The Movie Shooting Menu is a menu subsystem similar to the Photo Shooting Menu discussed in the previous chapter. The Movie Shooting Menu applies its settings to the creation of videos instead of still pictures.
In older Nikon cameras the video functions could be a little harder to locate because they were appended to some of the still picture menus. However, Nikon now wisely uses a completely separate menu for movie functions. These easy-to-locate functions will make it much easier to configure your camera for high-quality video capture.
Following is a list and overview of the 27 items found on the Z7 Movie Shooting Menu:
Figure 8.1 shows the location of the Movie Shooting Menu, which is the third menu down on the left. Its symbol is a movie camera on a tripod (in yellow).
Let’s examine each of these Movie Shooting Menu functions in much greater detail.
(User’s Manual: Page 133, Reference Manual: Page 235)
Reset movie shooting menu does what it says—it resets the Movie Shooting Menu back to factory defaults. If you want start fresh with all the settings in the Movie Shooting Menu, use this function.
Here are the steps to reset the Movie Shooting Menu:
Settings Recommendation: This is an easy way to start fresh because it’s a full reset of all the Movie Setting Menu values. I use this when I purchase a preowned camera and want to clear someone else’s settings or if I simply want to start fresh.
(User’s Manual: Page 133, Reference Manual: Pages 163, 235)
File naming allows you to change the first three characters (prefix) in the video’s file name to three characters of your choice. The default is DSC. You could use your initials, a combination of letters and numbers, all letters, or all numbers.
Following is how to modify the first three characters (prefix) of the video file name.
Here are the steps to set up your custom File naming characters:
Settings Recommendation: Because I shoot only a moderate number of videos in comparison to the large number of still images I create, I am not concerned with tracking when a video file name exceeds 9999 and rolls back over to 0001. Therefore, I simply add the prefix VID to my video files.
This works identically to the File naming function in the Photo Shooting Menu. If you will recall, there is a suggestion in chapter 7, Photo Shooting Menu, for tracking the number of still image files your camera has created (see page 172) so that you can keep up with it when your camera rolls the file name over to 0001 after exceeding 9999 files (i.e., when you exceed DSC-9999, the camera rolls the filename over to DSC-0001).
However, unless you bought your Z7 to use primarily to shoot video, you will probably shoot less video compared to still images. In that case, you may not be concerned with exceeding 9999 videos. If you are concerned with tracking when your camera’s videos roll over from 9999 to 0001, review both this section and the similar section in chapter 7, under File Naming (page 172).
(User’s Manual: Pages 133, Reference Manual: Page 235)
Choose Image area is designed to allow you to use the normal FX view for most videos and to take advantage of the extra apparent reach of the DX crop mode when you need it for something like videoing distant and/or small subjects.
In figure 8.4A, please compare the field of view for the left (FX) and right (DX) Image areas.
You can see two sample videos I created from exactly the same camera position. The FX mode obviously has a wider field of view for the video frame, whereas the DX mode has a stronger apparent telephoto effect.
The camera will automatically adjust the frame size to fit the screen when using either of the two modes. In other words, you will see no box with a grayed-out area like you see in Nikon DSLRs when you select the DX mode for still images. Instead, the camera simply presents the exact field of view you will see in your video.
This is much simpler to use when shooting a video because you don’t have to worry about trying to keep the video within certain lines on the Monitor. The video simply fits the screen and shows only what the camera is actually recording.
As previously mentioned, you can choose one of two Image area modes (FX or DX) for video recording in all video modes. Let’s examine how to do so.
Use the following steps to choose one of the two Image area modes:
Note: This function is also available on the i Menu. Press the i button to open the menu and you will find this function on the top row, third from left.
Settings Recommendation: For general video recording, I leave the camera set to FX mode. However, when I want to video something smaller or farther away, such as birds in a tree or a bear across a meadow, I will switch to DX mode to maximize the apparent telephoto view of my subject. The DX mode is convenient for those who need to video things at a distance and would like the subject to appear larger on the screen.
(User’s Manual: Page 133, Reference Manual: Pages 114, 235)
The Nikon Z7 provides 10 normal-speed Frame size/frame rate settings and three slow-motion (slow-mo) settings. Table 8.1 shows the Frame size (pixels) and frame rate (e.g., 60p, 30p) for each option, along with recording speed and whether FX and DX mode is available for that option.
Normal-speed videos play back the same number of minutes you recorded. If you record for 10 minutes, the video will be 10 minutes long. Slow-mo videos are recorded at four or five times the rated speed. For instance, a 1920 × 1080; 30p ×4 video is recorded at 120 frames per second (30 × 4 = 120), but it is played back at 30 fps. If you capture slow-mo video for 3 minutes, the playback will be 12 minutes (3 × 4 = 12). Let’s see how to choose a frame size and frame rate.
The following steps allow you to select a Frame size/frame rate for your next movie:
Basically, the Z7 can record video in Full HD (1080p) and 4K UHD (2160p), along with 1080p slow-mo. The 4K UHD (ultrahigh definition) video modes—at full FX resolution—are a welcome addition for many advanced videographers. If you have the equipment necessary to display 4K video, why not enjoy the higher resolution and sharper display?
Just keep in mind that a 4K video is quite large, requiring a larger memory card and greater hard drive storage on your computer. Plus, it is harder to work with the video files later because the file size is significantly larger. The mode in which you shoot most often will most likely be governed by available computer hardware capacity and processing power.
Note: The actual frame rates (e.g., 24p, 30p) for recording video do not exactly match the numbers provided. The majority of companies that publish frame rates are, in a sense, rounding up from the actual values. Here is a list of the actual fps values:
Note: This function is also available on the i Menu. Press the i button to open the menu and you will find this function on the top row, second from left.
Settings Recommendation: I tend to prefer the cinematic look provided by one of the 24p modes. That’s what we see when we go to the movies. However, if you want to use a somewhat faster frames-per-second rate for action, select 30p, which gives you 30 frames per second in progressive (p) mode for less motion blurring.
