Fuji X-T4 Tutorial Training Video Overview | Users Guide Fuji XT4

hi my name is Michael Andrew and I'm about to give you your free tutorial on the amazing Fuji XD for I have been waiting for this camera for a long time the things that I'm really thrilled about are the in body image stabilization we have a lippy monitor so when I'm recording video I can see what I'm recording and we have 15 mechanical frames per second obviously there's tons of other great features but I'm really excited about this camera if you are coming from another system or if you're an experienced photographer you're probably going to want to jump through the table of contents you can access it by pressing command F or ctrl F depending on the browser that you're using type in the topic that you're interested in and click on the timecode it will jump to that section of the video and I like to think of this as a video manual that takes you through the steps the processes of operating the camera that said if you are a pure beginner or new to photography this tutorial I'm about to give you is not going to be enough to master the camera you consistently get great images outside the operation of the camera there's about 10 other things that you happen to know including the basics of photography lighting composition there's a troubleshooting aspect to this and then we have the different shooting scenario types we have flash we have video features and for this reason I am working on an awesome Fuji XT for crash course that will take the camera to the real-world situations and show you how to combine all of these skill sets together if you are interested in the Fuji XT for crash course check out the link in the description if we're still in production that link will take you to my blog if you leave your name and your email address we will reach out to you as soon as it's ready you are also invited to check out and join my fuji xt user's group on facebook where we can share pictures and ideas about the xt for this also allows us to gather widespread user data which can be very helpful troubleshooting no trolls or bad energy allowed that link is in the description in any event we have a tremendous amount of information to cover so let's get started first I want to say thank you guys so much for joining me I'm stoked to be able to be your instructor for the Fuji xt4 and I'm going to teach you as much as I can in the limited amount of time which we have so first let's talk about putting lenses on you'll notice that the lens release will line up with our right ring finger and this is great because you can grab the camera with one hand you get a nice secure grip here and we can hit that lens release and you'll notice that we have this red dot underneath here that red dot is going to line up with the red dot you'll see on most Fuji lenses there it is on the 18 to 55 kit lens and we're going to line the red dots up with one another and rotate it until we hear it click so now we know it's locked a couple things I want to point out is that when you're changing lenses try to do so with the mount pointed down we don't want to have this exposed for very long we live in a dust in a microbe world and we can get sensor spots when we leave our sensor exposed and you'll see it in every image so if you're in a windy condition recommend not doing it and not changing your lenses and whenever you do change your lenses do so with the camera body facing down so the sensor mount is downwards because we have particles that are always falling quick sidenote is that on the crash course you're going to see me put different kinds of filters on the Front's of my lenses and the way we find our filter sizes we look underneath the cap and so right here I can see that it's a 58 millimeter thread for this mount so anytime you have a lens just look under the lens cap to see the size of the thread mount when we're talking about memory cards I'm a big fan of the SanDisk Extreme Pro sand these cards look identically the same right turn them over you can see that we have one card that has a single row of pins and another card has a dual set of pins this is a UHS one card and this is a UHS two card the UHS two cards are faster and the XT four is designed for a UHS two cards the short answer on this is you are shooting video 4k video the minimum requirement that you're going to need is designated right here it's kind of hard to see it has a little U and a 3 inside of it this class you three for a sustained right speed for 4k video and it maxes out at about 200 megabits per second which is the equivalent of about 25 megabytes per second so the short answer on this is these are cheaper far more affordable and for most purposes they're going to be fine but if you're shooting at higher bit rates or you want to clear the memory card faster you will get some advantage from using the UHS 2 cards this one is a 128 gigabyte card in either case I'm a big fan of the SanDisk Extreme pros if you decide to go with something else just make sure that you have a Class III card and we get these little icons in the inside of the door that deadlines up we have a little not sure on the card right so that's gonna line up like this and another cool thing about the XT 4 is that we can dual write to both memory cards in video mode it's a very cool awesome feature if you're looking for backup video as you are recording before we get into the main lessons I want to do an overview of the main buttons and controls and show you how they operate just to familiarize yourself if you don't already have your camera with you pause the video go grab it so you can follow along right here we have the shutter button and this is a two phase button meaning that there's two positions the half-way depression is to engage the cameras focusing systems and when we push it down all the way it'll take the picture it is extremely useful to train our finger to feel the difference between that halfway shutter button depression in order to engage the focusing systems without actually taking the picture something you'll notice about the shutter button is that it is threaded and there are jutter button kind of accessories that you can thread in there if you want something a little different they are larger more ergonomically friendly things of that nature and of course the power switch rotates as the designated this little black tick mark here to the on position something you'll notice and that is strange about Fuji cameras if you're coming from another system is the lack of ammo would dial a dedicated mode I'll typically where we can designate aperture priority or shutter priority or manual mode Fuji does it a little bit different it's counter intuitive it at first but I will put a mode lesson right before the exposure lesson and explain this all talking about the dedicated control dials we have a shutter speed dial right here next to the viewfinder and we have an ISO dial just to the left of it which is controlling the boost that we're adding to the signal as it's hitting the sensor we also have an exposure compensation dial that allows us to adjust the brightness of an image in certain shooting modes as something else that's pretty cool about Fuji cameras is that most of the lenses you're going to change your aperture with this control ring a very important note that I want to point out is that you will notice that there is a red a on the ISO on the shutter speed and on the kit lens as well a red a and when our camera is all ready for shutter speed ISO and aperture the camera is going to be in an automatic mode and that's what the red a stands for automatic there are a couple other very important symbols such as C which is a custom control T stands for time value if we wanted to dial it in manually we have the beer the bulb mode but we'll talk about these in the exposure lesson some of the other controls we see from the top of the camera include the FN one button this is a customizable button that we can determine the setting depending on how we want to use it I typically have it for something like eye detection when I'm shooting portraits and things of that nature off to the side of the viewfinder it's kind of hard to see is that we have a view and mode button which will determine how the viewfinder and the monitor are displaying information to the left side of the viewfinder we have this little knob here you pull out and you can rotate this is the diopter adjustment it allows us to change the focus of the viewfinder if we wear corrective eyewear let's talk about some of these front controls we've already talked about the lens release which we push every time you want to take a lens off of the camera body we also have an F - button right here customizable function button and we have our front control dial this dial can also be programmed to control different settings such as our ISO aperture if we want to use this control instead of the dedicated knobs something you'll notice about this is that it pushes into the camera body and we can get a click I think that's an important thing to know it's - to feel that clicking sensation when you do this I also wanted to point out that for the shutter speed dial and the ISO dial we can control how they rotate so they can rotate freely or we can lock them by pushing these pins into the camera body and now they won't rotate this little lamp right here is our autofocus assist lamp which can turn on in dark situations to help the camera focus on the opposite side of the camera we have our focus mode selector switch designated with M C or s we'll cover this in the focusing lesson and this guy here it's a little cap that when we rotate it counterclockwise we will see a PC sync port for triggering strobes I just want to note that if this isn't screwed in tightly the chances of it coming unscrewed and being lost are pretty great I have lost a couple of them in my time something else I want to point out is that you'll notice that we have these textured levers here for a secondary rotating switch beneath the dials and I'll point out what these are when we talk about the back of the camera but the idea is this is where you would grab it to change those settings on the left side of the camera there are two covers that that hide some ports we have a microphone port so if we're doing any kind of video recording I would definitely recommend an external microphone I carry a microphone the Maven mini mic for beginners it's a very tough general-purpose microphone this is where we would plug it in we also have a remote input looking underneath the second cover we have an HDMI input and a USB input you'll notice that there's a little battery icon here with the lightning bolt in it which means is that we can charge our battery in the camera the kid that I purchased which was the body only it did not come with an a battery charger which means I had to go out and purchase an external battery but at least we can charge the battery in camera and one question that some people have already asked is in regards to the headphone jack there is no headphone jack on the XD for at least dedicated but there are adapting cables that we can use the USB terminal to adapt for our headphone jack some of these back controls are pretty straightforward obviously garbage can icon is to delete an image the play button is to play an image AF on stands for auto focus on if you prefer back button focusing we would use this to engage the focusing systems we have a rear control knob which also pushes into the camera so just push it into the camera