The emergence of full-frame mirrorless cameras has transformed the landscape of photography and videography. This evolution has been embraced by major players such as Sony, Canon, Nikon, and Panasonic. For photographers, the change has been profound, but it is within the realm of video where the shift is most significant. Unlike DSLRs, where video features were often treated as an afterthought, mirrorless systems are built to push the boundaries of what video capture can achieve. In an unexpected turn, Nikon—once considered an underdog in video performance—is now emerging as a serious contender. This is largely due to its adoption of RAW video recording capabilities.
The Power of RAW Video
Just as RAW image files allow photographers to manipulate unprocessed data for optimal results, RAW video enables videographers to do the same. RAW video provides uncompressed sensor data, allowing for high precision in post-production. Editors can freely adjust dynamic range, white balance, fine details, and color grading without sacrificing quality. This level of control surpasses that of log video formats, which, although designed for grading flexibility, still involve some in-camera processing. RAW video is entirely untouched by the camera’s internal algorithms.
How Nikon Delivers RAW Video
To implement RAW video recording, Nikon needed an innovative solution. Internal recording of RAW files is a technical challenge, as the file sizes and processing demands are enormous. Nikon addressed this by partnering with Atomos, a leading external recorder manufacturer. The result is a workflow in which the Nikon Z6 and Z7 output 12-bit RAW video through HDMI to an Atomos Ninja V recorder. This partnership unlocks the ability to use Apple’s ProRes RAW format, which compresses the RAW data without losing critical information. This not only saves space but also delivers high fidelity and performance—ideal for semi-professional and professional creators.
Technical Limitations and Considerations
While the Nikon and Atomos combination is groundbreaking, there are some limitations. When outputting 4K RAW video externally, internal recording on the camera is disabled. Limited internal recording at lower resolutions (usually 8-bit) is available, but it cannot match the flexibility of the external setup. Another consideration is software compatibility. Not all major editing platforms fully support ProRes RAW at this time, so creators must ensure their post-production tools are up to the task.
Video Specifications of the Nikon Z Series
The Nikon Z6 and Z7 cameras offer several notable video features. They include N-Log recording, though this requires an external recorder. Internally, they can handle up to 10-bit recording, while 12-bit is possible externally. Frame rate options include 4K at 30p, 25p, and 24p, and 1080p at 60p, 50p, 30p, 25p, and 24p. These cameras also come with in-body image stabilization (IBIS) and improved autofocus, enhancing their overall video performance.
A Milestone for Underwater Videography
For underwater videographers, the availability of 12-bit RAW output in a full-frame mirrorless camera marks a pivotal point. Previously, RAW video was a luxury reserved for high-end cinema cameras, often costing tens of thousands of dollars. Now, thanks to the Nikon and Atomos collaboration, a much wider audience can access professional-grade underwater video capabilities. With a Nikon Z6 paired with the Atomos Ninja V, creators gain precise control over color, dynamic range, and detail—all of which are critical for the underwater environment. This flexibility promises to elevate underwater storytelling to new levels.
Comparison with Past Nikon Video Systems
The video performance of the Nikon Z series represents a major leap from older Nikon DSLR systems. While the Nikon D850 was known for good video quality, earlier models were not favored for underwater color accuracy or overall usability. Nikon’s new mirrorless lineup corrects this with improved image processing and external RAW recording support. It now rivals or even exceeds Canon’s reputation for color quality underwater. This positions Nikon as a top-tier choice for underwater video shooters.
Who Should Use the Nikon Z and Atomos Ninja V Setup?
This camera and recorder pairing is an excellent choice for anyone serious about professional video production. The Nikon Z6, in particular, is the preferred model for video due to its better low-light performance and affordability. It is highly recommended for both professional and enthusiastic amateur underwater videographers. Those upgrading from the Panasonic GH5, for instance, will find the Z6 a worthy step up, especially if RAW recording is a priority. The addition of the Ninja V also enables N-Log recording and enhances compatibility with legacy Nikkor lenses, thanks to the IBIS system. This setup is ideal for anyone who values full post-processing control and cinematic image quality.
Underwater Use of the Nikon Z and Ninja V
Despite the advanced technology involved, using the Nikon Z6/Z7 and Atomos Ninja V underwater is quite straightforward. Dedicated housings are available from leading manufacturers like Nauticam, designed specifically for both the cameras and the Ninja V monitor. This makes it feasible for professionals and enthusiasts alike to take full advantage of RAW recording while diving or filming in challenging aquatic environments.
