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The Sony a7R VI is a high res, high speed full-frame mirrorless camera, built around a 66.8MP Stacked CMOS sensor, able to shoot at up to 30 frames per second.

Key specifications

• 66.8MP Stacked CMOS sensor
• Up to 30fps shooting with e-shutter, 10fps mechanical
• Adjustable pre-capture and Speed Boost options for action shooting
• Up to 8K/30 video with 1.2x crop
• Up to 4K/120p video
• 9.44M dot HDR-capable viewfinder
• Improved stabilization rated 8.5EV correction at the center, 7.0 at the edges
• New, higher capacity 'SA' battery
• Wi-Fi 6E

The a7R VI will be available in June, and will retail for $4499, a $600 increase from the a7R V's launch price, which has since risen to $4199.

Index:

• What's new
• Body & handling
• How it compares
• Image quality
• Video
• In-use
• Sample gallery
• Specifications
• Press release

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Buy at AdoramaBuy at B&H Photo What's new New sensor

The heart of the a7R VI is a new, 66.8MP Stacked CMOS sensor. Unlike the sensors in Sony's previous high-end bodies, the second layer of the sensor isn't DRAM memory, to buffer the data coming off the sensor, instead it's described as a processing layer.

Noticeably, this means that the full sensor readout speed is slower than in the likes of the sports-focused a1 II; instead, it's able to combine the output of its two conversion gain modes, using both the low noise and high capacity modes to give wider dynamic range.

The net result is a sensor that's much faster than its predecessor (around 5.6x quicker than the a7R V, according to Sony) but with better dynamic range. This should significantly expand the range of photographic situations the a7R VI can lend itself to, without a negative impact on the areas where the a7R V already performed well.

The faster sensor allows the camera to shoot bursts at up to 30 frames per second, using its electronic shutter. This is a huge step forward from its predecessor, which took around 100ms (1/10th sec) to read its sensor in e-shutter mode.

New processor

The a7R VI is built around a "Bionz XR2" processor, similar to the one in the a7 V (though not necessarily identical). This brings features and AF capabilities, including the Auto subject recognition mode, introduced in cameras such as the a9 III, and the ability to recognize subjects from further away, without the need for a dedicated coprocessor for the AI-derived algorithms.

Action-ready functions

The faster shooting is backed up with all of Sony's latest support tools. For a start, the 30fps shooting is blackout-free, to let you follow the action. The camera also offers an adjustable pre-capture mode that starts buffering images when you half-press the shutter or hold down AF-On, then saves up to 1 second's worth of images from before you fully press the shutter. This can be tuned down to as little as 0.03 seconds (ie: a single pre-capture frame, in 30fps mode), so that you can compensate for your reaction times without filling your cards with preemptive nonsense.

The a7R VI is not, nor is it intended to be, a sports camera

However, despite all of this, the a7R VI is not, nor is it intended to be, a sports camera. Sony talks about the camera being well disposed toward wildlife shooting, but doesn't list sports as one of its target applications. Having used it in a sporting setting, we found a significant real-world difference between the a7R VI and the a1 II, despite the superficial similarities.

Why the a7R VI isn't a rival to the a1 II

New battery Sony is including a dual charger with the a7R VI to help ease the pain of the new battery not being backwards-compatible with the old one.

The a7R VI becomes the first camera to use a new 'SA'-type battery. It's slightly larger than the existing Z-type batteries and delivers a higher voltage. It has a capacity of 20.9Wh, a 27% increase over the capacity of the batteries in previous high-end Sonys.

The new unit isn't much larger than the FP-Z100, with the locationing rails and contacts more tightly integrated into the body so that approximately 30% more cells can be incorporated into the case without increasing the overall size too much.

Expanded video capabilities

The faster sensor also allows for much improved video, even though that's not immediately obvious from looking at the specs. The 8K mode now stretches to 30p, but still comes with a 1.2x crop, much like its predecessor's. However, while the a7R V needed a 1.22x crop to achieve 4K/60, the a7R VI can do full-width 4K/120, provided you activate "Field of View Priority," which comes at the cost of noise reduction.

Improved white balance

Like the a7R V, the VI has visible light and IR sensors designed to help produce more accurate and consistent exposure and white balance. The company says it has upgraded the algorithms that handle both parameters to better interpret things like shaded subjects and light sources, to reduce exposure or WB errors.

Body and handling New grip

The new, larger battery, which sits longitudinally down the grip, rather than the transverse arrangement of the previous design, means the camera's grip has been reworked. It's a subtle change, but the lip around the top of the handgrip is slightly more prominent and the recess on the mount side of the grip, where your fingertips rest, has been reshaped.

Sony stressed that it's not the same as the a1 II/a9 III design (the shutter button isn't at nearly so steep an angle, for a start), but it seems more comfortable than even the recent a7 V's shape.

Another a9 III feature that's absent from the a7R VI is the C5 function button on the front plate of the camera. This is a shame, as we found it worked well for operating the Speed Boost function that the a7R VI has gained. It's a function we used most often in combination with using AF-On for back-button focus, so the absence of a front button makes it more awkward to find a control point that can be readily used while also using AF-On and the shutter button.

