Nikon ZR Review and Mini-Doc with DZOFILM Vespid 2 Lenses – “Born Cinematic” or Maybe Not?

by Johnnie BehiriOctober 28^th, 2025

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The Nikon ZR is gaining momentum and is now shipping. In our coverage, this little camera is following right along. Much has already been said about it, but we wanted to see whether it lives up to the hype or falls short of its shiny marketing promises. In this Nikon ZR review, I’ll go over “picture quality” based on my observations working with RED’s R3D files, as well as general usability, which is no less important when working in the field.

Before I start off: As part of our Nikon ZR review coverage, Gunther, our colleague, already conducted the Nikon ZR lab test here, and last but not least, we approached Nikon with some questions we had regarding the implementation of the R3D files, and got some answers to share with you guys!

The Nikon ZR camera received our Best of Show award for IBC 2025, and so did the DZOFILM Vespid 2 lenses, so the logical thing for us was to bring them together and see how they perform. This is why I dedicated a paragraph to these lenses, as I used them to film the above mini-doc as part of this Nikon ZR review.

So, a lot of work ahead – let’s dive right in.

Nikon ZR review: the basics

As of September 2025, with the introduction of the Nikon ZR, the company proudly presents the Z CINEMA series. This new full-frame 6K camera is the result of a synergy between RED and Nikon. As a quick reminder, back in March 2024, RED was acquired by Nikon, and the rest is history.

The pinnacle of this new release is the implementation of RED’s R3D RAW codec (NE version), alongside Nikon’s own N-RAW and Apple’s ProRes RAW. Without going into which RAW codec is implemented best in this camera, for the video above, I used R3D NE RAW recording, as I was very curious to see the results.

Beyond the impressive number of RAW video recording options (three, to be exact), the ZR prides itself on being the first camera to feature 32-bit float internal audio recording, a fanless cooling system to manage heat, and a 4″ LCD screen for monitoring. All are great to have, but please read on.

Having reviewed cameras for years, I get super agitated when I see companies letting their marketing departments control the agenda of product releases. In this particular case, it seems as if Nikon repackaged the (already capable) Z6 III, removed the EVF, added a new RED RAW codec – claiming it to be massively different from the already established Nikon N-RAW – and, as mentioned above, built a large LCD screen next to implementing internal 32-bit float audio recording. On top of that, Nikon is promising 15+ stops of dynamic range alongside “cinema quality” (taken from the official publication: “designed for cinema, high-end productions, and creators”). We touched on dynamic range, latitude, and rolling shutter results in our lab test. Still, for now, seeing that in their official product web page the word “cinema” plays a major role (“Z CINEMA series”, “Cinema camera”, “Cinematic”, “Cinematic mode”), it seems Nikon is emphasizing the ZR’s capabilities tailored for cinematic video production. So let me ask: what is a “cinema camera,” anyway?

“Born Cinematic” – defining what a cinema camera is

I guess the easiest way to define a cinema camera is by seeing if professionals have adopted it for high-end cinema productions that end up on the big screen. Since this camera is completely new, we’ll have to wait and see if that happens. As I’m neither shooting for cinema nor aiming for it, let me already say that there is nothing “CINEMA” in this camera that distinguishes it from other offerings on the market, so don’t expect to pick it up and become a great DP, as there are no shortcuts. Storytelling, lighting, lenses, filters, and camera movements will all help you achieve a certain look, and a camera (any camera) is just another tool in helping to do so. Some will do better than others, but I would appreciate it if Nikon could explain the “born Cinematic” slogan more clearly. After all, when talking about a “cinema camera,” some basic features like true 24p, open-gate, support for anamorphic lenses, full-size HDMI, and false colors (to name a few) are missing from it and will surely be appreciated by professionals.

Moving forward, trying to touch the essence of this camera, I’ll focus on three categories that are important to me when working with any tool in the field: picture quality, connectivity, and flexibility. In this Nikon ZR review, let’s see how the camera scores here, keeping in mind that this is a personal observation.

Nikon ZR review: Picture Quality

In my opinion, the picture quality coming out of this camera is gorgeous. Looking at the images I captured with this camera on the ASUS ProArt 6K Display PA32QCV (review here) makes me feel as if I did a good job in filming and treating the footage afterward… Saying this, there is a minor issue I noticed with motion cadence that is hard for me to explain, but even when filming in 25p (and keeping shutter angle at 180°), the footage still looks “too smooth.” When I showed the footage to my colleagues at the office, I seemed to be the only one concerned. Whether it’s just my impression or not, we’ll likely hear more once the camera is in wider circulation.

Filming at high frame rates yielded good results: 4K at 119.88p, in DX cropped mode, upscaled to 6K on a 25p timeline looked very nice. It’s also worth mentioning that the camera offers a shutter angle option, which is a preferred method for avoiding the need to adjust shutter speed when changing frame rates constantly.

The dual base ISO option (800 and 6,400) ensures cleaner images and less noise when filming in changing light conditions.

