Nikon D3100 Ptp Mode

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*Nikon D3100 Ptp Models
*Nikon D3100 For SaleFull ReviewOperationViewfinderLive View
Nikon D100 (Sierra Mode) Nikon DSC D3000 (PTP mode) Nikon DSC D300s (PTP mode) Nikon DSC D3100 (PTP mode) Nikon DSC D3200: Nikon DSC D3300: Nikon DSC D3400: Nikon DSC D3s (PTP mode) Nikon DSC D3x (PTP mode) Nikon DSC D4: Nikon DSC D4s: Nikon DSC D5: Nikon DSC D500: Nikon DSC D5000 (PTP mode) Nikon DSC D5100 (PTP mode) Nikon DSC D5200: Nikon DSC. Advanced Exposure Modes for Your Nikon D3100 Digital Camera To really take creative control with your Nikon D3100, step up to one of these four exposure modes, which enable you to adjust aperture (f-stop) to manipulate depth of field (the zone of sharp focus) and to adjust shutter speed to determine whether moving objects appear sharply focused or blurry.
Night Portrait mode on a Nikon D3100 This goal of this mode is to deliver a better-looking flash portrait at night (or in any dimly lit environment). It does so by constraining you to using Auto Slow-Sync, Auto Slow-Sync with Red-Eye Reduction, or Off Flash modes. Re: Nikon D3100 focus modes. As newbshooter says, with the display on, press the ’i’ button to bring up the settings page. (If the display is off you will need to press the ’i’ button twice. The option below ISO, is AF-A and MF as you have already found. If you select the option below this entitled AF-area mode, you can choose, single-point AF, Dynamic-area AF, Auto-area AF and 3D tracking.Modes & MenusVideo
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Check out the links below for more sample images, videos and image quality analysis:Nikon D3100 Ptp Models
*Nikon D3100 Optics page(Crops from images shot with the camera’s kit lens, if sold as a kit)
*Nikon D3100 Sample Images page(Index to all standard test shots, with explanations)
*Nikon D3100 Thumbnails page(Thumbnails of all shots, including RAWs, with EXIF data)
*Nikon D3100 Gallery page(Regular photos taken with the Nikon D3100)Nikon D3100 Video Recording
Nikon pioneered video capability in its D90 digital SLR, and it’s rapidly become a must-have feature, with essentially all the major manufacturers now providing some form of video capture in their DSLRs. Positioned as an affordable model near the entry level, the Nikon D3100 forgoes some of the more sophisticated features found in the video modes of enthusiast and professional digital SLRs, but it breaks new ground for Nikon in a couple of important areas. For the first time in a Nikon digital SLR, the D3100 can offer live autofocus during video recording. It also offers Full HD (aka 1080p) high definition video capture, ensuring that D3100 videos will look their best even on the latest high-def displays.
While it may not provide for external microphone connectivity, nor the level of exposure control demanded by pros and high-end video enthusiasts, the Nikon D3100 nonetheless includes an overall package of video features that will likely prove very compelling to the average consumer. Its genuinely useful live autofocus capability in particular will make it more appealing to the average user than most cameras, which rely solely on manual focus or single AF cycles during video capture.Nikon D3100 Basic Video Specs1080p (1,920 x 1,080) at 24 fps Full HD recording
*720p (1,280 x 720) at 30 / 25 / 24 fps HD recording
*640 x 424 at 24 fps SD recordingMPEG-4 / H.264 AVC compression, .MOV container
*Full-time live autofocus is possible during recording, including tracking and face detection, albeit with actuation noise levels depending on the lens used
*Single-servo auto and manual focus also possible
*AF point position and size can be manually controlledProgrammed-only exposure (that is, no true aperture-priority or shutter-priority) Exposure compensation and lock are available both before and during recording
*Picture control system provides creative optionsMonaural audio recording via built-in microphone
*Image stabilization during video capture, if offered by lens
Nikon D3100 Video: Image Size, Frame Rate, and Encoding
Nikon D3100 Video Resolutions & Recording Formats
The Nikon D3100 records a variety of resolutions and frame rates, using H.264 / MPEG-4 AVC compression, and storing the results in a .MOV container. At all resolutions, a frame rate of 23.976 frames per second is available, while for the 1,280 x 720 pixel frame rate only, there are also optional frame rates of 29.97 or 25 frames per second. No spec is provided for the sampling rate of the audio track during movie recording, though video players report monaural 16-bit PCM audio at 24 kHz, regardless of the video resolution and frame rate.