and feel that click it's very useful for things like zooming in on pictures things of that nature we have a cue button which stands for the Quick Menu this is going to allow us to pull up quick information to change your camera's settings quickly without needing to go into the deep menu a e-l auto exposure lock and by the way many of these buttons are customizable so if you don't want to use it one way there's typically a number of other ways we can program it we'll talk about that in the deep' menu section the joystick it's very small but it's very powerful when we're changing our focusing squares and you should also know that pushing it into the camera body is also a setting typically that resets it to center position we have our display or back button and I also want to point out that we have this directional pad which is typically great for navigating the menu systems but there are a number of other custom function buttons built into this that I'll demonstrate when we cover the information screens of course we've already talked about the memory cards on the right side of camera underneath we have our battery and there is a grip connection port that has a rubber cover on it I've lost a couple of those as well so just keep an eye on it that it's on with your camera so if you haven't already you've probably turned on your camera you've probably set it up I'm going to set this up real quick it's pretty straightforward and we're gonna start talking about the different information systems coming back to those two dials that we saw on the front of the camera the one as we hold on the right side is going to control whether we are in a stills shooting or in a video shooting mode we go to video we get a slight crop you'll notice in some different sets of information appearing we'll talk about all this in just a second you know the other one we have our drive modes and this determines what the camera does after we push the shutter button down whether it's a panorama mode or a bracketing high speed burst single burst or even HDR we'll talk about those in just a second as well the touch monitor huge welcome upgrade from the XT three it is fully articulating which means we can pull it around face it forward if you do any kind of logging and you need to see yourself as you're recording this is an absolute dream this is one of the biggest features I'm thrilled about on the XT for the screen is also touch sensitive so you can see I can focus with it we'll be demonstrating some some of the touch features a little bit later one of the more common questions I get is why is my LCD or my viewfinder dark so the LCD mode button which is on the right side of our viewfinder determines whether or not the back monitor or the EVF is turned on so let's talk about each of these the eye sensor is just below what we look into in the EVF so I'm gonna take this pencil and trigger it and this is what I have my camera too but by default it basically means that when my face my eye is not looking through this viewfinder the monitor is going to be activated when I pick a camera up and start looking through the viewfinder now the viewfinder at little TV in there is what's going to be activated the next mode means just this back LCD monitor this is something that I would use if I was working on a gimbal or if I was doing a lot of video shooting for the day and I didn't want the monitor accidentally getting triggered as something else pushing it again activates the EVF only you can see the monitor turned on here you can see it's a little bit bright but that basically means this is turned off this is gonna be turned on pushing it again turns both of them off pushing it again has both of them on.i sensor plus LCD image display basically means that the eye sensor feature is working but when we're playing back images the LCD is also active so the view mode button is determining which monitor is working and how it's working and then we have this display back button which is going to allow us to toggle different sets of information and it's easy to get confused between those in the beginning just know that if you have a black screen and you know your camera's on you probably bumped the view mode button let's talk about some of the different sets of information that we're seeing on the back monitor because I know it can be really confusing sometimes you don't want anything short showing so you just hit the Display button we have this black information screen which is giving us tons of information let's take a look at this main screen here and I'm in the manual mode on almost every single camera on the back monitor as well as the viewfinder you are going to see three sets of information typically on the bottom of that monitor in the case of the X T for s s refers to shutter speed which is the length or the amount of time the sensor is exposed to light anything with a little F refers to the aperture which is the size of our lens opening whether it's teeny-tiny or very very large and this last number here ISO refers to the boost that the sensor is going to receive once we take our image these are typically referred to as the exposure setting is it's really shutter speed and aperture that deal with light and the ISO is an artificial part of it we'll talk about the advantages of high and low ISO so on the far left we have this funky bar and we'll be talking about this in the exposure control lesson this hand icon with a slash through it refers to our image stabilizer we'll be covering this when we talk about image stabilization so this one is referring to our number one memory card the number is how many more shots we can take on that memory card Elle refers to the size of the image in this case large is all of the resolution 26 megapixels and the F refers to the compression it's how much data is being kept or thrown away when we're creating a JPEG this little film icon refers to which of our film simulations we have selected DR is our dynamic range setting and then we have our performance whether it's economy or boost the white square is where the camera is focusing and you'll notice that it's taking a picture right now when I'm tapping on the back monitor and that's because I have the finger-touch setting on it drives me crazy so I turn that off almost right away and now I can focus the one I prefer is this one right here touch areas where we can touch on under the screen and that determines where our focusing square is and I'll show you how this works in conjunction with the different focusing modes if I were to press the display back button that information disappears if I already press it again I'm taken to an information screen that is giving me tons of other data including a histogram we can get our video setting if we were to start or stop video recording how much time we would have in that video setting we have things like our here's our white balance we have how much battery life we have and we have tons of other information that for beginners is probable not as necessary to worry about an important side feature you should be aware of is the cue button or the Quick Menu and this is going to allow us to customize basically a mini menu I don't use it that much if I do use it typically to access the timer because the other important feature is I Nate to an FN button like FN one where I'm using the face or eye detection but suffice it to say that as you get more comfortable with your camera you are going to be able to customize which of these features you have available and we even have multiple slots so base is what you start off with and then we have C one through seven to give us a huge number of different combinations of customizations for this quick mini menu including things like focusing and dynamic range a lot of the settings that determine what a JPEG looks like in terms of highlights shadows color sharpness things of that nature but a lot of these other guys we've seen in other places and we'll see them in the deep menu again but just know that's what the Q menu is for and it's available for you to customize as you become more familiar with the camera and you want quick access to certain features the touch monitor when we're playing images back it'll give us a date we can zoom in by pressing the the rear thumb button we can scroll through it going side to side with our joystick we can scroll to our next image using our front control wheel or back going direction if we were to pinch our fingers together like so I can do it we can see multiple images that we've taken and continuing to do so we would see what appears to be like almost a hundred different little images we can navigate using the joystick we can also tap on the image we want double tap to zoom in and we can also hit the Display button to see different sets of information about the image when it was taken we have our color in brightness cystogram if we push up on our directional pad we can see other sets of information including the focusing square that was used you can see right there gives us information about the lens the focal length setting if we're using a zoom lens and things of that nature so tons of information available about every picture that we take when we are navigating with some of these tools so when I come back shutter button to come back out let me demonstrate the custom function buttons real quick remember that we had that FN one on the top of the camera by default that is going to allow us to toggle face and eye detection and I'll demonstrate this a little bit later in the focusing lesson right now FN to doesn't do anything if we push up on the directional pad also nothing happens the women push to the left we get our film simulations and Fuji is famous for these different types of simulations which can be used in both stills as well as video when I push to the right we get our white balance and we'll be talking about white balance a little bit later pushing down will also allow us to control the performance boost whether its economy or in the boost mode the boost mode is going to drain our battery a little bit faster but you do get higher performance from the camera when we're in that mode something else I want to point out is that the touch monitor itself can be used as additional custom function buttons by touching and swiping and you can notice that when we have the the focusing box the camera might think that I'm trying to change it so this is something we have to turn on in our menu we're gonna come into button and dial setup it's gonna be on page 3 it's going to allow us to activate this under our cut screen settings you'll notice we have the ability to turn on or off many different touchscreen settings but if we want touch function here it is turn off our touchscreen all together we can do that as well something else I should point out is the EVF touchscreen settings if this is something you want to go into it essentially allows us to use different parts of the back monitor to control where our focusing square is as we're looking through the viewfinder so if you're looking through the viewfinder and you're not satisfied with the joystick we can turn on different parts of this to basically change our focusing points using the blue parts of these monitor displays here let's take a look at the touch function feature though real quick come into button setting function could come in here we can see the TFN so in this case up is a histogram left is the sports shooting mode which is a little bit of a crop to the right is large icons so have our histograms