Nikon® D810 Fast Start

Lesson 9/13 - Playback and Shooting Menus

 

Nikon® D810 Fast Start

 

Lesson Info

Playback and Shooting Menus

Well, it is now time to dive to the menu of this camera so let's, go ahead and dive into the menu as we get into this, let me just kind of prep you on things that you're going to experience in here, there's a whole listing of tons of features in the camera, and I kind of break him into three different categories. The first are things that just don't matter to you. They're going to be things. It doesn't matter how you haven't set, you're just I have no interest in him and doesn't apply to your type of photography, and we could just pass on by those pretty quickly. The second thing are things that you're going to need to set in one way or the other, and then you're done with, and you'll probably never, ever need to revisit them. The third type is the most important type, and that is features and options that you're going to want to change on a regular basis and that's where you might want to take notes. This is where the pdf that comes with the class his hand because back on page, what w...

as it? Six and seven I have the entire menu system with a lot of my recommendations that you're going to see right here in class, and this is just going to have it. Uh in paper version so you can put it in your camera bag and take it with you a little bit more easily but you might want to, you know, put a little star underlying those particular features that you need to come back to this one and see it on a regular basis and that's probably going to be at most twenty five percent of the features at all in there, but we do want to get the camera set up and I think there's a lot of people who own this camera who don't have it set up that that they want it the way they want it and then they complain about certain things not being right it's just because they haven't taken the time to go through this and get it set up. So pressing the menu button on the back of the camera will bring up the menu system for you and in here there's going to be several tabs they're organized into different groupings of information, so we're going to go through each of these groups playback, shooting customs, set up retouch and then a recent menu and then just to mention down there there is an info button if you do kind of get lost and you forget what something is, you can always hit the info button and that might give you a little bit more information about what's going on one of the tricky little things with the nikon menu system is that they have a long list that sometimes has a scroll bar over on the right hand side, and so you'll go to the customer shooting menu and you look at the listing of all the items in there and you'll go it's not here, where it go, it was here last time and that's, because you've scroll down to the bottom of the page or it's at the top of the page, you just need to go up and down using the little up down mouse on the back of the camera, the four way touch, kate. So, uh, the way you navigate in here is once you press the menu button, you'll go left if you just keep going left that takes you to the tabs, if you go to the right, that enters that particular grouping of features, and then you can go up and down within that group to choose of specific setting, so what we're gonna do is we're going to start at the very beginning, so go ahead and hit the menu button hit left, you want to go up to the playback option and then go right, and then we're going to start at the top we're going to make our way through the playback grouping pretty quickly because there's not a lot to deal with. We have a delete option there is a delete option on the back of the camera this does the exact same thing although in this one you will have the option for deleting all the photos on a memory card I don't recommend that uh if you do want to get rid of all the images on the memory card you've downloaded them you've completed him you're ready to go out shoot again and you want to clear the cart off I would recommend recommend formatting that card and I'll explain how to do formatting in the later step because we'll see that here in the menu system playback folder in here you can select and even create different types of folders one of the things that I would recommend and this one is changing it to all which means it's going to look at all the folders on that card for playing back information and the reason I do that is slightly personal and that's because I have different brands of cameras and I will sometimes take a memory card from one camera and I'll put it in the other so if I take a camera a card from my fuji camera and I put it in here and this camera is on ly looking for nikon folders well there could be some very important pictures on that fuji folder that I don't want to reformat or delete and so I prefer to look at all those images but there is some folder maintenance that you can see will be able to go through it go through here in just a moment if you want to you can hide an image and what this would do it would still keep the image on the card it's just not visible for playback so if you're going to do a slide show and you don't want to show certain photos you can hide that image on there playback display options I've mentioned this a little bit earlier when we were talking about how you display different sets of information to start with I would recommend going into this and checking off all of the boxes so what you'll do is you'll go up and down tto highlight that particular item and then you'll go to the right to highlight it and then you can just hit the menu button to kind of back out of it but I would turn all of these on and then whatever ones you are not using after a few months of use the camera then I would selectively turn those off so you don't have to worry about having those turned on that you're not using so that when you cycle through it'll cycle through a little bit more quickly one of the ones that's kind of interesting is thie highlights so let me show you how highlights works what it does is it takes over exposed pixels and it blinks them black with white so that you can see areas of extreme overexposure. Now, once again, the images that you're looking out on the back of the camera r j peg previews of your potential raw images, and so you'll probably be able to save a little bit of that data if you are shooting raw, so don't