The table below shows the specs for various video recording options.
H.264 / MPEG-4 AVC Compression (.MOV files)ResolutionCard Capacity
(very approximate)
1,920 x 1,080
(16:9 aspect ratio)~2.3-2.5 MB/second
(~14 minutes
on 2GB card)
1,280 x 720
(16:9 aspect ratio)~1.3-1.5 MB/second
(~24 minutes
on 2GB card)
1,280 x 720
(16:9 aspect ratio)~1.3-1.5 MB/second
(~24 minutes
on 2GB card)
1,280 x 720
(16:9 aspect ratio)~1.0-1.2 MB/second
(~30 minutes
on 2GB card)
640 x 424
(3:2 aspect ratio)
~0.5-0.6 MB/second
(~60 minutes
on 2GB card)
As noted above, the Nikon D3100 offers only one video recording format -- H.264 / MPEG-4 AVC, which is much more efficient in its use of memory card space than the older Motion JPEG format used by some competitors, but necessitates a more powerful, modern computer for playback and editing purposes. A choice of three frame rates -- approximately 24, 25, or 30 frames per second -- are possible when recording video with the Nikon D3100, but only when using the 720p (1,280 x 720 pixel) resolution mode. With the 1080p (Full HD, or 1,920 x 1,080 pixel) and non-standard 640 x 424 pixel video modes, movies are always recorded at approximately 24 frames per second. Due to the high data rates at Full HD resolution, Nikon cautions in the manual that it recommends use of at least a Class 6 SD memory card.
Here are some examples of video shot with our sample of the Nikon D3100:1,920 x 1,080, 24 frames/second
(42.1 MB)1,280 x 720, 30 frames/second
(22.0 MB)640 x 424, 24 frames/second
(9.1 MB)Focus tracking example, ~24mm
1,920 x 1,080, 24 fps
(39.2 MB)
Decent AF tracking at24mm, if not quite up to camcorder levels. (See AF tracking section below for details)
Focus tracking example, ~55mm
1,920 x 1,080, 24 fps
(36.6 MB)
Noisy but surprisingly good AF tracking at 55mm with the kit lens. (See AF tracking section below for details)
Autofocus slew, near/far
640x424, 24 fps
(21.0 MB)
The D3100 uses contrast-detect AF during video recording. It can track moving subjects decently well, but abrupt changes in focal distance can sometimes hang it up. Half-pressing the shutter button will force a broader AF ’look,’ though, re-aquiring focus.
Autofocus noise with quieter lens
(ultrasonic focus motor)
640x424, 24 fps
(14.0 MB)
The kit lens has an SWM motor (contrary to the commentary on this clip), but a bit higher-end model was a good bit quieter.Indoor incandescent lighting
(1,920 x 1,080
(19.1 MB)
Moderately low light levels are no problem at all: good video quality here, under typical household (incandescent) lighting.Rolling shutter (’Jello effect’)
(1,920 x 1,080, 24fps - 12.1 MB)
(1,280 x 720, 30 fps - 8.2 MB)
Less rolling shutter effect than many DSLRs we’ve tested. (Note relatively slight distortion in the thumbnail above, shot at 1080p/24 fps)

Nikon D3100 Video-Mode Focusing
The big news with the Nikon D3100’s movie mode is that it provides live autofocus during video recording, a first for Nikon’s DSLR lineup. Most DSLRs use what’s called phase-detect autofocus for their still images. Phase-detect AF is very fast, but requires light to be directed onto a separate AF sensor via the reflex mirror, and so generally isn’t available during video recording. The alternative is called contrast-detect AF, whereby the camera looks at the image to determine how sharp it is, makes a small adjustment in the focus setting, and then checks the sharpness again. Focus thus occurs in small steps, and is hence usually slower than with phase-detect systems.
Contrast-detect AF can be tweaked to be almost as fast as phase-detect, though, and that’s what Nikon has managed with the D3100. It’s perhaps not as fast as a phase-detect system could be, but as contrast-detect approaches go, it’s reasonably quick, and probably fast enough for most consumer video applications.
