Your options

Overflow

Card 2 only starts recording once Card 1 fills up. Good for maximizing total capacity, bad if Card 1 fails — everything shot after was never backed up.

Backup

Every shot is written to both cards simultaneously. Doubles your safety net against a corrupted or failed card, at the cost of using storage twice as fast.

RAW Slot 1 – JPEG/HEIF Slot 2

RAW files go to one card, the compressed copy to the other. Useful if you want RAW for editing and a lighter, ready-to-hand-off set on the second card. Whether that second-card copy is JPEG or HEIF isn’t chosen here — it follows whatever Tone mode is set to elsewhere in this menu (SDR = JPEG, HLG = HEIF).

Your options

FX (36×24)

Uses the entire sensor — full frame, no crop. Maximum resolution, the widest field of view for any given lens, and the best low-light performance the sensor is capable of. This is what “taking full advantage of the sensor” means, and it’s the one to leave selected if that’s your priority.

DX (24×16)

Crops in to roughly the APS-C area (a 1.5× crop), which effectively extends the reach of telephoto lenses at the cost of resolution and a narrower field of view. Automatically forced on if you attach a DX-format lens, regardless of what’s selected here.

1:1 (24×24)

A square crop taken from the middle of the FX frame. A compositional/aesthetic choice, not a resolution one — you’re trading away pixels for a square aspect ratio in-camera rather than cropping to square later in editing.

16:9 (36×20)

A wide, cinematic crop taken from the FX frame. Like 1:1, this sacrifices some resolution for an aspect ratio, useful if you know you want that widescreen look straight out of camera.

Your options

SDR

Standard dynamic range, saved as JPEG. Universally compatible with every screen, printer, and piece of software you’ll ever use.

HLG

Hybrid Log-Gamma, saved as HEIF, captures a noticeably wider range of tones and richer color. Only worth using if you know your viewing and editing devices actually support HEIF/HDR display.

Your options

JPEG/HEIF Fine★ and Fine

The highest-quality compressed tier, with the smallest amount of data thrown away. Fine★ uses even less compression than plain Fine (bigger file, marginally better quality) — this is the tier to use if you want a fully processed, ready-to-share image with minimal quality loss.

JPEG/HEIF Normal★ and Normal

A middle tier: noticeably smaller files than Fine, with a small, usually-invisible amount of extra quality loss. Reasonable for everyday shooting when you don’t need maximum quality and want more shots per card.

JPEG/HEIF Basic★ and Basic

The most compressed, smallest-file tier, with visible quality loss especially in fine detail. Mostly useful when card space is genuinely tight.

RAW

Unprocessed sensor data, recorded alone with no JPEG/HEIF copy at all. Largest files, but every editing decision — exposure, white balance, highlight recovery — stays fully adjustable afterward in software like Lightroom or Capture One. The standard choice for professional work.

RAW + JPEG/HEIF (any of the six tiers above)

Records a RAW file plus a compressed copy at whichever quality tier you pick, for every shot. Gives you a RAW to edit later and a finished, shareable image the same day, at the cost of roughly the RAW size plus the compressed size per photo. Same rule applies here: whether that compressed copy is JPEG or HEIF depends entirely on Tone mode, not on anything you choose in this menu.

Your options

Image size: Large

Full resolution for whatever image area is active — for FX, that’s the sensor’s complete 6048×4032 pixels. The right default for anything you might print large or crop into later, and the only way to make full use of the resolution FX gives you.

Image size: Medium / Small

Roughly 75% or 50% of full resolution for JPEG/HEIF files. Smaller files and faster transfer, but less room to crop and print big — best reserved for web-only or quick-turnaround work. RAW is unaffected either way; it’s always recorded at Large.

Enable DX image sizes: Off (default)

DX-format shots (if you ever take any) just use the same Large/Medium/Small setting as everything else. If you always shoot FX, this toggle has no effect on you at all — leave it off and it’s a non-issue.

