GEAR NIKON ZR
only have one Red Raw format or have to either switch to one of the two quality levels of Nikon Raw or go to ProRes, which are all 12-bit only. Either way, this isn’t a significant complaint: any Raw shot internally is a boost. All three create incredible files with lots of headroom to grade to your heart’s content. The file sizes are big, of course, and Raw files do require an extra step in post, but the rewards are great. Dynamic range is simply staggering, the dual ISO controls noise well and the rolling shutter is excellent. There are no nasty skewed verticals to fear, unless you really provoke the baby Nikon. If you want top-quality 4K, shoot in 6K and then drop it into a 4K timeline in post for the best results. That gives better quality than shooting in 4K. There are higher frame rate options when in 4K but, if you go to 4K/120p, the 1.5x crop sadly rears its head. For edit-ready codecs, there is also ProRes 422 HQ that offers lots of dynamic range but has some noise reduction that can be a bit too aggressive at times – and the H.265 codec isn’t amazing. The ZR camera offers Raw and works best when shooting it. You owe it to yourself to do just that and take the pain of the file sizes and extra workflow steps in your stride. Shooting high-quality, large-size files usually causes heat issues but, although the ZR has no fan, there were no signs of overheating even
Nikon’s ZR is a bold, successful entrance into the cinema camera arena. For the asking price, the feature set is extraordinary with 6K/60p Raw, a full-frame sensor, Red-compatible workflow, 32-bit audio and a small, portable form with a huge screen. There are some compromises, but these are expected when size and cost are kept down this much compared to premium cinema camera rivals. If you’re shooting narrative, commercial, documentary or indie work where image quality and flexibility matter more than instant turnarounds or superfast frame rates, the ZR is a genuine revelation. For content creators who are aspiring to cinema- style results without the cinema budget, then Nikon has raised the bar. The first in the Z Cinema line delivers with confidence. when we left it running for two hours. That’s when the battery died, which is an excellent performance by itself. Plug in USB-C PD and it’ll keep going. Great features such as this prove that Nikon has a well-developed understanding of what modern filmmakers and content creators really need from a camera. Despite some quirks, it’s hard to believe that this accomplished model is Nikon’s first cinema offering. THE VERDICT
SUPER SCREEN The huge four-inch monitor is very impressive but there’s no EVF
Both Nikon and Canon claim that filmmakers and content creators do not use an EVF any more. Meanwhile Sony has just gone the other way and, for the first time, fitted an EVF to its Cinema Line newbie FX2, while the older FX3 and FX30 don’t have one. But really, this camera is all about shooting incredible video, in the very highest Raw quality that still allows for maximum flexibility in post. And it delivers – with fantastic colours, great skin tones, wide dynamic range and Red’s namesake colour science. The inclusion of R3D NE means matching to larger Red systems is far easier. It also gives great colours as a stand-alone camera. However, there is no choice in Red’s Raw codec as you’re stuck with 12-bit instead of any 14-bit options, and there is no choice of compression levels like in Red’s own cameras. You
RED OFFERS UP A CUT-PRICE V-RAPTOR
For the well-heeled Nikon ZR owner, the ultimate accessory is surely a Red V-Raptor that keeps quality and colour consistently high. The new XE model brings the brand to a wider range of buyers at the more accessible price of £13,800/$14,995, making it the most affordable entry point into Red’s global shutter, large-sensor ecosystem. The XE is a streamlined version of the flagship V-Raptor X with the same 8K VV global shutter sensor. This gives incredible dynamic range, low-light performance and Red’s iconic colour science with a choice of Raw codecs. Recording is 8K up to 60fps, 6K at 80fps, 4K at 120fps and 2K at 240fps. And, with the global shutter, there are never any skewed vertical lines. The XE is available in Nikon Z mounts, although you can also buy a Canon RF-fit version and it remains compatible with existing V-Raptor accessories. Red offers a Cine Essentials Pack at £18,372/$19,995 including the XE body, a PL mount with
More information
nikon.co.uk
HOW IT RATES
Features:9 Choice of internal Raw formats, 32-bit audio and great AF Performance: 10 Stunning video quality and colours from Raw files, low noise Handling: 8 The huge screen is impressive but it does cause compromises Value for money: 10 Pro-quality Red-style colour science at prosumer prices OVERALL RATING: 9/10 It’s a stunning debut for Nikon and a great buy Pros: Huge screen, Red Raw files, price, audio Cons: Crop in 4K/120p, lack of mounting holes
electronic ND, Red Touch seven-inch LCD and an outrigger handle. Komodo owners can trade their existing cameras for credit towards an XE or V-Raptor X, or the XE can be upgraded to full V-Raptor X specs. red.com
RED-UCTION IN PRICE The latest XE has a lower spec
but costs a fair bit less
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PRO MOVIEMAKER
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