Fuji X-T30 Training Tutorial Overview

hi my name is Michael Andrew and I'm about to give you your free tutorial on the Fuji XT 30 this is the baby brother of the XT 3 very powerful compact little camera I'm very impressed with the focusing systems we'll have some tests coming to this youtube channel so if you want to check those out be sure to subscribe if you are coming from another system or you have experience already you're probably going to want to jump to a specific subject if you look at the table of contents or you do command F or control F type in the keyword that you're interested in if we have a chapter market for it it'll be some time code click on that and it'll take you straight to that point in the lesson we spent a lot of time working on that if you're a beginning or an intermediate photographer I have to give you a word of warning learning the camera is a very low level of shooting it's just one piece of the pie and when I got started way back in 2003 we didn't have YouTube and I had to go out and learn by trial and error and it took me two years of lots of frustration I almost gave up I almost threw my camera into a wall and I learned some very important things and one of those things was that my brain was the real photography tool and this is what I try to teach my students is to pre-visualize use the camera as an extension to design and create what you see in your mind's eye that's a higher level of shooting than just going out and trying to get lucky the problem with this is there are lots of pieces of information and skill sets that you're going to need in order to create those images in your mind's eye you need to know about the photography basics composition you're going to me even know about lighting you need to understand digital files and there's some planning and troubleshooting there's also video and strobe shooting our camera do many different things but the heart of the matter is when we start combining all of these skill sets together in the real world shooting situations specifically with your camera so you know like when I was struggling I was like why doesn't somebody just sit down and make an all in one course that can take them through it in a couple hours instead of two years of trial and error so you'll be happy to know that that course is coming for the XT 30 its my crash course it's under production it'll take about two or three weeks to put together its it's pretty comprehensive but it is going to allow you to skip that learning curve of frustration if you check the description below we'll have a link going to my blog just leave your name your email address and we will reach out to you as soon as it's ready another great resource I can recommend is Tony Northrup stunning digital photography Tony's a friend of mine he did not ask me to say this I bought his book with my own money I checked it out because I wanted to recommend it to my students and it is a phenomenal resource if you are just getting started in any event we have a tremendous amount of information to cover so let's get started let's take a look at the external controls and ports this is the shutter button which has a rotating power switch around it obviously this has to be on for the camera to work the shutter button itself has two phases the first is a halfway depression in the second is a full depression which will actually take the picture getting a feel for where that halfway shutter depression point is will allow you to get focus lock without accidentally taking the picture and this will prove useful throughout your photography career we will be talking much more about focusing later on in the course the lever behind the shutter button will put the camera into full auto mode basically turning it into a point-and-shoot camera by default the FN or the custom function button is set up for performance boost but I will show you how to customize this a little later in the video just behind into the left of the shutter button we have the shutter speed dial which will allow us to determine either the mode we are shooting in designated by letters or the shutter speed which is designated by numbers I'll be talking about this in much greater detail in the modes and exposure lessons on the top far right of the camera we have the exposure compensation dial which will allow us to change the brightness of our image in certain shooting modes this knob is the drive dial which is what the camera does after we push the shutter button all the way it also allows us to put the camera into video shooting or panorama modes on the bottom of it we have this lever that will activate our built-in pop-up flash most Fuji lenses have an aperture control ring which allow us to physically dial in the aperture we want either in the manual mode or aperture priority mode the red a stands for automatic aperture which is used in program or shutter priority mode in the camera will decide the aperture in those cases and you will notice that we have rotating control wheels in the front and in the back of the camera they are called the front command dial in the rear command dial and they will help us change our exposure controls the rear dial can also be used to zoom in on the image during live view or shooting the button closest to where your right ring finger would rest is the lens release button which you will press every time you want to remove a lens from the camera body on the opposite side we have the autofocus mode selector switch on the left side of the viewfinder we have the play in delete image buttons the menu button allows us to access the deep menu and it also works as an enter or ok button our monitor is touch sensitive and it can tilt up and down the display back button allows us to toggle different kinds of shooting information on the back LCD monitor the AEL or auto exposure lock in the AFL auto focus lock buttons straddle the rear command dial and they can also be customized we have the joystick which is critical for selecting different focusing squares as well as navigating menus you can also push it into the camera body to return to center when shooting or to select a menu item above the joystick we have the cue button which opens the Quick Menu and allows us to change many camera settings on the right side of the viewfinder we have the View mode button which allows us to toggle different display options using either the eyepiece or the back LCD monitor and on the left of that we have the diopter adjustment control which will allow us to change focus when looking through the eyepiece very useful if you wear corrective lenses on the front of the camera we have an autofocus assist lamp on the very top of the camera we have the hot shoe which is necessary for attaching a flash or other accessories the ports are under a cover on the left side of the camera there is a 2.5 millimeter remote port that will also accept a microphone just keep in mind that you will need a 3.5 millimeter adapter from your microphone to a 2.5 millimeter adapter in order for this to work the USBC port can also be used as a headphone jack but you will need a special adapter I will put both of these adapters in the description if you're looking to find them we also have our HDMI out port which will allow us to send a 10-bit 4 to 2 signal to an HDMI recorder as well as connect in playback to a monitor we have the battery port in the SD card slot so that's an overview of our camera I've briefly gone over each of the external buttons in ports and this is going to be critical in future lessons so you know which button I'm talking about in those lessons I promise that if you practice the day will come that you will feel you have complete control over your camera and it feels amazing to know how to do everything now there may come a time when you forget which button does what just come on back and we'll go over it again for the rest of this course we will go through each of these settings and buttons individually so you know what they are and what they do a cameras shooting modes is how the camera behaves as well as how it helps us when we're taking pictures pure coming from another camera system there's going to be some confusion because you're looking for this dial that says PSA and M and we do not have them on Fuji cameras and if you're a brand new photographer it's gonna be even more confusing the way Fuji cameras are set up is that we have different automatic modes on the shutter speed dial we have it on most of the lenses it's designated as the red letter A and we also have automatic ISO so your shutter speed your aperture and your ISO those are the three things that are going to affect the brightness of our image we'll talk about these in a second so if you are brand new to photography or you're super frustrated something that we can do and what I'm gonna show you real quick is that you can push this back button if your display isn't showing correctly so you get these different kinds and sets of information if you are in a jam and you're frustrated and you just want to shoot and have fun there's a lever right next to the shutter speed dial on the top if we pull it towards ourself we are now in an automatic mode and I refer to this lovingly as the dummy mode because the camera is going to do most everything for us and when we rotate that front control dial you can see we get a number of scenes from advanced auto to portrait portrait enhancer landscape we see all these different environments that the cameras making the suggestion that if you're shooting in these environments you know it's basically saying if you have it located on the symbol it's going to do most of the heavy lifting for you it's gonna you know for shooting sports it'll use a fast shutter speed and that's great when you're first getting started but I really believe it has limited applications because we're we don't have a lot of control over the other things that are more important so I feel like the dummy modes all these are basically different versions of dummy modes I feel it's limiting and it's it's going to make you rely on the camera too much but if you have nothing else I get it with that in mind let's put the shutter speed I'll make sure this is this a is pointing towards the tick mark on the side of the viewfinder right in here set that to a and I also want you to set your lens switch on the side of the lens if you have that 18 to 55 kit lens set that to a as well so when we have our aperture set to a shutter speed ring set a we push that ring forward we are now in the P mode the program mode and you can see on the bottom here we have our shutter speed our aperture inner eye so whenever we see white letters this means the camera is controlling that particular camera setting when we see blue that means we are controlling that camera setting so what we've done is we've put the shutter speed into the automatic mode we've put our aperture into automatic mode and the camera is deciding on these but I'm not going to explain exposure control with the program mode it doesn't make as much sense I don't believe I am going to explain it to you when we talk about aperture priority mode so with that in mind I am going to switch the lens from a to the picture of the aperture blades and watch what happens to the mode down here turns to a that is aperture priority mode and what aperture priority mode means is that as we rotate the aperture ring on our lens you can see aperture control is now blue and as we rotate that ring we are changing the aperture as we do this we're changing the size of that opening you can see that the camera is making adjustments to the shutter speed automatically and aperture priority mode is a fantastic place to learn because whatever you learn here you are going to use for the rest of your career as a pro I shoot in aperture priority mode when I am in changing lighting conditions and I don't have enough time to you know go through the settings for example if I was shooting a wedding party and they were coming out from a dark Chapel and do it into a lobby to bright outdoors aperture priority control is amazing because I just tell the camera my aperture and it does the rest with the shutter speed very important that if you're starting this is where I would recommend to to struggle a little bit and learn if you want to get focus we'll talk about focusing halfway shutter button depression push it down all the way it takes the picture we can play it back there's a picture beautiful picture of my blinds right so the reason why we took this picture is because I want to give you a really powerful tool to change the brightness of your image and this is the exposure compensation dial it's right here on the top right hand corner it has the numbers one through three and zero and is also a C on there if you want to make it brighter the short answer is