Enable DX image sizes: On

Lets you set a separate Large/Medium/Small size specifically for photos taken in the DX crop area, independent of the size used for FX, 1:1, or 16:9 shots. Only relevant if you regularly switch into DX mode (say, to borrow extra reach from a telephoto) and want a different resolution there than you use for FX. Turning this on does not switch you into DX — it only becomes relevant once you are in DX, which is chosen separately in Image area.

Image size (DX)

A second Large/Medium/Small selector that only appears, and only matters, when Enable DX image sizes is On. Sets the resolution used specifically for DX-area shots.

Your options

Lossless Compressed

Reduces file size with zero quality loss compared to uncompressed — mathematically identical image data, just packaged more efficiently. The safest default for most photographers.

High Efficiency★

Smaller files than Lossless Compressed, using compression that discards a small amount of data — but Nikon states this tier holds up close to Lossless Compressed in quality. A strong default if you want to save card space without a real-world quality trade-off.

High Efficiency

The smallest RAW files of the three, with more data discarded than High Efficiency★. Great for maximizing shots per card and buffer depth during long bursts; only a concern if you’re doing extremely aggressive shadow recovery or the largest prints.

Your options

ISO sensitivity

The actual ISO number. With Auto ISO sensitivity control off, this is exactly the ISO used for every shot — nothing changes it but you. With Auto ISO on, this same number instead becomes the floor: the lowest ISO the camera will use before it starts climbing on its own.

Auto ISO sensitivity control

The master On/Off switch for the whole automatic system. Off: the ISO sensitivity value above is used exactly as set, every shot, until you manually change it. On: the camera can raise ISO above that value by itself, governed by the two settings below.

Maximum sensitivity

Only matters once Auto ISO sensitivity control is On. Sets a ceiling — the highest ISO the camera is allowed to climb to automatically, no matter how dark it gets. Lower protects against noise; higher prioritizes getting a usable shot over a clean one.

Minimum shutter speed

Also only matters with Auto ISO on. In P and A modes, sets the slowest shutter speed the camera will tolerate before it starts raising ISO instead of slowing the shutter further. Can be a specific speed, or “Auto,” which picks a sensible minimum based on the attached lens’s focal length (faster for telephotos, where shake shows up more) — nudgeable toward Faster or Slower if you want to bias that logic.

Your options

Auto

The camera estimates white balance per shot. Convenient and generally reliable, but can shift subtly between frames in mixed or changing light — a problem if you need consistent color across a series.

Presets (Daylight, Cloudy, Shade, Incandescent, Fluorescent, Flash)

Fixed values matched to common light sources. More consistent than Auto shot-to-shot, and a good starting point if you know what you’re shooting under.

Choose color temperature (K)

Dial in an exact Kelvin value. Gives precise, repeatable control, useful when matching color across multiple cameras or light setups.

Preset manual

Measure white balance directly off a gray or white card placed in the actual light the subject is under. The most accurate option when color fidelity really matters, like product or catalog work. To record one: open White balance → Preset manual in the photo shooting menu, highlight one of six storage slots (d-1 through d-6), and choose to measure a new value — a target icon appears on screen; point it at the gray/white card and press the shutter-release button (or the center of the multi-selector) to take the reading, which the camera then stores in that slot for reuse. There’s also a “Select image” option in the same menu that copies the white balance from an existing photo already on the card, instead of measuring fresh. For faster access in the field, White balance can be assigned to a Fn button under Custom Setting f2 (Custom controls), letting the preset be selected and measured without opening the full menu each time.

Your options

Standard

Nikon’s balanced, moderate-contrast default — a safe general-purpose look for most subjects.

Neutral

Flatter, lower-contrast rendering that leaves the most room for grading in post. Preferred by editors who plan to do heavy retouching.

Vivid

Boosted saturation and contrast for punchy, ready-to-share color straight out of camera.