To summarize, looking at Imatest charts is one thing, but seeing the actual image is another. For now, I like what I see and hope our lab tests will support this observation.

Nikon ZR review: Connectivity

The Nikon ZR scores relatively poorly in this category, mostly because the company decided to include a micro HDMI connector, which is certainly limiting.

On top of that, there are no camera-body attachment points à la Sony FX3, FX30, FX2, or Canon EOS C50. The ultimate solution is to have the camera attached to a cage. This also solves the fundamental issue of the camera grip being too thin and not easy to hold. Luckily, I had the new SmallRig/Nikon ZR cage with me (some design improvements needed, but otherwise a fantastic cage), and my conclusion is: if you are a video shooter, once you have a cage attached to this camera, you will never take it off.

Speaking of which, as a traditional shooter who needs an EVF for framing correctly and setting up proper exposure, the cage proved fundamental in helping to secure and attach an external EVF (Kinefinity Eagle HDMI) to the camera. More on this below.

Nikon ZR review: Flexibility

“Camera flexibility” might be hard to describe, but what I’m aiming for is to see “who works for whom,” me for the camera, or the camera for me. In this regard, the Nikon ZR offers decent flexibility for a field camera, though it’s not without limits. Its compact design makes it easy to handle for run-and-gun shooting, gimbal work, or handheld setups. (The camera’s IBIS is rather weak, and as I mentioned above, a cage is needed to balance it better.) The menu system is intuitive, and customizable buttons, although limited in number, allow quick access to frequently used settings.

Lens compatibility is also strong thanks to the Z-mount, and while using native lenses provides excellent optical performance, Sony shooters (for example) will find it easy to migrate if wanted, as “E” (lenses) to “Z” (camera bodies) adapters are widely available. In my case, I used the NiSI “PL” to “Z” adapter so that I could use the DZOFILM Vespid 2 lenses without a hiccup.

A feature in this camera that’s extremely helpful is the zoom rocker situated on the top right-hand side. This really speeds things up when I’m checking focus while working with a PL lens.

I also like that the camera switches on instantly with the touch of a button. I’m glad to see it did not inherit the RED cameras’ boot-up time…

Also worth mentioning are the recording codecs for this camera. You can choose between three RAW flavors, ProRes HQ, H.265 8-bit/10-bit, and H.264 in 8-bit… Those H.265 compressed recording formats are all 4:2:0 and not 4:2:2 as one might expect. In our lab test, we found out that Noise Reduction is working really hard when using H.265, so we are really questioning the value of using it. Bottom line, what is clearly missing is a good “midrange” codec for casual use, or, in other words, proper implementation of H.265. This alone makes the camera less flexible to work with. On a positive note, the “auto recording” of MP4 1080p proxy files when filming in RAW is very helpful for fast editing or sharing your footage almost instantly.

Overall, the camera handles a variety of shooting scenarios well. While it may not cover every professional cinema use case, it’s flexible enough for independent projects, documentary work, and personal productions.

4” LCD Screen and 32-bit float audio

The 4” LCD screen and 32-bit float internal audio recording deserve their own paragraph.

4” LCD screen: This screen is an extremely welcome development as it offers an easy “overall” view of footage and menu options. Some will argue that they can save the cost of an external monitor by using it. For me, being a traditional middle-aged cameraman, it did not suffice. On a bright day, make sure to have the REC709 LUT option turned “on,” as otherwise, judging focus will still be challenging. Also, note that connecting an external microphone or headphones restricts LCD tilting.

32-bit float internal audio recording: Nikon did very well by being the first camera manufacturer to implement such an option in a mirrorless camera. Some will argue that Panasonic had already done it, but that required an optional removable XLR handgrip. This solution serves as a valuable safety net when filming with audio in mind, especially for a one-man band run-and-gun situation. However, while wireless audio can record 32-bit float into the transmitters themselves, in most cases, it cannot transmit to the receiver in 32-bit float. The only exception I’m aware of is the Hollyland LARX MAX 2 that can also send 32-bit audio to the receiver connected to the camera. However, the best solution remains recording in 32-bit float on the transmitter to maintain a proper backup recording and avoid potential audio dropouts. Hopefully, future audio devices will better support this camera feature.

Editing .R3D NE files and our questions answered by Nikon

In many ways, the Nikon ZR is selling an “illusion.” Implementing the R3D NE RAW codec may make people believe their footage will look amazing “out of the box.” Reality is different, but let’s go with the flow. For those wanting to explore RED RAW files without buying RED cameras, this camera is a good entry point. If this is your first time working with R3D files, ensure your computer is updated, download REDCINE-X Pro (now with R3D NE support for Mac and Windows), and the free-of-charge RED creative LUT set from here. Have the latest DaVinci Resolve installed, or use the Adobe Premiere Beta version (currently required for .R3D NE files). When using Premiere, there is a small learning curve, such as the need to import the entire Nikon folder via the “media browser” rather than individual clips, but playback on my laptop has been smooth.