rotate the style to +1 and take another picture we could play it back and we can compare this picture with the one before and you can see it's significantly brighter and if we continue to rotate that dial to let's say I don't know let's just go crazy three it's overexposed way too bright little lot darker and then that's about an even exposure so the short answer already is that aperture priority mode we dial in the aperture and the camera handles the shutter speed if we want to make it brighter we would put up point it towards a plus number and if we want to make it darker and you're going to notice we have this little meter here on the side it's at zero and when we go plus it goes up and we go - it goes down negative one and that's how you make images darker so as an exercise what I would really really recommend doing is putting on an aperture priority mode take a picture of something it doesn't matter what it is rotate your exposure compensation wheel to let's say plus to take a picture go to - to take another picture and if that is all you learn from this one quick lesson you are well on your way to taking great images as a photographer because exposure or the brightness is something you're going to change often so that's the short answer there's a longer answer to this in terms of what's happening so I want to go into a little bit of the philosophy of use this is something that I give a lot more on the crash courses but I just want to give you a taste of some of the things that you're going to learn did you see how the screen got darker so the FN button right next to the shutter button when you push that down we get this performance boost mode so if I bumped it in it went down and this is going to help things like the viewfinder it's going to make the camera perform a little bit on a higher level it also drains the battery faster and I want you to take your hand and put it in front of the camera and watch what happens to the shutter speed so as we're blocking the light can you see that shutter speeds changing so what's happening is is the camera is measuring light through the lens it's making a measurement and it's adjusting the shutter speed and this is why this is such a powerful tool there's a couple shutter speeds I need to tell you about handheld shooting try to make sure this number and this is these are fractions right here 180th of a second try to make sure this is one sixtieth of a second or faster so as that number gets higher and higher you're shooting with a faster and faster shutter speed if you're you know portraits anything handheld minimum one sixtieth of a second if you can probably 1/100 or one 125th of a second if you're just getting started this is the cause of a lot of blurry pictures is when beginners do not have a very fast shutter speed so an aperture priority mode even though you are dialing in the aperture sneak-a-peek over here see what's going on and it's going to change a lot depending on your light and your ISO but the trick I wanted to show you this is the really cool thing see as I'm covering it changes watch what happens to the shutter speed when I go to +1 140th of a second so when it's an even exposure it's 180th of a second and when it's at +1 it's 140th of a second so this number refers to a stop a stop is an arbitrary measure of light and one stop is twice as much light as the stop before so if we do the math on one 80th of a second if we were to take one 80th of a second and add it to one 80th of a second we would have to 80th of a second right well to any of this of a second is one 40th so that is what a stop is is it's giving us twice the amount of light because we have twice as long shutter speed and if we were to go to another stop + 2 now we're at 120th which is twice as long as one 40th and if we were to go 3 as you probably guessed we are at one tenth of a second super important stuff to understand in terms of what's happening with the camera and exposure compensation here we are back at 180th now if we were to go in the opposite direction and we want half as much light our shutter speed would be twice as fast here it is one half of 180th is one one hundred and sixtieth and if we were to go twice as fast as that you would be at 3 1 326 of a second and twice as fast as that would be one six hundred and fortieth of a second now this is going to depend again on how much light is coming into the lens and what your ISO setting is so let's say you're shooting with a longer focal length in your image is blurry in your shutter speed dang you know we want to keep it at 2.8 but what a slightly faster shutter speed how can we change this well you'll notice that the ISO is controlled with the front control wheel so when we see the curvature wheel on top that refers to the front when we see it on the back that refers to this guy so I'm taking my finger watch what happens to the shutter speed as I rotate the front dial shutter speeds increasing right if I was shooting a sporting event in these lighting conditions and I and I wanted to capture fast-moving athletes probably start at one five hundredth of a second and indoor gyms can be pretty dim sometimes but moving off Lietz one five hundred portraits minimum one sixtieth maybe a little bit more than that so I'm always sneaking a peak on this so what happens is when I rotate my exposure compensation wheel what we're telling the camera is to maintain the shift that will give us one more stop even if we've bumped up our ISO and so in this kind of a situation if you really wanted to you know to maintain that one five hundredth we'd have to bump it up a little bit more so I know that's a lot of information aperture priority mode is where it's at to start you put in your aperture the camera will change the shutter speed and we can indirectly change the shutter speed by changing the ISO so now let's talk about shutter priority mode and what I'm going to do is flip the lens switch from the aperture blades back to a jumps into P mode real quick and now I'm going to rotate this dial the shutter speed dial to the letter T T stands for time value which means you can see this icon here is now blue means we have control over it and we have this rear control well it's telling us that we can change the shutter speed right here at the rear control wheel shutter priority mode is basically the opposite of aperture priority mode we dial in the shutter speed and the camera changes the aperture so as I rotate this we'll see it's changing and let's say we're we're shooting on shutter priority mode at that sporting event and we want to use one five hundredth of a second the camera is complaining with this red these red letters they're saying the lens cannot open wider than 2.8 so as that number gets lower the lens opens up wider and wider and there are some lenses that are 1.2 1.4 so it's complaining it basically is telling us if we were to take a picture and we were to play it back it would be too dark so the question is how do we make this so it's not read well if you're if you were listening on the aperture priority lesson you know that if we bump up our ISO giving it a boost there are changes and now it's saying hey you're good to go at this point in time you turn the ice up a little bit more we could use exposure compensation now look it's changing the aperture for the compensation so I'm shutter priority mode we dial in the shutter speed and the camera controls the aperture and we have some indirect control with that with the ice of control the truth of the matter is I almost never use shutter priority mode almost never and so when we have automatic for the aperture on the lens and automatic for the shutter speed the camera automatically goes in to P the program mode the program mode is going to give us different combinations of shutter speeds and apertures and it's telling us right here that the rear control wheel will change the shutter speed we can also change the ISO of course to 400 and basically what it wants to do is give us different combinations of shutter speeds and apertures but again it's going to be limited on the lens we have the amount of light and the ISO so if you're not getting the ranges you want you can always pump up your eyes so again you can get these different combinations I almost never use program mode there are some rare occasions but it usually has to do one up with when I'm using flash so now let's talk about the manual mode so let's rotate the shutter speed control wheel to T so we have time control so in the manual mode we're going to Dow in the shutter speed the aperture on the lens in our eye so the camera is not doing any of the work for us at this point I typically prefer to shoot in manual when I have enough time so it's really a different you know the factor is time if I'm in a rush I'm use your aperture priority mode if I'm not in a rush I'm on manual there's another setting I need to make you aware of and this is referred to as auto ISO it's kind of hard to see but as we continue to rotate the ISO will we get an ISO L low ISO but if you come back all the way around towards the high end we're going to get the auto ISO setting and it says ISO and then a and then a number so there's different auto ices that we can have this through and we can change some of the settings on there in terms of what the limits are when we dial in auto ISO in the manual mode what we're doing is we're telling the camera we're giving it permission to change the ISO as lighting conditions change when we're shooting a great example of this would be if we were shooting let's say indoor boxing where it's kind of low light but there's lights on or you know somebody on a stage doing something singing dancing you know movement one five hundredth of a second okay the aperture is as wide as it'll go but we want the camera to account for these changes in lighting so we turn it over to auto ISO and the camera will make those changes from shots from shot to shot it's a very powerful tool if you know about it and you're aware about it is and a lot of sports photographers who love it how do ISO dialing your shutter speed down your aperture and let the camera handle the rest so that's how we get to it's that front dial rotated all the way around and it should kick in so there's another mode I need to make you aware of and it says be on the shutter speed dial bulb is the little thing that indicator we get on the shutter speed bulb basically means that the camera is going to stay open as long as we hold the shutter button down so listen I'm holding it down it gives us a timing indicator and then when I lift it the exposures over it's obviously gonna be way too bright very handy for long exposures arbitrary exposures there's some fun painting with lights things that I teach in my Advanced Course in photography that bulbs great for it's basically considered another mode so that is a quick overview of the different modes on our xt 30 so real quick I want to take you into the deep menu we'll be talking a little bit about this in this lesson but I go into far greater detail on the crash course we go through pretty much everything and I also want you to make sure that your touch screen is on it's on page 2 on the bottom touch screen setting we'll be talking about this a little bit it should by default be on but we're going to be using some of the focusing mode so you want to make sure this is on now and I like it but I'm left eyed so there's some times that I don't like it is when my nose hits the screen when I'm shooting and we'll talk about that a little bit later couple things I want you to make sure that you have on when we come into the deep menu is when we go into our screen setup and we come down one of them is auto-rotate on playback that's one large indicators on so when we set that up tap the shutter button you can see that the numbers are a lot bigger we lose the mode indicator and you know the some of the focusing information but some people like that so it's there if you need it we'll talk about more of these customizations in the crash course something I need to point out that in the manual mode we still get this exposure compensation bar an indicator and what this is doing is it's telling us by how many stops are we under or overexposed it's basically like a light meter it's not acting in the sake of normal exposure compensation so that's just something to keep in mind now having said all this I like the setup the way the camera is we don't have a lot of extra custom buttons so for me it makes sense to change aperture with the lens ring to change our shutter speed with our rear control wheel and to change our ISO with our front control that makes sense to me if you are a beginning or an intermediate photographers stick with that for now when you become more advanced you may want to customize some of the