I am experimenting with the new 4K video modes and I am finding them delightful to use. I still tend to shoot at 24p in 4K mode because of the cinematic look. You will need to experiment and determine your favorite video modes. Being able to shoot up to ~30 minutes of 4K video for each clip is quite powerful, as long as you have enough memory card space!
If you want to shoot some slow-motion video, you will need to set the camera to one of the three DX-only, 1920 × 1080 (Full HD), slow-mo modes. Just remember that a few minutes of slow-mo shooting will create a much longer video (4 or 5 times longer) than normal recording speed will create (up to 12 or 15 minutes for the up to 3 minutes recorded). For more information on shooting slow motion, I suggest discussing this subject in the Nikon Video forum at www.Nikonians.org.
Also, please investigate using an external recorder, such as the Atomos Ninja V, to record 4K 10-bit 4:2:2 N-Log video through the HDMI port. There are no time limits for this type of recording and the quality is on the professional level. Here’s a link: https://www.atomos.com/ninjav
(User’s Manual: Page 134, Reference Manual: Pages 114, 235)
Movie quality affects the “bit rate” (Mbps) at which the movie is shot. The bit rate decides the quality level of the movie, much like how the JPEG type (Fine, Normal, Basic) sets the quality of a JPEG still image. The higher the bit rate, the better the video quality. For video written to the memory card, two bit rates are available: High quality and Normal. The Frame size/frame rate of the video controls how these are applied.
If your camera’s Movie quality menu selection is grayed out and unavailable, it is because you have one of the three 4K UHD (2160p) video modes selected. In the three 4K modes, the camera defaults to High quality mode at all times.
Table 8.2 shows a list of Frame size/frame rates, Movie quality bit rates, and maximum video lengths controlled by the bit rate.
Now let’s examine how to select one of the two Movie quality choices.
Use these steps to choose a Movie quality:
The Movie quality setting is applied to compressed (H.264 MPEG-4 AVC) video written to the camera’s memory cards only. Streaming uncompressed video through the HDMI port to an external video recorder is not affected by this setting.
Note: This function is also available on the i Menu. Press the i button to open the menu and you will find this function on the top row, second from left, under the Frame size and rate/Image quality setting.
Settings Recommendation: Because I am interested in maximum video quality, I leave my camera set to High quality. Any important video that will be displayed on a local computer or HDTV for friends and family to view deserves the High quality setting. (All video shot in 4K mode is fixed at High quality.)
However, if you are shooting some fun video for uploading to certain social media sites, which may compress the video to the max—destroying its high quality in the process—you could select Normal. Or, if your camera is low on card space and you need to cram as much video onto the card as possible, use the Normal setting.
(User’s Manual: Page 134, Reference Manual: Page 235)
The default video file format (container) used by the Z7 is the popular MOV format (Apple QuickTime). However, you may also choose the even more popular MP4 format (MPEG-4 Part 14), which is closely related to the QuickTime format but may be better for streaming over the internet. Both of these file types should be compatible with virtually all computer and smart device movie player apps. See the sidebar titled What Is a Container?
Use the following steps to select your favorite Movie file type (container):
Settings Recommendation: I generally choose the MOV format for my best videos because I am a Mac user and prefer the MOV file type. These days, almost any computer will play a MOV file, so it doesn’t matter as much as when a MOV file was exclusive to the Apple world.
When I am shooting fun videos that I plan to upload to Facebook or YouTube, I often switch to the MP4 format because it is so highly accepted by social media in general.
Honestly, I can’t tell much difference in the video quality between the two formats and the file size doesn’t really seem much different—although the MOV file can be slightly larger sometimes.
Use whichever format you find most convenient for your purposes. If you need more information on video file types (containers), stop into the Nikonians.org Nikon Video forum and ask a few questions of the helpful experts there. Here’s a convenient link: www.nikonians.org/forum/402/nikon-video
What Is a Container?
You may use container formats very often, although you may have not realized it. Every time you play a video on your smart device or computer, you are using an app that reads and plays certain containers. The last three letters of a video file name (e.g., myvideo.mp4) tells you which container is used for that video. For instance, I am sure you’ve heard of WAV, AVI, MOV, FLV, and the various MPEG formats (e.g., MP4). These are all container formats that are commonly played on your computer, smartphone, or tablet. The Z7 allows you to use a MOV or MP4 container (Movie file type). Basically, once you have recorded H.264 MPEG-4 AVC compressed video to your camera’s memory card, the video signal must be placed into a specific container file type (MOV or MP4), which will contain not only the video, but also the audio (sound) signal.
(User’s Manual: Page 134, Reference Manual: Page 236)
Movie ISO sensitivity settings give you control over the light sensitivity of the imaging sensor while capturing a video, whether you manually control it or the camera sets it automatically.
Because light levels in a scene will often vary as you move the camera, it is more critical that you allow the Z7 to adjust its ISO sensitivity automatically; otherwise, you could easily end up with under- or overexposed video. At times, you may want to leave the camera on one ISO setting—and you can—such as when you are shooting under controlled lighting. However, in general, it is better to allow the camera to adjust the ISO sensitivity on the fly so you can concentrate on capturing the best video compositions.
Let’s examine the various settings within the ISO sensitivity settings function. Specifically, we will examine how to use automatic ISO sensitivity and manual ISO sensitivity while shooting video.
The Maximum sensitivity setting is a safeguard for you (figure 8.8A, image 2). It allows the camera to automatically adjust its ISO sensitivity within a specific range, from a minimum value of ISO 64 to whatever value you have set in Maximum sensitivity (up to Hi 2 or ISO 102,400), according to light conditions.
This setting gives the camera freedom to immediately change the ISO sensitivity value to one that will give you an acceptable exposure, allowing you to concentrate on capturing the best movie instead of constantly trying to maintain the best exposure. The camera will try to maintain the lowest ISO sensitivity it can to make a good video. However, if needed, it can rapidly raise the ISO to the Maximum sensitivity level.
