It's a busy time for us video enthusiasts. The big brands seem to have all scheduled something for this week.

On September 10th, Nikon presented a new camera exclusively for video. Nikon bought Red a year ago, and this should be the first Nikon camera to incorporate some Red technologies.

Key specs:

• 24.5MP full-frame 'partially Stacked' CMOS sensor

• Nikon Z-mount

• 7.5EV IBIS

• Up to 6K 60p

• R3D (NE) Raw video codec

• 4" 1000 nit display

• CFexpress Type B / microSD

• Autofocus subject detection for people, animals, vehicles and planes

• Internal 32-bit float

• No mechanical shutter

• The ZR will retail for $2199 – $500 cheaper than the Z6III – and will be available starting October 20th.

Legendary RED Color Science, Built-In

The new ZR features a full-frame sensor for excellent depth of field and video quality and supports internal recording up to 12-bit RAW 6K/60p. This is the first camera to use the new 12-bit R3D NE RAW codec, a new RAW format which REDCODE RAW users will find familiar. By leveraging its broad 15+ stop dynamic range, it achieves well-balanced image quality from highlights to shadows. Support for Log3G10 and the REDWideGamutRGB gamut reproduces exposure standards and colors consistent with RED color science, with true RED color tonality, skin tone integrity and tonal roll-off – similar to the output of RED’s cinema cameras such as the V-RAPTOR [X] and KOMODO-X. Two base ISO sensitivities are available, ISO 800 and ISO 6400⁵, allowing users to choose the best option for a particular scene or situation such as bright daylight or low-light interior scenes. However, just like REDCODE RAW, ISO in R3D NE files is fully adjustable in post for maximum flexibility.

Furthermore, users also have the option to shoot in N-RAW, ProRes RAW, and other formats to best suit their production and workflow. The camera also features a new view assist function which allows the user to store and select from up to ten LUTs in the camera. This will let the filmmaker preview the effect of the color grade in real time using the monitor. Three types of LUT data (17-point, 33-point, 65-point⁶) can be loaded into the camera. RED’s Creative LUT Kit is available for free via the RED website here.

The ZR features a new Cinematic video mode, a user preset for those who want to easily enjoy the RED cinematic look with a faster workflow in less data-intensive non-RAW formats. Cinematic mode automatically adjusts the shutter angle to 180 degrees, changes the frame rate to 24 fps, and applies the RED Cine Bias Picture Control for gorgeous yet simple cinematic color. What’s more, nine RED-curated cinematic Picture Controls based on RED creative LUTs will be available for free download via Nikon Imaging Cloud, expanding possibilities for more diverse imaging expression.

Additional Features of the Nikon ZR

• Super lightweight with small footprint at just 1.19 lb. (body only).

• A short 16mm flange focal distance (the shortest among full-frame cameras) offers greater flexibility in the lenses that can be used, allowing filmmakers to make the most of their existing lens assets.

• Slow-motion presets: Instant access to 4K/119.88p¹² and Full HD/239.76p cinematic motion, as well as user modes for 4x and 5x slow-mo.
  
  Price and Availability
  The new Nikon ZR Cinema Camera will be available in late October 2025 for a suggested retail price of $2,199.95* for the body only. Additional kit configurations include: the body with the NIKKOR Z 50mm f/1.8 lens for $2,749.95*, with the NIKKOR Z 35mm f/1.4 for $2,849.95*, or with the NIKKOR Z 24-50mm f/4-6.3 for $2,499.95*.
  
  https://www.nikonusa.com/press-room/zr

IMHO this is a Frankenstein camera.

Nikon chose to start with a low-level camera, and according to many reviewers, with whom I agree, this isn't a Cinema camera but more of a v-logging oriented camera. Its natural competitor is the Sony ZV-E10s, which beats it in every respect.

A Cinema camera is a whole other story. You have to have function buttons for everything, while this one seems like a point & shoot camera. Also, you have to remove the battery to change the card, and the door is under the camera, so if you're on a tripod, forget it!

The almost complete lack of function buttons is the main reason I see its use in an underwater housing as very problematic. The shutter button is a single one and includes the autofocus. Hmmm.

From the tests, it seems to excel only when shooting in RedCode. All the other codecs, including the Nikon one, are implemented in a mediocre way. Also, be careful because the RedCode is 12-bit and not 14 or 16-bit.

If you're very interested, I recommend the long CVP review, but to get an idea of the pros and cons of the camera, Gerald Undone's review summarizes everything very well.

I think it's an interesting camera but yet not perfect.

The lack of button is not necessarily a problem for underwater use. The Blackmagic Pocket Cinema Camera was also very low on buttons as everything was more or less controlled by the touchscreen but yet it had a Nauticam housing. The real interest for me is the big screen and the relatively compact package in comparison to Z8 / Z9.

But the most important to me is not the camera itself but the fact Nikon has been making lots of effort recently into video and is bringing here its first video-centric camera even not perfect. This goes as well for the recent Z 24-70 lens F2.8 with internal zoom which is definitely aimed at videographers.

19 hours ago, eocean-eu said:

The lack of button is not necessarily a problem for underwater use. The Blackmagic Pocket Cinema Camera was also very low on buttons as everything was more or less controlled by the touchscreen but yet it had a Nauticam housing. The real interest for me is the big screen and the relatively compact package in comparison to Z8 / Z9.

Yes, I remember the Nauticam housing for the Blackmagic well. However, if Nauticam makes a housing for this camera, I would definitely study the camera manuals. It only has three function buttons, and we'll have to see what functions can be assigned and the overall ergonomics: White Balance, Autofocus Lock, Apertures, and ISO.

I read that it has a built-in shutter angle, but some reviews talked about certain limitations with so few buttons. We'll see.

Another aspect to understand when the camera ends up in the hands of real users is the quality of the various available codecs. Right now, the shilltubers are all over the RedCode RAW codec. Gerald Undone's review claimed that the files produced by the camera in Nraw, H.264, and H.265 suck, especially compared to the same files produced by the Z-series cameras, and currently the only usable codec is RedCode. I hope it's not true, or that Nikon fixes everything with subsequent upgrades. Nikon has been very good with the updates for the Z series.

One second of 6K@60p footage takes up about 470MB, and a 320 GB CF Express card is full in 28 minutes. Okay, it's RAW, but I'd like to have the option to film with a lighter file type when needed.

19 hours ago, eocean-eu said:

But the most important to me is not the camera itself but the fact Nikon has been making lots of effort recently into video and is bringing here its first video-centric camera even not perfect. This goes as well for the recent Z 24-70 lens F2.8 with internal zoom which is definitely aimed at videographers.

I agree with this 100%. Nikon has all the right cards to seriously shake up the video market, and that's a very positive thing.

The price of this camera is also extremely aggressive. $2200 for a camera that films in RedCode is a dream.