controls including the front control well maybe you know you want to do aperture or exposure compensation and we can do those things but I'm gonna stay away from them now because I think they're a little bit more complex and they might be confusing so as you guys see you know when we press this Display button we get different sets of information appearing and disappearing we've our histogram so we can rotate through these different screens some of the other information that you see in here is the number of shots remaining on our memory card if we were shooting with large in this size compression for JPEG we have dynamic range optimizer or performance boost who as we continue to push this display button we get this screen has all kinds of information histogram right we have our video mode how much time we could record with our memory card with space that's remaining and we had all this other information down here tons of information and this is referring to the quick menu or the cue button and the question is how do you access it it's right here so when we push the cue button it pulls up a menu of tons of other different stuff so we'll be talking about white balance in just a second we have our I so here we have noise reduction and are in our aspect ratio JPEG quality this is sort of like a mini menu where we can come in and change certain settings we have a timer we have our focus in clusters so you know our flash this is where you're gonna find a lot of features that we don't have buttons for and what's going to happen is that over time you're going to realize that you use some features more than others and you're going to customize the buttons for those and the rest you may want to customize here so if we wanted to change our white balance we could come in here and change our white balance right so let's just put it to a setting here Sun icon and we start shooting shoot shoot shoot you can see the screen changed right come back in there's this Sun setting again so the ID on this is that we have these different customization layouts seven of them total base is what you're on now and then we have these seven different spots so if I go to let's say c3 and I'm shooting then I come back to c1 and you can see that the white balance has reverted back to auto white balance so what this is saying is you can have these custom settings and you can change those settings within each of those customization modes but they do not stay so the question is is how do you change them so there's two parts to this there is the customization of what appears in each of those customizations and there's also the access to the individual items themselves so the way we change this is that when you're in the menu if you press and hold the cue button down just hold it down it's going to give us access to how to set these up so here they are the seven different you notice we have different film settings film simulations for each of those that Fugees famous for and we can come in whatever our ISO we want to change our dynamic range D range film simulation we can come in and change all of these settings if we wanted to okay according to those settings so if you have custom settings you want that's how you would do it come to the menu push and hold the cue button down and we'll talk about that on the crash course more but there's another thing we can do is that when we're in a shooting mode if we push and hold the cue button down here we're just holding it down now we can determine which settings are actually showing up in that cue menu this is super powerful because it's going to give us 16 different positions in terms of customization and there's a lot of things in here that I never used that I would love to have as positions for things that I do use like performance boost because I hate bumping that button in changing it so I could come in here let's just pick something simple face and eye detection setting we don't have a dedicated face and eye detection button for that if I wanted to access it I can come in and I have set this up to be a quick custom menu and once you get shooting a little bit you're gonna have these features that you want quick access to or maybe you want to control your JPEG settings and how those images are processed 16 different positions for it the four on the bottom are really designed to stay there between each of those customization modes so when we come up and we're rotating through c1 and all you see how they stay the same so that is the cue button let's talk about our cameras focusing systems that can be very confusing because they are absolutely powerful and we don't have as many controls as we see on something like the XT 3 so finding some of these features can be really confusing the easiest way to break this down is to think of it in terms of the how all the win and the where the camera focuses how when and where if you focus no pun intended on those three concepts this is going to be easy so I put a little focusing target up their resume in just a bit so how does the camera focus a halfway shutter button depression I'm gonna push halfway down and I'm on autofocus single so as you see with this halfway shutter button we get a green box around our target we also get this green dot in the bottom left hand corner we also get this audio signal that tells us that the camera thinks our subject is in focus and we push it down all the way takes the picture so by default that is how the camera focuses next let's talk about the when the camera is focusing there is a switch or a little dial lever in the front of our camera that when it is pointed straight up its pointed to the letter S that stands for auto focus single that means the camera is going to focus one time and then stop it will not focus after we get this focus lock it's a mere one time focus and we could even hold that shutter button down and we could move the camera around in the focal plane will not change this is a very handy technique it's referred to as recomposing I talked about on the crash course and the techniques involved with recomposing and why it's still a valuable tool to know even if we have all this coverage and eye detection I still use recomposing autofocus single one time if we move that lever to see look what happens halfway shutter button depression wait a second no beep and we get these white parentheses around the dot but what AF c-- stands for is auto focus continuous that means the camera is going to be focusing over and over and over again this is ideal for taking pictures of moving subjects like somebody on a bike or a kid running or a bird in flight the camera is making men focal measurements within a second I actually think it's it's either 60 or 120 times per second the focusing systems on both the XT 30 in the XT 3 are outstanding some of the best focusing systems I've seen on a mirrorless camera Fuji is really doing an outstanding job but that continuous focus is going to measure over and over and over again and does a really good job tracking so AFS signal is once continuous is many times now if we continue to move the lever towards M this stands for manual focus and when when you're on manual focus the front ring on our kit lens as we rotate it that means we're manually dialing in the focus and there is a number of manual focusing tools we're going to cover in just a moment for now we're going to talk about some of the clusters that's the square you see on other fuji cameras we can have a dedicated button for the clusters the way we're going to find them is we're going to come into the menu and we can go to this single area we can change the size of it what are all these different zones points and zone and all this stuff right kind of confusing because we don't have that button for it so the autofocus mode here they are you can see all four of them we have a single point we have zone we have y tracking and we have all of them the all setting is going to give you access to all three of those cluster types when you are shooting if you have it selected in your menu I think this is a good place to start but it's a little tricky in terms of figuring out how to change them the way you do it is you push your joystick into the camera body and we're brought in to this green box you can see and it's kind of hard to see I'll turn this down so you can see it oh and you can see all the squares 117 of those and I like the hundred and seventeen because you don't need all 400 and like whatever it is you can see the Box this green box is telling us what the camera is going to be focusing it so as we rotate the rear control wheel once this cluster selector is up we can toggle through the different single size points and then it brings us to a zone which is a larger box you keep on rotating and it brings us to wide so the way it works is the wide zone is typically going to focus on the closest subject to us that has high contrast single point look how accurate and small that is great for macro photographers if that cluster is a little bit too small we can rotate it and make it bigger when I'm shooting sports I'm typically shooting on a cluster of this size you know of a moving athlete if we wrote continue to rotate it we come into zone so birds in flight I might do something like this try to get the birds in here and let the camera do most of the heavy lifting so essentially the focusing clusters allow us to determine the size of the box we're telling the camera to look in but once you've figured out the size of the cluster mode that you want we could obviously move it around with the joystick as we're looking through the EVF there are some other techniques that I will demonstrate I'm gonna tap the shutter button to bring me out and so we can move this guy around a problem right we can also use the touch monitor now something you're going to notice that if we are on autofocus single which we are now as long as we keep touching the screen we can change our focus and this is going to maintain a focus lock as indicated with our green dot here in here so so once we get something on autofocus single it's locked until we turn this guy off right here okay so just keep that in mind if if you do that and you get this lock äj-- and you know you're trying to move it with your joystick for example that's what's happening it can be really frustrating on autofocus continuous if we do this so I flipped that over what's going to be happening is the cameras going to be focusing in that area over and over and over again it's a continuous focus until we turn that off as well so that's autofocus touch off button that we should be aware of when we're looking through the viewfinder I personally I'm left eyed so I tend to use the joystick and I turn the touchscreen off for EVF but I'll talk about some of those customizations on the course but there are obviously different ways to move our focus and clusters around with all this in mind there are some other really great focusing tools we have to talk about I needed a model and we had this handsome model show up here one of the coolest features on Fuji cameras for portrait photographers in my opinion is face detection so how do we find face detection if it's not turned on we're gonna come into the menu there is our eye and face detection setting by default it should be on there it is I ought oh means we're giving the camera permission to determine which eye he wants to choose but we can also give the right eye or the left eye priority or we can turn this off altogether now face detection priority we're gonna come back out and I'm going to demonstrate how this works is very powerful when we are shooting portraits especially with wide aperture lenses I'm at f5 right now if I were shooting with like a 1.2 or 1.8 aperture we can't all easily get a focusing lock and recompose so let me show you let me turn that off to show you what this would look like just real quick you know you want one of the eyes to be in focus so we would get this focusing lock and we would recompose maybe there would be some trees behind the subject oh it's on continuous see that mistake I made so it was refocusing like what's going on so let's get the I made that focus lock and so when we'd recompose and the lock stays pushed down all the way take the picture the problem with is that at wide apertures when you move that camera around you're going to pull that individual out of focus so this became really tricky with DSLRs back in the day and we didn't have face and eye detection now we can even tell which eye it doesn't matter where we move the camera if we're shooting portraits we're gonna get that eye lock and that is why I detection and face detection is so powerful on Fuji also Sony a really good Nikon and Canon are starting to catch up in terms of their mirrorless cameras but Fuji and Sony are in my opinion they're