Camera by camera
Nikon Z6III export settings.
6K N-RAW in, client link out.
The Z6III records 6K N-RAW, ProRes RAW HQ, ProRes 422 HQ and H.265. Here is which of those files a client can play, which one to keep as the grading master, and the review export sized to what you shot.
Video hosting for filmmakers · 5 GB free · Paid plans from USD 9/month
By uncompressed.io · Updated September 2026
What the camera records
A 6K body,
not 8K.
The largest frame the Z6III writes is 6048 x 3402, in N-RAW. Every format choice below changes what your client can open later, so start with the menu.
6048 x 3402
Largest frame
N-RAW at up to 60p, FX area
3,730 Mbps
N-RAW High, 6K 60p
Nikon's approximate figure; about 466 MB/s, computed
940 Mbps
N-RAW Normal, 6K 30p
Half the High rate at the same frame
239.76 fps
H.265 1080p top rate
Listed by Nikon as 240p
Source: Nikon Z6III Online Manual (edition for firmware version 2.00), video file types and frame size and rate pages, read 19 September 2026. Colour spaces per Nikon: SDR BT.709, HLG BT.2100, N-Log BT.2020. MB/s computed at 8 bits per byte.
Two lines in that table decide most of the workflow. First, ProRes RAW HQ only reaches the full 6K frame at 30p and below, while N-RAW reaches it at 60p. Second, N-RAW has a Normal quality setting that roughly halves the data rate: at 6K 30p, about 940 Mbps against 1,870 for High. Computed at 8 bits per byte, that is roughly 7 GB per minute instead of 14, which is what makes a RAW master realistic on this body for a job with a normal storage budget.
Nikon is plain that RAW video “can only be viewed and edited using computer software” that supports the format. That sentence is the whole reason a review export exists.
Who plays what
The browser,
the app, or neither.
Uploads take any file up to 5 TB, with no codec allowlist. Playback is a separate question, and it splits the Z6III’s formats three ways.
Browser codecs: H.264, HEVC (including 10-bit 4:2:2 where the device decodes it) and AV1, in MP4 or MOV. No RAW format and no ProRes plays in a web browser through uncompressed.io.
Supported camera originals and Vault playback use the compatible macOS app; they are not universally playable in web browsers. App playback is hardware-dependent, so send a short N-RAW clip first and let the recipient confirm it plays on their Mac before you upload a whole day of selects. The broader N-RAW chain, across Nikon bodies, is on the N-RAW workflow page.
If you recorded ProRes RAW HQ, the originals stay in your grading suite: neither the app nor a browser plays them, and the client reviews your export only. A camera H.265 original in N-Log will play in a browser, but it plays flat, because the browser shows the file as encoded.
The review export
One HEVC file,
sized to what you shot.
H.265 Main10 (10-bit), MP4 or MOV, constant frame rate, 2-pass VBR, AAC audio at 320 kbps. The resolution and bitrate follow the Z6III mode you used and the timeline you cut on.
If you want one number: 80 Mbps HEVC 10-bit covers 1080p through 4K. Calm frames such as interviews sit well at 40 to 50; snow, rain, water, foliage, heavy grain and fast pans want 100 to 120.
For most 6K Z6III jobs, review a 4K export. It downsamples the 6K frame, sits in the 4K rows of the recommended bitrates above, and asks less of the client’s decoder than the full 6048 x 3402 frame. Whether a browser can handle the full 6K frame is its own question, answered on can a browser play 6K video.
N-Log footage is BT.2020 and must be graded or transformed to Rec.709 before this export. Nikon’s manual says compatible third-party software is required for colour grading, and Nikon publishes N-Log LUTs in its Download Center. HLG footage is BT.2100 HDR; how browsers show HDR is covered on does HDR video play in a browser. Free export presets for DaVinci Resolve, Premiere Pro, Media Encoder and Compressor with these targets are on the NLE page.