High-brightness viewfinder

While the a7R VI's viewfinder resolution remains the same as its predecessor's, the underlying OLED panel is different. It can go much brighter and offers a wider color gamut than before, making it the first camera we've encountered with a viewfinder bright enough to preview HDR imagery. Sony also says it can achieve this brightness even when you're using both its 120fps refresh and highest quality modes.

Illuminated buttons Many of the buttons on the back of the a7R VI light up if you press the new illumination button on the top plate. Brightness can be set to low, mid or high, and they can be set to remain lit up.

Another brilliant addition (in the sense of light being emitted) is the provision of back-illuminated buttons. This is a first for Sony and makes a lot of sense for what is its leading landscape camera. A small button on the top plate lights most of the camera's buttons up, though you'll need to learn to locate it by touch, as it's not itself illuminated. This button can be reconfigured if you need, and illumination can be set to always-on, if you prefer this to battery endurance.

The camera uses the same pair of combined CFexpress Type A / UHS II SD slots, letting you choose between fast, warm storage or the better-established, slower, less rugged format.

Fast/slow USB-C The a7R VI moves to a dual USB-C arrangement, with the upper one offering fast data transfer and the lower one Power Delivery for charging or powering the camera.

The a7R VI's main USB port is a 10Gbps USB-C socket that can be used for data or power. Just below it is a second USB-C port. Despite the new shape, it's essentially a continuation of the USB 2.0 (480Mbps) port used for connecting accessories on previous models. The second port is compliant with the USB Power Delivery standard, though, and utilizes high enough power options that it can be used to charge or power the camera.

Every time you connect a USB cable to the camera, it'll ask you which function you want (eg: Live Steaming, MSC Image Transfer, MTP Image Transfer, etc), and remind you of the data rates of each port, and which port you're connecting to, though you can set the default behavior if you always want a specific mode.

The downside of this change is that any external accessories you have that used the Micro-B 'Multi-interface' socket won't now work, even though the second socket is still a USB 2.0 port at heart.

Battery

The new NP-SA100 has a capacity of 20.9Wh, a 27% increase over its predecessor. This powers the camera to a CIPA-rated endurance of 600 shots per charge if you use the viewfinder and 710 if you use the rear LCD.

Even when you bear in mind that CIPA ratings tend to significantly underestimate most people's real-world experiences – double the rated value isn't unusual, more if you shoot a lot of bursts – these are numbers that are likely to push into the realms of 'beyond needing to worry about it,' for a lot of users, with perhaps only wedding shooters having to make use of the two-battery charger that comes with the camera.

That said, it's worth noting that the charge level will diminish over time if you're just offloading data over the fast USB port: you'll want the PD port connected too for prolonged tethered shooting.

How it compares

The a7R V was a high-resolution studio and landscape camera, but the VI's Stacked CMOS sensor expands its range of capabilities to something much closer to those of Nikon's Z8 and Canon's EOS R5 II, which offer both resolution and speed.

Not included on this chart, but still in the conversation, is the Panasonic S1RII. It targets a similar market of hybrid shooters, with a similar set of stills features and the most complete set of video features. It's not as fast as these rivals but accepts the more widely supported L mount.

We've also left off the Sony a1 II. On paper, it seems very similar to the a7R VI, raising the question of whether Sony has just obsoleted its top-tier sports/action camera. However, the actual shooting experience is quite different on the two cameras, in ways we've covered in more depth in a separate article.

Sony a7R VI Canon EOS R5 II Nikon Z8 Sony a7R V MSRP (current) $4499 / $4399 / £4399 $4299 / £3999 $4199 / £3999 Resolution 66.7MP 44.8MP 45.7MP 61.0 MP Sensor type Stacked CMOS Stacked Dual Pixel CMOS Stacked CMOS BSI CMOS Burst shooting rate 30fps, e-shutter
10fps mech 30fps, e-shutter, 12fps mech 20fps e-shutter (no mec)
30fps JPEG only 7fps e-shutter*
10fps mech* Pre-burst capture? Variable, up to 1 sec Yes, up to 0.5 sec (20 images) Yes, up to 1 sec JPEG only No Viewfinder Res / mag/ eye point 9.44M dot
0.9x
25mm 5.76M dot
0.76x
24mm 3.69M dot
0.8x
23mm 9.44M dot
0.9x
25mm Rear screen 3.2"
2.1M dot
Tilt / articulating 3.2"
2.1M dot
Fully articulating 3.2"
2.1M dot
Two way tilting 3.2"
2.1M dot
Tilt / articulating Image Stabilization 8.5EV center, 7EV peripheral 8.5EV center, 7.5EV peripheral 5.5EV 8EV Stills rolling shutter rate (ms) 19.6ms 6.3ms 3.7ms 100.5ms HDR still output HLG HEIF (no Raw) HDR PQ HEIF HLG HEIF HLG HEIF (no Raw) Video resolutions 8K/30 (1.2x crop)
4K/120