so I'll demonstrate these for you real quick before I go and turn them off so if I touch and drag up to the histograms our sports finder mode that's off there's our level and here are larger icons on the bottom it's one of these preference things that if you're trying to move your focusing square sometimes you'll activate it and so if you feel like you're tripping over it maybe something you want to turn off I'm gonna turn mine off just because I don't have a need for those extra touch function features we are going to start talking about the different shooting modes which is essentially saying how much help do we want from the camera there are automatic modes and there's partial or automatic modes and I want to clarify this especially if you're coming from a different system and you are used to seeing a mode dial the red letter is a stand for automatic depending on where you see them so if we see an automatic setting on our ISO dial that means the camera is going to handle the ISO setting if we set the camera to a on shutter speed we're giving the camera permission to handle the shutter speed and it's a little hard to see but on the side of the camera here we have an a switch so if I turn that switch pointing to the red a for the aperture control we're essentially telling the camera to control the aperture the shutter speed this is program mode if we determine that we want to control let's say the aperture we would adjust the switch to the aperture blade icon and then we could dial in the aperture setting that we wanted in this case we are an aperture priority mode because we are determining the aperture in the camera is determining the shutter speed when I'm in aperture priority mode I also prefer in most cases to shoot with a set or fixed ISO so I typically turn that to the setting that I want if I wanted to determine the shutter speed I would select the specific shutter speed that I wanted and I would come back to the camera and select that red a again so in shutter priority mode we determine the shutter speed in the camera to determines the aperture now there are going to be many cases where we want to shoot in manual mode or M this is where we determine shutter speed and the aperture so in that case I would just flip the switch back to the aperture blades and we will get a designated mode position on the back monitor that I'll show you in just a second that proves everything I'm telling you is the way it really is but that's the cool feature about Fuji cameras is we determine the modes based on which automatic setting we have for what control and just to demonstrate the modes themselves as indicated right here as I'm changing these controls so when my shutter speed is on ready and my lens switch is pointing to read a we are in the program mode when I specifically dial in my shutter speed but I leave the aperture to the read a now we are in shutter priority mode if I change the shutter speed to read a and I flip the switch over to aperture blades now we're in aperture priority mode and if i dial in my aperture as well as my shutter speed specifically now we are in manual mode so you can see how those mode indicators change depending on the red a that we have set up so now let's get into exposure control which is really a fancy way of saying brightness control so before we get into the exposure lesson I want to make sure that we have our exposure preview turned on so we're gonna go to our screen setup and it's gonna be right here on the second page on the top it says preview exposure in white balance in manual mode so we want to make sure that our preview for exposure and white balance is on definitely make sure that's on otherwise we're not going to be able to see these changes now there's a short answer to this and there's a lot much longer answer that I'm going to give you a little bit of to help you understand the difference short answers are basically push this button and it does this the philosophy of use answers gives you a foundation of the science of what is actually happening in my experience as a teacher this is going to be far more powerful than the short answers but will give you both and you can decide which one you're more interested in if you like the longer answers you're gonna want to check out the crash course because it's all about the philosophy of use in different circumstances for beginners even if you're just getting started I always recommend aperture priority mode to start and the reason is I pretty much only shoot on aperture priority mode in manual mode I never shoot on shutter priority mode I occasionally shoot in program mode if I am shooting event photography with a flash it's the only time I use it in my experience in the past has been when beginners go through the trouble to learn aperture priority mode they start enjoying the camera much more so aperture priority mode basically means is that we can control the aperture I'm rotating my aperture control wheel in the camera determines the shutter speed and you can see it right here the blue indicator is basically saying this is what I'm changing on the camera and the camera is changing the shutter speed at the same time something else I should note is that you you're in the beginning I would recommend turning your ISO to a fixed number we can say 320 or 400 just for this example of teaching and we'll talk about auto ISO at the end of this lesson but the heart of the matter is we change your aperture camryn changes the shutter speed for those of you that do not know so it's it's counterintuitive large F numbers small opening small F foot numbers larger opening now the question you should be asking is how can we make our images brighter in aperture priority mode actually I've bumped it up a little bit so what I want you to do is to take a picture with your camera of like white blinds or a wall or something of that nature we're just taking a picture and the short answer is to make your images brighter is to rotate your exposure compensation dial it's this style on the top right hand of your camera to be +1 take a picture and then what I want you to do is to compare the plus one image with the image that was at zero this is the short answer if you want to make your images brighter or darker you can use the exposure compensation bar if we wanted to go in the opposite direction so now we're at zero again and I go to negative one take another picture those are three different brightnesses if this is the only thing that you come away from in this lesson the first time you watch it you're on a great start to learning how to master your camera so that's the short answer we can make our images brighter or darker in the PS or a modes using the exposure compensation dial that is the short answer and you should practice that as a homework assignment even pause the video and go practice this right now a couple side notes before we get into the philosophy of use is aperture priority mode is great because the camera handles changing the shutter speed depending on how much light is entering the camera and I'm going to prove it to you right now I want you to take it we're going to turn this back to zero and I want to demonstrate some things I want you to take your hand cup your hand and put it over the opening of the lens in fact even cup it and what you'll notice is that as we're doing this the camera is trying to make adjustments to the shutter speed to compensate for this blocked light not once a 1.5 second exposure trying to let more light in and when I pull it away it recognizes there's all this light coming into the camera now we're gonna use a faster shutter speed the reason why this is a great tool even as a pro photographer is because let's say I'm shooting a wedding and I'm in a dark Chapel taking a picture of a couple and they're leaving and now we're in a lobby and now we're outside well those are three different lighting conditions and instead of me worrying about changing my shutter speed while I'm walking backwards and trying to you know get the shot I'm just going up the camera do that and it worked every time so when I am short on time I like to shoot an aperture priority mode and let the camera handle changing the shutter speed another example would be for sport shooting if it's on a cloudy day and clouds are coming and going I'm focused on the action I don't want to have to worry about changing my shutter speed every time the clouds come in so when I shoot sports yeah I'm on aperture priority mode I typically choose my aperture and because there's enough light outside the camera uses a faster shutter speed let's talk about what's happening during exposure compensation this is going to give you some foundation and then I'm gonna give you some safe shutter speeds to look out for when you are an aperture priority mode so when we rotate the exposure compensation dial from zero we have this indicator right here this bar we should also have one in most cameras and on the bottom of the screen you'll see a similar bar on pretty much every camera out there is that when we rotate to plus one that little indicator moves it's brighter something else has changed that plus one means one stop of light has been added what is one stop of light it's twice the amount of light that we had before and we can mathematically prove this if we set our camera back to zero and we look at the shutter speed 1/100 of a second if we were to take 1/100 of a second of light and add another 1/100 of second of light we have doubled the amount of light entering the lens to the sensor so 1/100 plus 1 100 is two one hundredths if we're doing the math to one hundred simplified is one fiftieth of a second shutter speeds are denoted in fractions so now we have one fiftieth of a second and that is what's happening with exposure compensation is we're giving the camera instructions to cheat the shutter speed so it will be brighter even when we cut our hand over it the camera is still trying to get that plus one exposure if we were to go to plus two exposure compensations can you guess what it'll be if you said 125th of a second you are absolutely correct and we can even go even a little higher it should be about 1 12.5 there is one 13th it also works in the opposite direction so if we were to go from an even exposure to a negative one exposure can you calculate that real quick if you said one two hundredth of a second you're absolutely right and if we were to continue to go in the opposite direction at negative two one four hundredth of a second and so on to down it's it's in the ballpark of one eight hundred maybe it's just not quite enough light but that is how exposure compensation works is we're giving the camera instructions to cheat the shutter speed in aperture priority mode now a couple very important words of warning is there are some safe shutter speed barriers you should definitely be aware of when you are hand holding your camera shooting a portrait for example one of the most common questions I get from beginners is why are my images blurry why is it so blurry the first thing I would tell you to do is to look at your shutter speed and for hand-holding even with image stabilization even with ibis the shutter speed I recommend is one sixtieth of a second so if you are shooting longer shutter speeds then one sixtieth of a second I'm shooting the aperture now and you have something like one thirtieth of a second and you're hand-holding and you take a picture it's probably gonna be blurry okay and this is true as the shutter speeds get longer and the reason is