Evolution of Mirrorless Video and the Role of External Recorders
The rise of mirrorless technology has paved the way for dramatic enhancements in video production. Traditionally, DSLR systems were designed with still photography in mind, and their video features often lacked polish. Autofocus performance during recording was mediocre, internal codecs were limited, and dynamic range was not optimized for post-processing. With the advent of mirrorless systems, these issues began to dissolve. Brands such as Panasonic, Sony, Canon, and Nikon recognized a shift in creator expectations and responded with tools tailored for both photo and video applications.
However, full creative control over video—particularly RAW video—remained elusive due to technical barriers. Internal sensors were capable of gathering tremendous data, but processors and storage systems were insufficient to capture it in full fidelity. This gave rise to the importance of external recorders like the Atomos Ninja V, which act as intermediaries between the camera sensor and storage media. By capturing a high-bandwidth HDMI signal directly from the camera’s sensor, the Ninja V bypasses internal limitations and enables uncompressed or lightly compressed formats such as ProRes and ProRes RAW.
This dynamic is crucial in the case of Nikon’s Z6 and Z7 cameras. Internally, these cameras are limited to compressed 8-bit or 10-bit files that, while good, lack the flexibility required for high-end color grading. With the Atomos Ninja V, however, the camera’s potential is fully unlocked. By transmitting a 12-bit signal directly from the sensor to the recorder, users gain access to the full spectrum of the image data, which allows for a far superior editing experience.
Why 12-Bit Color Matters for Professionals
One of the standout features of ProRes RAW recording on the Nikon Z6/Z7 is the ability to record 12-bit color depth. For many videographers, the difference between 8-bit, 10-bit, and 12-bit might seem minor, but in professional post-production, the distinctions are substantial.
A video recorded in 8-bit has access to 256 shades per color channel (red, green, blue), which totals 16.7 million possible colors. A 10-bit video increases that to 1,024 shades per channel, or over 1 billion colors. But 12-bit explodes this number to 4,096 shades per channel, creating a potential of over 68 billion colors. This exponential increase enables smoother gradients, better performance in heavy color grading, and fewer artifacts like banding or noise in shadows and highlights.
This is particularly important in underwater videography, where color shifts dramatically with depth and lighting conditions. Footage recorded in shallow, well-lit waters might look vastly different from that in deeper or murkier locations. Having a 12-bit file allows colorists to recover accurate skin tones, restore true colors to marine life, and make subtle adjustments without degrading the footage. The more data available, the more power the creator has in shaping the final product.
ProRes RAW vs Other RAW Formats
ProRes RAW is Apple’s proprietary RAW video format. It combines the benefits of RAW video with the ease of editing found in Apple’s well-optimized ProRes family. Unlike cinema RAW formats such as REDCODE RAW, CinemaDNG, or Blackmagic RAW, ProRes RAW is designed to provide high-quality footage without excessive file sizes or system requirements. This is ideal for users of the Nikon Z series, where compactness and portability are part of the appeal.
Unlike CinemaDNG, which is often considered a true RAW format with frame-by-frame still image sequences, ProRes RAW wraps image data in a video container, making it easier to work with in real-time editing scenarios. It also offers better performance in Apple-based workflows, especially when using Final Cut Pro X, where GPU acceleration improves editing speeds and playback responsiveness.
While it is not as universally compatible as traditional ProRes or H.264, ProRes RAW is increasingly supported across platforms, and ongoing updates continue to improve its integration with software like Adobe Premiere Pro, DaVinci Resolve, and Avid Media Composer. For Nikon users, the choice of ProRes RAW is strategic—it delivers an optimal balance between quality and practicality, especially for mobile or on-location video production.
Workflow Considerations for Shooting in ProRes RAW
Adopting a RAW workflow is not a simple plug-and-play decision. It requires planning, hardware support, and an understanding of post-production software capabilities. For Nikon Z6/Z7 users shooting with the Atomos Ninja V, the ProRes RAW workflow introduces several new considerations.
First, storage becomes critical. RAW files are large. While ProRes RAW is compressed compared to traditional RAW formats, a 1-minute clip of 4K ProRes RAW at 30p can still occupy several gigabytes. This means that users must invest in fast and spacious SSDs for the Ninja V and high-capacity hard drives or RAID systems for file archiving.