Each film plays from the one file you upload, with no lower-quality rendition. Browser playback uses your uploaded export without another platform re-encode. Codec, device and connection requirements still apply, and a slow connection buffers rather than dropping resolution.
Card to client
From the Z6III card
to a client link.
Offload
Copy the card as you always do. If you shot RAW with dual-format (proxy video) recording on, the H.264 1080p proxies come off with the RAW clips.
Grade or transform
Bring N-Log to Rec.709 with a grade or Nikon's N-Log LUT. SDR footage only needs whatever look you intend the client to see.
Export
HEVC 10-bit, constant frame rate, at the timeline rate: 4K at 40 to 80 Mbps for a 24 to 30 fps cut, or 6K at up to about 120 Mbps.
Upload
Drag the export in; uploads are resumable. Add N-RAW selects too if the client reviews originals on a compatible Mac.
Share
The share link is the access and the client needs no account. Add a password per video if you want one. Original downloads stay off until you switch them on.
Pull notes into the NLE
Comments carry author and timecode with red or green status. They come back as markers via a Resolve script, a Premiere Pro panel or a Final Cut Pro bundle.
When the next cut is ready, replace the file: the link, views, settings, notes and approvals stay with it, so the client keeps the same bookmark from first cut to sign-off.
When this is the wrong tool
Questions
Frequently asked
N-RAW or ProRes RAW HQ on the Z6III, if the client will look at originals?
N-RAW. The uncompressed.io macOS app plays N-RAW (.NEV) natively on compatible Macs; ProRes RAW HQ plays neither in the app nor in a browser. On this body N-RAW also records the full 6048 x 3402 frame at up to 60p, while ProRes RAW HQ stops at 30p at that size, according to Nikon's manual.
Can my client watch the Z6III RAW proxy in a browser?
Yes. With dual-format (proxy video) recording, the camera writes an H.264 8-bit MP4 proxy at 1920 x 1080 next to the RAW file, and browsers decode H.264. Treat it as an ungraded content check: fine for picking takes, not for judging colour, texture or the grade.
What should I export from 6K Z6III footage for a review link?
Usually a 3840 x 2160 HEVC 10-bit export at the timeline frame rate: 40 to 80 Mbps at 24 to 30 fps, 50 to 100 Mbps at 60 fps. If the client needs to judge the 6K frame itself, export 6K HEVC at up to about 120 Mbps and test it on the client's device first.
How do I share the Z6III's 240p slow motion with a client?
Conform the high-frame-rate clip to your 24, 25 or 30 fps timeline in the edit, then export the review file at the timeline rate. The export follows the timeline, not the rate the camera recorded.
Do I need a LUT before uploading N-Log footage?
Yes, or a full grade. N-Log uses the BT.2020 colour space and looks flat as recorded; a browser shows the file exactly as encoded. Nikon publishes N-Log LUTs in the Nikon Download Center. Grade or transform to Rec.709, then export.
Send the graded 6K, keep the N-RAW
Upload the HEVC review export for the browser link, and the N-RAW selects for a client on a compatible Mac. One link, notes at the timecode, no per-view charges.
Sources
- 1.Nikon Z6III Online Manual, Video File Types (file types, bit depth, sampling, tone modes, colour spaces, RAW proxy; read 19 September 2026)
- 2.Nikon Z6III Online Manual, Frame Size and Rate Options (frame sizes, frame rates and N-RAW and H.264 bit rates; read 19 September 2026)
- 3.Nikon Z6III Online Manual, RAW Video (N-RAW .NEV and ProRes RAW HQ .MOV, software requirement; read 19 September 2026)
- 4.Nikon Z6III Online Manual, Recording N-Log Video (N-Log formats, LUTs, grading requirement; read 19 September 2026)
- 5.Nikon Z6III Online Manual, Specifications (dual-format proxy recording for RAW video; read 19 September 2026)
- 6.Nikon Z6III Online Manual, home (manual edition for firmware version 2.00; read 19 September 2026)