If you’re looking for a review of the Nikon ZR, one of the most unlikely people to check for a review for this camera … is Philip Bloom. He’s known for his Sony, Canon, and DJI reviews. Yet, that’s where we are today…
Philip Bloom is a renowned filmmaker and camera reviewer who has spent years testing video equipment across multiple platforms. Known for his documentary work and comprehensive camera reviews, Bloom has established himself as a trusted voice in the filmmaking community, particularly for his honest assessments of video-focused cameras. His reviews often feature real-world testing scenarios, and he’s built a reputation for thorough technical analysis combined with practical shooting experience.
In this video he – unexpectedly – tests a Nikon camera; the Nikon ZR.
Table of Contents
An Unexpected Purchase
Philip Bloom tests the Nikon ZR camera during a week-long trip to Skiathos, Greece – a location he’s used for numerous reviews and documentaries over the years. What makes this review remarkable is Bloom’s admission that two months prior, he would have considered buying a Nikon “ridiculous.” Yet he purchased the ZR, marking a significant shift in his equipment choices.
The ZR represents the first collaboration between Nikon and RED (which Nikon acquired). Priced under $2,200, it’s the smallest and most affordable RED camera ever made, featuring internal RED RAW recording—the flagship feature for most users.
The Standout Feature: That Screen
Bloom identifies the 4-inch, 1,000-nit LCD screen with 3.07 million dots as the primary reason the ZR became such a joy to use. For his low-angle cat photography work, the screen proved transformative. Unlike his Sony cameras with small, dim screens that struggle in bright sunshine, the ZR’s display remained clearly visible in all conditions. The difference was so dramatic that after using the ZR, he abandoned his Sony ZV-E1 for the remainder of the trip.
However, Bloom notes the lack of an EVF is problematic for head-height shooting. The ZR is essentially a Z6 III without the EVF, smaller screen, new accessory shoe, or RED RAW capability.
Codec Chaos and Issues
The camera offers multiple recording options: R3D NE, Nikon RAW (both up to 6K 60p full-frame), ProRes RAW HQ (max 30p), ProRes HQ, and 10-bit 4:2:0 H.265 (up to 5.4K). All modes shoot 4K 60p with no crop and 120fps with 1.5x crop. There’s also 240fps in 1080p.
Bloom identifies significant codec problems. The H.265’s variable bit rate fluctuates wildly – from just 30 megabits per second in simple scenes to 404 megabits per second in high-ISO, deep depth-of-field scenarios. ProRes HQ files are “ridiculously big” at around 1,500 megabits per second with minimal quality difference from H.265. The RAW codecs look best, with Nikon RAW Normal mode offering the most manageable file sizes at 810 megabits per second for 6K 25p.
A critical issue: overdone noise reduction in H.265 and ProRes HQ that can’t be disabled, removing detail and organic texture, particularly noticeable in night shots.
Design Quirks and Limitations
Notable problems include: no grip (requiring a cage), card slots awkwardly located in the battery compartment, micro HDMI port, limited customizable buttons forcing menu diving for key functions like autofocus sensitivity, inconsistent view assist behavior between codecs, and menus Bloom finds unintuitive.
Strangely for a cinema camera, there’s no open gate mode, no DCI aspect ratios, no true 24p, and no anamorphic desqueeze.
Strong Points
The camera excels with 32-bit float audio recording: the first camera to offer this without accessories. Animal autofocus performs well. The IBIS (Nikon calls this – VR) is decent, comparable to Sony’s. Low-light performance is strong, with dual base ISOs of 800 and 6400. The Megadap ETZ 21 Pro+ adapter allows excellent use of Sony E-mount lenses with minimal compromises.
Rolling shutter performance is very good, and overheating wasn’t an issue during testing.
For photo mode, the lack of mechanical shutter creates banding problems under artificial light … a significant limitation.
Conclusion
To wrap up, this video is very much like what you would expect from a typical Philip Bloom camera review. A lot of footage … well thought out talking points, and many shots of many cats, often in slow motion. Definitely worth a watch.
To discover whether Bloom ultimately recommends the ZR despite its quirks, and to see extensive real-world footage from his Greece trip, watch the full review, embedded above.