you move and people move so we're taking a portrait and we're moving around a little bit yeah it's gonna be blurry so the first safe shutter speed that I recommend bare minimum for handheld portraits is one sixtieth of a second probably should be 1/100 of a second that's the first one the second safe barrier I would recommend is one five hundredth of a second for sports now it's going to depend on the sport how fast they're moving how far away you are the lens you're using but typically faster moving subjects need faster shutter speeds it may need to be a faster shutter speed than one five hundredth of a second maybe one one thousandth or one mm if you're shooting birds in flight or race cars you know and you're close so it really depends on the subject you're shooting but what I do in aperture priority mode is when I'm shooting depending on the subject I'm always sneaking a peek over at my shutter speed so I'm looking through the viewfinder and I'm shooting click-click click-click and I always just keep an eye on that to make sure that the shutter speed is fast enough when the shutter speed is not fast enough my first reaction is to open the white the aperture as wide as I can and even in those cases it may not be enough so the question you should be asking yourself is if you get into a situation where you don't have enough light and the lens is maxed out what are we gonna do but I demonstrate that and we're gonna do it in the shutter priority mode we're going to flip the switch back to automatic on the lens and we're gonna dial in a shutter speed for sports let's just say we shooting at one 500th of a second so blue is indicating what we are changing and now we have a problem here this basically means that there's not enough light coming into the camera to satisfy this demands when we see this red icon so I'm gonna turn that back down to zero let's take a picture and see how bad it is there it is let's play it back why are we not getting an exposure preview why is this not appearing dark we have our exposure preview on right so what happens is this camera when we get into very dark situations it will cheat the preview so we can see what we're shooting on the question I want you to solve though is that if we're shooting sports and we need a one five hundredth of a second in our lens won't open any wider how can we fix this think about it for just a second if you said bump up the ISO you are absolutely correct so I'm starting to turn my iso up which is going to give it an electronic boost to the light it's an artificial boost it's not light it's the electricity basically and when I get to ISO 2,000 look it turned back to normal so when I take the picture and I play it back it's even exposure again right there is the dark one and there's the bright one so the gut instinct is why not we'll just shoot at it a huge ISO let's just turn this thing up all the way so I'm gonna demonstrate what happens when we start shooting with a very very high ISO 12800 and now what we're gonna do is zoom in zoom in here it actually looks not so bad but you can kind of see it in the edge is that this is grainy and that's what is Otis do is basically it boosts the signal so much that we start getting these patterns of grain it doesn't look very good so let me demonstrate what this looks like at a lower ISO will go with ISO I don't know 400 so what I'm going to do is turn the dial to T he is going to allow me to to be very specific with my shutter speed so here we have shutter speed 1/100 of a second let's take a look at that edge again and the blinds zoom in there can you see how clean that edges we've got this nice sharp clean line and that's the difference between high ISO which boosts the signal at the cost of grain low ISOs means we need more light but it's not going to be as grainy so in summary shutter priority mode we dial in the shutter speed and the camera chooses the aperture if we go with longer shutter speeds you can see it's changing the aperture and we can control this some of us going on with the ISO it's gonna come with experience to practice let's go to program mode so both of these indicators are going to be a and come back to a here P program mode essentially means the camera is going to choose the combinations of shutter speed and aperture to get our even exposure exposure compensation works in the P mode so you can use it no problem and you'll notice well how it will have this back control wheel this little half circle basically saying we can change those combinations that the camera is giving us these different combinations depending on what we may or may not want and then we take the picture the reason why I use this in flash mode is because when you're shooting an event and you put a flash on the camera weird things can happen in manual mode and aperture priority mode so if you're shooting a lot changing lighting conditions the cameras going to work with you so I only use P mode for shooting events with a flash so now let's take a look at manual mode and I'm going to turn the shutter speed dial to T which means it's going to allow me to Dow in precise shutter speeds I'm gonna flip the switch to the aperture blades and now we are in manual mode manual mode is amazing when you have enough time in control of the situation I use it in studio settings when I'm shooting with strobes or if I have enough time I'm usually shooting on manual mode we dial in the shutter speed we dial in the aperture and if we're not in auto ISO we dial in the ISO we have full control over the exposure of the camera manual mode is a very powerful tool it should not intimidate you it's actually probably the easiest one to learn because we're responsible for every setting something that's interesting about this is that when you rotate the exposure compensation wheel in manual mode you'll notice that nothing happens to our exposure compensation bar and if we were to take our hand and cup it you can see that bar dropping so what's going on there in the manual mode the exposure compensation bar becomes a light meter it's just measuring how much light is entering the camera and if we were to change our shutter speed or our aperture we get this preview right away and that is manual mode one letter we have not covered yet is B which stands for bulb mode so in bulb mode when we push and hold the shutter button down the exposure stays continuous so we can go as long as we feel like having that shutter button triggered and there's some accessories we can get to help us with this and when I release it I've just taken an 11 second exposure so this is for very long exposure that I'll recommend holding it down the whole time because we tend to shake the camera and things of that nature but just know that bulb mode push shutter button down all the way down and hold it to begin the exposure and release it to end the exposure real quick I want to talk about the letters C that we see on our ISO control wheel in our exposure compensation control wheel there's actually one more in the menu system that I'll point out when we go through the menus and that is that some people don't like controlling their settings with these knobs they prefer to do with the front or wheel rear control wheel so the way this works is that any control that is set to C will allow us to change that setting with the front control dial so if I come to my exposure compensation and I dial this in to C I can now rotate my front control wheel and I am changing the exposure compensation so if it's C here I can change it in the front so what about the C on the ISO control wheel I'll just turn this over to see and if I push the front control knob into the camera I now have the ability to choose between exposure compensation and ISO so I'm toggling between those two options when exposure compensation is highlighted I'm now changing exposure compensation directly when ISO is highlighted now I can change my ISO so let me show you where the aperture control one is it's a little bit tricky to find so to add this with our aperture control we're going to come into the wrench icon button and dial settings we're gonna come down to aperture ring settings if we change this to Command once this is set up to command it's telling us in the menu that the lens has to be set to a so we're gonna come back to the lens flip that switch over so it's pointing at the red a now you can see I can control all three with my front control wheel by pushing it into the camera so the highlight on F is aperture now I'm changing my aperture pushing it into the camera I can change my exposure compensation pushing it into the camera now I can change my eye so if you only have one C command and selected so if I turn this guy back to zero and I dial in my ISO directly now I'm just changing one of them and that's submenu will not appear so that is how you can change your camera settings with your front control wheel if you're not you know a big fan of the dials it gives you the option maybe you prefer changing your settings looking through the viewfinder that's a very handy tool to know and I'm gonna come back in and change this to auto otherwise it might confuse some of you if you're expecting Auto and that's not changed one question I do get is in regards to auto ISO and if there is a time in place for it there is I would do it in indoor sporting conditions where we we know we want let's say sugar speed of one five hundredths of a second we have a fixed aperture in lights or changing and flashing you know like an MMA fight that would be a good time to go with auto ISO and we can set the limits of the ISO in the menu like what is the slowest shutter speed we want for example and we have some limits and controls or what's the highest ISO and that will give the camera some parameters to work within but yeah indoor lighting sports shooting probably go auto ISO on manual mode that's probably the only time I would do it one of the amazing things about the xt4 is it shooting 15 frames per second mechanical and we also have the ability to go electronic so I want to demonstrate something real quick because we're talking about you know shooting with these different modes so when we come into the menu and we go to shutter type and I choose an electronic shutter we can use a much faster shutter speed 130 mm of a second there is a problem with this and I am shooting with a certain set of LED lights meaning they flicker so if I take a picture in LED lights with a certain fast shutter speed and play this back this is what you're going to get your camera is not broken it's a banning phenomenon in that LED lights are flickering and actually have a video on YouTube explaining what's happening and this is one of the drawbacks of electronic shutter is that in LED lights that are flickering we have this banding problem it's also when you can or you move you get this jello effect so there are some limits to the electronic shutter which is why I don't I don't use it unless I really have to I'm usually on mechanical shutter in any event I know that's a ton of information about exposure control but we've talked about the modes how the camera helps us we talked about how to make our images brighter or darker as well as the philosophy of use is why this is happening I've given you some shutter speeds to work with this would be a good point to talk about the drive modes which is what the camera does after we push the shutter button down all the way again we can change them by rotating this this lower dial with the front lever on the far left we have the