8K/60 (30 non-Raw)
4K/120

8K/60 (30 non-Raw)
4K/120

8K/30 (1.24x crop)
4K/60 (1.24x crop)
4K/30 full width

Video options H.265
H.264 (All-I / L-GOP) Canon Raw
H.265 (All-I / L-GOP)
H.264 N-Raw
ProRes Raw HQ
ProRes 422 HQ
H.265
H.264 H.265
H.264 (All-I / L-GOP) Video assist tools Corrected Log preview
Custom LUT preview
Auto framing Waveforms
Corrected Log preview
False color Waveforms
Corrected Log preview Corrected Log preview Media types 2x CFexpress type A/UHS-II SD 1x CFexpress Type B
1x UHS-II SD 1x CFexpress Type B
1x UHS-II SD 2x CFexpress type A/UHS-II SD Connectivity 1x USB-C 10Gbps
1x USB-C 480Mbps
Wi-Fi 6E 1x USB-C 10Gbps
Wi-Fi 6E 1x USB-C 10Gbps
1x USB-C 480Mbps
Wi-Fi 5 1x USB-C 10Gbps
1x USB-B
480Mbps
Wi-Fi 5 Battery life EVF / LCD 600 / 710 shots 250 / 540 shots 330 / 340 shots 440 / 530 shots Dimensions 133 x 97 x 83mm
(5.2 x 3.8 x 3.3") 138 x 98 x 88mm
(5.5 x 3.9 x 3.5") 144 x 119 x 83mm
(5.7 x 4.7 x 3.3") 131 x 97 x 72mm
(5.2 x 3.8 x 2.8") Weight 713g (25.2oz) 746g (23.6oz) 910g (32.1oz) 723g (25.5oz)

As for autofocus and handling, the differences between the a7R VI, Z8 and EOS R5 II will all come down to your preferences and use cases (eg, whether you like a top-panel display, need illuminated buttons or both). All three cameras will outperform each other in different scenarios, and some people will prefer one camera's way of doing things over the others.

Autofocus was the main area where we found the S1RII fell behind this extremely capable competition, especially in terms of tracking reliability, but it offers a less expensive route to resolution if action isn't a regular feature of your photography.

The one major callout for the a7R VI is its rolling shutter speeds in its e-shutter modes; while it uses a Stacked sensor like the Z8 and EOS R5 II, it's the slowest of the kind we've seen. This means rolling shutter will put an upper limit on how fast the action it can follow is.

Image quality

Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

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We're only able to publish the JPEGs of the test scene at the moment, but hope to be able to follow them up with the converted Raw images very soon. But even if we only look at the JPEGs, we can see that the higher resolution sensor is resolving detail that its predecessor couldn't, putting more of a gap between it and the Canon and Nikon.

The a7R VI's image quality is truly impressive. 66MP offers the best resolution this side of medium format and is backed up by very high dynamic range. In mechanical shutter mode, the camera appears to be combining the low and high-gain readout modes of its dual conversion gain sensor, something that's made explicit as an option in 4K video mode.

The s7R VI's autofocus system is able to consistently deliver 66.7MP's worth of detail.

Sony a7R VI w/ FE 85mm F1.4 GM II | F2.0 | 1/320 sec | ISO 100
Photo: Richard Butler

Sony says the camera captures 14-bit Raws, even at its fastest shooting modes, but doesn't make clear whether the equivalent of the 'Dual Gain Shooting' video function is being applied to e-shutter stills. Our measurements show that electronic shutter images have slightly higher noise levels in the shadows, and a sensor readout rate that's consistent with the 8K video mode (in which the "Dual Gain Shooting" option is not available), suggesting it's not.

The real-world impact of the difference is extremely subtle, though, with the differences really only visible in direct side-by-side comparison. And in charts of DR numbers.

Video

The faster sensor in the a7R VI not only allows it to shoot stills much faster than its predecessor, it also allows much more extensive video capabilities. As usual for Alpha-series cameras, all the options are in the 16:9 aspect ratio, and there are also no options for Raw capture. You can output a Raw stream to an external recorder, if you wish.

Resoluion Rates Crop Compression type Rolling shutter HS S S-I Standard Dual Gain

UHD 8K
(7680 x 4320)

24, 25, 30 1.22x Yes 13.7ms UHD 4K
(3840 x 2160) 24 1.00x Yes Yes Yes 7.2ms 15.8ms 25, 30 Yes Yes 7.2ms 15.8ms 50, 60 Yes Yes Yes 7.2ms 100, 120 1.1x / 1.0x Yes Yes 5.6 / 6.2ms Full HD
(1920 x 1080) 24, 25, 30,
50, 60 Yes Yes 100, 120 Yes

The most obvious difference is the much-improved rolling shutter rates, but the a7R VI also gains a mode, comparable to Panasonic's DR Boost mode, that combines the low and high gain output of the sensor to deliver much wider dynamic range. As with the Panasonic S1II, this feature is optional, can only be maintained at slower frame rates and approximately doubles the readout times.

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The 8K footage, taken from an 8.2K region of the sensor, is comfortably the most detailed. All the 4K footage is taken from the full width of the sensor and derived from 5.0K capture, according to Sony. Given the sensor is essentially 10,000 pixels wide, that would neatly correspond to 2:1 sub-sampling, which would certainly explain the significant increase in aliasing.