Monochrome

Strips color for black-and-white JPEGs. Handy for previewing tonal composition, though RAW still holds full color if you change your mind.

Portrait / Landscape / Flat

Scene-tuned variants — Portrait softens skin rendering, Landscape boosts greens/blues, Flat minimizes contrast even further than Neutral for maximum grading latitude.

Creative Picture Controls

A larger family of stylized looks (Dream, Morning, Pop, Dramatic, and others) built for JPEG/HEIF shooters who want a distinct finished aesthetic without editing software.

Your options

sRGB

The web and consumer-print standard. Colors display correctly on virtually every screen and print service without any conversion — the right choice unless you have a specific reason not to use it.

Adobe RGB

A wider gamut that captures colors sRGB can’t. Only an advantage inside a properly color-managed print workflow; on an unmanaged screen or web upload, images can actually look duller.

Your options

Off

No adjustment. Gives you the most predictable, literal exposure to grade from — the usual choice if you shoot RAW and prefer to handle contrast yourself.

Low / Normal / High / Extra High

Progressively stronger recovery of shadow and highlight detail. Great for backlit or harsh midday scenes; pushed too high, it can look flat or slightly hazy.

Auto

Lets the camera judge scene contrast and pick a strength itself. Convenient, less predictable frame to frame.

Your options

On

Cleaner shadows on long exposures, but the camera takes roughly a second exposure of equal length to map and subtract noise — effectively doubling your wait between shots.

Off

No delay between long exposures. Better for time-lapses or when you’re processing noise reduction yourself in software.

Your options

Off

Noise stays untouched, preserving maximum fine detail — best if you’ll denoise in software, which generally does a better job than in-camera processing.

Low / Normal / High

Increasingly aggressive smoothing of noise directly into the JPEG/HEIF. Convenient for out-of-camera delivery, but can start to soften fine texture and detail at higher settings.

Your options

Off

Natural lens vignetting is left alone — some photographers actually prefer this look, or correct it selectively in post.

Low / Normal / High

Progressively stronger digital brightening of the corners. High is closest to fully neutral; keep in mind corner brightening can very slightly increase visible noise there.

Your options

On

Keeps small-aperture shots (f/11 and smaller) crisper. Worth leaving on if you regularly shoot landscapes stopped well down for depth of field.

Off

No automatic sharpening applied. Fine for anyone who rarely shoots past f/8–f/11, or who prefers to sharpen manually in post.

Your options

On

Straighter lines straight out of camera, particularly useful with wide-angle lenses where distortion is most visible. Slightly reduces the field of view since correction crops the edges a little.

Off

Uncorrected geometry. Only worth choosing if you correct distortion yourself in software or intentionally want the lens’s native character.

Your options

Off

Skin texture stays untouched — the better choice if you plan to retouch selectively yourself.

Low / Normal / High

Increasing amounts of automatic smoothing, applied only to the detected face. Convenient for quick portrait turnarounds; High can start to look artificial on close-up detail shots.

Your options

Off

No adjustment applied — the default, and the only sensible choice if the other three modes haven’t been set up yet.

Mode 1 / Mode 2 / Mode 3

Three independent, savable presets. To set one up: highlight the mode and press right to open its editor, which shows a small grid — press left/right to shift hue along a Magenta↔Yellow axis, and up/down to adjust brightness, then press OK to save. Once tuned, selecting that mode at the main screen makes it active for shooting. Having three slots lets you save different corrections for different situations — say, one tuned to counter the slightly orange cast of tungsten light and another for the greenish cast common under fluorescent light or in shade near foliage — and switch between them in seconds rather than re-tuning each time.

Your options

On

The camera times shots to avoid flicker-affected exposure. Worth using indoors under gym, office, or stage lighting where banding is likely.

Off

No timing adjustment. Fine in daylight or with continuous, non-flickering light sources like strobes or steady LEDs.