be too concerned if you do see some bling keys from time to time and to be honest with you from a compositional in subject standpoint, sometimes you'll see lots of bling, keys and it's totally fine. It depends on the composition and what you're shooting a picture out, so as I recognize a recommended before, just going in, check them all off and then, as you find, whether you use that particular feature or not, then turn it off nice to have the option to start with the camera has to memory card slots, and if you want to copy images from one card to the next, you could do so on an individual or group basis. When you take an image, do you want it to show up on the back screen of the camera? For most photography? This is something that you're going to want to have a turn on if you're going to have the camera on a long duration time lapse. Then you probably wouldn't want to have it because that's just going to drain unnecessary battery power and so that's kind of the main situation that I turned that off, but normally I would leave it turned on when you deleted image. Does the next image show up, or does it go to the previous image that was before that deleted image? Minor little annoyance when you're going through deleting images, a general philosophy for deleting images is that you should never delete images in the field and there's a couple of reasons for this number one, you might delete something that you later I really wanted. The other reason is that occasionally deleting images on your camera can cause a oils or sort of a communication problem with the card, and it can corrupt the card and basically locket so that you can't shoot to it anymore. I gotta be honest with you, it's, really rare, and I don't know that I it's had that happen to me, but I think I've seen it happen to other people, and so the key to that is don't delete in camera. In general, there are times when I'll delete a picture of the inside of my camera bag, for instance, but in general it's better to delete less than it is mawr in the camera. Next up something called rotate tall and this one is kind of interesting and I don't think it's set properly when you get the camera it's normally set to roading rotate tall on, which means when you shoot a vertical picture it's going to rotate it when you would hold the camera in a normal position or if it's on a tripod and it's nice and convenient but it's a small image and I don't mind rotating the camera to get the full image and so I recommend turning rotate tall off the only time that you would want this on in my opinion is if you're going to do a slide show on tv where you don't want to turn the tv on its side and so if you want to get the largest image the most detailed image turn rotate tall off all right scrolling down a little bit you can put the camera into a slide show mode and you can hook it up to a tv or you could just show it on the back of the camera I'm not going to go into the specifics but allows you to select what type of images that you're shooting or showing and the frame intervals that they're going to be showing out. Another item that we're not going to spend much time on is that you can hook this camera upto a printer so that you can print directly from it there will be information in here about which photos you're going to select, what size of prince, how many copies you want and so forth. If you haven't hooked up to an appropriate type printer, I think if you really want to get the best quality prints, it's, better to hook it up, download the images and worked through photoshopped or some other program, but it is possible in here, we're just not going to spend any more time on it in this class, and that quickly ends the first playback menu, and we're going to jump straight into the shooting menu, and this is where we're going to be controlling features about how the camera is set up to shoot, so as we go through, we make lots of changes. You may see that there's lots of changes you want to make for different types of photography, and that when you go from portrait photography to action photography, you want to change x, y, z and a, b and c, and it takes a little bit of time to go in and change all those settings so you can set up four different shooting menu banks, and what this is is basically just memorizes all the settings that you have in the menu system, and you are these air, currently labeled as a, b, c and d, and you could just save a bunch today and save another gripping to be and so forth with cnd and that you could just go through and select which one of those ones you one it's kind of a poor man's custom menu there's a number of other cameras that have custom modes right up on the top of the camera and this is a little different than that because it's just doing what's in the menu system and it doesn't necessarily do everything and this is where the extended menu bank comes in which you can either turn on or off and what this is going to do it it's going to record specific exposure information like your exposure your flash modes what shutter speeds you havin modes like aperture priority or sex is the shutter priority and manual you know where your shutter speeds have been chosen and so it records a little bit more information in stores those with the menu bank and there was a lot of people who have this camera who will never use thes two features. It depends on how much you are switching between kind of major different categories of photos storage folder talked a little bit about this in the playback menu but you can create and select different folders on your camera so for instance if you I had just one memory card and you wanted to have a business folder and a personal folder you could take all your personal photos and have him directed to your personal folder and your business photos. Going your business folder and you can kind of keep those folders separate on your card. So if you're doing slide shows or printing or downloading you khun select one group of images, I find it a little too much trouble to work with it. It's probably easier and safer just to have a spare memory card. And so if you have a spare memory card, it's gonna have a different folder on it so that's another way of accomplishing the same task you can go in and control the file naming of the files that the camorra creates. And so if you want to change the three letter code to your initials, for instance, you can go in under file naming