When you are using P, S, or A auto exposure modes, the camera will always use automatic ISO sensitivity for video, using whatever you set as the Maximum sensitivity value as its highest potential setting and ISO 64 as its lowest potential setting. Only when using manual exposure mode (M) can you turn off automatic ISO sensitivity and use manual ISO sensitivity. We will discuss how to do that in the next subsection, Auto ISO Control (Mode M). First, though, let’s see how to set the camera’s Maximum sensitivity for video.
Use the following steps to choose a Maximum sensitivity (ISO) for your video:
When you are using P, S, or A exposure modes, the camera ignores the values set in Auto ISO control (mode M) and ISO sensitivity (mode M) settings (discussed in the next two chapter subsections).
The Z7 will attempt to use a lower ISO sensitivity until it can no longer make good video without raising the ISO value. My camera’s factory default Maximum sensitivity value was set to ISO 25600. This default setting will let the camera take the ISO sensitivity all the way up to a maximum ISO 25600 in a low-light situation (or up to ISO 102,400 if adjusted). However, if you think a certain high ISO value may cause too much noise to appear in your video, you may want to reduce the ISO value. I keep my camera’s Maximum sensitivity set to ISO 12800.
Auto ISO control (mode M) is designed to let the camera automatically adjust the ISO sensitivity even when you are using manual (M) exposure mode, applying the Maximum sensitivity (ISO) set in the previous subsection. This mode has no effect when you are using auto exposure modes P, S, or A.
However, when you are using exposure mode M, you can disable Auto ISO control (mode M), and the camera will use only the manual ISO value you set in the ISO sensitivity (mode M) setting (next subsection).
In other words, Auto ISO control (mode M) allows you to choose whether to use automatic ISO control or manual ISO control. Often, you may want to manually control the camera in most aspects (e.g., aperture, shutter speed), while still taking advantage of automatic ISO sensitivity. Or, you can set Auto ISO control (mode M) to Off and manually control all aspects of the video capture, including ISO sensitivity. Let’s examine how to adjust Auto ISO control (mode M).
Use the following steps to enable or disable the Auto ISO control (mode M):
Once you’ve set Auto ISO control (mode M) to On, you should immediately set the Maximum sensitivity (ISO) that you want to use while shooting a video.
Now let’s discuss how to set the single ISO sensitivity you will use when capturing video in manual exposure mode, with the Auto ISO control (mode M) set to Off.
ISO sensitivity (mode M) allows you to choose a certain ISO sensitivity value to use in manual (M) exposure mode only. This value is applied only when you have Auto ISO control (mode M) set to Off (previous subsection), and it has no effect when you are using P, S, or A auto exposure modes.
Notice in figure 8.8C, image 3, that you have a scrollable list of ISO sensitivity settings. It extends from ISO 64 to ISO 102,400 (Hi 2). Let’s see how to adjust for pure manual exposure (no ISO automation at all).
Here are the steps to select an ISO sensitivity setting:
Settings Recommendation: Most of the time I leave my Z7 set to a Maximum sensitivity of ISO 12800 for video capture. I appreciate the fact that Nikon has given us the ability to use automatic or manual ISO values even when capturing video in manual (M) exposure mode. When I am shooting serious video outside, I will often use Auto ISO control (mode M). I especially like that setting to prevent large changes in ambient light from ruining the video. However, sometimes, such as when I am videoing something under studio lighting, I will use a single manual ISO sensitivity value by setting Auto ISO control (mode M) to Off, and then setting an ISO value for the session with the ISO sensitivity (mode M) setting (e.g., ISO 100).
(User’s Manual: Page 134, Reference Manual: Page 236)
The White balance (WB) settings for video recording work basically the same way they do for making still images. You can select a specific WB type, such as Direct sunlight, Fluorescent, or Cloudy, or you can let the camera decide which WB to use with the Auto WB modes.
If you prefer to be extremely accurate, you can choose a specific Kelvin color temperature from 2500K to 10000K, or you can do an ambient light reading from a white or gray card for the best color temperature matching.
Virtually everything you know about WB for still images works the same way for video recording. To prevent this section from repeating material covered in other chapters, we will consider only how to make a WB selection in this section. For deeper information on how to use White balance, see the more detailed white balance information found in the chapter titled White Balance on page 107.
Now, let’s examine how to select a particular WB value for your video.
The steps to select a White balance setting for video recording are as follows:
Note: This function is also available on the i Menu. Press the i button to open the menu and you will find this function on the bottom row, first on the left.
Settings Recommendation: I generally leave my camera set to the Same as photo settings selection when I am shooting video (figure 8.9A, image 2). A nature photographer can generally shoot both still images and video with similar WB values. However, your style of video may require a WB setting completely different from the setting you use to shoot still images. The camera offers you the ability to have separate WB values for both photos and video.
(User’s Manual: Page 135, Reference Manual: Pages 91, 237)
Set Picture Control allows you to use the same Picture Control you have set in the Photo Shooting Menu (for taking pictures), one of eight regular Nikon Picture Controls, or one of 20 Creative Picture controls, to impart a certain look to your video. Set Picture Control works in a similar way for both video and still images. In fact, the factory default for this function is the same as the settings you last used when taking pictures (figure 8.10A). Each Picture Control has individual settings for Sharpening, Mid-range sharpening, Clarity, Contrast, Brightness, Saturation, and Hue; plus it has a Quick sharp setting that quickly modifies Sharpening, Mid-range sharpening, and Clarity as a group.
Here is a list of each choice on the Set Picture Control menu and what each one does for your videos:
In addition, Nikon has provided 20 special Creative Picture Controls. Each of these has filtered color or black-and-white tones that impart a different look than normal to your videos. We have discussed these controls in our previous chapter on still photography. Please refer to Set Picture Control (page 200) for a look at color styles based on an X-rite color chart. These creative controls give you room to have some fun with your family video, or even impart a certain look that is rare in commercial videos. These will require experimentation on your part to fully understand what each control does.
If you leave this function set to Same as photo settings, the camera will use the same Picture Control settings for both still images and video. By selecting any of the listed Picture Controls instead of Same as photo settings, you are separating Picture Control Use for still image and video shooting. Each will use their own settings, instead of sharing Picture Control settings.
