Video used to be an afterthought for Nikon, but since the company purchased RED last year, content creators are now high on its priority list. A perfect example of that is Nikon’s new $2,200 ZR: a full-frame mirrorless model that stands up against dedicated cinema cameras for a fraction of the price.
It’s the first consumer camera to capture video using RED’s 12-bit RAW format, but unlike RED’s Hollywood cameras, it has a fast and accurate autofocus system. It also comes with a huge display, pro video monitoring tools, in-body stabilization and 32-bit float internal audio recording. After shooting a short film that tested its capabilities, I can confirm that the Nikon ZR offers incredible video quality at this price.
Body and handling
While a bit lighter than Nikon’s Z6 III, the 1.19-pound (540-gram) ZR feels solid. It has a boxy design like Sony’s FX2 but a much smaller grip because it’s designed to be rigged up for cinema shooting with cages and handles. However, unlike the FX2 which has multiple 1/4-inch mounting threads to do such rigging, the ZR unfortunately has only one of those on the bottom.
The ZR also lacks an electronic viewfinder like the FX2, but it more than makes up for that with its huge 4-inch display — the largest I’ve ever seen on a mirrorless camera. At 1,000 nits, it’s bright enough to shoot on sunny days, extremely sharp (3.07 million dots) and flips out for vloggers. All of that makes it a perfect primary display for checking the image and controlling the camera.
Nikon has nailed the ZR’s handling, too. While it’s not covered with buttons and dials like some models, it does have two shooting dials to control exposure and a joystick for autofocus. There’s also a camera/video switch, two record buttons, a power switch and five customizable buttons. Many of Nikon’s lenses come with control rings as well, so extra manual control is available.
The menu button is unusual: you press once for the quick menu and hold to see the full menu. Given the large number of settings, I would advise anyone buying this camera to learn all the important adjustments, then customize the controls to avoid wading through dense menus while shooting.
Another unique feature is in the battery compartment. There’s a single fast CFexpress slot to handle RAW video, plus a microSD slot for proxies. The lack of a second CFexpress slot or fast SD card slot for backup isn’t ideal for a professional camera, though.
Finally, the ZR runs on the same N‑EL15c batteries as other Nikon mirrorless cameras. They allow 90 minutes of HD shooting on a charge, or 390 photos per CIPA standards. That’s mediocre, so if you’re planning long shoots, stock up on batteries.
Video
The Nikon ZR has the largest selection of RAW video settings I’ve seen. The centerpiece is RED’s RAW R3D NE light codec (designed by RED for Nikon) with RED’s Log3G10 log format. It also supports Nikon’s N-RAW, ProRes/ProRes RAW and H.265 with resolution that ranges from 6K at up to 60 fps to 4K 120 fps and 1080p at 240 fps. Despite the smallish body, it can capture 6K RAW video continuously for 125 minutes without overheating.
The 24MP sensor uses a dual ISO system with native 800 and 6,400 ISOs, providing a nice range for indoor and outdoor shooting. The company claims 15+ stops of dynamic range, which is more than just about any other mirrorless camera. Other key video features include five-axis in-body stabilization with seven stops of shake reduction, waveform and vectorscope monitoring and a false color display for manual focus.
To test the camera’s features and video quality, I shot a short film in a mix of indoor low light, outdoor daytime and a mix between the two. I also shot handheld (including running with it) to test the stabilization. I primarily captured in R3D RAW, as well as Nikon’s N-RAW at the native 800 and 6,400 ISOs to maximize dynamic range. (You can take 24MP photos with this camera, but I’m focusing on video as it’s mainly designed for that.)
In order to not see a flat log profile when shooting, you’ll need to apply a look-up table (LUT) designed for RED cameras, like "Achromic," "Bleach" or "Caustic." Those are only for in-camera previews and not baked into the video, but you can apply those LUTs later in Adobe Premiere or DaVinci Resolve to get the same look.
With such a high native ISO, I was able to shoot inside with a single studio light. Video quality was outstanding with little noise in shadow regions, even after boosting black levels in post. Meanwhile, the RED R3D codec and Log3G10 gave me extra latitude to reveal shadow detail and dial down highlights when I shot the subject against a bright window.
When you use the R3D codec, exposure is strictly manual with no ability to set auto shutter speed (shutter angle) or f-stop. So, for a scene with varying light, I used Nikon’s N-RAW to see if it would give me the correct exposure at the beginning and end of the scene. It did a good job, with no noticeable jumps during the shot.
Video in sunlight at ISO 800 was also sharp with accurate colors after downscaling to 4K from 6K in DaVinci Resolve. ISO 800 is a relatively high native setting, though, and the ZR doesn’t have a built-in ND filter to reduce exposure. That means you’ll need to buy ND filters for outside shooting or the high shutter speeds will result in choppy video.
Cinema cameras from Blackmagic Design, Arri or RED are manual-focus only. But the ZR is a Nikon camera, and it has the best AF system I’ve seen on any of the company’s models, consistently nailing focus even with moving subjects. You can also automatically track vehicles, birds and other animals. At the same time, the ZR handles manual focus well. That’s thanks to a built-in display that’s big enough to check focus accurately and Nikon’s focus peaking setting with three levels of sensitivity.
In-body stabilization on the ZR wasn’t up to par with Panasonic’s S1 II, however. Video was smooth for handheld shooting if I panned the camera gently, but all my running and walking shots showed noticeable camera shake. That said, the ZR at least has in-body stabilization, unlike most cinema cameras, and most filmmakers will use a gimbal for running shots, regardless of which camera they use. (Note that the rattling you hear when the ZR is turned off is the sensor, which floats by design.)
Finally, I was able to capture good audio quality via an external microphone without any clipping worries thanks to the Nikon ZR’s 32-bit float internal audio capture. The company also touts directional capture using its built-in mics, but as with any such system, audio quality isn’t high enough for production use.
Wrap-up
With the ZR, Nikon has shown that it’s finally catching up to and even surpassing its rivals for content creation. Whether you’re doing social media, YouTube, documentaries or even film production, this camera is versatile and powerful with few compromises. Video quality and ease of use even beats models that are double or triple the price.
The ZR’s primary competition is in the low-end cinema cameras, particularly Sony’s $2,998 FX2 and the $3,899 Canon R5C. While more expensive, both come with an electronic viewfinder that the ZR lacks, and the R5C can shoot up to 8K video. Another option is Blackmagic Design’s Pyxis 6K camera, but it only offers basic autofocus capabilities and lacks in-body stabilization.
Compared to those options, Nikon’s ZR delivers better dynamic range thanks to the inclusion of RED’s R3D RAW codec. It also comes with an excellent autofocus system and decent in-body stabilization. If you’re a creator looking to get the best video quality for the money without losing those niceties, I’d highly recommend the ZR.
This article originally appeared on Engadget at https://www.engadget.com/cameras/nikon-zr-review-a-highly-capable-cinema-camera-at-a-reasonable-price-152634311.html?src=rss