The table below shows some examples of the Nikon D3100’s autofocus tracking, with a very lively subject:
Nikon D3100: Tracking Autofocus
(Crops below from clips shot with 18-55mm kit lens)Frame 000: Shot at 55mm, the camera started out well-focused.Frame 124: When Charlotte initially starts running, she ’digs in’ to launch herself. This dropped her head away from the middle of the frame, plus I’d started to tilt the camera up, to follow her run. Here, you can see the effect of the camera ’seeing’ the background; it’s already shifted focus to the leaves and grass behind Charlotte.Frame 128: It looks like the focus actually continued to hunt in the more-distant direction; nothing is actually super-sharp here, but details in the background seem a bit sharper.Frame 139: Charlotte’s a blur here because she’s moving so fast. The focus point is actually about right for her.Frame 153: I mentioned freeze-frame like this being like extreme pixel-peeping. One reason is that desirable motion blur when the subject is moving or the camera is panning looks horrible when frame-grabbed. The blurring here is caused by the slow shutter speed and rapid camera panning. If the shutter speed were short enough to make a crisp image here, though, the abrupt differences between frames would make the video look very choppy.Frame 214: Charlotte’s starting her run back; the camera is front-focused just a bit here.Frame 243: A good bit closer, the camera is tracking pretty well. Softness in Charlotte is mostly motion and compression; leaves on the lawn in the same plane as her are fairly sharp.Frame 253: Still quite good; the fetch-toy is pretty sharp. Charlotte’s face is soft, but again, that’s a combo of motion and the fact that movie compression tends to step on lower-contrast detail.Frame 267: Too close, too quickly. The AF lost tracking a few frames before this one. It did pretty good to track as close as it did with a fast-moving doggie, though.Frame 282: Pretty much caught up: Charlotte’s face is a bit soft in this frame, but the hair on her shoulder is in pretty good focus. This is about 0.6 seconds after frame 267, shown just above.
In considering the crops above, keep in mind that looking at frame-by-frame 1:1 crops like this is the equivalent of extreme pixel-peeping with still images: In a movie with fast-breaking action like this, most people wouldn’t notice a few frames’ worth of missed focus. Ditto the detail levels; you actually want motion blur to provide smooth transitions between frames: Too-short shutter speeds produce very choppy-looking motion. (Also, in line with our comments below, note that 1:1 crops from even HD video frames just aren’t as sharp as the equivalent still-camera image would be. You may note that none of the crops above look tack-sharp, but that’s pretty typical of DSLR HD video frame grabs when viewed 1:1 like this - at least among cameras we’ve tested.)
While I could sometimes confuse the Nikon D3100’s contrast-detect video autofocus by switching very abruptly from a foreground to background object, in normal operation, I was surprised by how well it generally tracked motion. There was a little of the ’hunting’ typical of contrast-detect systems, but most of the time, I found that focus tracking issues had more to do with what passed through the center of the frame, rather than any inherent difficulty in tracking the subject. That is, many situations that looked like mis-focusing were the result of my letting the subject get out of the center of the frame, or of there being enough background peeking through to give the camera a legitimately mixed message as to what I wanted it to focus on.
In my time shooting video with the Nikon D3100, I used a single central focus point almost exclusively: It’s possible that a wider focus area wouldn’t have been as prone to jumping to the background when the subject wandered. This is one area where phase-detect AF can have an advantage: If you’re operating in multipoint AF mode with phase-detect, the fact that the camera can tell exactly how far out of focus various parts of the image are -- and in what direction -- means it can pick the AF points showing as closest to the camera as being the ones most likely to correspond to the subject. The Nikon D3100’s contrast-detect may do better about being pulled off-focus by momentary flashes of the background when it’s operating in its wide-area AF mode, but I didn’t have a chance to experiment with that while I had it for video shooting. The key point here, though, is that the camera’s video-mode AF did a surprisingly adequate job of keeping up with reasonable amounts of subject motion. It won’t be able to hold focus on a runner sliding into home shot from the perspective of the catcher, but it’ll probably do fine with typical non-sports subjects.
