Nikon ZR review: RED RAW, huge display and pro video features for $2,200

Nikon’s new ZR is a video‑first full‑frame mirrorless camera priced at $2,200 that packs features usually reserved for much pricier cinema rigs. It’s the first consumer model to record RED’s 12‑bit R3D RAW (R3D NE light) while keeping fast, reliable autofocus, a massive 4‑inch 1,000‑nit display and pro monitoring tools.

The ZR handles native 6K up to 60 fps, 4K up to 120 fps and 1080p at 240 fps. It supports RED Log3G10, Nikon’s N‑RAW, ProRes/ProRes RAW and H.265, and can record 6K RAW continuously for long takes (Nikon reports up to 125 minutes without overheating). Audio-wise it offers 32‑bit float internal capture and decent directional mics for quick shoots.

Design and handling

• Light but solid body (about 540 g) with a small grip aimed at rigging and cage use.
• Huge 4‑inch flip display (3.07M dots, 1,000 nits) instead of an EVF — great for monitoring and vlogging, but no eyepiece for bright‑light handheld shooting.
• Single CFexpress card slot for RAW plus a microSD slot for proxies; uses N‑EL15c batteries (moderate battery life).

Video features that stand out

• Native RED R3D support with Log3G10 — more dynamic range and grading flexibility than typical mirrorless codecs.
• Wide ISO range with dual native ISOs (800 and 6,400) and claimed 15+ stops of dynamic range.
• Five‑axis IBIS (claimed up to 7 stops), waveform and vectorscope monitoring, false color and advanced focus tools.
• Very capable autofocus — Nikon’s best yet — with reliable subject tracking for vehicles, animals and people.

Tradeoffs and practical notes

The ZR sacrifices a few pro conveniences: there’s no electronic viewfinder, only one fast card slot (no dual‑card backup), and no built‑in ND filter — so outdoor shooters will want ND glass. IBIS is good but not class‑leading for aggressive running shots, and CFexpress reliance means higher media costs.

Who should consider the ZR?

If you’re a content creator, YouTuber, indie filmmaker or small production wanting cinematic RAW capabilities without the RED price tag, the ZR is compelling. It blends RED’s codec advantages with autofocus, stabilization and user‑friendly controls you won’t find on many dedicated cinema cameras at this price.

For full specs and hands‑on impressions, check Nikon’s product pages and professional reviews. The ZR’s combination of RED RAW, pro monitoring tools and autofocus makes it a strong contender in the sub‑$3,000 video market — but pros who need dual cards, an EVF or built‑in ND may still opt for other cinema or hybrid models.

Discussion: Would you trade an EVF and dual‑card redundancy for RED RAW and a giant 4″ display at this price? What feature matters most for your video work?