The rolling shutter numbers for 4K capture are very close to being twice as fast as 8K mode, which would also be consistent with 2:1 subsampling. This number then roughly doubles when Dual Gain Shooting is activated, but the sampling method and detail capture stay the same.

Audio

Like other recent Sony cameras, the a7R VI can record up to four channels of audio, if you connect a mic into the multi interface connectors at the front of the hotshoe.

It can also record, via an optional (and, at $780, quite costly) XLR adapter, 96kHz, 32-bit float audio. This is still relatively rare on hybrid cameras, but the dual analog-to-digital converters needed to exploit the much wider value range of the 32-bit Float notation live in the XLR adapter, so the capability is not built into the camera body.

Even so, the faster rolling shutter rates and the Panasonic-like option to opt for greater dynamic range at the cost of readout speed make the a7R VI a much more credible video camera than its predecessor, again boosting its utility for modern wedding and events shooting.

In-use

The a7R VI is both the most polished camera yet in its series, while also very much being a camera of its series. So the familiar lag when the camera boots up, checks in with the lens, has a bit of a think and then lights up the screen is still present.

Some of the a7R VI's menus and messages feel like the would have benefited from another round of regionalization.

Similarly, the menus, while much more sensibly arranged and easier to navigate, are still creaking under the weight of the complexity of the camera, and aren't helped by overly condensed titles and occasional messages that feel like they've been literally translated from another language, rather than being regionalized into comprehensible phrasing.

This sense is reinforced by little details such as pre-capture, which is one of the default options in the Fn menu, but doesn't work until you first switch from mechanical to electronic shutter mode, then engage continuous shooting. Similarly, the camera offers three multi-shot modes that combine Raw files, two of them have menu settings to select which type of Raw file you want, the third simply defers to the camera's main file type setting. It all feels like it's become too large of a task to ever finish or refine.

Which is odd, because the camera has some lovely details, such as the fact that the e-shutter sound changes with your shutter speed. Rather than it being the exact same sound whether you're shooting at 1/8000 sec or 1/8 sec, it'll simulate changes in pitch, and even the sound of a shutter opening and closing, so that you have an audible cue about exposure time, even when in e-shutter mode.

We found the a7R VI more comfortable to hold than the a7 V.

The camera's grip feels like an improvement over its predecessor, but still isn't as well optimized as Sony's pro-targeting a1 II and a9 III models. For instance, they both have a custom button on the front, which is ideal for engaging the Speed Boost function that raises or lowers the burst rate when held. Without this extra button, the a7R VI has few choices that are easy to hold if you're already using AF-On for back-button focus and have another finger on the shutter.

Pre-capture mode brings a distinct lag and jerkiness to the viewfinder, presumably held back by the camera having to operate in its slower, full-resolution mode while it's buffering images. This is a shame, because the viewfinder is otherwise very good, combining both high resolution and a good refresh rate at most other times.

It's a little disappointing that the first camera to offer an HDR-capable viewfinder is also the only mainstream brand to shoot HDR HEIF images but force you to turn off Raw capture to do so (you can shoot HEIF files with the HLG response curve and Raw, but it you want the camera to include the necessary metadata to display the images as HDR, then it's Raw only).

The first thing that hits you is the camera's seriously impressive image quality, backed up by excellent autofocus

All of which sounds like we disliked the camera, when that's really not the case. There are aspects that we felt would benefit from a little more polish, but the fact that it takes so many words to describe them doesn't mean they're the main things we took away from the experience of shooting with the a7R VI.

Instead, the first thing that hits you is the camera's seriously impressive image quality and the degree to which it's backed up by excellent autofocus. It only takes a single sentence to write it, but that's the thing that matters most.

The a7R V wasn't lacking in resolution, but the VI adds even more.
Sony a7R VI | Sigma 24-70mm F2.8 DG DN II | 41mm | F8 | 1/250 sec | ISO 100

The a7R VI isn't as quick in practice as the Nikon Z8 or Canon EOS R5 II, but instead it offers higher resolution, excellent DR, a very customizable, multi-dial interface and by far the best battery life in class. There are plenty of people for whom that will (and should) matter a whole lot more than some of the menu phrasing needing another round of localization.

Anyone hoping for a cut-price a1 II will find themselves disappointed: you can definitely feel the limitations as you push towards the outer edge of what the camera promises to do. But, then again, it promises to do an awful lot, and it brings its image quality excellence to a much broader range of applications than previous a7R models could.

Impressions Video Sample gallery

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Product photos: Mitchell Clark

90%Overall scoreJump to conclusion

Nikon has announced the ZR, a video-focused camera with Red co-branding. It features the same 24.5MP 'partially Stacked' sensor as the Z6III and inherits many capabilities from the more stills-oriented camera, but gains a new Raw video codec, video-focused UI and internal 32-bit float audio recording – a first in the industry.

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" 3.07M dot (1280 x 800px) 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 retails for $2199 – $500 cheaper than the Z6III, and has been available since October 2025.

