@photonewspn | photographynews.co.uk
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TESTED: NIKON ZR Zed’s not dead, baby £2199 nikon.co.uk Nikon strikes down with great vengeance on anyone predicting its demise in the creator market with its spec-packed ZR that uses know-how from cinema giant Red
Specifications
Sensor 35.9x23.9mm full-frame CMOS, 24.5 megapixels Storage 1x CFexpress Type B, 1x micro SD Shutter Electronic rolling, 900secs to 1/16,000sec Drive modes Up to 20fps ISO 100 to 64,000 (50 to 204,800 extended), dual base ISO at 800 and 6400 Lens mount Nikon Z Still image formats Raw, JPEG, HEIF Video formats 12-bit ProRes Raw 6K to 30p, DCI 4K to 120p, 4K to 60p. 12- bit Redcode Raw 6K to 60p, DCI 4K to 120p, 4K to 120p. ProRes 422 HQ 4:2:2 10-bit 5.3K to 30p, 4K to 120p, HD to 240p. H.265 8/10-bit 5.3K to 30p, 4K to 60p, HD to 120p Video output 4K via micro HDMI Dynamic range 15+ stops Autofocus Phase detection AF, 273 points Image stabilisation Sensor shift Connectivity Micro HDMI, USB-C, 3.5mm headphone socket and mic in, smart shoe Screen 4in articulating touchscreen, 3.07m dots, 1000 nits Viewfinder No Audio 32-bit float, 24-bit, five audio pickup patterns Audio I/0 3.5mm headphone socket and mic in, intelligent hotshoe Dimensions (wxhxd) 133x80.5x48.7mm Weight 540g
It wasn’t long ago that the long- term future for Nikon looked
The ZR may be Nikon’s first cinema-branded camera, but it’s just as interesting for photographers and hybrid creators. Based on a reworked 24.5-megapixel semi-stacked full-frame sensor derived from the Z 6III, the camera offers great stills performance alongside headline-grabbing video specification – including internal Raw recording and Red colour science – at an almost disruptive price. That Red name is a big part of the buzz. Nikon’s subsidiary has helped re- engineer the sensor for dual base ISOs of 800 and 6400, delivering 15+ stops of dynamic range. The ZR records internal 12-bit Raw video in Red’s new R3D NE, Nikon NRAW and Apple ProRes Raw. For maximum flexibility in post, this is a serious advantage. What’s more, for the image makers among you who shoot motion alongside their stills, the ZR offers high- resolution photography, high-quality Raw video and professional audio capture without external recorders or accessories. It weighs just 540g body only, is fully weather sealed and costs £2199, which makes it one of the lightest and most affordable full-frame cinema-style cameras available. The shooting experience has clearly been designed with the modern creator top of mind. The four-inch, 1000-nit
bleak, with underwhelming mirrorless cameras and nothing to target the fast- expanding world of content creators. But the reports of an early death for Nikon were greatly exaggerated. First came the stunning Z 9 and Z 8 cameras, then the takeover of top-end cinema brand Red. It’s taken until now for Nikon to get really serious about the video side of content creation with the ZR. And what a debut it is, sparking genuine excitement across both stills and video communities. Nikon’s ZR may look like a prosumer hybrid, but in reality it’s a bold statement about where modern content creation is heading – and why the lines between photography, video and cinema are blurring faster than ever before.
articulating touchscreen dominates the rear of the camera and is among the best displays Nikon has ever fitted. It’s bright enough for outdoor work, large enough for precise focus and exposure checks, and perfect for solo shooters working without a monitor. Autofocus is another strong point. Borrowed from the Z 6III, Nikon’s subject detection AF works very well for both stills and video, with reliable tracking of people, animals, birds and vehicles. It’s dependable and predictable, even in chaotic scenes.
Stabilisation is solid rather than class-leading. The five-axis in-body stabilisation does a good job of smoothing handheld shots and mimicking a tripod feel, but it’s less effective once walking or more dynamic movement is introduced. Audio is where the ZR sets a new benchmark. It’s the first camera to offer internal 32-bit float audio recording, not just via external inputs but also using the built-in microphones. For creators shooting interviews, events or run-and-gun content, this is
GET THE SHOT The colours are accurate straight out of camera, but with Raw video they can be changed to suit
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