Now let’s consider how to select one of the Picture Controls for shooting a video with a specific look.
Use the following steps to choose a Picture Control:
As previously mentioned, this Set Picture Control function for videos is very similar to the Set Picture Control function for still images. To prevent duplication of material, we have only considered how to select the controls in this chapter. For a much more detailed discussion of how the Picture Controls work, including the internal adjustments within each control, please reread the section Set Picture Control in chapter 7, Photo Shooting Menu, on page 200.
Note: This function is also available on the i Menu. Press the i button to open the menu and you will find this function on the top row, first on the left.
Settings Recommendation: I normally leave my camera set to the SD Standard Picture Control, unless I am shooting nature videos. I like the idea of separating my use of Picture Controls for still images and video. When I am shooting nature videos on an overcast, low-contrast day, I will often use the VI Vivid Picture Control to add a little snap to the video. If I am shooting nature in direct sunshine, I do not like the extra high contrast of the VI Vivid Picture Control and therefore use the LS Landscape Picture Control.
If I am shooting a high school graduation or wedding, I will usually use the PT Portrait Picture Control to prevent odd skin coloration in my human subjects. If I plan to grade the video myself in my computer, I will use the FL Flat Picture Control to record as much dynamic range as I can in the video for later manipulation in software.
This is a very subjective setting. You will need to experiment with the various Picture Controls to see what they can add to your videos. Each of them has a certain look that can be useful at different times.
(User’s Manual: Page 136, Reference Manual: Pages 176, 237)
Manage Picture Control is designed to allow you to create and store Custom Picture Control settings for future video use. You can take an existing Nikon Picture Control (A, SD, NL, VI, MC, PT, LS, or FL) or an existing Creative Picture Control (e.g., Dream, Sepia, Charcoal), make modifications to it, and then rename it.
If you modify a Picture Control using the Set Picture Control function discussed in the previous section, you simply create a one-off setting. If you’d like to go further and create your own named Custom Picture Controls, the Z7 is happy to oblige.
Any changes you make to a Nikon Picture Control within this function affect that particular control for video use only. The camera saves Custom Picture Controls separately for still images and video. You will not see custom controls for still images on the video menu, and vice versa.
Let’s look at each of these settings and examine how to manage Picture Controls effectively.
There are six screens used to save and edit a Nikon Picture Control (figure 8.11A)—storing the results for later use as a Custom Picture Control.
Here are the steps to edit and save a Picture Control with modified settings for use in your video productions:
Once you have created and saved a Custom Picture Control, you can still tell which control was used as its base, just in case you name it in a way that does not suggest its origins.
Notice the red arrow in the upper-right area of the screen in figure 8.11B. This is the control we just created in the previous steps (STANDARD-02) and it is derived from an SD Nikon Picture Control, as shown by the SD label at the red arrow.
Your camera is now set to your Custom Picture Control. You switch between your Custom Picture Controls and the basic Nikon Picture Controls by using Set Picture Control (see the previous section titled Set Picture Control on page 326). In other words, each of your newly named Custom Picture Controls will appear at the end of the Set Picture Control menu for later selection.
Now, let’s examine how to rename an existing Custom Picture Control.
Now that you have created and saved a new Custom Picture Control or two, you may want to rename one of them. Here’s how.
Use the following steps to rename an existing Custom Picture Control for video use:
Note: You are able to have more than one control with exactly the same name in your list of Custom Picture Controls. The camera does not get confused because each control has a different location (C-1 to C-9) to keep it separate from the rest. However, I don’t suggest that you give several custom controls the same name. How would you tell them apart?
When a Custom Picture Control is no longer needed, you can easily delete it. Here’s how.
You cannot delete a Nikon Picture Control or a Creative Picture Control. In fact, they don’t even appear in any of the Manage Picture Control menu screens.
However, you can delete one or more of your video Custom Picture Controls with the following steps:
Now, let’s move to our last menu selection from the Manage Picture Control screen: Load/save.
There are three parts to the Load/save function. They allow you to copy Custom Picture Controls to and from the memory card, or delete them from the card.
Here are the three selections on the Load/save menu, as shown in figure 8.11E, image 3:
Let’s examine each of these selections and see how best to use them.
You can use the Copy to camera function to copy Custom Picture Controls from your camera’s memory card to the camera’s Set Picture Control menu for video use. Once you have transferred a Custom Picture Control from your memory card to your camera, it will show up in the Movie Shooting Menu > Set Picture Control menu.
Here are the steps to copy a Custom Picture Control from the memory card to the Set Picture Control menu:
Once you’ve finished loading Custom Picture Controls for video to your camera, you may be ready to delete a control or two from the memory card. You could format the memory card, but that will blow away all images and Picture Controls on the card. A less drastic method that allows you to be more selective in removing Picture Controls is the Delete from card function.
Here are the steps used to remove Custom Picture Controls for video from your camera’s memory card:
After you create up to nine Custom Picture Controls for video using the instructions in the last few sections, you can use the Copy to card function to save them to a memory card. Once they are on a memory card, you can share your custom video controls with friends who have compatible Nikon cameras.
When your Custom Picture Controls for video are ready to go, use the following steps to copy them to a memory card:
(User’s Manual: Page 136, Reference Manual: Page 237)
The Active D-Lighting function allows you some contrast control while capturing video. If shadows are deeper than you’d like, you can open them up somewhat and maintain more dark detail. If the highlights are in danger of burning out to pure white, you can rein them in a little and preserve more highlight detail.
We discussed Active D-Lighting in detail in the Photo Shooting Menu chapter on page 223. Refer to that section for deeper information. Active D-Lighting works the same for both still images and video. Here is a review of how it works.
Notice in the images of a rose (figure 8.12A) how the various levels of Active D-Lighting affect the image or video [including the A (Auto) selected under Same as photo settings]. The shadows are progressively opened up while the highlights are protected from becoming blown out.