Your options

Matrix

Analyzes the whole frame, weighing brightness, color, and subject position. The reliable general-purpose default for most shooting, and — when paired with Custom Setting b4 “Matrix metering face detection” — it factors in wherever a detected face sits in the frame, off-center or not, without the narrowness of true Spot metering.

Center-weighted

Prioritizes the center of the frame, ignoring the edges more. Only really useful when the subject is actually centered — for off-center compositions, it’s biased toward empty space instead of the subject, which usually works against portrait work rather than for it.

Highlight-weighted

Protects bright highlights specifically from blowing out. A specialty tool rather than a general portrait default — excellent for stage lighting, spotlit or rim-lit subjects, or anywhere a bright background would otherwise underexpose the subject.

Spot

Reads only a small area (about 4mm) tied directly to the active AF point — not a fixed spot in the frame. Precise, but sensitive to exactly where it lands; half an inch onto a shadow versus a highlight can shift the reading noticeably.

Your options

TTL

The camera automatically meters and adjusts flash output per shot. Fast and reliable for changing scenes and distances.

Manual

You set a fixed flash power yourself. More consistent frame-to-frame in a controlled setup, but requires re-adjusting if subject distance or ambient light changes.

Your options

Front-curtain sync

Flash fires the instant the shutter opens. The standard default for most flash photography.

Rear-curtain sync

Flash fires right before the shutter closes, so motion trails from ambient light appear to trail behind a moving subject rather than in front of it. Useful for creative motion shots.

Slow sync

Uses a slower shutter speed alongside flash to pull in more ambient background light — good for keeping a lit background instead of a black one at night.

Red-eye reduction

Fires a brief pre-flash to shrink pupils before the main flash. Reduces red-eye at the cost of a slight delay and a “heads up” to your subject.

Your options

Single frame

One shot per press. The default for deliberate, composed shooting.

Continuous Low (CL)

A modest burst rate, adjustable via Custom Setting d1. Good middle ground for moderate action without flooding your card.

Continuous High (CH) / CH Extended

The fastest burst rates available, built for fast-moving subjects like sports or wildlife. Fills your card and your editing queue fastest, too.

Self-timer

Delays the shutter by a set number of seconds — for getting into your own shot, or for reducing camera shake on a tripod without a remote.

Your options

AF-S (Single-servo)

Focus locks once achieved and stays locked until you refocus. Best for stationary subjects — portraits, landscapes, product shots. This is the only Focus mode that allows Pinpoint AF in the AF-area mode list (greyed out under both AF-C and AF-A) — but the trade-off runs the other way too: Dynamic-area AF and 3D-tracking aren’t offered at all under AF-S, since both need continuous-tracking behavior that AF-S doesn’t provide.

AF-C (Continuous-servo)

Focus keeps tracking as long as the shutter is half-pressed, adjusting for a moving subject. Best for anything that moves unpredictably — kids, pets, sports.

AF-A (Auto-servo)

The camera automatically switches between AF-S and AF-C behavior based on whether the subject starts moving. The Z5 II was the first full-frame Nikon mirrorless body to get this mode. Convenient as a hands-off default, and it behaves like AF-C for AF-area mode purposes: it enables Dynamic-area AF and 3D-tracking (both of which need continuous-tracking behavior available) while disabling Pinpoint AF (which needs the opposite) — the same pattern as AF-C, just with the camera deciding on the fly rather than being locked into one behavior.

Manual focus

You control focus entirely by hand via the lens ring. Necessary for macro work, focus stacking, or any situation autofocus struggles with (heavy fog, glass, low contrast).

Your options

Pinpoint AF

The smallest, most precise point available — but only works with Focus mode set specifically to AF-S. It greys out under both AF-C and AF-A (auto-servo), since it can’t track anything moving and Nikon disables it whenever continuous-tracking behavior is possible. Best for a genuinely still subject where exact placement matters, like a locked-down studio pose or macro work.

