.

“White Balance is something I try to get right before I hit record. Even when filming in N-Log, White Balance is baked into video and isn’t as flexible as RAW photos, so it’s best not to rely on fixing it later. One of the biggest problems in video is clips shifting White Balance mid-take. To avoid that, I lock my White Balance manually rather than leaving it on auto.

“The rule for shutter speed is to always double the frame rate, unless it has to be pushed up to get the right exposure in extreme cases, or when I forget the ND filter. Don’t panic if you don’t get it right at first – you can actually get away with quite a lot in editing.”

Step 3: Framing and focus breathing

“I like to think in wide scenes and tight scenes, filming wide at 24mm to establish the scene, then zooming in or moving closer for a tighter frame,” says Norris. “The two cut together really well, and now you’re building a sequence. At 24mm, footage can feel very natural which can be a good thing. But as soon as you zoom in towards 50-70mm, you start to see more of that cinematic look.

“If there are a lot of things moving or going on in a scene, it’s best to restrain the autofocus to a small horizontal or vertical strip, which you can do using (Custom) Wide Area Focus, so it doesn’t wander. What stood out with this lens was how well it eliminated focus breathing, which gives video a much more premium feel. Focus breathing is that slight zooming effect you often notice on older or cheaper lenses and cameras when they try to refocus, and once you see it, you can’t unsee it.

“If I’m using a tripod, I’ll often switch to manual focus, especially for scenes with movement, because it allows you to stay in control and make the scene feel clean and intentional. You can also introduce controlled movement, like a slow zoom or a gentle pan. To be honest though, I rarely bring a tripod because of the weight, so I often end up balancing my camera on snow, rocks, or whatever surface I can find. That said, filming handheld with this lens feels well balanced and smooth, with the internal zoom making all the difference, because the barrel doesn’t extend and throw the balance off. And know that not everything needs to be perfectly smooth. Rough, handheld footage is great when used in the right context.”

Step 4: Tried and tested techniques

“I like to start with calm, steady scenes and only introduce movement when it adds something extra,” explains Norris. “That might be following a strong leading line, tracking a person or car, or reacting to natural movement in the landscape. Even a locked-off scene can feel dynamic with a slow pan or a gentle zoom.

“You can add tension by playing with frame rates, for example, recording at higher frame rates, around 50 or 60fps, is great for slow motion or for smoothing out movement when walking or panning. It also helps reduce shakiness and gives footage a more controlled feel. While filming at standard frame rates, around 24, 25 or 30fps, is perfect for moving naturally on foot and can add energy and realism when the moment calls for it.

“When you’re building sequences in editing, use a mix of static scenes and those with a little movement, and don’t be afraid to play around with timing, scene order and adding small story beats. A video is never really finished but, at some point, you just have to export it.”

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