After announcing the Nikon ZR last week, Nikon unveiled its new videocentric cinema camera to the public for the first time at the IBC 2025 Convention (a trade show for the cinematography and videography industry) in Amsterdam, Netherlands. At the show, Digital Camera World was given an exclusive opportunity to put five questions to Nikon bigwigs Aihara Takashi (General Manager of UX Planning department in Nikon Imaging Business Unit) and Noriaki Mochimizo (ZR Project Manager).
While Nikon is usually tight-lipped about its plans for future products, the insiders did reveal that a new line of Nikkor Z Cinema lenses is in the works, and hinted at future developments for the Z Cinema line. Here’s what they had to say…
DCW: The Nikon ZR costs significantly less than Red's existing Raptor and Komodo cameras, so who is it aimed at?
Aihara Takashi: The ZR is designed for a wide range of applications, from personal projects to professional client projects as well. It's also intended to be used with Red cameras together in full-scale cinema production. So quite a wide range!
Because of the all-in-one usability in the compact form factor, we expect the primary target audience will be content creators who work independently or in a small operation. We would like many people to experience cinema industry-standard workflow, especially R3D NE, internal Raw recording, and also post-production with much more flexibility and creativity. And in that sense, the ZR should be a great option for young content creators.
DCW: What is the criteria for Z Cinema products? Will full-frame be a base requirement rather than APS-C sensor cameras? Or could a 'Z30 II' potentially join the Z Cinema line?
Aihara Takashi: The Z Cinema Line is a cinema-focused product, and it's designed for high-end cinema production and creators combining technologies of Nikon and Red. On the other hand, the current Z-series mirrorless series is built for hybrid users who enjoy both photography and videography.
Sensor size is not relevant to the product line definition itself, so we might have different sensor-size cinema cameras. We already do have a VV sensor and a full-frame sensor. Both belong to the Z-Cinema line.
As usual, we cannot provide specific information about future products. But the Z Cinema series will be developed as a lineup designed with cinema-quality production in mind.
DCW: Can we expect to see a line of Z Cinema videocentric lenses to join the 28-135mm f/4 PZ or for Nikon to open up the Z-mount to third-party cinema lenses?
Aihara Takashi: First, the ZR is, of course, compatible with all existing Nikkor Z lenses, and most of them are very capable for video shooting. Also, thanks to the Z-mount benefit, which has the shortest flange focal distance of only 16mm, the ZR can be used with a wide range of other-mount lenses, via mount adaptors, including Nikkor F-mount lenses, which are very popular for cinema production. Regarding third-party cine lenses, we have signed a Z-mount license agreement with Leitz, and their new Z-mount cinema lenses are currently on display at IBC.
And finally, this is going to be big news for you! Talking about T-point cinema lenses, we'd like to make an official announcement right here: Nikon is now developing Nikkor Cinema Lenses. They are under development right now, so it's going to take some time until they launch. We have done extensive research with Red to understand the needs in the cinema industry. But we have already begun development. So, yeah, look forward to it!
DCW: Any plans for an 8K Z Cinema model, perhaps based on the Z8/Z9’s higher-res 45.7Mp sensor – or even a future 'global shutter' sensor?
Aihara Takashi: So let’s touch on what the Z Cinema line is, because we have both Red cameras and Nikon cameras under the same category brand. In February this year, we launched the Z Cinema line, which is designed for filmmakers and creators, combining the technologies of Nikon and Red. We have three Red cameras: the Raptor X, Komodo X, and the new Raptor XE, which all have the Z mount, so they are also Z Cinema cameras. And the ZR has just joined the Z Cinema family as a new baby. So we now have four cameras.
So talking about an 8K Z Cinema model, in that sense, we already have the Raptor X and Raptor XE; they are all part of, let's say, the Nikon and Red family. And as Nikon and Red, we will keep offering a wide range of products depending on customer needs, from top-end cinema production to personal projects. So customers can choose what they want in terms of high resolution or high frame rate, depending on their needs.
So under the Z Cinema category, we have so far only one camera from Nikon's side. But we have both brands under the same Z Cinema line.
DCW: How did you manage to achieve 32-bit float audio in-camera?
Noriaki Mochimizo: We expect that most users will work solo or in small crews, so we adopted 32-bit float audio recording to eliminate the need to set audio input sensitivity, allowing creators to focus on shooting.
To offer the advantage of creating video solo, or within a small team, additionally, I’d like to mention about the design. To support the dynamic range required for 32-bit float, the audio circuit was fundamentally redesigned, resulting in improved sound quality, with the microphones are positioned next to the accessory shoe.
Don't miss our in-depth report on the launch of the Nikon ZR, and our first impressions of the camera in our hands-on review!
