GEAR NIKON ZR
The theory behind 32-bit float is that you can record audio without clipping and simply tweak the levels in post. This is a massive advantage for interview, run-and-gun and hybrid creators, helping minimise sudden noises such as when speakers start to shout or whisper – and it works. It’s a thing of wonder to hear in action. One day all cameras will have this. The new digital hotshoe accepts both Nikon’s ME-D10 digital shotgun mic and the Tascam adapter, which allows you to plug in XLR mics. As a clever nod to vloggers, the ZR has advanced built-in mics that can record different sound patterns from around the camera. Content creators will like it, although external mics are the way to go for more serious audio. The ZR offers five-axis in-body image stabilisation. It’s decent but not as good as rival options. It’s very good at mimicking a tripod shot when handheld, but add in walking or some other movement and it’s not the best.
While the camera offers great filmmaking features like a tally light, waveform monitoring and the ability to set shutter angle rather than speed, the implementation of some settings isn’t perfect. After setting shutter angle, it would be good to be able to change ISO quickly with the control dial, but that process is involved, requiring menu digging and custom buttons, of which there aren’t many. At least the menus are intuitive. Another problem is that, while you can custom-load LUTs, these only seem to work on Red Raw files rather than NRAW or ProRes Raw files. Some of these gripes could be tweaked by firmware, but others are a natural byproduct of squeezing a huge screen into a tiny, lightweight camera. Audio, however, is one area where the ZR truly shines. It is the very first cinema camera to support internal 32-bit float audio with built-in mics, plug-in 3.5mm mics and through the digital hotshoe.
What is excellent is Nikon’s subject detection AF, especially in planned shots of chaotic handheld sport. You can set a subject – people, animals, birds, vehicles or planes – or leave it to auto and the camera does a pretty good job of working it out itself. The AF is also fantastic at shooting stills, as it has the same spec as the Z 6III but without the stills-focused ergonomics or any viewfinder.
SENSOR’S WORKING OVERTIME
The Red-tuned CMOS handles Raw codecs up to 6K
POWER ZOOM IS THE CINE STAR OF Z MOUNT RANGE
Zoom control includes ease-in and ease-out, which negates the need for an external motorised zoom unit. There are 11 different levels of zoom speed that can be assigned to the lever on the lens. It also offers position record and recall, linear manual focusing and the ability to reverse the direction of the focus and zoom rings. The lens is sealed against both dust and moisture and can even be controlled remotely too. A special coating counters ghosting and flare, focus breathing is quite well suppressed and, with a minimum focus distance of 34cm/13.4in from 28mm to 50mm and 57cm/22.4in at 135mm, it is also good at getting in close. Event shooters and documentary makers will fall in love with this stunning, affordable, do-it-all lens. The focus ring has a 0.8M gear pitch for standard follow focus units. And, when in autofocus mode, Nikon’s stepping motor operates very quickly and quietly. At the front of the lens is a rectangular hood with a filter window for adjusting 95mm filters while the hood is attached. Although the hood is massive, it does an excellent job of fending off flare. Even when it is removed and you are shooting into the sun to provoke some flaring, it’s still well controlled and pleasing. As a lens to match the ZR camera, the sheer size of the 28-135mm could be described as overkill. Optically speaking, however, it is a great performer and the price is respectable too.
One of the big advantages of the ZR is the Nikon Z mount, the largest of all current mounts with the shortest flange distance. This means that it accepts Nikon Z mount lenses, as well as legacy Nikon F mount and all third-party glass via adapters. With some adapters, it even retains autofocus despite the glass being from rival brands. While Nikon’s Z mount range keeps on growing, the lenses are stills biased. There is currently only one dedicated Z mount cinema lens. The Nikon 28-135mm f/4 PZ is built to resolve 8K footage and is light enough to shoot handheld. This £2499/$2797 lens is ideal to use with the latest Z mount Red cameras, as well as full-frame Nikon Zs such as the Z 9 and the Z 8.
It’s not a true cinema lens with full, all- manual mechanical control but a hybrid, with autofocus and a servo zoom. It has a gimbal-friendly weight of just 1210g/2.67lb including the tripod collar.
FLARE ENOUGH The 28-135mm is ideal for Nikon Z or Red cameras and handles flare decently when provoked
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