and changed the codes that the camera will attribute to the actual photos. As a side note, I recommend changing the file name whatever you haven't said at once, you download it to your computer. The problem with the cameras is that they have a four digit code, which means they have a maximum of ten thousand numbers, and once they reached that number of ten thousand, they start over again on county and so it's you don't want to ever have pictures with the same file number in your computer system. And so a sigh explaining my fundamentals of digital photography class. Changing it over using a date system is a very good, simple system that works for renaming your files. The camera has to memory card slots. If we said, as I've said, a couple of times, you can choose which one is the primary card slot that it goes to when shooting, you can either have it this sd card or the cf card now how it uses the two cards in there, you get to select what does that second card slot do? The first option is overflow, so when one card fills up, it automatically goes to the next one. Next option is a back up where it shoots to both cards at the same time. Now, if you are going to use backup, do note that you are going to be limited to the size of the smaller of the two cards or the speed of the slower of the two cards, and so it's best to have two cards that are fairly equal capabilities in the camera. Another option is to shoot ryan, just tow one card and jpeg images to the other card. And so, if you have a great disparity of the size of cards, make sure that you have your raw images. Sent to the larger card or the faster car door both s o the standard set up in this is going to be overflow, just in case you shoot too many, it just goes right over onto the next card image quality. No, we did see this before on the top of the camera, under the quality button, but we get to see it here with a little bit more clarity. And so here you can see we have four different raw options, three of them with a company in j pegs are tiff option and our three different j peg options. Now the three options on j pegs fine, normal and basic. What that has to do is the compression size of those files, and so if you compress a file, you're throwing away color information for the most part and not recommended if you're trying to get the highest resolution possible. But if you do compressing the image down to a basic, you are going to be reducing the file size quite a bit and it's more than enough information for basic shots that you're going to share with email or via the web in most cases. And so, as you'll notice, here I have in red any f and raw, and what that means is that that's kind of my recommended setting for the advanced user and for a general recommendation, you're going to see that in gray and so every time that I have something that's, maybe for the slightly more advanced user, I'm going to put that in red, and I do that in the pdf hand out that it comes with purchase of the class as well, and so sometimes I just have to recommendations moving on j peg and tiff recording this allows you to kind of customize exactly the way the camera is recording either the tiff or the j pegs I would set the tiffin large if you're shooting tip, you're probably wanting the highest quality file possible, so you probably want to have it at large, and with j peg, I'm always trying to set the camera up for recording the best quality possible, and so j peg, optimal quality eyes where I'd want to have that one set. All right, scrolling down. Now we get to control very specifics, the very specifics of the n e f recording, nikon, elektronik format or raw recording, and here we're diving into the very deep end of the geekdom pool. So here we have five different choices. We have twelve it versus fourteen bed, and then we also have the compression or non compression or lossless compression of raw recordings and my recommendation. Is actually to go with twelve bit and not fourteen ben and I know that less than two minutes ago I just said I like to have my cameras recording at the highest quality possible setting and the reason I've chosen twelve over fourteen is that I have not been able to determine any difference in visual quality to my eyes twelve bit versus fourteen I've tried a number of tests I've tried shooting with cameras that are four stops underexposed or four stops overexposed trying to pull back information see if one has a little bit more information than not the fourteen bit in theory has more color information but it comes at a very heavy price tag when it comes to file size how fast you can shoot, how many images you can get on a memory card and it's basically unnecessary bulk insides I mean in theory we could have thirty two bit images but no one want to be able to see the difference and they would be just monster files would that be better? I think not the next option is on the compression setting I don't like compressed because when something is compressed information is lost lossless compression is a special type of compression where they're not losing any data I un compressed is a very, very large file size and so on the lossless compressed twelve it in my opinion gives the most efficient workflow with the highest quality quality image that you're going to be able to see with your own eyes and so that's going to get the file size down a little bit from those seventy three megabyte files, which some people are complaining about but they're shooting them and they're not getting anything more out of them and so that's where at least I recommend settings next up is the image area and so one of the options we have on this camera is shooting less than full frame area so of course when we are in the fx area re recording the entire thirty six by twenty meter twenty four millimeter frame we have the option which is kind of unusual of ah one point two crops so this is just a very slight crop you might want to use this for sports photography because this will allow you to get up to a faster frames per second rate on the camera and you can also go into the dx mode. And if you remember we if you put the camera in the dx mode and you put on the battery grip, I believe the number was seven frames per second that you can get with the camera, so that might be nice for sports photography and you'll notice that those focusing points cover almost that entire d x frame and so it can make for a very nice sports camera