ISSUE 125
52 / GEAR
Verdict
The Nikon ZR is a bold and mature debut. For photographers and content creators who want exceptional image quality, internal Raw video, professional audio and a streamlined, portable set-up, it offers tremendous value. There are compromises in its ergonomics and expandability, but they’re balanced by performance that punches far above its price. Features 24/25 It has the lot, especially in terms of video spec with lots of internal Raw options Handling 21/25 The huge screen is impressive but it does cause compromises; no viewfinder Performance 24/25 Stunning video quality and colours from Raw files plus low noise; great dynamic range Value for money 24/25 Pro-quality Red-style colour science and video with great stills, at prosumer prices Overall rating 93/100 It’s a stunning debut for Nikon and is a great buy for content creators who want amazing video Pros Huge screen, Red Raw video files, price, 32-bit float audio Cons No EVF, crop in 4K/120p video, lack of mounting points deeper into video, and content creators who want cinema-grade quality without cinema complexity or cost, it’s an exciting proposition. Nikon’s first Z Cinema camera feels less like an experiment and more like a blueprint for the hybrid future.
powerful. Levels no longer need to be ridden carefully on location as clipped audio can be corrected in post. Once you use 32-bit float, it’s hard to go back. The digital hotshoe supports Nikon’s ME-D10 digital shotgun mic and Tascam’s XLR adapter, opening the door to professional microphones without bulky audio rigs. Built-in mics can be set to different pickup patterns, which is a thoughtful nod to vloggers and solo shooters who need usable audio straight out of camera. Still photographers will appreciate that the ZR retains strong photography performance, even if it is video-first. But the lack of an electronic viewfinder might divide opinion. Nikon argues that creators no longer use EVFs, while
MULTI TASKING Stills and video from the same camera? No sweat with the new ZR
rivals like Sony have recently reversed that thinking. For photographers used to composing through a viewfinder, this will be the biggest adjustment. Handling is where compromises start to show. The ZR’s compact body has only a single tripod thread and no additional mounting points for cages or accessories. The battery and card slots are housed in a bottom-mounted door, which means swapping either requires removing the camera from a tripod or rig. One card slot supports CFexpress Type B while the other is micro SD, which isn’t fast enough for high-end video formats. This effectively makes this a single-card video camera. Despite these quirks, performance is outstanding. Internal Raw recording
reaches 6K at up to 60p, with 4K up to 120p – albeit with a 1.5x crop. Rolling shutter is well controlled, noise performance is excellent at both base ISOs and colours – especially when shooting R3D NE – are rich. We found that shooting 6K and downsampling to 4K in post delivers noticeably cleaner results than native 4K capture. Heat management is impressive. Despite lacking an internal fan, the ZR showed no signs of overheating during extended shooting sessions. Battery life is strong and USB-C power allows for continuous operation – great for podcasts or long interviews. The ZR isn’t perfect, and it’s not trying to be everything to everyone. But for still photographers stepping
GOLDEN HOUR It might have Red tech inside, but the gold ring is all Nikon. The camera has a large screen and is a new way of working
Power zoom is the new cine star One of the big advantages of the ZR is the Nikon Z mount, which is not only the largest of all the current mounts but has the shortest flange distance. This means 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 is growing, the lenses are stills biased, with currently only one dedicated Z mount cinema lens. It’s the £2499 28-135mm f/4 PZ power zoom that’s built to resolve 8K footage and is light enough to shoot handheld. 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. The lens is sealed against dust and moisture, and it can be controlled remotely, too. A special coating counters ghosting and flare, and focus breathing is well suppressed. With a minimum focus distance of 34cm from 28mm to 50mm, and 57cm at 135mm, it’s also good at getting in close. It’s a stunning do-it-all lens that event shooters and documentary filmmakers will love.
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