the best right now so when you're shooting portraits that face in that eye detection super powerful at wide apertures so something you're also going to notice if you're using this kit lens which is very common it's a great lens by the way it's actually not bad I would recommend hanging on to it even if you get the 16 to 55 is that if you try to open it all the way it depends on the focal length remember that's a 2.8 to f/4 so if you see that and you're feeling like why is my lens not opening a 2.8 it's because we're zoomed in a little bit so as we zoom in we're limited to the aperture so just keep that in mind with this with this kit lens but coming back to the whole eye detection thing if you get it that 56 1.2 which is a really wide aperture lens very shallow depth of field this is a dream with that lens because it's going to get one of those eyes tack sharp focus I've put as you saw I detection there it is I put it on the Q menu just so I have quicker access to it without going into the deep menu so some of these other controls are actually pretty great and I'm going to turn off eye detection just to demonstrate them auto focus plus manual focus what is that it's actually pretty cool so I've got a single square and I'll show you another trick push the rear control wheel into the camera and it's going to punch end to zoom see that it's a very handy technique to know but I can zoom in push your shutter button halfway down we still get the beep we can't see exactly what part of the screen it's on but holding that down I can now rotate my manual focusing ring and I can dial in manual focus and that's what the AF + MF is it's auto focus followed by a manual focus manual focus assist just keeps getting better every time standard is what we just demonstrated but now I'm going to show you something referred to as focus peaking I like red focus peaking essentially means that when we are in manual focus we are going to get a red overlay on the areas of highest contrast and so I'm rotating this and you can see there it is in the hair and on the edge there it's turning red we punch in and zoom in you can see in my eyes there it is on the blinds my shirt in my hair we can change the color of it it's not always perfect but it's usually pretty good for manual focus it's going to tell you where the focal plane is more or less we can change the color of it if we come in here if you want to see blue no problem there it is we'll talk a little bit more about this in the video focusing stuff very useful when focusing for video because video uses a lot of manual focus there are some other tools in here I want to show you real quick digital split image color will do it in color first and we're gonna lose the peaking but we get this grid overlay might be a little hard to see I'm gonna mess up focusing we're in manual focus and maybe we should try to zoom in a little bit or you think they're there you can see it I'm gonna find the edge of that poster board and you can see this almost serrated edge there so this color box you can see that the line is jagged here and so as I rotate my manual focusing ring and as it becomes aligned that edge and the blind is going to line up and become straight so I know when those line up it's basically in focus that's another way we can do it and we can take this even a step further with a digital micro prism shutter button so we get the same basic idea I'm going to punch in to zoom in I'm going to mess it up only this time it's going to apply to both the vertical and the horizontal in terms of the lines lining up and there it is so that's about sharp so those are some other focusing tools that we have for manual focus in all honesty peaking peaking is is where it's at I like picking the most I like red it's just me or you can leave it on standard if you don't want to see it focus check is before I forget I need to point out that when we're in a manual focus we get this focusing bar that tells you approximately how far away we're focusing in back in the day these tape measures to measure you know depending on where the where the lens setting was they measure it in feet or meters it's telling us exactly where the focal plane is it's about 13 feet away something like that so let's come back into the menu focus check when we have this turned on what this means is that if we are on a manual focus setting and we rotate our manual focusing ring we get to punch in I prefer to leave this turned off simply because I use this back thumb button to punch in it's the same thing and you don't need to come into the menu to do it so we turn that off instant auto focus setting refers to what we want the camera to do when any button is assigned to AF on or focus lock which is the you know the default auto focus lock here do you want it to be auto focus single or auto focus continuous so the touch shooting means that when we touch the screen is actually going to take the picture auto focus point auto focus area or off so let me demonstrate these real quick touch shot means when we touch this monitor the camera is gonna take the picture it's not even it's not even moving the focusing square right because we're on manual focus let me switch and it's over but the idea is it'll focus on a spot and take the picture at the same time it'll drive you crazy when you bump the monitor so as we continue to push these we can toggle through them they're shot at once touch auto focus means the camera can't focus there it's looking for an area of contrast so it moves the square and focuses both when turn that off I'm going to go to autofocus area this changes the position of our cluster only it does not focus and we can turn it off altogether the one that I like the most is touch autofocus I use it a lot you know I understand you know there are times to turn this off and sometimes oh hey you got to show you this real quick this is actually pretty important do you see what's happening here as I move my finger in front of there we get this thing called eye sensor what that's going to do there's a little sensor right here that's a battery saving feature so when you pull the camera up to your eye and you're looking through the viewfinder and this it's close to your face it's gonna turn off this back monitor to save battery power the problem with this is is that when we're shooting on gimbals a gimbal is a little piece of machinery that I used to stabilize the camera I'll be doing some lessons on that on the crash course how to move the camera how to make it look smooth and there's part of the gimbal that's close to it so when I put it on the gimbal it turns that monitor off so the way you get around this is this View mode button so as we push that right now you can kind of see this viewfinder is lit up so only the EVF is working push it again now only the LCD is working and I'm not trippin the sensor and it doesn't turn off so we're doing gimbal work this is actually super useful this is something we can't really see but it and when we trip the sensor it should turn on the EVF so that's eye sensor with EVF turn it on again basically what this means is that the eye sensor will shut this off and we we can see through the EVF but as soon as we pull it away from our face it'll display the images as we're shooting so that's the idea behind it most of the time I just have it on eye sensor because I shoot a lot from this back monitor very common question I get on every tutorial I do is about back button focusing I don't recommend it for beginning or intermediate photographers but advanced sport shooters typically lean towards back button focusing and basically what it means is to take the auto focus lock button and make this primarily responsible for focusing removing it from the halfway shutter button depression it's pretty simple setup to do it if you choose to go this route we're gonna go into our button and dial setting the first thing we need to do is to remove autofocus from the shutter button and we can do it for both modes in terms of autofocus continuous and if we wanted to we can also turn it off in autofocus single but because for sport shooting you can just leave it on that and then we would come back and we're going to go into the function settings which is the custom button settings this we don't have a lot of custom buttons here so we have these swipes I'm going to point out in just a second we're gonna come down to the AFL and we can turn this to AF on this would create back button focusing which we push in and we're engaging the focusing systems when I push a shutter button halfway down we do not get this dot down here with the parentheses so this isn't this is not focusing anything it's doing some exposure measurements but that's it so auto focus would happen back here and we get the indicator with the green dot a word of warning on this if you set that up and you forget about it I'm laughing because it's happened to me you're gonna wonder you know why is my camera broken you know maybe it's time to set it set in into Fuji and have them take a look at it so if you're not comfortable with it just don't mess with it for now you know save it for later when you get more advanced and you're sure that you want to do it something I want to talk about real quick are the function settings we don't have a lot of extra buttons but we have these things called touch function in by default these are turned off what this means is that if we touch from the center and we swipe up that can open for example are certain drive modes and we can tweak or we can go to the left and have our film simulations or we can go to the right and do white balance or we can go down and do our different auto focus in clusters and those are all pretty good settings so I need to show you how to turn on touch then we have our auto exposure lock which I never you this would be a good one to customize back button focusing obviously we can we have our rear dial pushing in is and it gives you a little green highlight about which button we're talking about and so you know this is really the customizations that we have and not a lot of them performance boost in all honesty it's not a button I like having their I'll probably change mine to white balance to be honest with you that's just me personally but let me show you how to set up these touch features real quick something you're going to notice also is that we don't really have a place for our metering modes and it may be something that you want quick access to they call it photo photo metree that's your metering mode and if we designate that to t1 and come back out swiping up should give us our metering modes swiping to the left should be the film's swiping to the right should be white balance and swiping down should be our auto focusing mode so if this is done correctly and we got to make sure that it's turned on on the bottom screen touch screen settings see how everything in here is turned on we'll talk about each of these real quick so we have this DoubleTap setting and showing a camera icon which is basically telling us that when we're shooting if we double tap on the monitor it'll zoom in you can have it on or off up to you here's the touch function if this is turned it turned on our touch pad now has four different custom functions so if we go to the right there's our white balance and keep going to white balance and shift to the left those are our film simulations and down are the focusing clusters so we can also customize those those are pretty handy I do find though that as I'm handling the camera I'll bump it and that will happen so that's kind of a pain so a lot of this is going to come down to your to your personal preference let's take a look at some of these other options in here this is the playback button touch screen settings on so once that's turned on and we play the image back this is going to allow us to treat as a smartphone I double tap in there I can scroll around no it's not in focus what's going on bad picture but that's going to allow us to play back in inspector images we can zoom out keep zooming out we can go to the left and right there I am testing a camera we can go to the grid and then we can touch and scroll so this is pretty useful stuff so that's going to help you to navigate double tap there's my dad tap shutter button to come back out it's this guy right here EVF touch screen area settings if you are right ID dominant I mean that you use your right eye to look through the viewfinder this is some good stuff in here what this does is it allows us to determine what part of the back monitor is active as we are looking through the viewfinder and when we use this in coordination with touch area it's going to allow you to hold the camera and move the focusing squares using that part of the screen I cannot personally use this because I am left eye dominant