Making Movies
LIKE THE EOS R3, THE Z 9 IS undoubtedly primarily designed for pro-level photographers, but it’s also a hugely capable video camera too. Whether video-makers will want the larger form factor associated with the integrated vertical grip is another matter, so giving its Z-mount flagship such extensive video capabilities is probably more about Nikon catering to users who need to shoot both stills and video… now a common requirement especially for news and sports photographers, but also those in a number of other fields such as editorial. Consequently, the emphasis is mostly on real-world requirements and not everybody is going to want 8K res, which the Z 9 offers uncropped at 24, 25 or 30fps (you don’t have to switch between TV standards) in 16:9 aspect with 10-bit 4:2:2 colour, and the more efficient H.265 HEVC compression so the files aren’t massively massive.
More immediately useful is 4K UHD across the full sweep of frame rates from 24fps to 120fps… the latter giving 5x slow-mo effects when output at the former. The 4K UHD video recording at 24/25/30p is oversampled from 8K, while at the faster frame rates up to 100/120p pixel binning is employed (but the full width of the sensor is still used). There’s also the option to record 4K ProRes HQ internally with 10-bit 4:2:2 colour – another bit of pioneering adventurism from Nikon. What’s more, 12-bit ProRes RAW internal recording is coming along with 12-bit N-RAW and 8K UHD at 50/60p. N-Log and HDR (HLG) recording with 10-bit colour is also possible internally.
Nikon is emphasising there are no practical limits on recording durations related to overheating, so you can record at 8K and 25/30p for up 125 minutes. It’s probably worth noting here that, unlike Canon, Nikon doesn’t have a dedicated video camera business, so it can load up the Z 9 without fear of possibly cannibalising sales elsewhere. For external recording over HDMI – and the Z 9 commendably has the full-size Type A connector – there’s 4K UHD with 10-bit 4:2:2 colour or 8-bit 4:2:0 colour at up to 50/60p, and Full HD with 10-bit 4:2:2 colour or 8-bit 4:2:0 colour at up to 50/60p. Additionally, both 10-bit
N-Log and HDR with simultaneous recording internally.
On the audio side, the Z 9 has builtin stereo microphones recording 24-bit PCM linear audio. It has stereo audio in/ out using 3.5mm minijack connectors – the former with plug-in power, the latter with headphones volume control. The audio controls comprise auto/manual levels adjustment, an attenuator, two frequency response settings for wide and vocal ranges, and wind-cut filter.
Video features include zebra displays, time code support, electronic image stabilisation (which shifts the image on the sensor to correct for camera movement so there’s a small crop involved) and time-lapse movie recording in 2K, 4K and 8K. By the way, frame grabs from 8K video deliver 33MP stills!
When shooting video, you don’t get the Dynamic Area modes or 3D Tracking for autofocusing, but all the benefits of 120Hz sampling are still available, as is the subject-based tracking with eye/ face/head/torso detection for humans and eye/head/body for animals and birds. There are also video-specific adjustments for AF speed and tracking sensitivity. Needless to note it all works brilliantly and, also thanks to the fast sensor read-out, there’s negligible rolling shutter distortion too.
The video functionality is extensive and includes all the PASM exposure modes, the Picture Control presets (which include a Flat setting for video), the Creative Picture Control effects, the Active D-Lighting processing (minus the Extra High 2 setting), flicker detection, high ISO noise reduction and the incamera lens corrections. The sensitivity range for video is ISO 64 to 25,600 with the two-stop push to ISO 102,400.
It’s sometimes a bit hard to tell just how serious Nikon is about making a big impression on videographers, but intentional or not, with the Z 9 it’s created a hugely capable video camera that some will find very hard to ignore.