Use the following steps to select an Active D-Lighting level:
Note: This function is also available on the i Menu. Press the i button to open the menu and you will find this function on the bottom row, fourth from the left.
Settings Recommendation: When I am shooting video on a sunny day, I will usually add some Active D-Lighting, either L Low or N Normal. When there is a lot of contrast, such as with direct sun, shadow detail can be hard to see and brighter subjects tend to become overexposed due to bright reflections. Some level of Active D-Lighting can be useful to contain excessive contrast. Why not experiment by shooting video with various levels until you determine what works best for you?
(User’s Manual: Page 136, Reference Manual: Page 237)
High ISO NR (High ISO Noise Reduction) lessens the effects of digital noise in your videos when you use high ISO sensitivity settings.
The Z7 has better noise control than most cameras, so it can record video with an ISO setting of up to 3200 with little visible noise. However, no digital camera is completely without noise, so it’s a good idea to use some noise reduction above a certain ISO sensitivity.
If High ISO NR is turned Off, the camera still does a small amount of noise reduction—less than the Low setting. Therefore, at higher ISO settings there will always be some noise reduction.
You can control the amount of noise reduction by choosing one of the four High ISO NR settings: High, Normal, Low, or Off.
We covered how High ISO NR works in greater detail in the Photo Shooting Menu chapter on page 227. The function works the same for both images and video. Review that section if you need deeper information on how High ISO NR works.
Use the following steps to choose a High ISO NR setting for video:
Settings Recommendation: I leave High ISO NR set to Low or Normal. I do want some noise reduction above ISO 1600 for videos. However, since any form of noise reduction blurs the video slightly, I don’t go too far with it. Shoot some high-ISO videos and decide for yourself which settings you are comfortable with.
(User’s Manual: Page 136, Reference Manual: Page 238)
Vignette control allows you to reduce the amount of vignetting (slight darkening) that many lenses have in the corners of the frame at various apertures. The angle at which light strikes a sensor on its edges is greater than the angle at which rays go straight through the lens to the center areas of the sensor. Because of the increased angle, some light falloff occurs at the extreme edges of the frame, especially at wide apertures. In recognition of this fact, Nikon has provided the Vignette control setting. It can reduce the vignetting effect to a large degree for Nikkor type G, E, D, and S lenses (excluding PC lenses).
Let’s see how to configure the Vignette control for edge light falloff reduction with your lenses.
Here are the steps to choose a Vignette control level for your Z7:
Settings Recommendation: A new Z7 defaults to Normal, so I have been capturing most of my video with it set to Normal and I like this setting. It does help remove vignetting in the corners. I have not noticed any additional noise or image degradation in the corrected areas. I suggest leaving your camera set to Normal at all times unless you are shooting with a lens that has a greater tendency to vignette, in which case you can increase the setting to High. Even High does not seem to fully remove vignetting when a lens is wide open, so this is not an aggressive algorithm that will leave white spots in the corners of your images. I suggest making a few videos with your lenses at wide aperture and see how Vignette control works with your lens and camera combinations.
(User’s Manual: Page 136, Reference Manual: Page 238)
The Diffraction compensation function is designed to help reduce diffraction unsharpness in your videos caused by using small apertures (e.g., f/11, f/16, f/22). When light hits the edge of an aperture blade it deflects slightly, arriving at the sensor at a slightly different angle than the light going through the middle of the aperture opening. This tends to cause a video to be less sharp than a one shot at a larger aperture (e.g., f/4, f/5.6, f/8).
Use the following steps to enable or disable Diffraction compensation:
Settings Recommendation: Diffraction has been a problem for as long as lenses and apertures have existed. Photographers have tried to take pictures and videos at mid-sized apertures instead of small apertures to prevent diffraction. I set this function to On and I am happy to have it. I tested it on some videos and it does make a difference in sharpness. The Z7 is capable of extra sharpness and this function is one of the reasons. Why not test this for yourself and see if you have sharper video with Diffraction compensation enabled? It defaults to On and I left it that way permanently on my Z7.
(User’s Manual: Page 137, Reference Manual: Page 238)
Auto distortion control is designed to automatically reduce barrel and pincushion distortion in your videos. This function may be best used by architectural photographers who are concerned about keeping lines and edges straight, for obvious reasons.
The Auto distortion control is designed to be used with Nikkor G, E, and D lenses, and not with PC, fisheye, or aftermarket lenses. When my Nikkor Z 24–70mm F/4 S lens was mounted, this function was grayed out and unavailable. Therefore, certain S lenses may not allow you to use this feature (it may not be necessary).
To prevent even mild cases of these two distortion types from affecting straight lines in your videos, you can use this function. Of course, if you are out shooting nature videos, it is unlikely you will gain much benefit from this function. If a lens you are using needs automatic barrel and pincushion distortion control, you will probably know it from previous work.
Use these steps to enable or disable Auto distortion control:
Settings Recommendation: If you are a videographer who needs this function, you will already know it. If you question whether it will benefit you, it probably won’t. This is an automatic function in the Z7 and, like many automatic functions, it does great sometimes and has little benefit most of the time. However, this may be a handy function when you are out in the field making videos and you immediately need some distortion correction.
(User’s Manual: Page 137, Reference Manual: Page 238)
Flicker reduction helps reduce the banding effect we’ve all seen in videos, where darker-than-normal bands travel down the screen during playback. When you record video under certain types of lighting, especially fluorescent, mercury-vapor, and sodium lights, your video may be more susceptible to banding (flicker).
To help prevent this banding effect, it’s a good idea to enable Flicker reduction. You may want to start by selecting Auto Flicker reduction (figure 8.17, image 2), which directs the camera to detect the frequency of the flickering and to time the video frame capture in a way that reduces banding.
If you do not have good results with Auto, you can try the 50Hz or 60Hz setting (figure 8.17, image 2); choose whichever one gives you the best results.
When subjects are especially bright, flicker may be worse. In this case, it is a good idea to use a smaller aperture (e.g., f/8 or smaller).
