GEAR
GROUP TEST
shooting stills at high frame rates. However, the refresh rate isn’t quite as seamless as some other stacked- sensor cameras. Nikon believes its stacked sensor is so fast that the Z 9 doesn’t need a mechanical shutter at all, though it does have a mechanical ‘gate’ to protect the sensor when changing lenses. While electronic shutters can cause bendy vertical lines due to rolling shutter, especially during fast pans, the Z 9 eliminates this issue – it’s as good as anything we’ve tested. The camera can record 120fps in short bursts from the full sensor, but these are reduced to 11 megapixels. More realistic is 30fps for full-size files, but this is restricted to JPEG only. For Raw files, it’s 20fps max. Even during video recording, the AF is great, and firmware upgrades have made it even better since launch. The touchscreen enables touch-to-focus, which performs well, and the AF is sticky enough to stay locked on to subjects without jittering or hunting for focus. The video spec is impressive, with 4K oversampled from the full 8K readout for amazing quality. It records internally in 4:2:2 10-bit N-Log for maximum dynamic range. Colours look organic, with great skin tones and solid high-ISO performance. But with a native ISO of 800 in N-Log, some denoising is needed, and it’s not the best for recovering shadow details. Perhaps best of all for certain filmmakers is that the camera can
record internally in 10-bit ProRes HQ, as well as 8K/60p 12-bit ProRes Raw and 12-bit Nikon Raw. Nikon previously challenged Red over its monopoly on internal compressed Raw files – now, with Nikon owning Red, that’s no longer an issue. Nikon’s Z 9 is the perfect tool for pro photographers, filmmakers and everyone in between. It offers high resolution, fast speed, excellent AF and internal Raw video, all at a lower price than its rivals.
DUST UP Like the Sony A1 II, the Nikon Z 9 offers fast speed plus high resolution in stills and video. It’s a great all-rounder
THE VERDICT
TIPA RATING Video image quality: 84 Photo image quality: 75
Although the slimmed-down Z 8 is a better design for true filmmakers, especially on a gimbal, the Z 9 is by far the best Nikon camera for those who want to shoot both stills and video. It’s a versatile tool that truly does it all – as long as you don’t mind the larger body style. Nikon’s fast-growing arsenal of native Z mount lenses, available in various prices and styles, is a massive advantage. Using adapters, you can fit F mount, Arri PL and even Sony lenses. Unlike Canon, which restricts third-party lens brands from using its RF mount, Nikon welcomes all, which expands your options. The Z 9 is the camera that put Nikon back on the map, and its TIPA test ratings of 75 for stills quality and 84 for video prove it worthy.
HOW IT RATES Features: 9 Incredible video and stills spec Performance: 9 Fast stills, high-res stills and video, high frame rates, great AF Handling: 9 If you like a pro DSLR-style body, you will love it Value for money: 9 Cheapest of the bunch and you get so much! PRO MOVIEMAKER OVERALL RATING: 9/10 If you want a mirrorless body for fast, high-res stills and 8K video, it’s a stunner Pros: Amazing video and stills options Cons: No 240fps slow motion, no front tally light That leaves the Canon EOS R1, a camera that’s much better than its spec might suggest. Yes, it shoots Raw video internally and has incredible AF, but its low resolution means you’ll need another camera if you want to shoot super-high-res stills or video. Canon also has that in the EOS R5 Mark II. Overall, it comes down to what you use your camera for and if you are already wedded to a system in terms of lenses and accessories. Apart from the global shutter of the A9 III, which makes sense for a small group of focused sports or hardcore flash users, it makes more sense to stick with the brand you are already invested in as they all have different solutions. It’s a great time to be in the market for a camera, and these four all offer something amazing.
More information
nikon.co.uk
PRO MOVIEMAKER OVERALL VERDICT
who need it. The A1 II and A9 III have grown slightly in size compared to their predecessors, though. Sony also goes a different way in making its A1 II the ultimate do-it-all camera. It’s fast enough for sports stills or video, and high-res enough for studio stills work and 8K video. If your work is a real mix, and you use Sony glass, this is the camera for you. But if you’re serious about sports, the A9 III offers a global shutter, although it comes with a lower resolution and isn’t as good in low light. Meanwhile, Nikon’s Z 9 mixes the integrated grip style with the same ethos as the Sony A1 series – a true do- everything camera that also comes with internal Raw. Performance is similar to the Sony A1 II in many ways, just falling a tad behind in image quality and AF.
One of the most interesting things about testing four of the best full-frame mirrorless cameras is not how similar they are in performance, but how their manufacturers have chosen to do things quite differently. Sony is wedded to its smaller-is- best strategy, with none of its cameras – including the A1 II and A9 III – going for large body styles. Yet both Canon and Nikon have chosen to build big-boy bodies that offer ergonomic advantages. These have been honed for decades, and perhaps these brands expect audiences to demand a DSLR-type body. For Sony, a relatively new player in the professional camera market, the compact form factor makes more sense, especially for video use, with the option of an additional battery grip for those
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