and what happens is my nose always bumps the area that you know anything on the right side my nose is hitting and I think what Fuji wants us to do is to use the left side yeah if we're you know left-eye dominant because our nose would be over here the problem is much she gets it and when I get a heavy lens on I don't want to hold the camera like this I want to hold the camera with my hand underneath the lens so left eye shooters go for the joystick right eyed shooters don't be afraid to use one of these guys either at the bottom or the full right side and so when you are adjusting your your focusing squares you can do it by using the touchpad it's very powerful very cool feature so that's how you control it and those are the touch screen settings and this second tab here af/mf these are going to have a lot of our focusing settings we can choose our focusing area the cluster here if we wanted to I'm going to going to skip that because we covered it this the Herrmann's which of the focusing zones will be available so if you never want the wide or the tracking or the zone you should want a single point you would select this so this limits the number of clusters I think all is good for now autofocus custom settings allows us to come in here in tweak the sensitivity in the speed of the tracking we can so these are different presets depending on the situation and they give you a little definition of you know what it would be ideal for most of the time your beginners I just tell them to shoot on set 1 but when we come all the way down here to the bottom we can change the sensitivity in terms of the tracking in the speed at which it changes the zones things of that nature so it's pretty pretty powerful but it doesn't make a lot of sense to me to change this in the beginning because we're just getting started right store auto focus mode by orientation if this is turned off what it means is that you're focusing square whenever it's selected it's going to stay the same no matter whether you're shooting horizontally in the landscape orientation or if you rotate it up and you're vertically in the portrait orientation so off by default that focusing square is always going to going to be wherever it is if we go to the focus area only what that means is that the position of your focusing square will be remembered between rotating back and forth between portrait and landscape modes and if we go to on that's going to remember not only the position but the cluster type the zone and the position of it both this is a preference thing I think it's pretty useful for shooting portraits but there's lots of little tricks when we do those things I'll point those out autofocus point display we don't really need this it's basically saying in the zone and wide mode we can see all those boxes I don't think we really need it so the number of focusing points whenever we see something great off in the menu it's because we have some other setting turned on that it really doesn't want us to mess with so I'm in the zone let's see if we can get this those points to show up I'm after an off face detection there so the number of focusing points I think 117 are plenty but we can actually see far more if we go to 425 and if I come back out and push in with the joystick you can see how many there are and I'll make this dark so we can you can see that if you like you know crossing over each and every single one of those points you could do it that way I don't need it I've never used it that way so I keep mine at 117 pre autofocus is something I think we should leave off if we turn it on that cameras going to start focusing no matter where the focusing square is I think it drains the battery faster and it kind of slows my workflow down when I'm shooting autofocus illuminator if we turn it on in dark situations we have a focusing lamp that will kick on in front of the camera usually leave it off so I want to show you guys some of the differences in video mode I've rotated the drive mode to the video icon because we're talking about focusing I thought this would be pretty helpful you're going to notice that we have auto focus single we have touch auto focus on so touching on the monitor is going to get focusing lock designated with the AF guy over here and on the bottom this is super useful you can see how smooth it is it's really nice and that is going to allow us to shift focus from one subject to the next there's a demonstration that I do on the full crash course in terms of directing focus if you want to go that route the difference is is that when we go to auto focus continuous do you see where the square is it's kind of hard to see it's going to put it right in the middle of the screen and what that's going to do is give the camera permission to change focus all by itself there it goes it's looking it's looking so that's the difference between single and continuous in video mode it's gonna happen without pressing the shutter button down so when we talk about manual focusing if you come into the menu and try to come up to this auto focus manual focus you'll be like Oh peaking was grayed out right it's down here in the the movie icon mode and so there's lots of stuff in here we'll cover in just a second but if we're talking about focusing come down come down and come down there it is manual focus assist peaking highlight I like red there it is so when you're in the video mode just remember that we have to change it from a different position and we can hopefully get a red outline there honor there it is kinda hard to see there it is very useful for video work when you can see that red highlight and kind of get a good idea if you don't want your camera focus breathing you don't want it shifting so you'll have to come down to these focus check that's the zoom in the punch in when we go with a manual focus very similar to the stuff that we talked about already it's just in a different position so when you're in manual focus it's not it's not letting me bring up the clusters we've got to be in a actual focusing mode so when we do our touch drag you're going to notice that we only have two of them one of them this is like a wide zone it's going to check and focus on the closest subject of contrast to the camera so when we turn this on should jump in over here see here there it is it kind of likes the center third of the frame maybe still going on the face it's pretty unreliable if you ask me so I tend to go with the area or manual focus only so this is where we can touch tell the camera there it goes it's going very useful very powerful we're talking about a lot of these features and obviously faced action if you're doing any vlogging and especially if you're in the center frame very very powerful we'll go with a say right eye even in the high-speed stuff on the XT 30 it was just absolutely incredible how well it did and those higher frame rates so those are a number of different ways to focus both with autofocus as well as manual focus for video to start and stop video recording we'd obviously push the shutter button down we get this red light you're going to notice the limit is at 10 minutes for 4k recording and that's just a limitation of the software in the camera I think Fuji did this intentionally to increase the cells of the xt3 that's just my opinion but you can do a lot with a 10 minute record time it's 15 minutes for Full HD to stop video recording we're going to press that since we're talking about video let's jump into the menu real quick there's the video icon we've got four different pages within those and those are designated up here which page were on so I'm gonna come up real quick let's talk about some of these important ones resolution if we come in here I almost always shoot at 4k it's 3840 pixels wide by 2160 pixels tall we also have the option for DCI which is a little bit wider 4096 pixels wide but I almost always shoot in 4k because I can crop I can push in I can pull out these are our frames per second we can go 29.97 which is what I use for YouTube 25 if you're using the pal system you can go 24 frames per second if you're going for a film like look and there's 23.9 8 frames per second if you're going for a film like look I my understanding is that's for trying to post it online and then we have different megabits per second you'll notice that the amount of time left we have is in half megabits is the data transfer rate to the memory card so 200 megabits is obviously twice as fast and it's going to eat up a lot more space but you should expect a slightly higher quality of video that you can see it also depends on what you're shooting so you may not need it if you're shooting something like breeze blowing in the wind this might be more important but there's some theory in philosophy of use in the crash course where I go in and I talk about if you're doing YouTube videos probably you know 100 megabits per second it's going to be fine but we also have the option to go slightly wider than HD at 2048 pixels wide and then we have the traditional 1920 and then we come back up so aspect ratio with resolution given number of frames per second and then the data rate almost always right here 4k 16 by 9 full high-speed recording this is a lot of fun it allows us to record at a higher frame rate and when we play it back we can get up to 4 or 5 times slow-motion the xt3 was absolutely outstanding when using the 16 255 lens I found that the lens was more important with that camera body because of the motors in the lens to rapidly focus using face detection at higher frame rates it was astonishingly good one of the best I've ever seen of any camera out there for slow-motion face detection I made a youtube video on it check it out we'll talk about it and I'll do some demonstrations for the crash course on the XT 30 film simulations allow us to bake in different looks to our video videos a form of JPEG and we have the they're all listed here a lot of people love the turna for cinema like look you know I usually shoot on standard and my philosophy of use on this is that it try to get writing camera if you are not doing 10 bit for two - okay so 10 bit for two - has a lot more colour information which is great for grading if you don't have that color information 8-bit four to zero which is a lot less color information I try to get a right in camera according to the look so that starts with white balance make sure your white balance is set correctly and then you can tweak some of these other settings some people get really aggressive with it you know I might do something with the color maybe a little bit of sharpness but I try to get it right in camera if I have no intention of grading it in for workflow reasons that makes a lot of sense you want to be fast right you don't want to spend a weekend post on this if it's a quick YouTube video so different times to use it interframe noise reduction f log again this is something that I would use at least try to use with 10 bit 4 to 2 it's going to give you a very flat looking profile it's going to give you a little bit more dynamic range sometimes there's problems in the shadows the shadows can get very noisy and you can add some more it's called crushing the blacks to kind of hide the noise but that's just completely different conversation peripheral light correction is when we're using wide-angle Fuji lenses we're going to get some darkening in the corners this helps correct it my theory on this is it does it by adding a little bit of ISO to the corners but I haven't been able to prove that they were focusing areas we've talked about these already in terms of the focusing squared we're limited when we're doing video and then we can control the tracking speed and sensitivity which is great if it's not fast enough you can see it was it was kind of laggy there a little bit so we can speed that up a little bit in terms of you can make it really really fast I would recommend you know testing this a little bit before using it on a serious shoot face and a high detection for video we have our manual focus assist in the focus check it's the zoom feature HDMI output info display if you want to see the information on the display we could come in here and turn that on and then we can also record simultaneously both to our memory card as well as the HDMI pretty cool stuff I mean this is this is good stuff zebra settings and turn this on you can even determine which direction zebras is is an overexposure and we can change this so we won't we only want to see zebras when we're at a hundred percent or ninety five percent it's telling us when we're about to clip out so once this is turned on the zebra warning you know I'll type my shutter button I'll come out here and let's just bump up the ISO that warning will tell you when you're about to overexpose something it's kind of a nice reminder a lot