as well and another unusual one is the five by four crop there's a number of people who do portrait photography, where they end up printing and distributing a lot of eight by tens, and what that does is that ends up clipping off the ends of the one by one and a half aspect ratio that this camera has, and so if they know they're never going to need it, they can put their camera into a five by four crop, and they're not recording that information, and they're actually getting little crops in the viewfinder that shows them what the proper composition will be and where those edge areas are. So for the most part, you're obviously gonna probably want to leave it in the fx most of the time, there is another option in there about choosing the auto dx, and this is if you put on a dx lands, those of the lens is designed for the crop frame sensors. Will the camera automatically crop down for you, or is it going to show you the vigna? I would leave this auto dx crop on unless you're trying to do something kind of artistic, then you can turn it off. Next up is white balance, and we did see this on the top of the camera with the w b button. There is a auto setting and just to mention it that there is an auto one and an auto to setting auto one is the normal setting auto too keeps the warm colors so if you are shooting under tungsten light and you kind of like a little bit of that warm look it corrects for most of the warm but not all of the warm and so that's another automatic option for you uh here you would just simply choose the correct white balance for what you want to shoot one of them that I want to highlight is thie preset white balance and what this is is if you have an unusual light situation where you want to get the correct color and you're not sure the color temperature that you're working with what you would do is you would photograph a white sheet of paper so you photograph your white sheet of paper it could be grey as well but it should be neutral in color that's the most important thing you would go into the menu right? We're here it says pre selecting for preset manual and then you would select a destination there are six different saved modes that you can keep in here so if you work with six different environments and you want a pre select and save areas for that you can do so and then you will select the image and then you will click okay and then it will magically correct for the color in that particular lighting situation so good reason for carrying a white card or you could just simply use a white piece of paper under that light sources well, normally I would leave the white balance just under auto one one of the options that you can go in and do is you can kind of customize any of these white balance and you can start tweaking them so in this example you'll see in the menu I've selected incandescent light but using the touch pad on the back of the camera I will be able to control and make it more yellow or red or blue or green and I can adjust the colors of it very very specifically so if you're not getting the colors right if you're not getting the white balance set to where you think it's proper you can adjust it to almost any temperature that you want in here with lots of fine tune adjustment picture control we saw this earlier where did we see this? Uh remember exactly where we saw this? We saw this on the back of the camera there's a button on the back of the camera for setting the picture control and this is controlling the saturation the contrast the sharpness that your camera is automatically applying to the j peg images or the way the images look on the back of the camera normally, I would probably set this at neutral or maybe standard, either of those I think would be pretty good options if you are shooting video, I can highly recommend the flat setting so that you could do a color grading later on within easy to work image, and if you want to dive into this even further, you can go in and you can customize thes you can see these are the adjustments that you could make, sharpening clarity, contrast, brightness, saturation, and hugh and so there's, all little fine tuning adjustments in there. If you're trying to get out of this camera, the most people who are trying to get this our video shooter's because they don't have raw and people who wouldn't need really clean, kind of customized j peg looked to an image, and so if you know you're going to be shooting this for j pegs, and you want to get those out, and then you want him to look a certain way, you can go in and tweak it all in here to your heart's content. It's just using a very simplified version, you might say a photo shop, all right, next up is managing picture control, and this is where you simply get to choose which one of the settings that you have, and so you can set up some particular parameters that you want, and then you can actually give it a name and save it in there so that you could go back and save and reload that one up at another time. Color space for some reason, the camera comes with with its set to s rgb, which is a smaller color space than adobe rgb. When you shoot raw, you automatically get adobe rgb, so if you're shooting raw, you don't need to worry about it. You're automatically going to get the whiter color gamut. But if you are shooting j pegs, if you do want to get the most color, so you're going to do your own printing, you just want the most information to work with. I would set this to adobe rgb if you're just shooting pictures for the internet or you're just going to take him to the standard one hour developer to print your pictures off for you, the rgb would be fine for that. But for most of the serious shooters, change this to adobe rgb active, delighting. Okay, this is the first of some other potential settings that are going to affect image quality. This kind of goes in the realm of setting picture controls and maybe even white balance and the fact that this does not apply to raw images. It's something that if you shoot raw it's not going to have any long term impact on your images it's mainly just going to impact the j pegs or what you see on the back of the camera so active delighting what it's doing is thie computer in the camera is going in looking at your image is trying to determine what would make them a better photo in controlling the lighting and in many cases what it's going to do like in this example is it's going to lighten up the