panorama mode there are several of these that I will demonstrate on the crash course so case use you know this is how I'm using it this is what you know how I'd recommend doing it things of that nature let me dial this in a little bit basically this is similar to smartphone that you can pan in different directions we can change the angle in the direction from a medium panorama to a large panorama we can also change the direction left right up or down and we'd pan across it can really save you if you don't have a wide-angle lens at the time so the drive settings can be a little confusing if you do not know where to change the different drive setting settings it's going to be in a deep menu camera icon page one first item drive setting and when we come in here we can change the settings for things like the advanced filter which is the one we're on right now the advanced filters are kind of gimmicky they are I don't consider them professional tools but they can be fun you know if you want to play around with them they just put these different filter effects on your images bracketing can be very useful when we bracket an image we're essentially giving the camera permission to change certain camera settings between each shot so when we come into the bracket setting feature in the menu we have the ability to bracket by exposure by ISO film simulation white balance dynamic range we can even bracket our focusing points so we can come in here and select which one it's going to be we can determine the number of frames whether it's three frames five frames seven frames so this is kind of confusing but essentially this is asking how many images do we want to take in at what intervals when we're dealing with something that's plus and minus R on either side of the even exposure if we're dealing with a negative tude that would be two total frames one at the even point and then one in the negative range at a one-third stop interval so you can kind of see these little tick marks are indicating the exposure of each of these images so I'll choose nine come over here and go out three stop intervals so you can see the range of exposures I know it's a lot to go into I will demonstrate this on the crash course we can choose whether it's a single shot or continuous and the sequence or the order of the even under or over exposure under exposures that is designated with negative overexposure as they get designated with the plus sign we can bracket our ISO these are the other settings for the other bracketing types so this brings us to continuous high in continuous slow what this means is that when we push a shutter button down the camera will shoot at a certain number of frames per second the max mechanical is 15 frames per second and we can adjust this coming into this menu under CH high burst 15 frames per second and we have some other options and we can shoot at 10 frames per second you'll notice that we have the ability to shoot at 20 and up to 30 frames per second with a slight crop or if we are in an electronic shutter mode which I've already talked about the dangers of doing if we know we don't want the full 10 or 15 frames per second we can go continuous slow and come in here and choose eight seven five or three frames per second and we also have the single frame which is designated with s right here so what we're typically shooting for portraits and things of that nature and then we have an HDR mode essentially this tells the camera to take multiple images to stack them together to give us a greater dynamic range it's you know I use it sometimes it's not really great with moving subjects so trees blowing in the wind or waves moving but if you're short on time and you're shooting in a high dynamic range situation where you have really bright lights with deep dark shadows you can really save you and this percentage is asking you the degree of the effect or do you want it to determine on its own something to play with I think it is worth testing out and those cover the drive modes which is what the camera does after we push your shutter button down all the way probably the second most important lesson on this video is for me to teach you how the camera can focus there are a ton of different focusing tools in the camera I'm gonna try to give you an overview of the basic ones and then we're gonna get into the more complex ones again on the crash course I will demonstrate how we use these in different situations the easiest way for me to break this down is to tell you to think of this in terms of the how the wind and the we're focusing deals with how do you focus when do you focus and where do you focus if you can remember it in those three terms it's gonna be easy so I've put up a little focusing target question we have is how does the camera focus by default most cameras will focus with a halfway shutter button depression I'm pushing the shutter button halfway down focus lock is indicated with that green box and we also have this little green circle down here on the bottom pushing down all the way takes the picture pretty straightforward so now we're going to talk about the cameras focusing modes this is the when the camera is focusing and right now my focusing mode is turned to autofocus single what this means is that once I get focused lock as long as I hold a shutter button halfway down I can actually move the camera and the focusing plane will not change and this technique is referred to as recomposing where you get a focus lock and holding that shutter button down we can recompose the scene to make it more aesthetically pleasing maybe you want to line up on that rule of thirds and this is the this is the powerful thing about autofocus single is it's great for subjects that do not move we get a focus lock and we take the picture and we're good to go so portraits you know people who are cooperating landscapes product photography food photography things of that nature things that are not moving autofocus single now the way we change our focusing modes is that round dial on the front of the camera so if you if you see my finger here and I reach down and I can feel that round little knob this is where the focusing modes are S stands for autofocus single if I flip that over just a little bit now it says AF C C stands for continuous this means the camera is going to focus over and over and over again we see this when we push a shutter button halfway down and we get these little parentheses around that green dot we don't get a focusing lock and what's happening is is the camera is updating its focus as we hold that shutter button halfway down AFC is ideal for sports in fast-moving subjects because the focusing systems are constantly being updated every second multiple samples are being taken and this is ideal for tracking a moving a fleet for example so this is the win either it's a one-time focus or it is a repeated focus over and over and over again there is a third focusing mode which you probably noticed and that's M M F stands for manual focus this means that the cameras auto focusing systems are turned off and it will not assist us when we go into manual focus you can see we get this little range indicator here and as I rotate my focusing ring on the front of my camera we can see the focal distance and back in the day this is how we focus cameras is they take out a tape measure you know for film and cinema there's there was no autofocus it had to be done with a tape measure but this tells us the focusing distance and there's a number of great tools I want to show you how to really maximize manual focus manual focus is great when you do not want the focusing to change maybe you're doing video work you don't want it to to move or breathe at all the focusing systems on Fuji cameras are pretty astonishingly good for sports for video for face tracking high detection among the best in the world Fuji and Sony in my opinion are the best at it right now everybody else is catching up so that is the when the camera focuses whether it's a one-time focus PF single whether it's a continuous focus over and over again for moving subjects AF C and then a manual focus basically turns it off so I'm going to flip this back to AF s now we also have these touch screen controls which can be changed and activated by tapping on this little finger guy let's go through each of these real quick off obviously means that if we touch the screen nothing is going to happen the finger with the shot means it will focus and once focus is achieved it will take the picture finger AF lock essentially means that the focus will remain block this is the equivalent of a halfway shutter button depression so its lock focus pushing down on the shutter button takes the picture you won't see this in AF s mode AF area is the one that I prefer most of the time when I am using it so far we have talked about the how the camera focuses we've talked about the when the camera focuses now we're going to talk about the where the camera is focusing and this deals with the cameras focusing clusters and the short answer is we're going to use either the joystick or as we already demonstrated the touch screen to move the focusing square to different positions so we can move that focusing Square to a corner it's it's pretty much almost framed of side to side it's almost complete coverage just a little teeny bit on the edge there and we can also determine the size of our focusing square by pushing the joystick into the camera body now something that's important is to make sure that in your menu under af/mf that you're AF modes we have all of these selected if you don't have this selected you're going to be limited to one of the other clusters for beginning photographers start off here and this is the reason why I'll demonstrate in just a second is that when we push the joystick into the camera body we can rotate our rear control wheel and determine the precision in the size of the focusing cluster we're using so wide essentially means you can see green outline all the way around the frame is that we're giving the camera permission to find an area of contrasts on its own and focus on that I'm not a huge fan of it it does have a time in place but it just gives too much control over to the camera if you're shooting a sporting event the camera is going to decide what it's focusing on not necessarily us and that's the reason why I don't use it that much so there's wide and as I rotate this in we get to a smaller box the smaller zone this is going to be very useful for dealing with fast-moving subjects like birds in flight is is maybe they're just too fast for a smaller square we can open it and make it a little bit bigger tell the camera to focus in that area now as we control this and make it smaller we get more precision until we come to single point mode this is the one that I'm typically using most the time for shooting sports or people it's just a general-purpose square but you will notice that as I continue to rotate this down smaller and smaller we eventually get to what is basically a pinpoint so we can get very precise macro photographers people who are focused on on details they want complete control over the precision of their focusing and they can determine where that point is so that is the where the camera is focusing is control of the clusters in terms of their size and position something you should be aware of is that if you push the joystick into the camera body it will reset the point to center so if this happens and you just want to get back to centre develop that habit of