Second, editing hardware must be powerful enough to handle high bit-depth video. Although ProRes RAW is efficient, real-time editing and rendering of 12-bit 4K footage can be taxing on CPUs and GPUs. Many professionals opt for dedicated editing rigs with ample RAM, SSD boot drives, and workstation-class graphics cards.
Third, software compatibility must be addressed. While Final Cut Pro natively supports ProRes RAW, others like Adobe Premiere Pro require specific versions and settings. DaVinci Resolve, while robust, still has limited support unless transcoding is performed first. This means users must be comfortable navigating transcoding tools or adapting their editing environment to accommodate the footage.
Despite these requirements, the benefits of shooting in RAW far outweigh the initial overhead. The ability to fine-tune exposure, white balance, and color after capture gives filmmakers greater creative control and ensures that the final product meets professional standards.
Why Nikon Chose the Atomos Ninja V
The Atomos Ninja V was a strategic choice for Nikon, not only because of its capabilities but also due to its established presence in the filmmaking community. Atomos recorders are known for their rugged design, intuitive interface, and high-resolution touchscreen displays, which provide excellent monitoring in the field.
The Ninja V supports 4K60p HDMI input, 10-bit and 12-bit recording, and a wide variety of codecs including ProRes, ProRes RAW, and DNxHR. Its compact size makes it suitable for gimbal use, handheld rigs, and of course, underwater housings. The 1000-nit display brightness also makes it usable in bright environments, such as open water conditions where glare can be a major issue.
Atomos and Nikon collaborated closely to develop a firmware update that enables RAW output from the Nikon Z6/Z7 to the Ninja V. This collaboration signals Nikon’s serious intent to compete in the video production world. By choosing a reliable and accessible third-party recorder, Nikon was able to leapfrog into the RAW recording space without redesigning their entire camera body or sensor architecture.
Firmware and Installation Process
Enabling ProRes RAW on the Nikon Z6 and Z7 is not as simple as turning on a menu setting. Users must perform a firmware upgrade that activates the RAW video output over HDMI. This upgrade is not standard and typically involves sending the camera to a Nikon service center for installation. In some cases, the upgrade is free; in others, there may be a small fee depending on the region or warranty status.
Once enabled, the RAW output option becomes available in the camera’s HDMI settings. Users must then set the camera to video mode, ensure the Ninja V is connected and powered on, and select ProRes RAW as the recording format on the monitor. A stable HDMI connection is essential, and users should invest in high-quality HDMI cables to prevent signal loss.
After installation, the workflow becomes streamlined. The Atomos automatically detects the signal, and recording begins with a single tap. As the Ninja V also supports custom LUTs (lookup tables), users can apply preview color profiles to get an accurate sense of how the final footage will appear, even while shooting in RAW.
Audio and Timecode Integration
In professional workflows, audio and timecode synchronization are just as important as video quality. Fortunately, the Atomos Ninja V supports audio input and timecode integration through HDMI or dedicated 3.5mm inputs. When recording ProRes RAW, embedded audio from the Nikon Z6/Z7 is preserved, ensuring that scratch or synced audio is recorded alongside the video file.
This is essential for underwater videographers who often use external hydrophones or wireless audio systems to capture environmental sounds. Timecode accuracy is also vital for multi-camera setups, especially when using matching Z6 or Z7 units. Some users even pair the Ninja V with timecode generators to ensure absolute synchronization during post-production.
The integration of audio and timecode within a RAW workflow illustrates how Nikon’s solution is not just for enthusiasts but tailored for professional production environments.
Comparisons with Other Systems
To appreciate the significance of the Nikon Z and Atomos pairing, it’s helpful to compare it with other systems that offer RAW video. Cameras such as the Canon EOS R5, Panasonic S1H, and Sony FX3 also support RAW output, often with their external recorders. However, Nikon stands out in terms of affordability and simplicity.
The Nikon Z6, in particular, offers excellent low-light performance and full-frame recording at a lower price point than many of its competitors. When paired with the Ninja V, it becomes a powerful tool capable of competing with cinema-grade systems at a fraction of the cost. This lowers the barrier to entry for independent filmmakers, content creators, and underwater videographers seeking high production value without the budget of a major studio.
Additionally, Nikon has a large base of legacy lenses, which can be used via adapters without compromising image quality. This is a boon for videographers who already own Nikon glass and want to maintain consistency across their workflow.