Buy now:

Buy at Amazon.comBuy at B&H Photo Index:

• What's new
• How it compares
• Body and handling
• Video capabilities
• Video image quality
• In use: photography
• Conclusion
• Specifications
• Press Release

What's New Familiar sensor, new body

While the ZR's heart may be the same as the Z6III, less the mechanical shutter, it's not immediately obvious by looking at it. The camera has a boxy, EVF-less design with a minimal grip, making it easy to mount on a gimbal without having to worry about clearance.

On the back is a massive 4" 3.07M dot display. It's in a video-friendly 16:10 aspect ratio, with a 1280 x 800 pixel resolution. It has a peak brightness of 1000 nits. Nikon says it supports the P3 color gamut, giving you a more accurate preview of what your colors will look like, when working beyond the limits of sRGB.

On the back of the display are the Nikon and Red logos. The ZR is the first camera since Nikon's acquisition of Red to come with both companies' branding (unless you count the Z-mount Raptor's body cap).

R3D (NE) Codec

The ZR includes a new Raw video codec called R3D (NE), alongside Nikon's N-Raw format and ProRes Raw. While it's not exactly the same as the Redcode Raw that Red's cinema cameras shoot, it is made to be cut together with it and uses the same Log curve and color gamut.

Importantly, this means you can use the Look Up Tables, or LUTs, that already exist for Red cameras, making it much easier to cut footage from the ZR and Red's cinema cameras together.

When shooting in R3D (NE), the ZR can capture 6K and DCI 4K at up to 60p, and UHD 4K at up to 120p. These same options are available for N-Raw, though the red-flavored Raw doesn't have any compression settings like the ones available for N-Raw. We'll touch on the differences between the ZR's Raw formats later on in this review, but have covered them in more depth in a separate article.

Cine EI

R3D Raw also comes with a different approach to gain. Instead of applying it in-camera based on your ISO setting, the camera will lock it to either its low (ISO 800) or high (ISO 6400) gain step. If you adjust your ISO, the camera will note it as a metadata tag and adjust its metering to capture a different balance of highlights and shadows, but it won't change the amount of gain added to the footage. This approach is comparable to the Cine EI (exposure index) mode Sony includes on its video-focused cameras, and gives you more control over your video's lightness ("ISO") in post. By contrast, N-Raw is shot with variable gain, just like photo mode, so you can't adjust this after the fact.

Alongside R3D (NE), the ZR supports the two other Raw formats the Z6III could shoot: Nikon's own N-Raw codec, as well as Apple's ProRes Raw. Though, as has been the case in Nikon's previous cameras, the widely-supported ProRes Raw option isn't available at the camera's fastest resolutions and frame rates.

Internal 32-bit float recording

The ZR is the first mirrorless camera to include fully-internal 32-bit float recording for audio. If you're unfamiliar, 32-bit float encodes audio in an entirely different fashion than traditional 16 or 24-bit encoding, allowing it to record a much wider range of values. Typically it's combined with dual gain amplifiers to ensure both quiet and loud sounds can be captured.

The benefit is that you don't need to finely adjust gain and worry about clipping (other than the point at which your mic itself is overwhelmed). While we've seen other cameras, such as the Panasonic GH7, that support 32-bit float recording with an external XLR adapter, the ZR can do it without one, obviating the need for a costly accessory.

What's more, it can be used to record audio from the camera's internal microphone – using OZO directional technology from Nokia – as well as from the 3.5mm microphone jack, meaning you can use it all the time.

Digital hotshoe

While the ZR has a traditional 3.5mm microphone input, it also includes a digital hotshoe with support for audio. Nikon sells a compact microphone that uses it, and Tascam offers an XLR adapter.

Currently, it's unclear what abilities other third party companies have to create accessories for it. For example, some DJI wireless microphone receiver packs can plug directly into the digital hotshoes on Sony's cameras, making it so you don't have to connect them with a 3.5mm cable. Whether they'll make something comparable for Nikon's system remains to be seen.

How it compares

You only need to look at the ZR to recognize that it's a competitor to Sony's FX range of cameras for film makers. Its lack of viewfinder will draw immediate comparison with the FX3 and APS-C/Super35 FX30 models, but the price is more in line with the FX2. However, the Nikon has a sensor much better suited to video than the FX2, which uses the rather slow to read-out chip from the a7 IV.

Despite the apparent similarities (high res 60p Raw capture), it's not quite a like-for-like competitor to Canon's C50, which launched on the same day. That is an unstabilized, actively-cooled camera, rather than a hand-held model. The provision of capabilities such as a timecode socket, desqueeze preview modes for working with anamorphic lenses and the option of bolt-on mount adapters suggests a focus on industry use, rather than beginners and owner-operator outfits.