of people love it probably better to set it at a hundred percent you start clipping out it depends on who you are audio settings are pretty important we can get a microphone into the camera using an adapter a 3.5 to a 2.5 millimeter adapter into the remote port the levels are super important so I always like to have the internal and the external both on manual so we can control how loud the signal is so it's external mic let's come into the internal mic so I can demonstrate this and what we want to do is we want to avoid this red that's bad so if we were getting it too loud and this would be the same adjustment once we plug in an external microphone is we want to try to kind of keep the levels no no higher than this yellow part because if it gets too loud that noise is going to clip out and we wouldn't be able to use it so by default those are set right to manual on auto there's a fluctuation between talking and not talking and it drives you crazy so just keep that in mind we can adjust these kind of nice to have a custom setting in our cue menu to set up to do this in video mode the mic remote release my understanding is that allows us to designate how we use this port on the side in absolutely microphone if you do any kind of video stuff you're going to want that cally code setting we we have timecode displays different ways to manage this will do this overview mostly on the crash course got our tally lights silent movie control if we turn that on come back out here it is we have the ability to change so many of those settings I think it's a pretty good one to have on just me though and so those are some of the menu options that we see for video recording in the deep menu we'll cover more of the menu stuff in just a second so I want to talk about white balance real quick and I'm noticing that my monitor like when I look at this in person it looks fine but what well as I'm recording it it almost has like a yellowish greenish tint to it and there's actually something we can do about that so I might as well just I've never done this for you know a training video but we can control the color adjustment so if I'm looking at as a require I want to get this right so you guys can see it trying to make this a little bit more whitish according to how I have it white balance like I'm looking at this now it's like almost red ish but as a recording it looks cleaner so if if for whatever reason you need to do that you can so let's talk about white balance real quick we've set it up in our cue menu we had it in here at one point where is the thing here it is we can adjust it here but I really think it's better to use a feature that we can see it playback the short answer on this is if you're a pure beginner stick with auto white balance it's this first one and what's going to happen is you're going to be shooting and you're gonna get a hue like a yellow or a blue hue in all of your images and you're gonna think what is going on and at that point you're going to want to change your white balance setting this is more important for JPEGs than it is raw because Rober teens all of the original data and you can usually change your white balance on raw images JPEGs anywhere from 70 to 80 percent of the data is thrown away and it's not as easy so the short answer on this is that you want to set it to the icon of whatever you're shooting in so if you're shooting outside and it's a sunny day you'd be the Sun icon you had cloud cover you'd be the shade icon there's different variants of fluorescent you can see the hues changing on the monitor tungsten light or incandescent light and then we have an underwater setting we also have three of these custom modes let me show you how to set this up you you essentially take a picture of something white is how you want to do it like get back in here so it can be a wall a bride's dress it can be these blinds and so the idea is that we take a picture of something white we're telling the camera hey this is this is what why it is hit okay and that's our new white balance so that's custom white balance come back in Kelvin there's a longer answer to this that sometimes is getting in trouble with going into too much detail the short answer is that every light source that we can see has a different Kelvin rating and when you line it up with the appropriate Kelvin temperature it should be white and I know that these lights I'm shooting in our 4800 and so this should be why it's a little off like a little bit of green because of the way this camera is recording but usually daylight is 5,600 K tungsten can be in the 3200 K and you can see how it's getting more and more blue what's happening is the camera is trying to counterbalance the light that we're shooting in so lower Kelvin temperatures tend to be more yellow that's the reason when I change the setting to lower kelvins we're seeing more and more blue higher Kelvin temperatures tend to be more blue and so when we add a high Kelvin settings we're seeing a yellow effect to counterbalance it that's the short answer there's there's a longer philosophy of use answer on this but for the sake of time we can go here that's that thing you saw right there is the shift so when we go to okay and we push to the right you can see that we can actually shift the white balance in different directions there's blue amber here's magenta here's green very rarely do this although I will occasionally if my white balance looks a little off and maybe have a light source in there that's you know I'm not really familiar with maybe mixed lighting conditions more important for video to get your custom white balance set up because that is JPEG and not always easy to fix bad white balance in post on video so more important for video if you have raw and you're worried about your white balance settings typically RAW files are a lot more flexible that's the short answer again any other white balance settings we want to talk about and that's that's pretty much it for the most part custom white balance is super useful when you are shooting in different light source conditions maybe you're shooting in shade have some tungsten light things of that nature but there's a bunch of stuff that we could talk about and I'll make some recommendations on video lights things of that nature and that is a brief introduction to white balance so let's talk about our drive dial it's up here on the top left as we hold the camera if we rotate it counterclockwise all the way run our video mode and as we rotate it clockwise we come to our bracketing modes we can see just below the exposure compensation indicator which of these modes were on here's our high-speed continuous burst low speed continuous burst single it kind of disappears and then we get our you know like our filter effects multiple exposure mode and we get a panorama mode so panorama mode is just like you would expect on your cellphone you would you can change the direction by pushing on our directional pad so we can go top bottom left to right just depending on how you want to do it come back we can change the you know the angle in terms of a large panorama or a medium-sized panorama here we go this bar is telling us how well we're doing obviously I'm on a tripod so wants you to sleep faster but you get the idea I'm running out of real estate and it'll stitch it together and make a panorama it's not bad and I've used it before when I didn't have wide-angle lenses and I was pretty happy with the result I mean pretty pretty good so let's talk about these other drive modes real quick so coming into our menu shooting for Stills and we have our drive settings come in here and in here they're set up so probably going to be easier to talk about our high-speed continuous burst it maxes out at 8 8 frames per second with a mechanical shutter see you get this the only thing what we have in there low-speed continuous burst we can rate between three to five and so this allows us to adjust how many frames per second with low speed continuous burst so if you didn't want to shoot at 8 frames per second we can come in here we'd be at our low so as we hold the shutter button down we're shooting we can shoot between 3 to 5 images per second set five high-speed continuous bursts let's take a listen you the question then becomes can get more out of that and the answer is yes we can and I'll demonstrate that in just a second we also have our bracketing settings bracketing means that we're giving the camera permission to change certain things between each shot if we come in here for basic bracketing look at all the different options we have exposure bracketing which is going to change the brightness either the shutter speed or the aperture ISO bracketing we have film simulation bracketing white balance bracketing dynamic range bracketing and then we have focus bracketing I'll talk a little bit about that on the crash course and so once you set one of these let's do standard auto exposure bracketing you can come into that set and determine the settings for that so so we'll just have to come here at three steps one frame at a time or continuous I like continuous the sequence is from even over two under exposure so once that's set up we want to make sure that I'm on the correct bracketing mode there it goes so there's a long exposure and that basically tells the camera to take those images and so if we're coming to playback see how that's underexposed underexposed even exposed way overexposed there's the even exposure and that's how bracketing works is we can program the camera to change those settings the cool thing about this is we have two of them so you can have one for ISO or maybe one for white balance just whatever you want they're the same they're set up the same way advanced filters I'm not a huge fan of they are fun to play with but the truth of the matter is they're kind of gimmicky and so like we can have a toy camera for example on this one and we can have pop color and so when you come out and you look at these filters there should be a way to change these as we're shooting see the kind of the effect of the gifts this one obviously really stands out so I'm going to give us anyways two easy way to change that without coming back I never use them ever multiple exposure mode is actually kind of fun it's going to allow us to stack images on top of each other there is the first picture and we hit okay and we're gonna take another picture and the idea of this you can see my hands in the picture and we still have that target behind it so the idea on this is that you can take multiple images and stack them together it's kind of cool I mean there's some cool effects you can do but it's kind of a one-trick pony in terms of you wanna but it's kind of limited because you can do all these things in Photoshop anyway but it's a fun thing to try out so let me show you something that's valuable your shutter type it's set to mechanical shutter we can come in here and go to electric shutter so we literally have two pieces of machinery in front of the sensor the first is a first curtain that raises exposes the sensor and there's a second curtain that follows it and they reset and this is what's happening with mechanical shutters electronic shutter means is that there's no mechanical shutter and this is all happening electronically there are some great things about this and there are some bad things about this for example a great thing about it is that we get a very fast shutter speed up to 130 mm of a second which is super super fast and because it's not mechanical we can come back to our drive setting and come down to our high speed burst now we have some of these other options all of a sudden we can do 10 frames per second 20 frames per second at full resolution why is that well it's because we don't need the battery power to move that mechanical shutter so fast this is not as many moving parts and therefore the camera can use an electronic shutter we also have this it's like a sports mode it crops in at 1.25 X that's at 30 frames per second which is pretty incredible that's amazing so the electronic shutter gives us some pretty great options there are some problems with it one of the problems is hopefully I can recreate it right now I'll take a picture did you hear that little bit thing so that's assimilated and it actually looks okay oh you can kind of see a little bit the banding see it in here there's these lions going through it let's see if we can mess it up even more there it is there's the banding that's the problem with electronic shutter when you shoot in LED lights and we are shooting with LED lights you're gonna start seeing this banding problem and the only way to really get around that is to try to sync up the shutter speed that you're using which isn't gonna work for sports shooting or go back to mechanical shutter this will