Sidney Diongzon starts the video with “Look how huge this screen is”! That was his first reaction to the Nikon ZR—and honestly, the big story. A 4-inch, 1000-nit rear display that takes up almost the entire back plate sounds small on paper, but in practice it changes how you shoot.
Quick vibe check: the ZR feels like a mashup of Sony’s ZV-E1, FX2, and A7C II—compact, video-first, but still a legit hybrid. It flew on a gimbal, delivering buttery-smooth footage. Autofocus is right there with Sony: fast, sticky, and tap-to-track works the way you want it to.
Highlights he loved
– 6K RED RAW up to 60 fps internally. Wild at this price and size.
– RAW image pipeline that matches Nikon’s Z8/Z9 vibe for color.
– ProRes options, including ProRes 422 HQ, plus ProRes RAW.
– 24 MP photos that are sharp with pleasing color. It’s not billed as a photo-first body, but it holds its own.
– Fast-readout sensor with low rolling shutter and strong dynamic range, similar to what you’ll find in Lumix S1 II and Nikon Z6 III.
– 32-bit float audio recorded internally—on the built-in mics and with external mics. Huge for run-and-gun and safety when levels jump.
– Digital audio via the multi-interface hot shoe, Nikon taking a page from Sony’s playbook.
– No overheating in brutal heat and humidity. Passive cooling did its job.
– Excellent stabilization (rated 7.5 stops). Handheld footage looked impressively smooth.
– Touch UI is responsive and clean; the big screen makes fast work of menus and tap-to-track.
– Price: 2,199 USD. For what it packs, that’s compelling—easily in the conversation with ZV-E1 and even FX2.
– If you’re sitting on Sony E-mount glass, adapters exist to run those lenses on Z-mount. Nice flexibility.
Quirks that made him pause
– Micro HDMI on something positioned as a cinema tool. Fragile and fussy for rigs.
– No anamorphic de-squeeze. That’s a miss for creators leaning into anamorphic workflows. A firmware fix would change the calculus.
– No focus peaking with view assist and a LUT applied at the same time. There are workarounds, but it slows you down.
– Card slots live in the battery compartment, and the combo is CFexpress Type B plus microSD. MicroSD is fine for proxies/LUTs but not ideal for primary capture.
– The shutter half-press feel isn’t tactile enough. For stills shooters who rely on that half-click to lock focus, it feels vague.
– Grip is small and very rubberized. Secure, but if you’re used to chunkier grips, you’ll notice.
– File sizes in RED RAW are enormous. Amazing flexibility, but most online work doesn’t need it, so plan your storage and workflow.
The bottom line
The Nikon ZR is a tiny powerhouse with a killer screen, modern codecs, confident AF, strong IBIS, and smart audio. It’s packed with creator-first wins at a price that undercuts a lot of peers. The quirks—HDMI, anamorphic de-squeeze, monitoring tools, and the card setup—are real, but none are deal-breakers for everyone.
If Nikon adds anamorphic de-squeeze via firmware, this becomes even more tempting. As-is, it’s one of the most exciting compact hybrids I’ve used—and yes, He is trying to convince himself not to buy it… yet.