Nikon ZR Sony FX2 Nikon Z6III Canon C50 MSRP
at launch $2199 $2699 $2699 $3899 Sensor res 24MP 33MP 24MP 32MP Sensor type Partially Stacked
CMOS BSI CMOS Partially Stacked
CMOS CMOS with dual pixel AF IBIS rating
(Center / Periphery) 7.5 / 5.0 / 5.0 8.0 / N/A Mechanical shutter No No Yes No Media types CFe B / XQD
UHS-I Micro SD CFe A / UHS-II SD
UHS-II SD CFe B / XQD
UHS-II SD CFe B
UHS-II SD Viewfinder N/A 3.68M dots
0.7x mag
tilting 5.76M dots
0.8x mag N/A Rear screen 4.0" 3.07M dots
(1280 x 800 px)
1000 nits 3.0" 1.04M dots
(720 x 480 px) 3.2" 2.09M dots
(1024 x 680 px) 3.0" 1.62M dots Maximum res/rate 6K/60 DCI 4K/30
60 with 1.5x crop 6K/60

7K/60
7K/30 open-gate

Proxy rec To same card Yes To same card Yes Raw options R3D, N-Raw, ProRes RAW Output to Atomos Rec N-Raw, ProRes RAW Canon Raw Light Cine EI option? Yes Yes No No Audio capabilities 4ch 32-bit float / 24-bit 4ch 24-bit 4ch 24-bit 4ch 24-bit LUT upload 10
Preview only 12
Preview, Embed, Apply No Apply only
(Built-in Preview LUTs) Anamorphic desqueeze No Yes
(2.0 or 1.3x) No Yes
(2.0, 1.8, 1,5 1.3x) Active cooling? No Yes No Yes Battery life (CIPA)
Actual / Cont 90 / - min 155 / 100 min 100 / - min Not specified Dimensions 133 x 81 x 49mm 130 x 78 x 104mm 139 x 102 x 74mm 142 x 88 x 95 Weight 630g 679g 760g 670g

The Nikon ZR looks essentially like one of Sony's small FX models but without their active cooling. And, in the same way that the FX2 and FX3 share much of their hardware with the more photo-focused a7 IV and a7S III bodies, respectively, the ZR is essentially a video-ized Z6III. So, while you lose the viewfinder, photo-friendly body shape and mechanical shutter, you gain more Raw video options, a hotshoe with digital inputs and 32-bit float audio. Despite this, Nikon has brought the ZR in at a price significantly below that of the Z6III.

But, more significant is that it undercuts the price of the FX2, which isn't built around an especially video-adept sensor, and at nearly half the $4100 asking price of the FX3, which has comparable rolling shutter, but captures native 4K, rather than the Nikon's 6K. In most regards, the ZR looks like a bargain.

Body and handling

The ZR is a relatively compact body, immediately bringing to mind the original Sony FX3, but without the prevalence of 1/4-20 mounting points, and without the finned exhaust ports, as the ZR does not feature active cooling.

It's just as much a Z6III shorn of its viewfinder as anything else, and has a similarly solid-feeling build. It uses the same fibre-reinforced plastic that Nikon has been using for some years, which gives a good sense of solidity without adding excessive weight. This is likely to be a benefit if you choose to mount it on a gimbal.

Ports

The ZR has most of the ports you'd expect from a video camera: USB-C, running at 3.2 speeds and 3.5mm headphone and microphone jacks. The one surprise is the presence of micro, rather than full-size, HDMI. It does make sense given the camera's smaller form-factor, but those planning to routinely plug in monitors or external recorders to this camera will likely wish for a more robust connector.

Its storage mediums are also unconventional. While its CFexpress Type B slot is exactly what you'd expect on a high-end video camera, the secondary UHS-I microSD card slot isn't. It's not fast enough to support most of the formats that the camera can, so you can't use it to back up your recordings, nor can it be used to record proxies (though if you're shooting in R3D (NE) or N-Raw, proxy files will be recorded to the main card). Most people, then, will likely just use it for transferring settings and LUTs, or perhaps for shooting stills.

Battery

The Nikon ZR uses the same EN-EL15c battery as the Z6III. It's a 16Wh battery which powers the Z6III to a respectable 390 shots per charge when shooting photos and 100mins of "actual" video shooting, according to CIPA's standardized tests.

Nikon hasn't provided the rated values for the ZR, but they're pretty comparable: good, but not exceptionally so.

Video capabilities

As you might expect, Nikon is putting most emphasis on the ZR's Raw capabilities, but for many people, good 10-bit Log footage offers a less data-intensive workflow with plenty of editing flexibility (there's a much smaller difference in editing flexibility between 10-bit Log and 12-bit linear Raw than between JPEGs and Raw stills).

Encoded options

The ZR offers plenty of gamma-encoded video options, in a choice of All-I ProRes 422, 10- or 8-bit 4:2:0 H.265 or 8-bit, 4:2:0 H.264 MP4s.

As is often the case, the most data-intensive options aren't available in ProRes. And, like the Z6III, the ZR needs to crop in to an APS-C / Super35 region to shoot 4K/120 or 100.

Resolution Framerates Region ProRes 422
10-bit MOV H.265 (4:2:0)
10 or 8-bit MOV H.264 (4:2:0)
8-bit MP4 5.4K 60 / 50 Full-width No Yes No 30 / 25 / 24 Yes Yes No 4K
(3840 x 2160) 60 / 50 / 30 / 25 / 24 Full-width
or 1.5x crop Yes Yes No 120 / 100 1.5x crop No Yes No Full HD
(1920 x 1080) 120 / 100 Full-width
or 1.5x crop Yes Yes No 60 / 50 Full-width
or 1.5x crop Yes Yes Yes 30 / 25 / 24 Full-width
or 1.5x crop No Yes Yes 240 / 200 1.03x crop No Yes No Raw options

Even if they're not necessarily the easiest options to capture or work with, the ZR's Raw video modes are likely to be the most eye-catching.