shadows? And so the two main things that active delighting does is it brightens up the shadows and it kind of holds back some of the highlights and in many cases that is going to make for a better picture it works, it really does work the problem and the reason that I don't recommend using it is that you don't want this on on all images. Some images require a bit more contrast to them for them to look really good. And so this is something that could be easily tweak afterwards in the appropriate photo editing programs, and so I recommend turning this off for most users. Next up is the high dynamic range, so here what what's happening here is that the camera is shooting multiple pictures that shooting two pictures and it's taking the data from the two of them and creating one image now the unfortunate thing on this is that it's creating a jpeg image and so that has its certain limitations right there but as an example, I just wanted to go out and give this a try under a very contrast he seen here is what a jpeg image looks like there are a number of different settings within the high dynamic range one option is auto low so it's pretty low in its intensity and then auto normal which really wasn't too much difference in this case auto high still not much difference and then just to compare how would I normally deal with a situation like this? I went in I took the raw photo and that's what it looks like but then I adjusted it to pull back the highlights and so I don't think the hdr is very effective in this camera and I don't recommend using it. I think if you really want to get into hdr photography, you should shoot bracketed siri's and use inappropriate hdr program and so it's kind of fun, you know, given in camera little try it might help out in some situations but I think overall it's very limited in its capability scrolling down vignette control so all lenses and especially very fast lenses like eighty five one point four lens, for instance is going to have a little bit of vignette ing in the corners that is a darkening of the corners and it doesn't look real good in some types of scenes like this that should have a very consistent tone to the sky. And so the camera's program knows which lenses have been getting problems and will lighten up those corners automatically for you on the fly, these air applied to j pegs once again not applied to raw images. However, the problem with turning this on is that some images especially pictures of people in my opinion, justus a style perspective look very good with a little bit of vignette to them and there's a lot of photographers who add in vignette afterwards and this is something that you can either add in or take out later it's basically darkening and lighting lightening up those corner pixels and so for your typical kind of middle toe lower and user, you could leave this on normal without much impact, but I think for the higher and user you're gonna want to turn this off and see exactly what the lenses scene and get the exact results that that lens is offering and if you want to fix it, you can fix it later exactly as you see fit. Next up is another image controlling function called auto distortion control and probably easiest to just show you what this one does, so I'm going to flip back and forth between these two photos and you can see that in this one here, where it says off, some lenses have a little bit of distortion, showing a little bit of the curvature of the earth there. Normally, this is a very flat place, and so the camera knows how much distortion of particular lens has and will correct for it, and to my knowledge, there isn't anybody that I know that really likes distortion other than people who shoot fisheye lenses of which I am myself, and I can understand putting a fish islands on to get that. But most of the times when we were shooting with a rectilinear lens, we want are straight lines to be perfectly straight, and so I would leave this turned on it's not going to help you out if you shoot ross, but it will help you out with the j pinks. Next up, we're going to do two items at once long exposure noise reduction in high eso noise reduction. There are two instances in which you might get noise in your images. One is when you said a fairly high I s o and the other is when you do a long exposure, when I say long exposure, I'm talking about greater than one second in time, and so in these situations, you're likely to end up with noise that does not look good in your photograph. Well, there's, a number of options that you have, one of them is to let the camera fix that problem for you. The problem is, is the camera wants to apply pretty much the same fix toe all photographs and it's, not the most controllable type feature, and so if you're willing to go through the work yourself in some other photo editing program, you khun fix it better than even nikon cannon camera. And so this is one of those things that, for the more advanced users, you don't want to have this stuff turned on. You won't have it turned off for somebody who's brand new to photography and just learning, and they've got this very high end camera I could see there's a reason for leaving it turned on or the high esso on normal, just to let the camera do that for you. For any ofyou, nighttime photographers, let me give you a really big tip on why you want to turn off long exposure noise reduction let's say you do a thirty second exposure, the camera's going to shoot the thirty second picture, and then, if the long exposure noise reduction has turned on the camera will continue to process that image for another thirty seconds shooting basically a dark slide after it and that's going to mean that you're out of commission for another thirty seconds, and when you're out shooting in the dark it's no fun waiting for your camera to process the image, and so whenever I do a nighttime photography, I turn off all that noise reduction settings because I want to be able to shoot as quickly as possible, and I can work with it later with better tools on my computer. Next up is another duplicate setting. There is an s o button on the top of the camera, but we have another setting in here. It's the exact same settings whatever's you've set most recently is the one that's going to be set in here. We're gonna have a little bit more specific controls for the auto eso option, and so if you do turn on auto so you can control two additional features, one is