Underwater Cinematography and the Promise of RAW
Underwater cinematography presents a unique set of challenges that extend far beyond traditional videography. Limited light penetration, unpredictable subjects, color loss, motion distortion, and varying water conditions demand tools that offer exceptional flexibility and fidelity. In this context, ProRes RAW video recording on a full-frame mirrorless system like the Nikon Z6 or Z7 becomes a groundbreaking asset. The underwater world is visually spectacular but unforgiving. Colors such as red, orange, and yellow disappear with depth, and even under the best lighting, the ambient blue and green tones can overpower fine details. Recovering these lost colors requires sophisticated post-production tools and high-bit-depth files that preserve every nuance of captured data. This is where 12-bit RAW video excels. When shooting with ProRes RAW, editors gain access to much more image information. It enables the recovery of highlights and shadows, reduces compression artifacts, and provides smoother gradients. More importantly, it gives editors creative freedom to stylize footage without fear of banding or loss in quality. Traditional video codecs such as H.264 and H.265, although efficient, often fall apart under these editing conditions. For underwater videographers who spend hours setting up the perfect dive, using such limiting formats is no longer acceptable. With RAW, one dive trip can yield cinematic content on par with major productions.
The Role of Lighting and White Balance in RAW Underwater Footage
Light behaves differently underwater. Not only does it scatter and refract, but it also diminishes in intensity and color temperature with depth. Even at shallow depths, available light is not enough to illuminate subjects naturally. Artificial lighting is used to compensate, but the effectiveness of lighting relies heavily on the recording format. When shooting in compressed video formats, white balance must be nearly perfect during recording. A small deviation can result in irrecoverable color shifts that make footage look amateurish. With RAW, however, white balance can be adjusted in post with no loss in quality. This is a critical feature for underwater filmmakers who may not be able to rely on real-time monitoring or accurate in-camera settings due to visibility issues, monitor limitations, or fast-changing light conditions. Moreover, light fall-off is unpredictable underwater. Areas close to the lens might be brightly lit by strobes or video lights, while the background fades into darkness. ProRes RAW captures a wide dynamic range, allowing editors to balance foreground and background exposure smoothly. The ability to pull out details in the shadows or recover blown highlights means more usable footage and less time wasted on unusable takes.
Compact System, High-End Performance
The Nikon Z6/Z7 paired with the Atomos Ninja V brings professional performance to a relatively compact system. Portability matters underwater. Divers are restricted by weight, space, and hydrodynamics. Bulky cinema cameras may produce beautiful footage, but they are impractical for most underwater environments. The Nikon Z6 is compact yet powerful. Its body is weather-sealed, its controls are intuitive, and its sensor offers excellent low-light performance. When combined with a monitor/recorder like the Ninja V in a housing, the entire system remains manageable for a single diver to operate. This is a major advantage for filmmakers working in remote areas or filming solo. Furthermore, the Nikon Z6 uses a full-frame sensor, which offers advantages in depth of field, dynamic range, and overall image quality. Compared to micro four-thirds or APS-C sensors, full-frame sensors allow more light to hit each pixel. This translates into better performance in dark environments—an essential feature for shooting beneath the waves.
Versatility Above and Below Water
While the Nikon Z6/Z7 excels in underwater environments, its benefits extend to topside filmmaking as well. Videographers who shoot both underwater and on land will appreciate the ability to use a single camera system for all their needs. Whether filming a coral reef, a documentary interview, or a travel montage, the Z6 paired with the Ninja V provides consistent color science, resolution, and recording quality. This consistency simplifies post-production workflows and reduces the need to match footage from different camera systems. ProRes RAW ensures that the image data captured underwater can seamlessly blend with above-water footage, allowing for unified color grading and visual coherence. Additionally, the Z6’s image stabilization and advanced autofocus system make it suitable for handheld shooting and dynamic environments. Many filmmakers need to travel light and shoot fast. Having a camera system that adapts to multiple shooting scenarios without requiring complicated rigging is invaluable.