Use these steps to select a Flicker reduction setting:
Settings Recommendation: I usually start with Auto mode, and if that doesn’t work, I try the 50Hz and 60Hz settings to see what happens. Another way to control banding, besides using the Flicker reduction, is to shoot the video in Manual (M) exposure mode and experiment with a shutter speed setting that more closely matches the frequency of the local electricity supply. If the frequency of electricity in your area is 50Hz, use a shutter speed of 1/100 sec, 1/50 sec, or 1/24 sec. For 60Hz (United States), try 1/125 sec, 1/60 sec, or 1/30 sec.
(User’s Manual: Page 137, Reference Manual: Page 239)
The Metering function allows you to control the type of light meter your camera uses to make a good exposure. There are three types of meters available in the Nikon Z7 for video. Here is a description of each type:
Let’s examine how to choose one of the meter styles for your videos.
Use these steps to choose a Metering mode from the Movie Shooting Menu:
Note: This function is also available on the i Menu. Press the i button to open the menu and you will find this function on the bottom row, third from left.
Settings Recommendation: The majority of photographers will leave their Metering mode set to Matrix metering. This is a well-established and often uncannily accurate form of exposure metering. Nikon has been working on their Matrix metering algorithms for many years and the Nikon Z7 has benefitted from that work. If you have special needs, such as for shooting highlighted subjects, you also have that choice. Center-weighted metering is an old style of metering that comes from the days of film glory. It works pretty well and some people prefer it, especially those who cut their teeth on old film cameras with center-weighted metering only. Use whichever one you like best or need at the time. I’ve found that Matrix metering works best for me most of the time.
(User’s Manual: Page 137, Reference Manual: Page 239)
Focus mode allows you to control how the camera focuses on your subject. You will need various autofocus capabilities for static and moving subjects. It can use four methods:
Let’s see how to select a Focus mode.
Use the following steps to choose a Focus mode for video capture:
Note: This function is also available on the i Menu. Press the i button to open the menu and you will find this function on the bottom row, last item on the right.
Settings Recommendation: Experiment to find the Focus mode that is best for you. For most of us the Full-time AF (AF-F) mode is preferred because it lets the camera control autofocus. The Z7 usually does a good job with automatic focus, so I use AF-F often for family videos.
Hardcore enthusiasts and commercial videographers will use manual focus lenses, often with special rings added to a lens’s focus ring to assist with focus control. In that circumstance Manual focus (MF) with focus Peaking (page 409) may be best.
If you prefer to use back button focusing or to simply focus on a certain spot, such as when creating a video in your studio, you can use Single AF (AF-S) or Continuous AF (AF-C).
(User’s Manual: Page 137, Reference Manual: Pages 54, 239)
The AF-area mode system allows you to choose a single focus point (AF point), or a group of AF points selected from the camera’s 493 AF points, to cover your subject and help capture it in sharp focus.
The available AF point(s) are surrounded by a red frame (Single-point AF and Wide-area AF), or a partial frame (Auto-area AF), to give you some idea of the area covered by the AF point(s)—except for Auto-area AF, which lets the camera control the autofocus by selecting your subject automatically in the frame. For Single-point AF and Wide-area AF modes, you can move the red focus frame anywhere you choose in the EVF or Monitor (90% of the screen is available for choosing the AF-area).
Figure 8.20A shows the location of the AF-area mode symbol (upper arrows), along with the autofocus frame size for each mode (lower arrows).
Let’s examine each of the AF-area modes shown in figure 8.20A. The numbers in figure 8.20A match the numbers in this list:
Now let’s consider how to choose an AF-area mode.
Use the following steps to choose an AF-area mode for video:
Note: This function is also available on the i Menu. Press the i button to open the menu and you will find this function on the top row, last item on the right.
Settings Recommendation: Unless I am using manual focus (MF Focus mode), I will usually use the Continuous AF (AF-C) Focus mode (page 344) and Auto-area AF AF-area mode. I like the way the Z7 handles autofocus when using that combination. I have also found subject tracking to be pretty reliable when shooting videos, as long as the subject is not moving too quickly.
Of course, you may prefer to use the other AF-area modes, according to your subject. Try shooting a video with each of these AF-area modes, in both AF-S and AF-C Focus mode (page 344), just to learn how well the camera focuses for you.
(User’s Manual: Page 137, Reference Manual: Pages 110, 239)
Vibration reduction (VR) attempts to counteract small movements of the camera due to shaky hands. It is designed to keep the image sharp, even when you are handholding the camera and following your subject.
The Vibration reduction function is different in the Nikon Z cameras compared to Nikon DSLRs. Current Nikon DSLRs do not have in-body image stabilization (IBIS), whereas the Z cameras do. IBIS is a vibration reduction (VR) system where the sensor assembly can move in up to 5-axes to counter camera vibration: left and right (X), up and down (Y), pitch, yaw, and roll. Best results are achieved when using Nikkor Z-mount lenses. If you are using an F-mount, AF-S Nikkor lens on an FTZ adapter, the camera provides up to 3-axis IBIS (pitch, yaw, and roll).
When you are using a Nikkor lens having VR built in, the camera and lens communicate and work together to get the best vibration reduction. With the Z7’s IBIS you may well be able to get steady video, even without your camera mounted in a balanced video frame device.
There are two VR modes available, along with Off (no VR). Let’s examine what each mode is designed to accomplish:
The Vibration reduction menu item on the Photo Shooting Menu and in the i Menu will become grayed out and unavailable when an AF-S Nikkor lens with VR is mounted on the camera with the FTZ adapter. To control VR in that case, simply use the VR On/Off switch found on the side of Nikkor VR lenses. The VR On/Off switch will enable or disable in-lens and in-body image stabilization at the same time. When a Nikkor lens having no VR (e.g., AF-S Nikkor 50mm f/1.4G) is mounted, the Vibration reduction menus become available again.
Now, let’s see how to choose an IBIS VR mode.
Use the following steps to choose a Vibration reduction mode from the camera’s Movie Shooting Menu:
Note: This function is also available on the i Menu. Press the i button to open the menu and you will find this function on the bottom row, next to the last item on the right.