Single-point AF

One user-movable point, standard size, works in both AF-S and AF-C. Locks onto whatever’s under the point and ignores everything else. The reliable, predictable default for deliberate composition of a subject that isn’t moving unpredictably.

Dynamic-area AF (S/M/L)

A single point you place yourself, backed by a ring of surrounding points (Small/Medium/Large) that catch focus if the subject briefly slips off the main point. Requires Focus mode set to AF-C or AF-A — it isn’t offered at all under AF-S, since it needs a continuously-updating point that AF-S’s lock-once behavior has no use for. A good middle ground when a subject moves somewhat unpredictably but you still want to actively choose where to place the point, rather than hand it entirely to the camera.

Wide-area AF (S/L)

Simply a larger single search zone than Single-point — S is a modest rectangle, L covers roughly 10% of the frame. No backup-point ring like Dynamic-area, just one bigger area. Good when a subject moves a bit within a general area and precise hand-tracking feels like overkill.

Wide-area AF (C1/C2)

The same idea as Wide-area (L), but with a custom zone size and shape you set yourself from dozens of options. Useful for tailoring the search area to a specific subject’s size once — say, isolating one person in a group — and reusing that saved zone.

Auto-area AF

The camera scans the whole frame and picks a subject itself using its subject-detection AI. Fast and hands-off, but you give up control over exactly what’s prioritized if more than one subject is in frame.

3D-tracking

Place the point on a subject once, engage AF, and the box follows that specific subject anywhere in the frame as it moves, tracking by color and contrast rather than needing you to keep re-aiming. Requires Focus mode set to AF-C or AF-A — not available under AF-S. Can drift onto the wrong subject if colors or tones are too similar to the background.

Your options

People

Prioritizes detecting and tracking human faces and eyes. The right choice for portraits, events, and street photography.

Animals (dogs/cats, birds)

Tunes detection toward animal eyes and faces. Dramatically improves hit rate for pet and wildlife photography over generic tracking.

Vehicles

Tunes detection toward cars, motorcycles, trains, and planes — useful for motorsport or aviation photography.

Auto

Lets the camera decide what kind of subject is in frame. Convenient for mixed subject matter, less targeted than picking one category.

Off

Disables subject detection entirely, falling back to plain area-based focus. Occasionally useful when detection is locking onto the wrong thing in a busy scene.

Your options

Off

The default. No detection box appears during manual focus.

All

Detection works anywhere across the full frame.

Wide (L)

Detection limited to a large zone. Can help the camera latch onto the right subject faster in a cluttered frame.

Wide (S)

Detection limited to a smaller zone, for the most deliberate manual placement.

Your options

Off

No stabilization. Necessary on a tripod for some older non-VR-aware panning techniques, and saves a small amount of battery.

Normal

Smooth, steady stabilization tuned for handheld stills. The right default for nearly all everyday shooting.

Sport

A more responsive, less “floaty” stabilization character tuned to keep a fast-moving subject visible through the viewfinder during panning shots.

Your options

AE bracketing

Varies exposure across frames — the classic choice for HDR blending or simply hedging against a tricky exposure call.

Flash bracketing

Varies flash output across frames, useful for dialing in fill-flash strength without trial and error.

White balance bracketing

Records one exposure but processes multiple color-temperature variants — handy insurance under uncertain mixed lighting.

ADL bracketing

Varies Active D-Lighting strength across frames, useful for comparing shadow/highlight recovery levels side by side.

Your options

Add

Simply overlays exposures. Bright areas get brighter with each added frame — works well for light trails or double-exposure portrait effects.

Average

Blends exposures at reduced strength each, keeping overall brightness balanced. Better for combining similar-exposure frames without blowing out highlights.

Lighten / Darken

Keeps only the lightest or darkest pixel value from each frame at every point. Lighten is popular for star trails; Darken can remove moving people from a busy scene.