Using Legacy Nikon Lenses for Video
One of Nikon’s major strengths is its long history of interchangeable lenses. From Nikkor manual primes to modern autofocus zooms, Nikon has produced lenses with character and quality. With the Z-series cameras, users can adapt these legacy lenses using Nikon’s FTZ adapter. This opens up a wide range of creative options for videographers. Manual focus lenses, in particular, are favored by many filmmakers for their precision and smooth focusing rings. Using these lenses with RAW recording provides a cinematic aesthetic, with beautifully rendered focus transitions and organic bokeh. Nikon’s older lenses also tend to have unique optical qualities—some produce soft corners, flare characteristics, or color rendition that digital-native lenses do not. With ProRes RAW, these subtleties are preserved, allowing filmmakers to embrace imperfections as creative choices rather than limitations. The combination of vintage optics and modern recording formats creates a compelling blend of nostalgia and innovation.
Training and Learning Opportunities with RAW Video
For many aspiring videographers, shooting RAW is part of their creative journey. Learning how to edit RAW footage builds foundational skills in color grading, exposure correction, and image manipulation. The ProRes RAW workflow teaches creators to understand how light interacts with a sensor, how to balance colors across a sequence, and how to shape emotion through contrast and hue. Nikon’s adoption of RAW recording through a consumer-accessible camera like the Z6 makes these learning opportunities more affordable. Previously, students or hobbyists had to work with proxies or compressed formats, limiting their education to second-tier content. Now, they can work with the same quality as commercial productions. For schools and institutions, this system also provides a cost-effective solution for teaching cinematic production. A classroom equipped with Z6 cameras and Atomos recorders allows students to experience a professional workflow from shoot to final export. Editing ProRes RAW footage in tools like Final Cut or Premiere Pro teaches real-world skills that apply directly to professional environments.
Field Reports from Creators
Filmmakers and underwater videographers who have adopted the Nikon Z6/Ninja V setup report highly positive results. Many note the color fidelity and smoothness of the footage. Others point to the ease of monitoring and focus peaking with the Atomos screen. In practice, the system allows divers to trust their footage even in complex lighting scenarios. Several documentarians shooting marine life describe the flexibility of ProRes RAW as life-changing. Filming under natural light and then color correcting to match artificial light in post yields stunningly consistent results. One filmmaker noted that previous projects using compressed video required extensive masking and repair in post, whereas ProRes RAW gave them clean files that responded well to LUTs and grading curves. Another strength mentioned in field reports is battery life. The Nikon Z6, when paired with external battery grips and powered monitors, can shoot for extended sessions without overheating or requiring constant recharging. This is a must for long dives or remote fieldwork where logistics are limited.
Creative Control and the Cinematic Look
Achieving a cinematic look involves more than just sharp footage. It requires subtle tonality, smooth gradients, shallow depth of field, and natural movement. Shooting in RAW provides the flexibility to push footage beyond what is possible in compressed formats. Highlights can be tamed, shadows lifted, and colors adjusted with surgical precision. With ProRes RAW, it’s possible to simulate film stock characteristics or build unique LUTs tailored to specific projects. The Nikon Z6, when paired with a fast prime lens and ProRes RAW, produces footage that can rival cinema cameras many times its price. Skin tones are more lifelike. Backgrounds are more organic. And transitions between light and shadow become storytelling tools. This kind of visual storytelling is what separates high-end productions from casual video. When color becomes emotion, and light becomes mood, the camera fades into the background and creativity takes center stage.
The Ethics of Color Manipulation
With great power comes great responsibility. The ability to manipulate every detail of a RAW file also introduces ethical considerations. Documentarians, particularly those filming nature or environmental subjects, must consider how much manipulation is acceptable. Is it ethical to enhance the vibrancy of coral reefs that are fading due to bleaching? Should animal skin tones be corrected if they alter their appearance? These are not technical questions, but philosophical ones. RAW video allows editors to present reality through a filter of interpretation. Transparency in editing practices becomes essential when presenting work as non-fiction. In fiction or art-driven work, however, color manipulation is a central storytelling element. The freedom RAW offers enables filmmakers to match the tone of a script, the era of a location, or the emotion of a character. In both cases, RAW becomes a language—one that must be spoken carefully and intentionally.
Future Developments and Firmware Enhancements
Technology does not stand still. The partnership between Nikon and Atomos is likely just the beginning. As firmware updates improve stability, add new frame rates, and expand compatibility, the ProRes RAW experience will only get better. Future updates may unlock 60fps at 4K, additional aspect ratios, or new metadata tags. As Apple refines ProRes RAW and editing platforms expand support, users will enjoy smoother workflows and better visual feedback. Nikon may also introduce future Z-series models that include internal RAW recording or higher bitrates. The current system already competes with more expensive options, but innovation will continue to blur the lines between prosumer and professional gear.
