Key specifications

• 24.5MP partially stacked full-frame CMOS sensor
• Nikon Z mount
• IBIS stabilization up to 7.5 stops
• Video recording up to 6K 60p
• RAW codecs: R3D (NE), N-RAW, and ProRes RAW
• 4" rear display – 3.07M dots, 1000 nits
• CFexpress Type B + microSD
• AF with subject detection for people, animals, vehicles, and aircraft
• Internal 32-bit float audio recording
• No mechanical shutter

What’s new in the Nikon ZR

A familiar sensor, a completely redesigned body

At its core, the Nikon ZR uses the same “partially stacked” sensor introduced with the Z6III, but the body has been completely redesigned for a video-first workflow. The lack of an electronic viewfinder and the compact, boxy form factor make the ZR ideal for gimbals, rigs, and lightweight cinema setups.

The large 4-inch rear display in a 16:10 aspect ratio is clearly geared toward video: high brightness (1000 nits), support for the P3 color space, and a 1280×800 resolution deliver a more faithful preview of the final image.

The combined Nikon and RED logos are hard to miss, highlighting the direct collaboration between the two companies following Nikon’s acquisition of RED.

New R3D (NE) codec

The Nikon ZR introduces the new R3D (NE) codec, inspired by REDCODE RAW. While it’s not identical to the format used by RED cinema cameras, it shares the same log curve and color gamut, making it easier to integrate ZR footage into professional cinema workflows.

This also means you can reuse existing RED LUTs, simplifying mixed edits that combine ZR footage with cinema cameras. The ZR can record 6K and DCI 4K up to 60p, and UHD 4K up to 120p in RAW.

At the moment, R3D (NE) footage requires an initial step through RED Cine-X Pro for exposure and color management, but Nikon has already confirmed its intention to bring native support to the major editing platforms.

Cine EI and advanced exposure management

In R3D RAW mode, the Nikon ZR adopts a workflow similar to Cine EI: gain is locked to base values (ISO 800 or ISO 6400), while ISO changes are stored as metadata.

This enables much more refined control over highlights and shadows in post-production, bringing the ZR’s behavior closer to that of professional cinema cameras. The N-RAW codec, on the other hand, works in a way that’s more familiar to traditional stills cameras.

Internal 32-bit float audio

One of the most innovative features of the Nikon ZR is internal 32-bit float audio recording. This technology captures an extremely wide dynamic range, dramatically reducing the risk of clipping and the need to ride gain while shooting.

Unlike solutions that require external XLR adapters, the ZR supports 32-bit float directly in-camera, both with its internal microphone (based on Nokia’s directional OZO technology) and via the 3.5mm mic input.

Body, ports, and power

The Nikon ZR’s body immediately recalls compact Sony FX cameras, but without active cooling. Its fiber-reinforced plastic construction strikes a good balance between durability and low weight, making it well suited for gimbal use.

Connectivity includes USB-C 3.2, a microphone input and headphone output, while video out is handled via micro HDMI. The memory setup is more unusual: CFexpress Type B paired with a microSD UHS-I slot, mainly intended for LUTs and settings.

Power comes from the EN-EL15c, the same battery used by the Z6III: solid battery life, but not designed for long, continuous takes without external power.

Video performance and real-world use

As you’d expect, Nikon is placing heavy emphasis on the ZR’s RAW capabilities, but for many users a solid 10-bit Log mode may be the most effective compromise: lighter files than RAW, while still offering wide flexibility for grading and editing.

Quick comparison with key alternatives

To better understand where the Nikon ZR fits, here’s a concise comparison with a few cameras that are closest in philosophy and video use.

First impressions

The Nikon ZR isn’t a traditional cinema camera, but it’s not just another mirrorless camera either. It aims to bring key digital-cinema tools—advanced RAW, Cine EI, and 32-bit float audio—into a price range and form factor that are far more accessible.

The absence of active cooling could limit its use in more demanding productions, but the balance of price, sensor, and features makes the ZR extremely compelling for emerging filmmakers, film schools, and independent productions.

In that sense, the Nikon ZR could play a role similar to what the Canon EOS 5D Mark II once did: making advanced cinema tools accessible to a much broader audience.