pushing it into the camera body and it will jump right back let's talk about using Fugees phenomenal face and eye detection when I did a video on an earlier fuji camera there was a firmware update that actually changed the location of one of these settings so i want to point out where to find this if that happens under autofocus and manual focus on page two we have this face and eye detection setting it's turned off and we can come in here and turn this on can we can see these options available here I'll have it to let's say right eye priority we can also access this if you have it set up by default in the Q menu it's right here on the bottom and we can change these settings here as well turn it on or off I like having this tool available because it's an incredible feature when shooting portraits if you want to prioritize the left eye you can do that as well or we can just go with something like auto eye just something like that now what you will notice is that the camera is very good at analyzing a face and focusing on one of the eyes and the reason why this is so important with portraits is we want to connect with our subject as if we are looking into their eyes and if they're out of focus then it kind of throws us off the beauty of this is we can shoot with very wide apertures even you know 2.0 1.8 and we do not have the need to recompose if the face is appearing anywhere on the screen you can see it's doing a great job tracking it and so we can just frame it up the way we want and take the picture there's no need to recompose the image and that is one of the limits of DSLR cameras is this constant need for recomposing and when you rotate the camera at a very wide aperture sometimes it pulls it out of focus so phenomenal tool in recent years especially for wedding and portrait photographers I have it set up on my fn1 button so I can turn it off and when I'm ready for it here comes face and eye detection on face and eye detection off if it doesn't recognize the face we zoom out far enough know I'm still pretty precise it'll revert to face detection so if you are a portrait photographer this is an extremely powerful tool to have in your toolbox which is face detection there are a number of excellent manual focusing tools I want to demonstrate the easiest of which is if we go over to manual focus on changing the focusing mode with my mode dial in the front of the camera I am now in manual focus and I can push the rear control wheel into the camera and it automatically jumps in so you can see where the focusing square is and this is referred to as manual zoom focus summon manual focus I can see what I'm focusing on and just focus until it's tack sharp and then once you get it you tap the shutter button and you know it is in focus it's a very powerful tool and technique if you do macro photography or video focusing I'll use this a couple times in the demonstrations on the crash course now there are a number of other tools I need to point out just wouldn't be complete without this is if we come in to this right here MF assist standard so what we've just covered we also have this guy down here peaking highlight and changes to red peaking highlight essentially puts a color outline around the areas of high contrast you can kind of see it here on the blinds and on my eyes very useful tool it's not always perfect but it is there if you need it and the cool thing about Fuji cameras is we can zoom in and still see it some cameras won't do this is that once you zoom in we lose that peaking ability and now I can adjust my focus even further if I wanted to and so that is referred to as peaking highlights it's coming here we're going to change this to digital split image color let's try this one wants us to be in video mode so when I flip this over we come into the deep menu now we have our video focusing tools there in there as well very similar to how they worked on stills focusing when we cover the sports less on the crash course I'll be giving a demonstration of how to use back button focus since it's something that sport shooters do a lot is they have complete control of when auto focus is engaged typically with the front shutter button sometimes we want to recompose and sometimes it kind of we kind of trip on it and we don't quite get the results we want I know a lot of professional photographers who love back button focusing the way this is done is in the menu the customizations of the buttons is we remove the focus from the front shutter button can remove it to auto focus on only can see it engaging in order to remove auto focus from our shutter button we're going to come into the wrench icon button in dial settings shutter AF come in here and it gives us the option to control whether we get autofocus with AFS or AF continuous and we can just turn it off so if we're doing a sports shooting we can have it off and if we're doing portraits then well leave it on we can and that disengages focus in AFC so we know this is working because we get the green dot when we're using AF on but we knew halfway shutter button depression we don't get that green dot so in this case the green box around my eye is designating that we have Auto exposure but the focus is designated right here with the green dot and that's how we use back button focusing now if you set this up and you don't change it back you'll be shooting and you're going to think your camera's broken if you're if you're not used to it so I'm gonna turn that back to on at this point I want to demonstrate some things in the video mode so when we flip over to the video mode you'll notice that we get some cropping on the top and bottom we get h.264 we get some information about you know what's going out through the HDMI very important to keep an eye on your audio levels when you're shooting video if you clip out to this red that's very bad and there's a way to change the game we come into the microphone setting so let me demonstrate this with the internal microphone let me go on manual and you can see we get the levels here see how it's clipping out that's bad so we're gonna turn this down until the sound doesn't clip out as much so that's this is what we're looking for yellow is okay red is bad and we want to do this with our external microphone as well I love to use the Maven mini mic on it if you put this on Auto what will happen is the game will fluctuate and your sound your sound will be all over the place so just keep that in mind if you are shooting video get an external microphone I'll put that link in the description for the mini mic and check your audio gain for manual and to not clip out something else that's important is that the jacks setting we can determine different uses for it whether it's a line or a microphone I usually turn the limiter and the wind filter off the low-cut filter off and we can even control the headphone volume so let's talk about some of the focusing tools in video a lot of this is the same whenever I'm using the focusing squares for video I almost never use the first auto focusing mode this one the multi area it just doesn't work very good we don't get control I love the area because once we set that up now we can determine where the camera is focusing so when the camera is an auto focus continuous it is going to focus on whatever the square is over if we want to change the size of it we can do that there it is we don't get quite as many options as we had before but the beauty of this is is when we're shooting video we can touch on a different subject and the camera will start focusing on that so we have the ability to pull focus using the touch monitor it's usually pretty good usually pretty accurate if you don't like this searching and hunting we can go to autofocus single touch on the screen and then we can engage the cameras focusing and we lift it off the camera is not going to change there's different times we want to use these different tools so a question you might have is about face tracking we can definitely do it we can do I detection in the video now and as I said before Fuji camera is really good with this especially when combined with the 16 255 2.8 lens the end of my youtube videos I have these this scene where I'm walking towards the camera that was shot on an X T 3 using face detection it's a very awesome feature it allows you to put a camera on a gimbal and do tracking shots just can't say enough good about it but we also have a number of other tools that I will demonstrate on the crash course is for example the focusing assist with peaking here it is just the same outline we also have the ability to use our standard zoom focusing tool so just put the square where we want it to go pushed into the camera body with the rear control will and then now we have the ability to zoom in see how I'm rotating the wheel I'm getting closer and I can use my manual focus just to get that tack sharp lots of amazing tools for video focusing tracking things of that nature AFC with a square very fun to try that out something you'll notice right here on the side is weak this camera icon with a finger and it says off and this is our movie optimize control this feature will allow us to use the touch monitor while we are recording video you can see that when we turn it on it's basically telling us that the aperture control the exposure compensation and some of the controls that we're used to are now turned off you know come back to this in a second the idea on the touch controls is that when we are changing things like shutter speed or aperture using the physical control ring or the dial up here is that it shakes the camera a little bit so when you're recording and there's a need to change the exposure settings and you don't want to do it this makes it possible to do so without disrupting what you are filming now there are some problems with this the idea is that you could touch and scroll through the different options by touching and dragging and when you in and so you can see even now I'm trying to get to the shutter speed there it is and so by default it might be set to auto you would need to come in here and touch and drag to get the shutter speed that you want so in some cases when you're going through the entire menu it's not necessarily the fastest thing but it allows for control without shaking the cameras we're going to come back we can go through them I'm going to use the control pad to scroll through these so we have shutter speed f-stop we can change our ISO exposure compensation is grayed out because I'm shooting with manual settings we have the ability to adjust the mic level adjustment for the internal microphone we have a wind filter headphones film simulations white balance image stabilization mode allows us to determine what is stabilizing whether it's the optical image stabilization of the lens or if we have a combination of the two we also have the image stabilization boost mode if we want to get higher performance we can do that as well and then we can also turn this off so if we do not turn this off so I'm at a putter button come back out if you don't turn it off and you try to change your aperture ring nothing's gonna change nothing's gonna happen when you're changing some of these other controls so when you're done using this make sure you come in and turn it to off and then you can go back to the regular controls of the camera let's come back into stills mode and let's talk about white balance again there's a short answer and a long answer to this the short answer is that when you first are shooting make sure your