be fine outdoors there's another problem I gotta warn you about and that is that if you are panning hard with the camera is you're going to get rolling shutter I'll try to do it real quick I don't think I'll have success but who knows and what would happen is there yep there it is we got it is we're seeing this warping okay so this is not good and for for both of these things I'm gonna toggle the display so we have banding and warping it's a jello effect so this is this is not good and we can resolve both of those by coming back into the menu in turn electronic shutter off so it really depends on what you're doing select that and come back and pan here see how it's mostly straight up and down and we don't get this banding thing between that see the difference see that jello affects how it's wavy and that's what you're losing with the electronic shutter there are cases it works fine you know so it really just depends we're going to talk about the metering modes in just a second so there is a cool feature in here we should mention you need to have it on electronic shutter for this to work and this is pre shot electronic shutter once this is turned on we can basically pre shoot a certain number of images okay so let's say you're at your son's softball game and he's getting ready for his first at-bat and you want to capture them and right when he hits the ball well that's a little tricky to do right so what hat is basically when we push and hold the shutter button halfway down the cameras pre buffering images we don't see it oh look we're getting that banding interesting but that's pre buffering images and it won't write them until we push the shutter button down all the way and then you can go back into those images and find the one where your son connected with the ball and that can be very useful in certain situations and that's that's what that feature does is the pre shot electronic shutter again the electronic shutter rules apply to it interval timer shooting we have a lesson on this on the crash course we basically choose the intervals let's say one minute intervals then we pick the number of shots will do who infinity look at that and when we're ready to go we'll hit okay when you want to start when we start right now how's that sound here it goes so every minute there's there's a timer it's counting down and so what would happen is it would take a picture every minute and this would allow us to do time-lapse videos we could take them and see it's trying to save battery power by turning off the monitor but the idea is that this is a very powerful tool if you want to do time-lapse photography and there are some examples that I'll show on the crash course doing that great tablet built into the camera that's called interval timer shooting pretty easy to set up self timer there's a ten-second timer in a two second timer by default you're gonna find this out in your cue menu down here on the bottom and you can just pick which one you want I think that's a good place for it's pretty quick pretty easy to get to we'll go back to mechanical shutter flicker reduction when you're shooting in certain kinds of lights you'll see variations in terms of the exposure if you see that you turn this on that will reduce those flickers image stabilization mode do you want it engage this is talking about the lens do you want engaged all the time or only when you are shooting you can choose we have our ISO setting and then mount adapter settings when we're adapting lenses in the wireless communication hopefully I'll I'll talk about in a second we've gone through a lot of the menu stuff already actually quite a bit in any event that is a brief overview of our drive modes as well as the shooting setting in our deep menu we're gonna be talking about metering modes real quick one more thing in here I want to point out is we have the sports finder mode and we can turn this on saying you can't use it with this combination of electronic shutter mechanical and electronic but when you turn this on you're gonna see this little box kind of grayed out and you're going to notice that our resolution changed from large to medium this medium box see there it is see that guy the display showing so basically what's happening is we're cropping it at a 1.25 X crop on the sensor it's gonna be smaller size images this is when we can come in and and select the much higher frame rates and there they are so it wants us to have that electronic shutter on with the 1.25 X crop in any event that is what sports finer mode is and those are the drive modes so let's talk about our cameras metering modes and now Fuji is calling it photometry and we've set this up on our swipe menu earlier to be up and there it is photometry if you're not sure just leave it on the multi metering mode and this is going to take an average of the of the screen it's going to look at color it's going to look at composition it's going to make a calculation based on what it sees across the frame to determine the exposure in order for me to explain this however its easiest to do when talking about in the spot metering mode and what we want to do is tire spot metering mode to our focusing square because as I and by the way I'm on aperture priority mode so the way we do this is we come in to page 2 of our autofocus manual focus interlock spot auto exposure in the focus area what this is going to do let's see if we can see the square sometimes we see the the little focusing circle it's not there there's a circle in the center of the screen that we cannot see that when we pan over this bright headlight everything goes dark and as we continue to pan it becomes brighter again what's happening the easiest way to see this is to tie the spot metering with our focusing square basically what we've done is we've told the camera to only meter light to measure light only in that square and so in aperture priority mode I'm at an aperture of three point six watch what happens when I go over the light see that we're maxed out on our shutter speed because the camera is looking and it's basically saying this light is very bright in an order for us to get an exposure we have to use a very fast shutter speed it's flickering a little bit the moment we go off to the side it's only measuring light in the box there may be in the box over here and it's giving us a shutter speed appropriate for the amount of light that it's sampling in that area so metering modes are instructions that we give to the camera to help us measure light that comes in if you're doing a type of portrait that has is heavily backlit for example we have light coming in the corners we may want to go with a center-weighted metering mode which is going to measure most of the center in mostly disregard the corners we also have this average metering mode which takes an average across the entire frame it's not as complex or sophisticated as the multimeter a mode in the beginning what I tell beginners and stick with multi metering mode and when you shoot and backlight go for the spot metering mode that's going to get you through most of it when you're shooting with aperture priority again these things do not matter in manual mode because we dial in all those settings on our own so that's a quick brief overview of the metering modes which is now referred to as photometry so we've talked about a lot of the menu items already there's a few things in here that I want to take you through quickly just for the sake of time there are some things that are good and there are some things that you're never going to use on the crash course we spend a lot of time going through everything comprehensively and I give a lot of philosophy of use like why you would want to use this versus this things of that nature that in here on this first page in terms of the navigation we don't have touch control for the menu right now iq is image quality and you notice that we can use the joystick to navigate we get this red tab you can see image quality there all this red tab and we get the blue tab which is camera settings this guy right here this is going to determine the size of the image we get the resolution here so just a side note on the raw files is that Lightroom and Photoshop are not the best it kind of depends but I think the consensus is that on one is going to give you the best processing it also depends on how much ISO you have because ISO creates noise just know that Lightroom and Photoshop aren't necessarily the best rock and verse for it but we can shoot in RAW as well as JPEG and this is where they're they're chosen fine versus normal is compression that's where they were the processors throwing out more information and they look almost exactly the same it's very difficult to see the difference between those when we're shooting rod we want uncompressed or lossless compressed lossless compressed those are smaller file sizes and supposedly we don't lose any information so there might be a good reason to shoot on lossless compressed spec here we have our film simulations and one of those is a black and white effect that if if it was on black and white certain grab that monochrome we get these other options in here I'm not a huge black and white shooter simply because that's pretty easy to do in post we get a grain effect if you wanted to add grain a chrome effect these are white balance and a lot of these settings have to do with JPEGs only it's like we're giving the camera instructions too for a recipe to bake JPEG babies you know and so this is kind of we're telling it what kind of settings we want do we want a dynamic range priority do we want to shift the highlights to the shadows or make it more saturated or maybe a little bit more sharpness in the beginning what I tell beginners is don't worry about this too much focus on changing your exposure settings get comfortable with your focusing squares practice your composition go out and have some fun to get started and then if there's a reason that you want to have very specific JPEGs that would be the time to come in noise reduction it makes sense under certain circumstances so high ISO noise reduction obviously we do want you know you can come and turn this up and turn this down just know it is going to affect your JPEGs and it's not always for the best some noise reductions actually soften the images and they they don't make it you know sharp the color space for the most part is going to be srgb unless you're shooting for a magazine and you specifically know you want it on Adobe RGB anyway this would be a way to remap the pixels in to fix that at least these are the custom settings we talked about for the Q menu we can edit those there as well we talked about most of these guys during the focusing lesson we didn't talk about release and focus priority which is basically in the focusing modes do you want it to more focus or do you want it to more release the focusing systems are actually pretty good when you turn those to focus they can hesitate and you can lose frames per second just as an FYI so this in here the auto ISOs we can come into these and set the default sensitivity as well as the minimum and the maximum something I should do real quick is show you what happens okay so twenty-five thousand six hundred and now what I'm going to do is use a very low ISO to demonstrate this play this back and zoom and there's the low ISO see how nice and clean that is and let's take a look at the other one that was there it is so kind of hard to see but it's there there's grain you can see how it messes up the straight line here and that's the trade-off with ISO is that as you increase your ISO you're giving the sensor a boost however it's also adding a lot of grain so keep that in mind so a lot of this stuff the flash settings we're going to talk about we haven't pop-up flash here this lever here activates it it'll pop up this very small limited flash here one of the cue settings was flash power I remember correctly or TTL settings there it is let me turn it off we actually spend a lot of time talking about using a flash on the crash course we actually get a full-size flashing it on there and demonstrate that but if you wanted to change your Flash settings you can come in here and go from goodness manual once this is warmest up TTL means through the lens so this feature here would allow us to control the flash output power up to two stops in either direction there's a lot of information we'll be covering we have manual flash and the commander module for built-in flash so lots of good information that the main to you you'd be interested in our TTL and manual we can change whether it's a front shutter curtain sync or a rear shutter curtain sync we have slow shutter curtain which is great if you are on a tripod lots of good information that we'll cover on the crash course we did it we did our