Your options

Start

Begins the sequence — either 3 seconds after you confirm (if “Now” is selected below), or at whatever scheduled date/time you’ve set. That 3-second delay is enough to step away from the menu, but usually not enough to get fully into position for a self-portrait; the scheduled start option gives more breathing room.

Choose start day/time

Now (starts almost immediately) or a specific scheduled date and time. Scheduling ahead is genuinely useful for self-portrait work — set it to start in 2–3 minutes and that’s real time to get in front of the camera and settled before the first frame fires.

Interval

The time between the start of one shot and the start of the next, in hours/minutes/seconds. Needs to be long enough to actually complete each exposure and, if flash is involved, long enough for it to fully recycle — too short, and the camera can silently skip an interval rather than take a bad shot (see Interval priority below).

Intervals × shots/interval

How many separate intervals to run, and how many shots to take within each one. For most self-portrait sessions, shots/interval stays at 1 — bump it up only if a quick burst at each interval (to catch a blink-free frame, for instance) is worth the extra files to sort through afterward.

Exposure smoothing

When On, the camera nudges each new shot’s exposure to match the one before it, softening any abrupt brightness shifts between frames. Most useful when ambient light is drifting slightly over a session; largely irrelevant if lighting is fully controlled (consistent flash/strobe output every time).

Electronic shutter options

Turns on the electronic (silent) shutter specifically for the interval sequence, with a separate volume control for its confirmation sound. Worth reading the caveat below before turning this on if flash is involved at all.

Interval priority

On: the camera guarantees a shot at every interval, capped at one shot per interval, even if that means a slightly rushed exposure. Off: the camera prioritizes a correctly exposed shot over hitting the interval exactly, which can mean an interval gets skipped entirely if it doesn’t have time to finish properly. For self-portrait work where you’re posing against a predictable rhythm, On is usually the better choice — a slightly-off exposure you can fix in editing beats a silently missing frame you didn’t know happened.

Focus before each shot

On: the camera refocuses before every single shot, using whatever Focus mode is currently active. Off: focus is set once and left alone. Worth turning Off if working from a marked, pre-focused spot each time (common in self-portrait setups) to avoid AF hunting or focus drift eating into your interval; worth turning On if actually repositioning between shots.

Options: AE bracketing or Time-lapse video

Optionally layer AE bracketing on top of the interval sequence (each interval becomes a small bracket rather than one frame), or have the camera additionally assemble a time-lapse video from the same shots as a quick preview — the individual stills are still saved either way.

Starting folder options

Choose whether each new interval sequence gets its own fresh folder, and whether file numbering resets to 0001 for it — useful for keeping separate self-portrait sessions cleanly separated on the card without manual sorting later.

Your options

Fewer shots (4)

Faster capture, smaller resulting file, still a meaningful resolution and color-accuracy gain over a single frame.

More shots (8/16/32)

Diminishing but real gains in resolution and reduced color artifacts, at the cost of a much longer capture window — the subject and camera both need to stay perfectly still throughout.

Your options

MOV (H.264/H.265)

High-quality, editing-friendly footage with manageable file sizes. The standard choice for most video work.

MP4

A more universally compatible, lighter-weight container — useful if footage needs to play on the widest range of devices with the least fuss.

Your options

4K UHD

Sharp, detail-rich footage with room to crop or stabilize in post. Larger files and heavier to edit than 1080p.

Full HD (1080p)

Smaller, faster-to-edit files. Plenty for social/web delivery where 4K’s extra resolution won’t be visible anyway.

24p / 30p

Standard frame rates for natural-looking motion — 24p reads as more “cinematic,” 30p is the broadcast-video norm.

60p / 120p

Higher frame rates for smoother motion or dramatic slow-motion when played back at 24/30p in editing.

Your options

On

Noticeably smoother handheld footage, especially while walking. Crops the frame further to allow room for the stabilization to shift the image around.

Off

Full field of view retained. Better on a gimbal, tripod, or when you’ll stabilize in post instead.