camera is on auto white balance that's going to work most of the time and what will happen eventually you'll get into a situation where you're shooting and the colors look a little off you'll notice it when you see it it'll be either too blue or too yellow and when that happens what we want to do is to match up the icon given to us in the white balance setting to the type of light that we are shooting in there's a lot of other types of auto white balances there's a white priority there's more of an ambient priority it's a little bit warmer and then we have these custom white balances I'll talk about the second Kelvin but when you get a little bit lower we see the daylight a Sun icon so when we're shooting in bright sunlight we would want our white balance to be set to the Sun icon we have shade which is under cloud cover we have different types of florescent lights for example and we have incandescent or constant lights you notice this is blue and then we even have an underwater white balance which is really cool so that's the short answer is if you're shooting in a certain lighting condition and the images look bad color wise we want to match up our icon for the light that we're shooting in now these guys here we have this custom white balance in this little triangle to the right this is going to allow us to sample the light that we're shooting in so I have some white blinds and we're basically saying this is white in this type of light we get okay and at that point we have just done a custom white balance this will also work with the bride's dress a wall anything that is neutral in color talking about gray or white this is going to work you can't do with things that are colored I prefer white and we have three different slots for custom white balance we also have the ability to dial in the Kelvin temperature which refers to the temperature of light that we're shooting in for example daylight is 5600 Kay so if I was shooting a bright sunny day and I dialed this into 5600 Kelvin this should be perfectly white incandescent lights 32 to 3400 you can see we get this bluish kind of tone but suffice it to say that our eyes are very good at adapting to light camera sensors not so much and there is this color shift that happens depending on the light source that we are using but in any event that is the short answer on white balance is that we are going to want to set it according to the light we're shooting in if you're not sure put it on auto white balance for now and you will be good to go now you probably noticed that when I come into white balance if I push to the right again we have the ability to shift the hue of the white balance so this white balance shift feature is something I don't use a whole lot of on certain cameras I will use it in weird lighting conditions but it allows us to shift the color temperature in different directions maybe more blue maybe more you know red depending on the kind of light we're shooting in if you're a pure beginner I would say don't mess with this just leave it in that center position where it's our 0b0 we're gonna hit okay it was really hoping I could keep this video under two hours but we're running out of time and I want to take you through some of the settings in the deep menu that help you get set up one more item I want to cover before we do that is the metering modes also refer to as photometry so you will find the photometry setting and by way if your face detection is on you will have this yellow doubt you won't be able to make this setting but it's right here in the easiest way for me to explain this is in the spot metering mode and what I'm going to do is turn on a headlamp and basically shine it directly at the camera and remember when I was covering my hand over the the lens this is the opposite is where we're adding light so I want you to see what happens as light goes over the square you can see this radical change in exposure settings so what metering modes or photometry does is it tells the camera the area from where to sample light and that's what's happening so as we move the square around if we come over something that's very bright it makes a completely different recommended setting now there's some other settings in here a very common is multi metering mode which is going to break the entire frame into different sections and parts very good for beginning photographers if you know if you're not really sure those are the two I use the most is the multi metering mode in the spot metering mode which is going to be sampling from our focusing square but we also have a center-weighted which is like multi it just gives a little bit more priority to the center part of the frame and then we have finally an average which is taking the average of the entire frame and there's no priorities or things of that nature so in any event that is the metering modes in the beginning with multi metering mode if you want to meter the camera with a tighter area put it on spot metering and meter from your focusing square let's take a closer look at the deep menu system I'm going to be pointing out the most important things and some of the preferred setups for pure beginners and some of the things we're gonna skip simply because you're not going to use them that much I go in a far greater detail in the menu items in the crash course bujji's really good about issuing firmware updates and in some cases they can add features they can change features but it's it's really at Fugees mercy when they decide to do this if they decide to do this the navigation of the menu system you can see that have these different tabs here in within each tab there are little squares that designate pages within that tab the page that you are on is also designated over here so we got one out of three pages and the idea is that if the tabs are highlighted we could jump from tab to tab and then if the item is highlighted we could navigate through from start to finish so go from page one to page two obviously the white highlight is where we are on many of these we have a little black triangle that if we push to the right it would open those items or we could push the joystick into the camera body or we could press the ok buttons there's a number of ways to access these menu items and so IQ stands for image quality this is how the camera is processing images being saved under the memory card we'll talk about some of these in just a second af/mf is auto focus manual focus settings the camera icon deals more with still images and we have the flash settings then we have the wrench setup which is the customizations we also have a tab down here called my menu those of you familiar with previous fuji cameras are going to be saying hey there's something missing here and that's right is we're missing the video camera icon which you can see that when we're setting the camera to stills it's not present so if we were to flip that over to the movie mode exit come back in now we have our video camera icon here at the top and you also notice that we have our own microphone tab timecode setting tabs and so it's changing the layout of the menus I get tons of questions on these videos how come I can't find this menu item that you're talking about in the case of the xt4 it's gonna be this style right here it's gonna depend if you're on movie mode or on stills mode so keep that in mind if you are having a hard time finding some of these items I'm talking about another thing I want to point out is that the many of these stills image menu items are very similar to the video menu item so if I cover it once I'm not going to cover it again if you have a general idea of what that does starting from the top image size this deals with the total resolution which is a large image at a three by two aspect ratio and the number on the far right tells you the number of frames that we could take on the memory cards that we're using you can see the resolution here 26 megapixels and as we scroll down you'll notice that the number of frames that we can take goes up aspect ratio changes sixteen by nine its general movie aspect ratio and then we have a one to one which would be something like Instagram and then we get into the medium-sized files which is only 13 megapixels and then we go small which is 6 megapixels if you're a peer beginner I recommend leaving it on large 3 by 2 the reason why I have this by default is it's much easier to downsize images it's a lot harder to up res if you're shooting in small resolution and trying to make it you know higher resolution it's not quite how it works image quality deals with whether we're shooting and recording JPEGs which is a compressed file or RAW images so you can see that we have this raw image down here raw image should be all of the information being captured by the sensor there are some variants of this the main difference between Raw's and JPEGs is there's a lot more information in RAW files but they are also much larger in file size JPEGs in the case of fine or normal this deals with files where a lot of this information has been thrown away maybe dealing with 20 or 10% of the original size file and my rule of thumb on this is basically if you're shooting something professional or you have mixed lighting conditions to shoot in RAW most other times I'm shooting in JPEG but again this is preference depending on what you're doing sports shooters will find they can get a lot more shots when they are using something like normal normal is a little bit more compressed than fine and you can take pictures between fine and normal and take a really close look at them it is very difficult to see any difference between the two when I shooting weddings I usually shot on the equivalent of normal because I was taking four or five thousand images of the day and it was this far faster workflow to deal with the more compressed files we also have the ability to shoot both JPEG and RAW so raw recording is essentially the type of raw file that we are shooting there are different versions of it there's uncompressed which means it's the original raw file has all the informations the full size and there's also lossless compressed which essentially means that the file size is smaller but we still have all of the information and then we even have a smaller file size of raw called compressed where we start to lose some of the information a lot of this is going to come down to preference in terms of what you need for your workflow the lossless compressed setting tends to be the more efficient of the three simply because you're getting all your information and the file sizes are smaller but again this is going to come down to your preference depending on what you're shooting so the film simulations we've already talked about this is where we can select them in the deep menu you can access them by default using directional pad I tap my shutter button and just press the left you can see we can pull these up pretty fun to take a look at Fuji is famous for these some of them are pretty cool and in the case of image quality this is dealing with stills important to remember we have the ability to change some of the black and white settings and a lot of these necks coming up have to deal with more effects there's a grain effect a color chrome effect if we wanted to play with this we could it's gonna look better when we're shooting you know something with color we have the FX blue effect and something important to keep in mind is these are effects that are going to be applied to JPEGs in camera so sure you want to do this with