The camera can capture either the Red-derived R3D NE Raw or the existing Nikon N-Raw at up to 6K/60. It has to drop to 30p to utilize the more widely-supported ProRes RAW codec.

Resolution Region Frame rates R3D NE N-Raw ProRes
RAW HQ 6.0K 6048 x 3402 Full-width 60/ 50 Yes Yes No 30/ 25/ 24 Yes Yes Yes 4.0K 4030 x 2268 Full-width 60/ 50/ 30/ 25/ 24 Yes Yes Yes 3984 x 2240 1.52x crop 120/100 Yes Yes No 60/ 50/ 30/ 25/ 24 Yes Yes Yes

It's worth noting the different ways the R3D and N-Raw modes handle ISO. Currently, most software doesn't support lens corrections for R3D NE, though the format itself does, and they can be added using Red's RedCine-X Pro transcoding software.

Shutter angle

The ZR is the first Nikon camera to let you set exposure in terms of shutter angle, out-of-the-box (it was added to the Z8 and Z6III in firmware, post-launch). This is especially valuable on a camera that can shoot 60 and 50 fps footage as readily as it can 30, 25 or 24p, as it means you can switch frame rates and have the exposure time respond accordingly, avoiding the risk of forgetting, and shooting footage with too high or low a shutter speed, after you switch.

Video image quality Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

As with the Z6III, the ZR's compressed footage is very detailed in both 4K and 5.4K. However, Nikon has clearly changed how it processes this footage, and it appears to be applying less, or more subtle, sharpening than the Z6III.

Compared to hybrid stills/video cameras, the ZR has similar levels of detail to the similar-pixel-count Panasonic S1II, as well as to the Canon EOS R6 III's oversampled 4K mode. However, the Canon's 7K open gate footage provides much more detail than the ZR's 5.4K capture, though it will take up more storage and has to be edited before delivery. The highest-resolution footage you can get from the ZR offers more detail than the Sony a7 V's oversampled 4K footage, though some of that is almost certainly aliasing. That's also the case if you compare the cameras' 4K output, with the ZR's having more aliasing, thus not necessarily representing the scene better. It's also worth noting that the ZR comes in at a substantially lower price point than those cameras (though with a corresponding decrease in stills capabilities).

While bumping up to 60p doesn't come with a cost to field of view or detail, if you want to shoot in 120p, the camera will have to crop down to a smaller APS-C region of the sensor. This results in less detail being captured, as is expected given the extra noise coming from using a smaller region of the sensor, and the higher shutter speeds required for shooting at higher frame rates, though it's the same amount as captured by the APS-C 24p mode.

Image Comparison SliderThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Crop of 5.3K 10-bit H.265 footage at frame 1 of a recording, and frame 21 (click to see full-resolution frames). LUT applied.
Nikon ZR | 1/320 | F8 | ISO 800

The ZR shares a video IQ quirk with several of Nikon's other cameras, in that, for around the first second of an H.265 recording, the bitrate is substantially lower, resulting in noticeably softer and blockier footage. While it's certainly a ding against a hybrid camera, having to leave a second of lead time on each of your shots is borderline unacceptable for a video-focused camera.

Three flavors of Raw

The Nikon ZR supports internal Raw recording to three different formats: N-Raw, ProRes Raw, and R3D NE, a format currently unique to it. They all have the common caveats associated with Raw recording – using it will require post-processing (often using specific editing software), and the difference between Raw and Log isn't anything like as great as the difference between Raw and JPEG for stills – but for those that need it, it's available.

As you'd expect, the ZR's three flavors of Raw capture comparable amounts of detail at their 6K settings, though their default LUTs offer fairly different foundations to build your own grade on. Despite the similar image quality each version of Raw offers, there are substantial differences between what it's like to shoot them. You can read our in-depth comparison below.

N-Raw or R3D NE: how to choose

Log isn't just log

The ZR's N-Log mode for H.265 does more than just record in a different gamma; it also has a big impact on the amount of apparent detail in the footage compared to the camera's default H.265 color mode. Even with the LUT applied to roughly match color and lightness, the footage is substantially softer. When shooting in N-Log, the camera doesn't appear to apply any of the "Picture Control" adjustments, including sharpening, which may account for some of the visual differences; rather than doing it in-camera, it seems like Nikon is assuming that those shooting Log will want control over sharpening in post.

Despite sharing a sensor, Log footage recorded in H.265 from the ZR clearly has more noise reduction in the shadows than footage shot on the Z6III with the same settings. This noise reduction isn't applied to Raw footage, but for those who would prefer smaller file sizes will have to give up some control over how sharp the footage is straight out of camera. Given the controversy around the Z6III's relatively noisy and sometimes flickering shadows when recording Log, it's not surprising that Nikon has made some changes.