Our questions answered by Nikon:

We approached Nikon to ask if N-RAW is identical to RED NE as Adobe Premiere Pro (Beta) associate N-RAW files (.NEV) color space as REDWideGamutRGB and the color curve as Log 3G10, and their answer is as follows:

“We are aware that when opening N-RAW (.NEV files) with Adobe Premiere Pro (Beta), the files are interpreted using the RED color space. To address this, Nikon will provide a “log to log LUT” to convert from RED color space Log3G10 to N-log for N-RAW files. This LUT is planned to be available by the end of October 2025″.

We also asked Nikon why FFmpeg is identifying .R3D files as “NIKON RAW” and here is Nikon’s answer:

“As RED has stated, R3D NE files are processed with the IPP2 pipeline, just like the RED Cinema Camera. Even if the ISO values appear similar, R3D NE files use advanced RAW image processing based on RED’s approach. For more details, please see: https://support.red.com/hc/en-us/articles/45719402183059-R3D-NE-and-the-Expansion-of-REDCODE-RAW

Please also note that “NIKON RAW” listed in the metadata of video files is a general term for RAW files provided by the Nikon Group.

Nikon ZR review – conclusion

At $2,197, this camera is a great buy. I really like the footage coming out of it when using the R3D NE RAW files. Looking ahead, I can assume that many users may be fine paying for a firmware update to add 24p and open-gate or anamorphic functionality. Future camera versions would benefit from a body better suited for run-and-gun work. Lastly, if you own a Nikon Z6 III, there is little reason to switch to a ZR. For users coming from other brands, it is a valid and attractive option at this price.

I just wish Nikon marketing would take a step back and be more “down to earth” in describing the camera. Mentioning the word “CINEMA/CINEMATIC” 30 times in a short press release does not do the product any justice. At the end of the day, it is a good camera, but nothing out of the ordinary.

Nikon ZR Lab Test

In case you missed our entire Nikon ZR Lab Test article (which should be considered part of our comprehensive Nikon ZR review), check it out here, and watch the video below to gain more insights:

DZOFILM Vespid 2 lenses – hands-on review

The DZOFILM Vespid Prime 2 series is a full-frame cine prime lens set that consists of the following focal lengths: 18 mm, 24 mm, 35 mm, 50 mm, 85 mm, and 105 mm. Optical construction and close-focus distances vary by focal length, ranging from 0.25 m on the 18 mm lens to 0.9 m on the 105 mm lens. Each lens includes manual iris control with approximately 65–68° rotation, a focus throw of about 300°, a 0.8 mod gear pitch, and an M77 front filter thread. All lenses feature a constant T1.9 aperture.

Here at the office, when pointing the lenses at a resolution chart, we can easily see that the optical design contributes to high resolution, well-controlled chromatic aberration, and consistent color performance across focal lengths. The natural bokeh and zero focus breathing are also worth mentioning, but perhaps the thing that impresses me most is the overall edge-to-edge sharpness. In fact, these are the best lenses that we have tested in this price range for a very long time. As an example, here are some slides from the Vespid 2 35mm lens.

Listing the things that truly impressed me, let me start by saying how compact yet robust these lenses feel. Then, on the project shot above, the minimum focus distance was liberating. I have to admit that a thought crossed my mind to film Johannes, the guitar builder, with anamorphic lenses, but knowing how limiting those can be when short-distance close-up shots are needed, I opted for working with spherical lenses.

Two things that I did not test are the Cooke /i real-time communication protocol and the built-in 5-pin LEMO interface that those lenses have. In a nutshell, with Cooke /i, communication via the PL mount transmitting metadata such as focal length, T-stop, and focus distance directly to compatible cameras is possible. Higher-end productions or VFX artists will surely appreciate working with such lenses. Regarding the built-in 5-pin LEMO interface, it enables connectivity with wireless follow-focus systems and other professional cine accessories. As a one-man band filming the above production, I did not use any of those features.

It’s worth noting that I used a NiSi PL-to-Z mount adapter to attach the Vespid 2 lenses to the Nikon ZR, and it worked very well.

Vespid 2 conclusion

These lenses are extremely sharp and clean, to the point that some users might not like them, as they exhibit no “characteristics,” much like the NiSi Athena (review here), but at a slightly lower price point. Personally, I very much liked what I saw, but if I were to work on a real project, I would have definitely used a 1/8 Black Promist filter (at least). All in all, these are a great, robust, and easy-to-use modern set of lenses, priced at $1,199 for each focal length or $6,289 for the six-lens kit.

Before closing this long Nikon ZR review article, I would like to thank Johannes Auly and his team for hosting me at his workshop. It was truly inspiring to see how an instrument that I like so much comes to life and is built. More about his work can be found here.

What do you think about the new Nikon ZR camera and our Nikon ZR review? Have you had it in your hands yet? If so, please be kind enough to share your impressions with us in the comment section below. Also, have you had a chance to work with or test the DZOFILM Vespid 2 lenses? I’m eager to hear your impressions.