These are the best Nikon lenses for video, chosen for how they deliver quiet, confident autofocus, minimal focus breathing, smooth exposure control, reliable stabilization, and weather-ready handling—mixing sharp S-line zooms/primes in Z-mount with budget standouts, adaptable F-mount classics via FTZ, and a few native-Z cine/anamorphic options. Video is about steadiness and control: parfocal-like zoom behavior (or close to it), consistent color across lenses, focus rings you can pull by feel, and optics whose rendering stays calm under mixed light; pair lens VR with IBIS, assign the Z control ring to aperture/ISO/ISO fine-tune, and keep rigs light for gimbals. Start with the NIKKOR Z 24–70mm f/2.8 S as the run-and-gun spine—prime-like sharpness, very low breathing, close focus for cutaways, smooth fly-by-wire MF, and silent AF—then add the Z 70–200mm f/2.8 S for interviews, stage, compressed b-roll, and sports cut-ins (takes Z 1.4×/2.0× TCs cleanly with restrained breathing); the Z 24–120mm f/4 S is a superb one-lens doc/travel option with consistent color and honest geometry, while the compact Z 28–75mm f/2.8 and Z 17–28mm f/2.8 form a lightweight, gimbal-friendly duo from interiors to night streets; for ultrawide establishing shots and astro/time-lapse, the Z 14–24mm f/2.8 S brings flagship sharpness, controlled flare, and rear-gel options. Prime anchors with cinematic falloff and quiet motors include the Z 20mm/24mm/35mm/50mm f/1.8 S set (neutral color, tidy flare, gentle bokeh) and upgrades like the Z 50mm f/1.2 S and Z 85mm f/1.2 S when you need luxurious separation with sticky AF; the Z 85mm f/1.8 S remains the featherweight interview hero, and the Z 135mm f/1.8 S Plena gives long, cat’s-eye-free compression that grades beautifully. Macro detail for product/food/beauty belongs to the NIKKOR Z MC 105mm f/2.8 VR S—flat field, near-APO control, quiet AF with limiter, and polished bokeh—while the tiny Z MC 50mm f/2.8 covers overheads and tight tabletops. For wildlife, events, and travel reach, the Z 100–400mm f/4.5–5.6 S focuses fast with excellent close-focus for “compressed macro,” and the Z 180–600mm f/5.6–6.3 adds internal-zoom balance that behaves predictably on monopods and shoulder rigs; the Z 70–180mm f/2.8 is a light, budget-friendly tele with pleasing rendering. DX shooters get a gift in the NIKKOR Z DX 12–28mm f/3.5–5.6 PZ VR—true power-zoom for smooth, speed-controlled pulls on gimbals—backed by the tiny Z DX 16–50mm VR and Z DX 50–250mm VR for stabilized coverage; the Z DX 24mm f/1.7 handles low-light interviews, and Viltrox 23/33/56mm f/1.4 Z add quiet, fast primes on a budget. Via FTZ, F-mount workhorses stay relevant: AF-S 24–70mm f/2.8G/E and 70–200mm f/2.8G/FL for classic two-zoom storytelling, AF-S 16–35mm f/4G VR for filter-friendly wides, AF-S 35/50/85mm f/1.8G for small, neutral primes, and AF-S Micro 105mm f/2.8G VR for detail; third-party F-mount zooms (Sigma/Tamron 24–70/2.8, 70–200/2.8) adapt well with quiet AF. Native-Z cine and creative looks are growing: Meike FF-Prime (T2.1) and APS-C lines in Z-mount offer geared rings and consistent T-stops, while Sirui/Z-mount anamorphics (1.33×/1.6×) and Laowa Nanomorphs bring cinematic squeeze and characteristic flares in compact barrels; for super-macro B-roll, Laowa 90mm/100mm 2× Ultra Macro APO (Z) and the Laowa 24mm Probe (F/Z) create unique perspectives without breathing drama. What makes these “best” for video: quiet STM/linear-feel MF, low focus breathing (S-line excels), restrained LoCA so speculars don’t fringe, coated optics that keep contrast under backlights and LEDs, smooth aperture changes via body or control ring, and VR/IBIS synergy for handheld drift; internal-zoom options balance rigs better, and consistent color across S-line cuts simplifies grading. Technique turns glass into cinematic results—follow a 180° shutter (1/50–1/125 depending on frame rate), set AF speed/sensitivity for subject and scene, use subject-detect AF for faces but switch to manual with peaking for repeatable racks, keep a good variable ND (or matte box) to hold aperture, standardize filter sizes with step-ups, and use breathing compensation if your body supports it; balance gimbals with mid-range zooms that don’t extend wildly, stabilize longer lenses on a monopod, and record scratch + dual-system audio to keep AF noise invisible. Practical kit recipes are simple: run-and-gun spine—Z 24–70/2.8 S + Z 70–200/2.8 S with MC 105/2.8 S for detail; lightweight f/2.8 duo—Z 17–28/2.8 + Z 28–75/2.8 and a fast 50/1.8 S for night; doc/travel—Z 24–120/4 S plus Z 100–400 S for reach, with 20/1.8 S in pocket; gimbal set—DX 12–28 PZ VR (or FX 20/1.8 S/24/1.8 S) and 28–60/4–5.6 for tiny rigs; cine look—Meike T2.1 Z-primes (24/35/50/85) or Sirui/Laowa anamorphics for stylized projects; FTZ value—AF-S 24–70/2.8 + 70–200/2.8 with 35/1.8G and Micro 105/2.8G. Whether you’re filming weddings and docs, commercial b-roll and interviews, travel reels and city nights, or wildlife sequences on a monopod, the best Nikon video lenses deliver quiet, controllable focus, low breathing, consistent color, and stabilized, weather-tough handling that make footage look polished, intentional, and cinematic straight out of camera.