Nothing of great significance
has changed between the Z 6 and Z 6II in terms of their video recording capabilities. As before, the Z 6II records using a full pixel read-out (i.e. no pixel binning) from across the full sensor width at 6K resolution before downsampling to 4K for enhanced sharpness and definition.
The 4K UHD clips (at 3840x2160 pixels) are recorded at 30, 25 or 24 fps with MPEG-4 AVC/H .264 compression in either the MOV or MP4 formats. The
Full HD (1920x1080 pixels) frame rates run up to 120 or 100 fps for slow-motion effects (at up to 5x with a 24 fps output). Firmware upgrade Version 1.10 adds 4K
UHD recording at 50 or 60 fps, but in the cropped Super 35/APS-C format so there’s a 1.5x increase in the effective focal length of whatever lens you’re using.
On the audio side, the Z 6 has built-in stereo microphones with manually adjustable levels and an attenuator, and these are supplemented by both a stereo audio input and output (both 3.5 minijacks). The sensitivity range for shooting video is 100 to 51,200 (and extendable to ISO 204,800). The maximum recording duration remains at 29 minutes and 59 seconds.
N-Log, and HLG (HDR) outputs with 10-bit 4:2:2 colour are available via HDMI for recording to an external recorder (plus ProRes or Blackmagic RAW if you’re prepared to pay for an upgrade). The video-centric features include zebra patterns, a focuspeaking display, time coding and hybrid IBIS and electronic image stabilisation (via image shifting on the sensor). A handy ‘View Assist’ function displays gradation compensation while recording with N-Log for confirmation of the final look of the footage. Simultaneous recording to the memory card isn’t possible with the 10-bit HDMI streaming, but simultaneous recording is possible with 8-bit 4K UHD recording and 2K to the memory card. The Atomos Ninja V recorder/monitor supports the camera’s 10-bit 4K N-log output.
The video functionality is extensive and includes continuous AF with subject tracking (and eye-detection for animals now available) and the options to adjust both the speed and tracking sensitivity. All the ‘PASM’ exposure modes are available along with the ‘Picture Control’ and ‘Creative Picture Control’ presets, the ‘Movie
Active D-Lighting’ processing and exposure compensation. The latter can be applied very smoothly via the multi-function control ring which is a feature of all the Nikkor Z lenses. It can also be used to manually adjust focus, but it’s obviously a fly-by-wire control.
Overall then, the Z 6II is a very capable video camera with enough even for some pro-level users, certainly in terms of the image quality and the camera’s very efficient usability.