The Impact of ProRes RAW on Professional Video Workflows with Nikon Z6/Z7
The addition of ProRes RAW recording capabilities to the Nikon Z6 and Z7 marks a significant shift for videographers, especially those operating in a hybrid photography and video environment. The ability to access RAW video from a full-frame mirrorless camera unlocks vast creative and technical potential. This change is not simply a matter of marketing—it introduces measurable, practical, and artistic benefits to real-world video production.
By enabling ProRes RAW, Nikon is now competing directly with systems that were once exclusive to cinema camera categories. What makes the Z6 and Z7 unique is their size-to-performance ratio. With just a compact body and an external recorder, users gain access to the kind of color grading flexibility and sensor data control typically reserved for cameras several times the cost.
The importance of RAW recording lies in its potential for flexibility in post-production. Traditional compressed video formats, such as H.264 or H.265, record processed data with color correction, sharpening, white balance, and exposure decisions already baked in. These limitations make it difficult to fix mistakes or creatively rework footage in post. In contrast, ProRes RAW records minimally processed image data directly from the camera’s sensor. This provides significantly more latitude in post-production for exposure adjustments, white balance tuning, noise correction, and overall image refinement.
Furthermore, the simplicity and efficiency of ProRes as a codec format mean that even though the data being recorded is RAW, it does not demand prohibitively high processing power. This makes ProRes RAW an attractive option for both on-set editing and efficient archival workflows. With the increasing support of editing software such as Final Cut Pro, Adobe Premiere (with plug-ins), and DaVinci Resolve (in limited capacity), the format continues to become more universal.
The introduction of ProRes RAW in Nikon Z6/Z7 also changes the positioning of these cameras within the industry. They are no longer just compact mirrorless tools for photographers dipping into video—they are now viable, serious contenders for commercial productions, short films, documentaries, and music videos. As more productions demand hybrid shooters who can deliver both high-quality stills and cinematic video, Nikon’s firmware update offers an all-in-one solution with remarkable performance and affordability.
Real-World Applications and Use Cases for ProRes RAW on the Nikon Z6/Z7
ProRes RAW on Nikon’s full-frame mirrorless bodies opens new doors across various professional sectors. Whether you’re a content creator on YouTube, an indie filmmaker, or a documentary videographer, the addition of this powerful codec elevates the kind of work you can produce. It particularly impacts workflows in the following areas:
Independent Filmmaking
In indie film production, budget is always a concern. Traditionally, access to RAW video came with a high price tag and additional gear complexity. With the Nikon Z6/Z7 and an Atomos Ninja V recorder, filmmakers now have an affordable RAW video setup that rivals traditional cinema cameras. This enables them to capture footage with a high dynamic range, perform aggressive color grading, and deliver cinematic results without needing massive investment in high-end gear.
Documentary Filmmaking
For documentary filmmakers, especially those working in run-and-gun scenarios, mobility and discretion are essential. Carrying a lightweight Nikon Z6 or Z7 with a compact external recorder offers a perfect blend of portability and quality. The ability to record in ProRes RAW allows filmmakers to adapt quickly to unpredictable lighting environments and fix challenging exposure settings in post-production.
Commercial Production
Commercials, branded content, and corporate video production benefit greatly from ProRes RAW. These projects often require multiple rounds of client feedback, which can involve altering the color tone, adjusting brightness levels, or refining the overall mood of a shot. ProRes RAW's flexibility in color grading makes it ideal for such iterative creative processes. Clients can request stylistic changes without requiring expensive reshoots.
Wedding and Event Videography
Wedding videographers often face a wide range of lighting conditions—from sunlit ceremonies to dimly lit receptions. Shooting in ProRes RAW allows these professionals to handle exposure inconsistencies and achieve a polished cinematic finish in post. Moreover, since Nikon’s cameras are known for their strong low-light performance, this update only enhances their utility in this niche.
Music Videos and Creative Projects
Music videos often involve artistic color grading and unique visual treatments. Shooting in ProRes RAW offers directors and colorists the maximum range of creative freedom to experiment with tones, contrast, saturation, and effects without degrading the image quality. Using Nikon Z6/Z7 in this context provides a cost-effective platform for high-end visual storytelling.
Compatibility, Workflow Integration, and Post-Production
While ProRes RAW offers significant benefits, adopting it into a video production pipeline requires some consideration. The integration process varies depending on your editing platform, the system’s hardware capabilities, and your project’s post-production demands.