The D3100 provides both Single-servo and Full-time AF modes for live view and video capture, and as well as the Wide and Normal AF-area modes just mentioned, also provides both Face-priority and Subject-tracking AF-area modes, and the face detection function does continue to operate during video capture, continuously determining which is the dominant face in the scene, and following it as it moves around the frame. You can also manually adjust the AF point position both before or during movie capture, using the four-way controller. You wouldn’t be able to do so quickly enough to follow a fast-moving subject around the frame manually with the AF point, but if your subject is static or moving relatively slowly, the ability to change the point position during a movie could be useful. Interestingly, you can also change the AF point size by turning the Mode dial before video capture, or during it if you don’t mind the significant handling noise from the dial’s stiff detent. It seems almost to be an accidental behaviour, but might nonetheless prove useful if you want to quickly change the point size without stopping the video. The Macro scene mode uses a smaller AF point size than other scene modes, and so simply switching to or from this mode will change the point size immediately, simultaneously resetting the AF point to the center position.
All in all, I think the Nikon D3100’s video autofocus abilities are well-suited to the consumer audience the camera is intended for. It’s not quite up to camcorder levels of performance, but is good enough that most consumers won’t notice its few bobbles. The lens-motor noise on the audio track is another matter, though: With the 18-55mm kit lens, focus noise is very obtrusive, even though it’s equipped with an SWM (Supersonic Wave Motor). Switching to higher-end SWM Nikon lens greatly reduces the problem, but a complete solution requires an external mic -- something the average consumer won’t be likely to purchase or use, and nor does the D3100 offer an external microphone port with which to connect one.
If AF noise is an issue and you have plenty of light available, you can always drop back to using manual focusing, which is all that most DSLRs offer anyway. It’d be nice if the kit lens were quieter, for better audio tracks on recorded video, though. (We suspect it’s more of an issue with internal slop in the lens mechanism than noise from the motor itself: In which case, it’s likely an issue that a quieter-operating lens would just increase the cost of the kit to the point that it’d take it out of the entry-level price class.)

Nikon D3100 Video Exposure Control
While the Nikon D3100 lets you record movies directly from any of its still-image exposure modes, including aperture-priority, shutter-priority, and full manual exposure modes, the shutter speed, aperture, and ISO settings for video recording are always automatically controlled. Thus, while the controls might suggest full PASM (programmed, aperture-priority, shutter-priority, and full manual exposure) exposure control for videos, none of the modes gives you direct control over depth of field. You can, however, adjust the overall exposure both before and during exposure by holding down the D3100’s top panel Exposure Compensation button and turning the Command dial on the rear panel, although the stiff detent on this will cause very noticeable handling noise if audio recording is enabled, and the change in brightness between exposure compensation steps will be clearly visible in the recorded video. Perhaps more useful is the ability to lock exposure during video recording, by holding down the AE-L / AF-L button (or with repeated presses of the button, if AE lock (hold) is enabled through the Setup menu.)
Providing a measure of creative control, the Nikon D3100 offers access to its Picture Control system for movie recording. Described in detail on the Exposure tab, this allows camera settings for sharpening, contrast, brightness, saturation, and hue to be adjusted, either automatically via presets, or manually via fine-tuning of the presets. The D3100 also allows movie recording from its Scene modes, although exposure variables from the scene modes don’t seem to apply to movie capture, only AF variables (as mentioned previously).

Nikon D3100 Movie-Mode Image Stabilization
Nikon’s image stabilization technology is lens-based, so IS availability, effectiveness and impact on the audio track will depend on the lens you’re using. We felt that the kit lens’s IS worked well, and had relatively little impact on the audio. We could hear it as a background hiss in quiet passages, even with the camera relatively steady, though, so when recording in quiet settings, you’ll probably want to turn it off.
Nikon D3100 Video: Audio recordingLike many entry-level SLR/SLD cameras with video recording capability, the Nikon D3100 can only record audio via its internal, monaural microphone. Nikon doesn’t publish specs for the D3100’s audio recording capability, though video players report monaural 16-bit PCM audio at 24 kHz. Subjectively, audio recorded with the camera’s internal mic seemed plenty clear, although we don’t currently test frequency response or sensitivity. We did notice that there was some audible hiss in audio tracks recorded with the in-camera mic in quiet environments. Fortunately, we didn’t hear any audible ’breathing’ from the auto-gain system adjusting sensitivity as sound levels got louder or softer.
As noted, the Nikon D3100 doesn’t have any provision for manual audio level control. This isn’t a particular strike against the D3100, though, as manual level control is a feature found on only

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