Settings Recommendation: I normally use On Normal IBIS mode. I video mostly static or slowly moving subjects, such as cascading rivers, waterfalls, mountains, meadows, and sunsets. If I were videoing an action event, such as a football game, I would definitely consider using the SPT sport mode.
Another marvelous thing about IBIS in the Z7 is that it will work for virtually any lens mounted on the camera or on an adapter. Even older F-mount, manual focus AI and AI-S lens favorites, along with non-VR autofocus lenses, will have IBIS. Many videographers appreciate that the camera offers IBIS, even with their old, favorite, manual-focus, cine lenses.
(User’s Manual: Page 138, Reference Manual: Page 239)
Electronic VR gives you a way to stabilize your videos when you shoot handheld. This is not the same thing as the physical sensor-shifting IBIS technology discussed in the previous subsection. Instead, Electronic VR works by pixel-shifting the video frame to add stability.
In other words, as slight vibrations occur during handheld video capture, the image recorded by the sensor will change position slightly. The camera attempts to shift the pixels that are capturing video, in time with the vibration from minor camera shake.
Electronic VR works alongside the normal in-body image stabilization (IBIS) and lens vibration reduction (VR) found in most newer Nikkor lenses, to keep the frame more stable.
Let’s see how to configure Electronic VR.
Use the following steps to enable or disable Electronic VR:
Settings Recommendation: This function may be useful if you are not moving around much while shooting a video handheld. However, if you are shooting a video while walking around, Electronic VR may tend to make the video look jumpy. For serious videos, I would stick with normal IBIS or lens VR, but for fun videos, you might want to give it a try. Experiment with this function before putting it to serious use, especially for a commercial video!
(User’s Manual: Page 138, Reference Manual: Page 240)
Microphone sensitivity allows you to choose how sensitive the camera’s audio recording circuit is to sound. You can use your Z7’s internal stereo microphone or an Accessory-shoe mounted microphone such as the Nikon ME-1 stereo mic.
In figure 8.23A you can see the two main types of microphones. One is an external, accessory shoe–mounted microphone that plugs into the audio-in port found on the side of the camera under the rubber flap labeled MIC (image on left). The other is the built-in stereo microphone on the top front of the camera (image on right; the stereo left and right ports are at the two red arrows). When you plug in an external mic, the camera automatically disables the built-in stereo mic.
There are three available Microphone sensitivity settings. Let’s learn how to use them.
The following steps allow you to select a Microphone sensitivity setting for your next movie:
If you decide to adjust the microphone sensitivity manually, instead of using Auto mode (as selected in figure 8.23B, image 2), you will need to use the Manual sensitivity setting (as selected in figure 8.23C).
Use these steps to choose a sound level manually:
As displayed in figure 8.23D, image 2, you can also choose to disable the microphone completely and record a silent movie by selecting the Microphone off setting. Use this setting if you are using a clapperboard for synchronization and an external sound-recording device.
The Microphone off setting will separate sound recording from the camera body or attached mic, removing the little squeaks, clicks, and whines that all cameras make while autofocusing, zooming, and changing apertures, or from the sound of a cooling fan in an external recorder mounted in the camera’s accessory shoe.
Use these steps to turn the internal stereo microphone off and disable the MIC audio-in port on the camera:
Settings Recommendation: For basic video using the built-in stereo mic, or even with an external Accessory-mounted mic, such as the Nikon ME-1, the Auto setting seems to perform well.
Experiment with this setting at Auto and Manual to see which works best for you. Auto sensitivity works for most of us, and Manual sensitivity is better for those with more critical needs.
If you are using an external video recorder and streaming uncompressed video from the HDMI port, you will generally set the camera’s Microphone sensitivity setting to Microphone off and use an external audio recorder and a sound synchronization device.
(User’s Manual: Page 138, Reference Manual: Page 240)
The microphone Attenuator is a function that will automatically adjust the sensitivity of the microphone when there are large changes in the sound level. For instance, you might be recording a local sports event and suddenly someone scores, causing the crowd to go wild. The Attenuator will automatically reduce the mic sensitivity to help prevent overwhelming the camera’s audio circuit. Let’s see how to enable it.
Use the following steps to enable or disable the mic Attenuator:
Settings Recommendation: Whenever I am capturing video at any type of event where loud sounds suddenly occur—or there is constant loud ambient sound—I use the Attenuator to prevent audio distortion. However, I do not use the Attenuator for normal video. Why not experiment with this setting to see if you find it useful?
(User’s Manual: Page 138, Reference Manual: Page 241)
The Frequency response function allows you to choose two different ranges of audio-frequency response to use while recording sound for a video. Sound is a very important part of quality video recording!
Maybe you want to record a video in the wilds of the jungle and would like to pick up the sound of every birdsong, leaf rustle, and buzzing insect. On the other hand, you could be recording a video of a famous lecturer and would rather not pick up the sounds of people walking by, a bird singing outside the window, and road traffic outside.
The Nikon Z7 gives you better control of sound quality than many Nikons before it. With a combination of the Microphone sensitivity, Attenuator, and Frequency response functions, you can capture some very high-quality sound. Microphone sensitivity affects how sensitive the microphone is, the Attenuator prevents distortion from loud sounds, and Frequency response determines which sound frequencies the mic is most sensitive to. We’ve already considered Microphone sensitivity and the Attenuator, so now let’s see how Frequency response works.
Use the following steps to choose a Frequency response setting for your camera’s microphone:
Settings Recommendation: Because I am a nature photographer, I often use the Wide range setting when shooting video in the Great Smoky Mountains. However, when recording a wedding ceremony, I use the Vocal range setting so that I won’t get so much spurious noise from the audience.
Test these two settings carefully for your style of photography to see which works best for you. Most people use Wide range for general video recording.
(User’s Manual: Page 138, Reference Manual: Page 241)
The Wind noise reduction function helps remove that aggravating sound you hear when wind blows on the camera’s stereo microphone ports. This function will not work with external, accessory shoe–mounted, stereo microphones; it works only with the internal stereo mic.