the maximum sensitivity so here's, where you get to draw a line at the highest so that you find acceptable to use in any given situation. So, for example, here I have sixty, four hundred the camera will not go upto twelve thousand twenty five thousand. We can also set either a specific minimum shutter speed, like if you knew for whatever reasons you don't want to go below one twenty fifth of a second, you could put in one twenty five if you put in auto what's going to happen is the camera is going to look at what lens you have on and it's going to set a shutter speed appropriate to the focal length thatyou are set to on that lands, and so it's going to set faster shutter speeds for longer focal length lenses and so setting that toe auto is a nice default system what's the maximum sensitivity word? Well, it depends on where your standards are. I'm thinking, for most users, it's going to be somewhere between eight hundred and maybe twelve thousand. Once again, it varies from user to user. This camera can shoot multiple exposures, and you can shoot anywhere from two to ten exposures on the same frame, and I always thought that this was a pretty ridiculous thing to put on a camera until actually tried it, and I realized that one of the major benefits of doing multiple exposures in camera is that you can really see how things were to turning out, right when you're shooting them. For many of us, if we wanted to do that, the best way to do it have done it in the past is to shoot to individual pictures, put him into photo shop, put him in the layers, and then kind of control how they looked within their but being able to shoot it out the field. Does give you some more feedback that I really think is valuable so if you do want to do it you can get in here and play with that there is an additional setting called auto kane and what auto gain is is it's basically increasing or decreasing the sensitivity of the sensor? And so if you wanted to manually set your exposure and you wanted to be very careful about how much exposure is on each image you would want to turn auto gain off if you said hey I don't really know much about multiple exposures I just want to try taking two pictures and making him look good together turn auto gain on and it's going to adjust the exposures of each individual photograph so that the final photograph is not over exposed in looks properly exposed all right. Next up is the interval timer shooting I did mention that this camera has an optional cable release that you can do interval ometer work with but the camera also hasn't built into the camera itself and so this is for shooting multiple pictures automatically in sequence and this camera will help you set up the start time there'll be a set up interval you know what's the distance between each of the shots five seconds ten seconds for instance and the total number of shots how many shots do you want in the siri's now there is another very closely related topic setting, which is time lapse photography and the difference with time lapse photography is the camera compresses all of those photos into a finished final video. However, it doesn't keep all the individual photographs, and so if you're trying to do something kind of on the I just want to do it for fine. Just see how it looks out. Looks. You probably want to look at the time lapse photography. If you want to keep all the original data from it, then you want to probably shoot in the interval timer for lot shooting. And one of my favorite time lapses I shot was in india, and this was shot about every ten seconds and zooming that, you see was done in post. I did that outside of the camera, but this was about a half hour at a very busy intersection. And so a lot of fun things have been done recently with time lapse photography, and having it built into the camera just makes it all that more convenient for anyone who wants to do it. So obviously, this is something that you would leave off most of the time, and I believe this is the final setting in the camera setting and its movie settings, and this is where we actually go into a menu within a menu. So when you go here, head to the right with your keypad and you'll dive into your official movie settings menu first up very important is the resolution and frame rate of the videos that you are shooting ten eighty sixty p is going to be the top frame rate that you get it here, which is the highest resolution the highest frames per second. You can also choose twelve eighty by seven twenty or thirty frames per second as well. Movie quality there is kind of an extra this is a compression city and you probably were gonna want to have your move equality at the highest setting unless it's for something very small that's going directly on the web which you could sit at normal and it's a difference of either forty two megabits per second or twenty four megabits per we then have our microphone sensitivity. You can either have it on auto or manual and go in and set specific levels on that manually if you want frequency response normally be left on wide, there is a vocal one, so if you were doing just voices or singing for instance it would adjust it for that type of sound also dealing with sound. There is a wind setting on here normally that would be turned off, but if you are under very windy conditions it basically muffles the mike a little bit so you don't get quite as much wind noise from hitting the camera where do you want your movie? Say, for instance, you could have the cf card is your primary card slot, but you could have all your movies set to the sd card and so that's, just a matter of personal preference. Of course, you can go in and you can adjust your movie. I s so differently than your standard eyes, so and so we have some of the same controls that we've seen before. You get too set whatever number you want for your eyes, so you can also control the auto setting for shooting a movie so you can let the camera choose the best. So in a lot of videographers like this, because they want to be very specific about choosing their depth of field, so they want to choose a specific aperture. They don't have a lot of shutter speed settings that they can adjust like we can in still photography. So the only other control is going to be the esso control and so having that set on auto khun simplify movie shooting in a lot of situations, and you can, of course, control the maximum sensitivity of it as well.

