Nikon ZR Review A Cinema Powerhouse for Content Creators Video used to be an afterthought for Nikon, but that changed after the company purchased RED last year. The new Nikon ZR is the clearest signal of that shift. Priced at $2,200, this full-frame mirrorless camera is designed to compete with dedicated cinema cameras for a fraction of the price. It is the first consumer camera to capture video using REDs 12-bit RAW format, but unlike REDs Hollywood cameras, it includes a fast and accurate autofocus system. It also features a massive display, professional monitoring tools, in-body stabilization, and 32-bit float internal audio recording. After testing it on a short film, the ZR delivers incredible video quality for its price. Body and Handling The ZR feels solid with a boxy design similar to Sonys FX2, but with a much smaller grip as it is intended to be rigged with cages and handles. A notable drawback is that it has only one bottom-mounted 1/4-inch thread for such rigging. It lacks an electronic viewfinder, but compensates with a huge 4-inch display, the largest on any mirrorless camera. It is bright, sharp, and flips out, making it an excellent primary screen for image checking and camera control. Handling is excellent. It features two shooting dials for exposure, a joystick for autofocus, a camera/video switch, two record buttons, and five customizable buttons. The menu system requires a press for the quick menu and a hold for the full menu, so users should customize controls to avoid navigating dense menus while shooting. Storage involves a single fast CFexpress slot for RAW video and a microSD slot for proxies. The lack of a second high-speed slot for backup is not ideal for professionals. Battery life is mediocre, offering about 90 minutes of HD video per charge, so having spares is recommended for long shoots. Video Capabilities The ZR boasts an extensive selection of RAW video settings. The highlight is REDs RAW R3D NE light codec with REDs Log3G10 log format. It also supports Nikons N-RAW, ProRes, and H.265, with resolutions from 6K at 60 fps to 4K 120 fps and 1080p at 240 fps. It can record 6K RAW continuously for 125 minutes without overheating. The 24MP sensor uses a dual ISO system with native 800 and 6,400 ISOs, suitable for various lighting. Nikon claims over 15 stops of dynamic range. Other key features include five-axis in-body stabilization, waveform and vectorscope monitoring, and a false color display for focus. Testing involved shooting a short film in mixed lighting conditions. Shooting in R3D RAW provided outstanding quality with minimal noise in shadows and great latitude to recover detail in highlights and shadows. For scenes with changing light, Nikons N-RAW with auto-exposure performed well without noticeable jumps. The autofocus system is the best from Nikon, reliably tracking moving subjects. Manual focus is also well-supported by the large display and focus peaking. However, the in-body stabilization, while present, was not as effective as some competitors for very shaky handheld movements like running; a gimbal is still recommended for such shots. The 32-bit float internal audio recording is a major plus, preventing clipping with external microphones. The built-in mics offer directional capture but are not suitable for production-quality audio. Wrap-Up With the ZR, Nikon shows it is catching up and surpassing rivals in content creation. It is versatile and powerful for social media, YouTube, documentaries, or film, offering video quality that beats cameras double or triple its price. Its main competition includes Sonys $2,998 FX2 and Canons $3,899 R5C, which offer viewfinders and, in the R5Cs case, 8K video. Blackmagic Designs Pyxis 6K is another option but has basic autofocus and no in-body stabilization. Compared to these, the Nikon ZR delivers superior dynamic range via REDs R3D codec, an excellent autofocus system, and decent stabilization. For creators seeking the best video quality for the money without sacrificing modern conveniences, the Nikon ZR is a highly compelling choice.