Supported Devices and Software
ProRes RAW recording from Nikon Z6/Z7 is only possible via HDMI using external recorders such as the Atomos Ninja V. This recorder acts as both a monitor and a recording device, capturing the uncompressed output directly from the camera’s sensor. It stores the footage on fast SSD media that can then be transferred to an editing suite.
On the software side, ProRes RAW enjoys native support in Final Cut Pro on macOS, where users can fully exploit its flexibility with minimal configuration. Adobe Premiere also supports ProRes RAW with additional plug-ins, offering some degree of RAW control. However, as of now, DaVinci Resolve offers limited support, focusing more on Blackmagic RAW and other traditional codecs.
Color Grading and RAW Controls
When working with ProRes RAW in supported editors, users have access to RAW-specific controls such as white balance, ISO, and exposure offset, which are baked into the metadata but not destructively applied. This means editors can change these values without any quality loss.
In practice, colorists appreciate the format for how smoothly it plays back in editing timelines, especially compared to other RAW codecs like CinemaDNG or RED RAW, which are more resource-intensive. Apple’s ProRes architecture ensures efficient decoding without compromising image fidelity, a boon for editors using mid-range systems.
Workflow Considerations
The workflow generally begins with a shoot involving the Nikon Z6/Z7 and Atomos Ninja V. Once the footage is captured, it is imported into the NLE (non-linear editor) of choice. Editors must ensure their system is properly configured to read ProRes RAW and that they understand the nuances of RAW color correction.
Backup and data management are also crucial since RAW video files, even in ProRes form, are considerably larger than compressed formats. A structured archiving approach ensures that no data is lost and that future re-grading remains possible.
Limitations, Trade-Offs, and Known Issues
While the Nikon Z6 and Z7’s ProRes RAW upgrade is largely a welcome addition, it is not without limitations or caveats. Understanding these helps users make informed decisions when incorporating the setup into a production environment.
External Recorder Requirement
The most significant limitation is the dependence on an external recorder like the Atomos Ninja V. This adds bulk to the otherwise compact camera system and requires additional power sources and mounting solutions. For videographers used to lightweight handheld rigs, this may be a drawback.
Firmware Update Process
To unlock ProRes RAW, users must install a specific firmware update and, in some cases, send their camera to an authorized Nikon service center. This process may involve a fee and waiting period, which can be inconvenient for professionals on tight schedules.
No Internal RAW Recording
Unlike some newer mirrorless systems, the Nikon Z6/Z7 do not offer internal ProRes RAW recording. This limits spontaneous shooting scenarios and demands a precise setup before recording sessions. Internal RAW recording remains a feature that differentiates newer or more expensive systems from the Z6/Z7.
ProRes RAW Variability Across Platforms
Although ProRes RAW is broadly supported, the feature set available in each NLE varies. Some platforms may lack key RAW controls, leading to a less optimized editing experience. This fragmented software support means that your choice of editor plays a vital role in fully utilizing the format’s potential.
Limited Frame Rate and Resolution Options
ProRes RAW recording with the Z6/Z7 is limited to 4K UHD resolution at up to 30 frames per second. Higher frame rates and resolutions are currently not supported, which might restrict its use for action or high-speed cinematography.
Conclusion
The introduction of ProRes RAW recording to the Nikon Z6 and Z7 represents a transformative milestone in mirrorless video production. With this update, Nikon’s full-frame cameras bridge the gap between photography-first tools and professional cinema gear. The ability to record uncompressed, high-dynamic-range video from a full-frame sensor into a format optimized for modern editing pipelines empowers content creators across a wide spectrum of industries.
From indie filmmakers to corporate videographers, the creative possibilities enabled by ProRes RAW are vast. The format delivers the image quality and flexibility needed for professional-level storytelling while remaining accessible in terms of cost and ease of use. Even with its requirement for external recording and limitations in frame rate, the benefits far outweigh the trade-offs for many users.
Nikon’s decision to enable this feature speaks volumes about its commitment to hybrid creatives and professional video users. As video continues to grow in importance alongside still photography, offering tools like ProRes RAW positions Nikon to meet the demands of modern creators head-on. For those who own or are considering a Nikon Z6 or Z7, this update is more than a technical tweak—it is a powerful enhancement that unlocks cinematic storytelling capabilities like never before.