Class Description


Learn how to take advantage of your camera’s capabilities and get great shots. Join John Greengo for a complete introduction to your Nikon® D810.

In this Fast Start, you’ll learn why the Nikon® D810 is the go-to camera for still and multimedia photographers. This powerful camera features a 36 megapixel resolution, ensuring you come away with a high resolution image every time you shoot.

John will teach you how to take advantage of the Nikon® D810’s 51 points of focus within each frame. You’ll also learn to harness the power of the Nikon 810’s powerful frame rates.

The Nikon® D810 Fast Start tutorial will equip you to take advantage of each and every one of your camera’s buttons, menus, and features.

Reviews

Walt Snell
 

All of the instructors here at Creative live are fun and informative to watch and learn from. But when it comes to serious education and really getting into the detail of what you're trying to learn, I would say that John Greengo is that Top Instructor that everyone should be looking for. I have Quite a few classes that I've purchased from Creative live and I follow all the instructors pages and blogs and just continuously soak up knowledge from them... But whether you need broad instruction about a general subject like "photography" or something specific like This Course Fast Start Nikon D810, John is your Go-To guy. I also have his Fundamentals courses, his Nikon D5000 series class and his Beginners essentials class. (though I am not a beginner it's fantastic for brushing up on skills you may have forgotten) I not only recommend THIS class, but any class that John teaches. Especially his Fast Start Classes whether you're just getting a new camera model or you've had yours for a while and you want to learn more about it's capabilities.

Bente Andermahr
 

Thanks John, an excellent and logical familiarisation with a camera I now love and use comfortably. Notes are brilliant and offer easy catch up with bits I forget. Great knowledge and teacher.