Your options

Auto

The camera adjusts gain on the fly. Convenient for unpredictable audio environments, but can audibly “pump” volume up during quiet moments.

Manual

You set a fixed gain level. More consistent and professional-sounding, but requires monitoring to avoid clipping if volume spikes unexpectedly.

Your options

Wide range

Captures the full audio spectrum, including low rumble and high detail — better for music or ambient/environmental sound.

Vocal range

Emphasizes frequencies where speech lives and reduces others. Improves clarity for interviews and talking-head video, especially in noisy environments.

Your options

Release

The shutter fires the instant you press it, focused or not. Prioritizes never missing the moment — the usual pick for fast action where a few soft frames beat a missed shot.

Focus / Release

The camera briefly favors confirmed focus before allowing the shutter to fire. Fewer out-of-focus frames, at the very slight risk of a delayed shutter on the first shot of a burst.

Your options

Focus

The shutter won’t fire until focus locks. Prevents accidental out-of-focus shots — the sensible default for deliberate, composed shooting.

Release

The shutter fires regardless of focus confirmation. Rarely useful in AF-S; mainly for specific fast-reaction scenarios where any frame beats none.

Your options

Quick / Erratic response

The camera refocuses fast on whatever’s newest in frame. Good for genuinely unpredictable subjects that change direction suddenly, but prone to “jumping” to an obstruction.

Steady / Delayed response

The camera stays committed to the original subject longer before switching. Better when something briefly crosses your subject (a fence, another player) that you don’t want to lose focus to.

Your options

Shutter/AF-ON

Either control focuses. The familiar default most photographers already know.

AF-ON only

This is “back-button focus” — focus and shutter release become fully separate actions. Lets you focus once, then recompose and fire repeatedly without refocusing. A favorite of many advanced shooters, but takes some habit-building.

Your options

Mechanical shutter

Physically moving shutter blades. Handles fast-moving subjects and flash sync without the rolling-shutter distortion electronic shutters can show.

Electronic front-curtain

A hybrid that reduces shutter shock at slower speeds while keeping mechanical shutter close for the second curtain. A good general-purpose middle ground.

Electronic (fully silent)

No moving parts at all — completely silent operation. Best for quiet environments like ceremonies or theater, but can show rolling-shutter skew on fast motion or under flickering light.

Your options

Show effects of settings

What you see is genuinely what you’ll get. The right choice for confidently judging exposure and color before you shoot.

Natural brightness/color

Live view stays easy to see regardless of your actual exposure settings — helpful when composing in very dark or very bright conditions where a true preview would be unreadable.

Your options

Standard grid

A simple rule-of-thirds grid. Straightforward and familiar for general composition.

Golden ratio / other overlays

Alternate compositional guides for photographers who prefer them — a matter of personal working style more than a technical trade-off.

Your options

Slower

Gentle, gradual focus transitions that read as intentional and cinematic — closer to a manual focus pull.

Faster

Quick, snappy refocusing — better for run-and-gun or documentary-style shooting where you need to react instantly to a new subject.

Your options

Low sensitivity

Focus stays locked on your subject even if something briefly crosses in front — good when you don’t want focus hunting for every distraction.

High sensitivity

Focus reacts and shifts quickly to whatever’s newest or closest — good for genuinely unpredictable, fast-changing scenes.

Your options

Highlights

Flashes blinking warnings over blown-out highlight areas — the fastest way to catch overexposure while reviewing.

RGB histogram

Shows tonal distribution per color channel, more precise than judging exposure by eye on the small screen.

Focus point

Displays exactly where the camera focused, useful for confirming sharp focus landed where intended.

Your options

Standard

Shuts down at a conservative temperature threshold. Prioritizes protecting the camera’s internals over maximum recording time.

High

Allows the camera to run hotter before cutting out, extending realistic recording time for long video sessions — at somewhat higher long-term thermal stress on the camera.