Decoding the codecs

RAW codecs

These codecs bypass processing in-camera to record sensor data, which can then be edited later. White balance and ISO, for example, are not fixed and can be altered in post-production.

N-RAW 12-bit. Nikon’s own RAW video format. You can choose from SDR or N-log tone modes, giving you the ability to create either a ready-to-share workflow out of the camera with SDR or film with lots of dynamic range for future grading with N-log.

R3D NE 12-bit. This is a 12-bit version of the same codec used in RED cinema cameras, and the tone mode is fixed at Log3G10. This is where RED colour science lives in the Nikon ZR. You can also add non-destructive LUTs in camera so you can see what your final grading will look like as you film.

ProRes RAW HQ 12-bit. Apple’s version of RAW video, which can also be used with either SDR or N-log tone modes. In 6k this is limited to 30p frame rates. For shooting in 60p you’ll need to go down to 4k.

Intraframe codecs

Instead of recording all the sensor information, intraframe codecs compress each frame as an individual image. This means smaller file sizes than with RAW but at the expense of some grading capabilities. 

ProRes 422 HQ 10-bit. Offers great colour fidelity while keeping the files smaller than RAW. It’s a balance between total control and fast workflow. You can choose either SDR or N-log tone modes. Again, in 6k this is limited to 30p frame rates. For shooting in 60p you’ll need to go down to 4k.

Standard codecs

These offer the smallest file sizes, which, of course, also means they retain the least data. However, they are also the most widely used online.

H.265 8-bit/10-bit. The 10-bit version of H.265 offers more flexibility for basic grading, plus the option of choosing SDR, N-log or HLG tone modes. Both are great for capturing 4k video while keeping file sizes relatively small.

H.264 8-bit. The perfect codec for fast turnaround work that requires no post-processing, such as quick social posts and vlogs.