movie settings did a lot of these guys in here a lot of the same kinds of settings that we saw for stills in terms of the processing covered a lot of this stuff user settings we can format our memory card if you do this it's going to erase everything it'll be gone make sure you have two backups before you do that time and date time difference basically if you're traveling from place to place you can have one place set as your home and the other they call it local we have our language settings five pages of language settings which is amazing really is my menu settings allow us to customize a menu and remember the things that we use the most you just can come in here and add anything from the list that you use a lot let's just pick something just for the sake of it MF + AF + MF right hit OK and so what that's going to do pick one more film simulation okay oh wait okay again and save it back back so now when we go down to this next tab below the wrench icon we can see the two things that we've added it's now a purple tabbed menu and this is this is the way we can customize our menu for those items that we want to use the most so that's going to be in your my menu center setting we have a sensor cleaning feature that when you turn the camera on or off it'll activate it we could also manually clean the sensor and I'll demonstrate this on the crash course we have the sound in flash we won't turn that off can we can reset our settings sounds beeps timers shatters for all kinds of stuff so we have a shutter volume remember when we have that electronic shutter what if you want to turn that off we can there's the did you see the shutter sound there it is you can choose difference between different sounds it's really up to you we talked about the different brightnesses and colors already the image display if you want to play back automatically when you're taking a picture I'll cover pretty much all this stuff on the crash course there's tons to go into this video it sounds going to be long we have our button settings there's different ways we can customize the command dial even it's kind of confusing but we can set up the front command dial to do our f-stops exposure compensation when it's rotated to the C position ISO and in our back Dow is shutter speed I try to get away from the customizations in the beginning because beginners get confused with it if you adapt a lens over you're gonna want to come in here and shoot without lens the focus ring we can change the direction that it focuses in if you want we can go from nonlinear to linear so many customizations in here talked about that already auto power off in terms of how we save things to the memory card when we swap memory cards do you want to be continuous or do you want to start over save original image refers to redeye reduction so if we have the redeye reduction feature turned on it's going to clean up the eyes and it's asking do you want to save the original file because sometimes those artifacts in there we can edit the file name that's saved to the memory card if we wanted to depending on whether it's srgb or Adobe RGB this data setup we can come in to select different folders we want to we can also create new folders and the way this works is that after we've set this up and we take new pictures then it'll start creating the new folder and tell you until you take the new pictures it's not going to work else we got in here and then we have connection setting which is the Bluetooth setting interesting thing about this is that the Wi-Fi setting isn't in here we'll talk about this when we talk about the Wi-Fi connecting to the app but you can connect with your Bluetooth to help you to connect to your phone and that'll help you connect to your Wi-Fi and you'll see your camera or your smart phone in here once it's done I think the Wi-Fi is better we have some general camera settings in terms of the name we can do geo-tagging if you want to pull that information off your smart phone and embed it I usually turn that stuff off and you want to designate the Bluetooth or the Wi-Fi to this feature which you can custom set to a button see what else we got in here reset the wireless so that's a quick overview of the menu we spend a lot more time on it on the full crash course and I want to give you a quick lesson now on setting up with the Fujifilm app so I need to temper your expectations for the app the Fujifilm camera mode app and you download it from either Apple's App Store or the Google Play Store I'm doing this on an iPhone 10 I want to temper your expectations a little bit because there are some things I've found frustrating the first thing we need to do is to pair the camera with the smart phone and this is easier done with Bluetooth it's like an introduction we're telling them to say alright you guys need to be friends now come into pairing registration and it's gonna tell us to turn on the app we're gonna come into the app we're going to go to pair registration and so this here's the introduction we're saying choose the camera you want to pair add this XT 30 as a little serial number there we go it's gonna ask us if we want to set the time from the smartphone we can hit okay I'm gonna hit okay on the phone so now we're connected by bluetooth and it's you can see it's trying to connect by Wi-Fi so if we come into our Wi-Fi settings mmm is my normal network so we don't see the nope still not there so if we don't see that Wi-Fi setting we may have to come on into our camera try to go up here it's kind of in a weird place on the second page of the shooting now we're turning our Wi-Fi on see if it kicks on and so this is this is setting up the Wi-Fi signal from the camera reset this kind of like refresh it to see if it'll pop up there it is so now we're connected by Wi-Fi and in order to get the cool features working you really got to have the Wi-Fi connection so I need to point out a couple cool things in here is that we can set up auto transfer of the images I don't recommend leaving that on we can delete the pairing registration the firmware update so Fuji often comes out with updates for the software for the camera and we can update it through our phone we can reset it is the name of the phone we have this remote release this is one of the few things that we can actually do without kicking us out of the app it's a little laggy there it goes so if you just want a release there it is the most useful thing in here I personally believe is the remote control and so the idea on this see wants to reconnect by Wi-Fi the idea on this is that we're able to change camera settings remotely with the app and so 20 to 30 feet around that ranges you'll start losing signal it's asking if you want to connect or in hit ok and here is the remote so we have you know our focusing mode or flash mode we have our picture styles number of shots remaining we have what shooting mode we're in in red there's our shutter speed aperture ISO you can change our shutter speed by tapping to the left or right and we get an exposure preview we can tap on the monitor in focus very nice if we wanted to change the aperture we touch that guy right there and now we can control our aperture we can bump up our ISO here if we wanted to there's that guy way up okay we have other controls in terms of film simulation white balance our flash mode we can have a timer here okay so everything is all set up and we're ready to go we can hit that take a picture change our focusing point so it's pretty nice when it works we can also flip this over to a video mode and we can start and stop video recording who wanted to I'll actually use this feature when we do the video course on the crash course it allows me to be in the shot and I can see where I am so I use it quite a bit when I'm in front of the camera the other thing we can do is play the images back and we can select images for download here let's just select a couple I think this is the easiest place to do it we get it import so it's going to import those three images and you'll notice that one of those images was a video clip there are other places in the app that if we try to download it it will not let you do video clips so it's saving we're getting these little check marks as it goes so you can see that when we're trying to download the full size video even a couple seconds it just takes forever I'm gonna cancel out of that for the sake of time I'm gonna come back out see if we've covered everything we have I'm gonna come back out again this is this is where I start having problems with it is it kicks us out of the app so when we Lou so when we leave the camera remote we have to start over again in terms of reconnecting which is not fun there are some let me see here it's searching see it's kicked us out so come back in reconnect so I'm gonna have to come out refresh the screen there it is this is this is the part that's not really fun of the app it can be improved we can browse the camera sort of like it doesn't work quite as good from here we can come into receive but again it's going to want us to connect and then we would select from the camera what we want to send and we hit ok it's gonna transmit that picture when you hit end it kicks you out again and then we you guessed it have to come in here turn this back on again so this is this is the frustrating thing with it but it connects pretty quick once once you're there most of the good stuff can happen from this remote control part of it coming back out so it has a little help screen if you're having a hard time connecting but most of the stuff we've already demonstrated so that's really kind of the basic overview on the app in terms of how to connect just remember that bluetooth isn't enough to do the shooting stuff I've had some problems connecting and reconnecting and I've demonstrated some of that but in any event that is the Fujifilm remote app so when we're talking about recommended lenses the kit lens is probably the best place to start it's an 18 to 55 with a variable aperture which means that as you zoom in and out your maximum aperture would change it's actually a pretty decent do-it-all lens and even if you upgrade to something like the 16 255 2.8 I would still hang on to this and you know when I upgraded I sold it and I regretted it and I went back and bought another one it's just so light and compact and can do a lot of different things that's 16 255 2.8 is my go-to for video production there's linear motors in there they're faster they are more quiet it's a sharper lens overall it's it's amazing if you do video work if you do any kind of portrait work or you need a mid-range zoom you're looking up the 52 140 2.8 phenomenal lens if you do any kind of wildlife or sport shooting I would also recommend the 100 to 400 I just bought it I love it I take it to the bird park a lot at some point you might want a wide-angle lens I like the 10 24f for over the eight to sixteen two-point-eight that just came out that eight to sixteen is really a specialty lens for interior architecture i believe very interesting lens but ten to twenty four i preferred a little bit more for the value definitely should look at a tripod if you're looking to save money you can probably find them all day long on ebay I like the bogan Manfrotto be free the carbon fiber one's a little bit more expensive but it's very small light compact there's also another company called me photo they have also similar type configurations with those blocking ball heads you're also going to want to invest in extra batteries in the course of this production we went through four of them that's just leaving the camera on talking about the different features so you're going to go through those pretty quick I would also recommend getting an external charger I'm not a huge fan of locking the camera up to charge and so I always like to have a battery on the charger and have them ready to go so that's going to help with the bottleneck a little bit having said all this I still believe the best investment you can make is right here the knowledge and information to become a great photographer is something that will remain with you for the rest of your life the Fuji XT 30 crash course is in production probably two or three weeks from the time I post this video if you leave your name and your email address on our blog I will reach out to you as soon as it's ready comes with a 100% money back guarantee so there's no risk to you in any event thank you for joining me on this overview tutorial of the Fuji XT 30 congratulations on a great camera and I will see you next time [Music] [Music]

Channel: Michael The Maven

Views: 281,323

Rating: 4.9120879 out of 5

Keywords: Fuji, FujiFilm, FujiFilm X-T30, FujiFilm XT30, Training, Tutorial, FujiFilm XT-30

Id: KrvDCn1oQ4g

Length: 113min 6sec (6786 seconds)

Published: Mon Mar 25 2019