Have you ever recorded a video on a beautiful, breezy spring day, only to later find that you have recorded that distinctive rumbling sound of wind blowing across the mic ports instead of the clear sound you desired?
While that sound may not be completely eliminated without using special external microphones designed to deal with it, it can be significantly reduced with a selective low-cut filter, which removes or cuts low-frequency noises like wind rumbles.
Fortunately for Z7 users, Nikon has included a low-cut filter setting for when you are recording video. If you turn this filter on, you can remove a portion of wind noise when recording outside.
However, if you are recording an orchestra, with deep cello and bass parts, a low-cut filter may take away some of the depth in the recording, so maybe it shouldn’t be left on all the time. Let’s see how to enable and disable the Wind noise reduction low-cut filter.
Use the following steps to choose a Wind noise reduction setting for your camera’s microphone:
Settings Recommendation: I use this wind noise filter selectively. Most of the time I am using an external Nikon ME-1 Accessory-shoe mounted microphone, which has a foam screen around the mic to reduce or eliminate most wind noise. I do use Wind noise reduction when I am outside using the built-in stereo mic to record family events, such as a cookout in Great Smoky Mountains National Park.
(User’s Manual: Page 138, Reference Manual: Page 241)
The Headphone port under the rubber Connector cover is an excellent addition to the Nikon Z7 (figure 8.27A). It allows you to plug in a headphone set to isolate yourself from surrounding sounds and focus on hearing what the camera is actually recording. This is important for those who are concerned about maximum sound quality.
Use these steps to select a Headphone volume to use while recording your video:
Settings Recommendation: The headphone you use doesn’t have to be an expensive outfit to be effective. I often use a set of normal isolation earbuds, like the ones you would plug into your smartphone or iPod. Earbud headsets can be stored in a small pocket in your camera bag, so they will always be with you.
I have found that output level 15 is about right for me. However, my hearing isn’t as good as it was when I was young due to listening to my Walkman (remember those?) at high volume as a kid. Be careful not to go too loud because sudden sound increases might damage your hearing. You may be more comfortable with the volume around 10 or 12.
(User’s Manual: Page 138, Reference Manual: Pages 242)
The Timecode function allows you to do commercial-level synchronization of your camera with other devices, such as additional video recorders and sound recorders. Since sound, for instance, is often recorded separately from the video stream in commercial recording, there needs to be an accurate way to synchronize an external sound recorder with your camera’s video stream. Nothing is more distracting in a video than sound being out of sync with the video frames (remember the old Kung Fu movies?).
Basically, Timecode is a clock that counts in video frames. Timecode clocks can be synchronized so that the timecodes are identical on each device. Synchronizing two timecode clocks to run independently yet remain in time with each other is called “jam-synching” or “jamming.” Do some Internet research on those words to learn more about jamming.
Timecode relies on high-precision timecode clocks. When synchronized (jam-synched), two timecode clocks should run for a period of time without “drifting” or losing their synchronization. The more accurate the clocks, the longer the two devices will remain synched. Over time you may have to resynch the two clocks to make sure they are keeping the same time. Here is a sample Timecode readout, with the numbers on the top row and an explanation on the bottom row:
HH:MM:SS.FF
In the explanation line HH stands for hours, MM for minutes, SS for seconds, and FF for frames. When you enable the Timecode feature, your camera’s video recording screens will display the Timecode in this format:
TC: 00:00:00.00
A full discussion of using Timecode to synchronize your camera with another device is beyond the scope of this book, but there are quite a few good videos on YouTube about this subject. Let’s discuss how to select the Timecode settings and what each does.
Note: The Timecode is not displayed on the video itself; it is recorded as part of the video’s metadata for synchronizing purposes.
Recording timecodes has three settings. Let’s examine each one:
Use the following steps to enable the Timecode system on your camera:
The Count-up method lets you choose how you want the Timecode output to run. Here are explanations of the two types:
Use the following steps to set a Count-up method:
The Timecode origin setting allows you to control how the Timecode receives its initial values in the 00:00:00.00 (HH:MM:SS.FF) positions. There are three methods available to input these values:
Use the following steps to set a Timecode origin:
The Drop frame method allows you to compensate for discrepancies between the frame count and the actual recording time when using frame rates of 30 and 60 fps. What does that mean?
Even though the camera lists the frame rates as 30 fps and 60 fps, the actual rate for 30 fps is 29.97 fps, and for 60 fps it’s 59.94 fps. Since the camera can count video frames only in whole numbers, there ends up being a discrepancy between the frame count in the Timecode and the actual frame count recorded.
Using 30 fps as our example, the difference between the frames actually recorded and the count of those frames is 0.3 second per frame (30 − 29.97 = 0.03). In other words, for every second of recording time, 0.3 frames are unaccounted for—that’s about 1.8 frames per minute.
The Drop frame method causes the camera to drop a whole frame count number when those 0.3-second discrepancies add up to a whole frame. The Z7 does not actually drop or remove a recorded video frame; it just drops a single frame count number to bring the counting sequence back to actual frames recorded. Here is a list of what each setting does:
Use the following steps to set a Timecode origin:
Settings Recommendation: If you are using your Z7 to record family videos for fun, you can safely ignore Timecode usage. Timecode is for advanced videographers who are capturing video using multiple devices, such as external sound recorders. I suggest doing a little internet research if you think you might use this type of functionality. Search for “video timecode” and you will find many sources to help you.
The Nikon Z7’s Movie Shooting Menu brings virtually all the video functions for your powerful camera together into one convenient menu system. This means no more searching among the other menus for video functions.
This shows how much progress the video subsystems have made in the last few years for our Nikon cameras. They are fully endowed with both video and still image capability. With so many video functions all together in one menu, it is even easier than ever before to create excellent videos with your camera.
The next chapter begins a discussion of the very large Custom Setting Menu, which is the core of the camera’s configuration for various shooting styles. Be sure to have your camera in hand as we proceed through the deepest, most technical parts of Z7 customization, the Custom Setting Menu.
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