Nikon® D5 Fast Start


Lesson Info

NEF Recording

Next up is image size and this is for JPEGs and TIFFs, as well as RAWS. We can change our JPEGs on this from large, medium, and small which is basically a 20 megapixel, a 12, and a five megapixel file depending on your file size needs. We also have the option of changing the NEF sizes or the RAW recording. And here's where we get to see the nerdiness of Nikon. Nikon has some people who really like to get into the details and I like to get into the details, too. And so I've done a bunch of testing on this camera to see how good of results we get with a variety of settings and let me kind of show and walk you through some of this. So with the RAW recording on this camera, the NEFs, there are a variety of ways that you can set the RAW. One of the options is with 14-bit information which gives us 4.4 trillions of colors. Alright? And this option has three different versions, the first of it is uncompressed which gives us a 44 megabit file, at least in my test case here. We also have a loss...

less compressed and then we have a compressed. So let's talk about these three options. Uncompressed, lossless compressed, and compressed. Okay so uncompressed is pretty obvious. There is no compression to the data at all. Compressed is pretty easy, they compress and what's not really said there, when it's just compressed, there is information that is thrown away and I just don't like throwing things away that we may want later. And so lossless compressed is this kind of magical way where they've reduced the data but they're not throwing anything away. And so you can see the file sizes of lossless compressed are noticeably smaller than uncompressed. Next up, is we also have 12-bit and we have this in the same three options. And so these are the six different types of RAWs that you should shoot with and the question of course is, where should I set my camera? Well, if you wanted the largest file, you would set it for 14-bit uncompressed. That's gonna give you a 44 megabit file but is that 44 megabits gonna give you really anything significantly more than the other files? Well, these are very large crops, you might say. I've magnified these quite a bit to go in and look at them. And I just can't see, I mean I can see a difference but I can't see anything significant between the difference. And so what I recommend for setting on your camera is the lossless compressed 12-bit. Now I'm choosing lossless compressed because it's a relatively small file size and we're not losing data. The compressed, we are throwing away a little bit of data and it's not much data that we're getting, it's not that much bigger than the compressed data so I'm not worry about, you know, using too much data there. Now, 12-bit only has 68 billion colors. You have to ask yourself, how many colors does your printer print, does your monitor show you, how many different colors can you see? I doubt that I can see and really notice a difference between 68 billion and 4.4 trillion. And so that's why I'm recommending 12-bit. It's smaller file sizes but you're not going to see any difference. If you don't believe me, I'm fine with that. Do your own task, come to your own conclusions. There is one final test because I thought, well, I couldn't see anything here. Let me try pushing the camera to absolute extremes. So in this case, I underexposed my subject by five stops and then I pushed it and corrected it in post and I did this in all six different styles of RAW to see if there was more information in the uncompressed or the 14-bit files that I could make use of when I'm correcting an image in post-production. And I looked at these, all six of them, 14-bit, 12-bit, all the versions, and I couldn't see any significant difference in any manner at all. So then I tried it the other direction. I overexposed by five stops, shot it in all six different systems of RAW, magnified it, compared it. These are my results. Look closely as you want, I got an 80 inch screen here folks and I am not seeing much difference at all. And I'm really hard pressed to see any noticeable difference at all. And so once again, I think the lossless compressed at 12-bit is gonna get you files that are just as workable and pliable as a 14-bit uncompressed but they're at about one third the size. So you're gonna use up less data on your memory cards and in your hard drives but you're gonna still get great image quality out of the camera. So, recommendation is lossless compressed at 12-bit. If you have examples where you are getting notable more information in 14-bit I welcome you to send me that information and I will amend that in future classes or updates to this class but I have yet to see any noticeable difference in actual images and exposure, latitude for instance. Okay, so that's getting a little nerdy there on the RAW recording, so lossless compressed at 12-bit.

We know what it’s like to dive right into taking pictures with your new camera. But dense technical manuals make for a terrible first date. Get the most out of your new Nikon D5 camera with this complete step-by-step walkthrough of the camera’s features. 

Join expert photographer John Greengo for a fast-track introduction, and unlock your camera’s full potential. In this Fast Start class, you’ll learn:

  • How to use the new 53 point AF system
  • How to understand and use the autofocus system for great photos
  • How to incorporate video into your shooting using the 4K advanced video capabilities.
John is a CreativeLive veteran instructor and an experienced photographer. He has extensive experience teaching the technical minutiae that makes any camera an effective tool: aperture, ISO, the Rule of Thirds, and the kinds of lenses you’ll need to suit your camera body. This Fast Start includes a complete breakdown of your camera’s exposure, focus, metering, video and more. John will also explain how to customize the Nikon D5's settings to work for your style of photography.



  • As usual, John Greengo has provided me with a wealth of information, this time to decide on my next Nikon camera purchase. John has a talent for explaining technical aspects in a simply to understand, yet intelligent, language. I feel very lucky to be able to tap into the knowledge of such experts and thank the day I found out about Creative Live. Unfortunately I had to miss a little part of the live broadcast due to international time differences. I will definitely be watching the class again and again (there's so much content). Thanks John and Creative Live. Looking forward to my next class.
  • Already set the Fn3 button for Voice Memo - easy peasy thanks to this and so many other "buried" ( in the manual ) treasures. Notwithstanding three years with the D4 and one year with the D5, I am substantially more familiar and comfortable with the available tools / features of this amazing camera, Nikon's D5. Thank you, John, for the relaxed, easy-to-follow yet informative, professional instruction - well done!
  • The course is quite comprehensive and helpful. It is a great course. Good guidelines to arrange camera set up.