In use: a photographer's perspective

By Mitchell Clark

The Nikon ZR produces the same level of image quality as the Z6III. But the shooting experience is a world apart.
Nikon ZR | Nikkor Z 24-120 F4 S | 90mm | F5.6 | 1/160 sec | ISO 200
Photo: Mitchell Clark

As with other video-focused cameras, there will be photographers who ignore the ZR's Red branding to focus purely on the sensor and the boxy shape, reminiscent of a rangefinder. If that's you, we implore you: do not buy this camera.

Of course, it can take stills, and it even has a switch on the top to go between its photo and video modes. But its lack of a mechanical shutter essentially rules out flash photography (it can only sync at 1/60 sec), and means you may have to deal with banding when shooting under artificial lighting. And while I'd welcome a rear display this large and bright on a hybrid camera, I still found myself missing an EVF when shooting pictures with the ZR.

While I, like many of you, would love it if Nikon (or anyone, for that matter) released a camera roughly this shape and size aimed at photographers, the ZR isn't it. It's a video camera that can shoot the occasional still when needed, and should be treated as such.

Conclusion

By Mitchell Clark

Pros Cons

• Great video quality across formats (with a few caveats)
• Large, bright screen makes monitoring easy
• 32-bit float audio relieves stress of clipping audio
• Video-specific controls and menus are easy to operate
• Autofocus generally capable and controllable
• Wide array of recording options with well-controlled rolling shutter
• IBIS very capable for vertical shooting

• Sensor not the best for Log/Raw workflow
• Noise reduction reduces peak IQ in H.265
• H.265 footage uses very low bitrate for first second
• Could use an extra button or two
• Screen interferes with audio ports
• Some video tools (zebras, focus peaking) need some work
• microHDMI and microSD aren't wonderful
• Open-gate would've been a nice option

As the Nikon ZR is a video camera, we thought it best to present the majority of our conclusion as a video, primarily shot using the ZR and with lots of sample footage.

To briefly summarize: on the vlogging to production workhorse spectrum, the ZR sits far closer to the Sony ZV-E1 and Panasonic S9 at the vlogging side of things, rather than on the S1H and FX3 side. But for those who are looking for that kind of camera, which will likely be the majority of shooters, it's remarkably capable at that job.

The ZR has a few first-gen quibbles, which isn't necessarily a surprise. As it stands, it feels like Nikon was able to incorporate some of Red's expertise as it finished up the ZR, rather than building it from the ground up with that knowledge. What's there is quite good, but it'd be interesting to see what a version of this camera would look like if that production-focused perspective were available earlier in the process.

Nikon also seems to already be taking some of the user feedback to heart. At the time of writing, the company is promising a firmware update to the ZR that will:

• Allow users to record using the more sophisticated Log3G10 in H.265, instead of being stuck with N-Log
• Bring "general quality improvements" to H.265
• Let you use focus peaking and view assist concurrently when shooting in R3D NE
• Add a further compressed version of R3D NE, as is available when shooting N-Log (a big help in the time of skyrocketing storage costs)

If all of that comes to fruition, the ZR will be further refined as everyday vlogging/video camera. And while it may not be the best pick if your intent is a multi-operator, budgeted production, its very competitive price certainly makes that easier to accept. This capability, combine with a price that makes the camera punch a fair bit above its weight, earn it our Gold award.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Nikon ZRCategory: Mid Range Full Frame CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe ZR is one of the best vlogging cameras we've seen, providing plenty of headroom for expanding your production values.Good forVloggers and YouTubers Owner/operator video producersNot so good forPeople who care about stills Professional productions90%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"nikon_zr","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

Compared with Nikon's own Z6III, the ZR is the obvious choice for video-first shooters, thanks to its larger, brighter display with video-focused menu, 32-bit internal float, and the option of using the more sophisticated R3D NE format. By default, the ZR sharpens its footage less, which we find to provide a better starting point for editing, though it also has more aggressive noise reduction, which is especially noticeable when shooting H.265 in Log. That means you lose a touch of detail in the shadows, but we'd consider it a fair trade-off (and one that could be fixed with a firmware update). For anyone intending to regularly shoot stills, though, the Z6III will be a much better option.

Looking at the Panasonic S9, its lack of internal Raw, rock-solid IBIS and ability to burn LUTs into your footage signal its role as a more beginner vlogging camera focused on providing ready-to-output footage. If you do want to edit, though, it also provides open-gate shooting, a feature the ZR lacks. While the S9 is a relatively capable video camera, especially given its price, the ZR is more well-rounded with its faster sensor with better rolling shutter rates and full-width 4K/60, 32-bit float audio and large screen. We also prefer its autofocus and controls, and the fact that it has a headphone jack for monitoring.

While we haven't tested the Sony FX2, we are familiar with its sensor, which has much slower readout speeds and requires a crop to an APS-C region to do 4K/60, which the ZR does not. Unless you have a very specific need for a production-focused camera, the ZR is a much better choice, thanks to its faster sensor, 32-bit float audio, choice of Raw and Log workflows, and larger screen. The FX2 will likely have cleaner footage in the deep shadows, and has a mechanical shutter and EVF for stills, but those qualities can also be had in cameras much better suited to both stills and video than it.

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