the effects on them when you are using them we have our white balance which we've already discussed this is just a different place that we can select it the dynamic range setting is going to tell the camera how much difference between very darks and very brights if you're a pure beginner just leave this on dr 100 we become more advanced you're gonna want to tweak a lot of these different things we have a dynamic range priority setting which I have turned off from for now the tone curve is basically the same kind of curve that we've seen in Photoshop it allows us to adjust the brightness of our highlights mid-tones and shadows using the different variations and eschars if you wanted to it's not something that I'd recommend for pure beginners again and then we have these other variables between color sharpness high ISO noise reduction in most of these other items that were looking at are essentially recipes we're giving the camera instructions in terms of how to bake the JPEGs if you if you have this raw material these guys are the recipes that we're telling it you know how much color and sharpness how much high ISO noise reduction clarity and in the beginning what I'm telling beginners is for the most part leave them on the default settings turned off high ISO noise reduction if we increase this there would be more cleanup or a reduction of noise but it also comes at a cost of softness because there's a lot of smoothing that goes on I don't think it looks great so again and leave it at zero any long exposures it's typically over one second and there can be a lot of variation in the light which would create noise and this can also be resolved using this feature I leave it turned on by default this guy right here the lens modulation optimizer you can see it's grayed off and this is going to depend on the lens that we have connected with the camera the short answer on this is it's basically some instructions from Fuji to help with diffraction and softness on certain lenses if you can't choose it you know not going to matter but in some cases you may see this ability if the lens has some of these issues you should be able to turn it on if you want it can help depends on what you're doing again colorspace srgb for now if you're shooting for magazines you would come in and select Adobe RGB but you already know that the pixel mapping is when we get a dead pixel on the sensor you'll see it as a red or a white you know pixel that always stays red or white and the pixel mapping remaps the sensor if you see this this is where you would come in and remap the sensor and then we get into the custom settings so we can select the custom settings or we can edit the custom settings and so when you're probably wondering what are the custom settings remember the Q menu we have these different custom settings right here where we could customize the camera in different ways well this is where we set it up so we can select it from here who want to go that route better yet we can customize it this is a little confusing the first time you see it is the idea is that we would come in to the custom item that we wanted to change we could save it as it is we edit a custom name or we could even edit the different processing for that custom setting set so if you come in here and you start changing and selecting these things at some point let's just change our white balance for example we're hit okay okay and when I hit back it's asking me if I want to save all of those settings to custom one set so any changes that I make when I hit that back button I want it to be saved I would hit okay and we would be good to go so the mount adapter setting deals with putting other camera manufacturer lenses on to our XT for for example there's tons of different Fuji adapters out there and this allows us to tell the camera what the focal length of that lens the adapted lens over and we could even save it under a different name things of that nature very useful when you're adapting that's the first tab of image quality coming into the second tab which is auto focus manual focus we've talked about a lot of these already focus area AF mode we already discussed these in that this allows us to select the size of the focusing square that we're using we can control which modes appear within the quick selection of using the rear control wheel so if we were to only choose a single point for example this would limit us when we are changing the sizes I'm not a huge fan of that I just leave it available on all of them this guy right here auto focus continuous custom settings if you are a beginner I would say leave this on default but the idea of this is you can come in here and we can customize how the camera focuses differently depending on the sport that we are using so you know gives some examples it also talks about the movement the acceleration of deceleration if we wanted to customize these settings further we could do so by highlighting this sixth option here we could change our tracking sensitivity our speed tracking sensitivity and the box switching if that was something that we wanted to do so we just come over here highlight that just that change it gives it gives you some examples but for the beginners and you know even intermediate shooters this isn't something you're going to want to really mess around with as you become specialized in certain types of sports shooting then I would recommend it in the focusing systems on Fuji cameras over the last probably like two years they've gotten really really good the algorithms are getting updated I've done some tests on them you know I'll make some notes and here Fuji comes out with another firmware update among the best of all mirrorless cameras that I've tested store autofocus mode by orientation when this is turned on it essentially remembers the focusing mode AFS or AFC and the focusing area so when we're going from landscape to portrait we're rotating the camera the camera remembers the focusing mode and the focusing square in the orientation that we're shooting if you just wanted to do it for focusing squares only you would select this or you could turn it off I think it's pretty useful in my opinion at least to have which focus using squares you're using auto focus point display is basically when we're using the larger squares the zone for example is we get these individual boxes appearing when this is turned on and the idea on this is it'll show us which of those squares are being engaged just the preference thing we can also determine whether the camera is showing 117 focusing points or all of them and I usually prefer the 117 and the reason is is that when you get into very small focusing points it takes more scrolling to get through if you guys can see those but there are those points so 425 versus 117 for most purposes 117 is plenty you can see those squares there just a little bit quicker to scroll through pre autofocus is something I typically have turned off when this is engaged the camera will start focusing no matter what you are pointing the camera at I think it drains the battery a little bit quicker and sometimes I found myself tripping over it so I leave it turned off the autofocus illuminator is going to help in dark situations there's a light that will kick on it's located just to the inside of the shutter button and that I'll turn on and give some illumination for the camera to focus face and eye detection we've covered already this is the menu section where we can determine eye detection whether it's auto left or right autofocus manual focus is a focusing assist tool that when you are an autofocus single you turn this on essentially what it allows you to do is to get auto focus and holding the shutter button halfway down engaging the focusing systems we can then rotate the manual focus ring on our lens and get manual focused so you can see their distance indicator this would be something pretty useful for macro photographers who want to get a quick focusing lock and maybe they want to change it or tweak it just a little bit but you will not see it not oh is continuous its auto focus single only manual focus assist we've talked about this is the peaking and some of the you know the zoom and features the split image that we already demonstrated focus check essentially means that when we are in manual focusing mode and we rotate our manual focusing ring it'll automatically zoom in we discussed the interlock spot a focus area in the metering lesson when we use the spot metering mode essentially this allows us to tell the camera to meter a light from the focusing square that we're using in the instant auto focus setting is essentially when we are in a manual focusing mode we do something like hit PAF on button which do you want the camera to use auto focus single or auto focus continuous the depth of field scale has to deal with whether we are publishing in print or on a computer monitor so depending on what you're shooting this will help determine the depth of field preview and then we have our release and focus priority which is essentially asking when you are in the different focusing modes do you want the camera to prioritize focusing or do you want to prioritize releasing leave this the way it is if you change it you will find that you get fewer frames per second on your autofocus continuous so the auto focus range limiter I leave this turned off for now we've also already discussed the touch screen modes with the touch icon but these are the modes if you want to see them in the deep menu that is the auto focus manual focus tab coming into the shooting tab drive settings we've already talked about they control the settings of the sub-command dial the bottom up here the sports finder mode is essential crop mode and when we turn this on what you are going to see is that we get this little outline it's a very faint frame and we get about a 1.25 X crop you'll notice that the image size is now medium so we lose a lot of our resolution and in some cases they will allow us to get deeper buffer shots and things of that nature in that is the sports finder mode pre shot electronic shutter is a very cool feature that we cover on the crash course it is essentially a cyclical buffer that when we turn this on and we start shooting it is clearing this buffer out as you shoot so you're waiting for your son to hit his first t-ball pitch and so you're buffering buffering buffering and then when you hit the shutter button down it remembers the last 60 or so frames and you're able to go through and find the exact moment when the ball connected with the bat we demonstrate this again on the crash course it's a very cool feature but it is working in electronic shutter mode we have our self timer 2 to 10 seconds we can save the self timer setting if we wanted to we have the self timer lamp that will indicate with flashing when it's about to trigger interval timer shooting is something we cover on the crash course we'll go down to the beach and I'll demonstrate how this works and how to set it up and that includes the feature of interval smoothing to kind of smooth it out exposures photometry also known as the metering modes we've covered shutter types we can choose between mechanical which for me is the default most of the time I am shooting with mechanical shutter the improved battery performance that we're seeing on the xt4 it's pretty good I'm not running into the problems of the camera dying early or as fast as it did on the xt 3i lectronimo if you if you want very fast shutter speeds but it comes with limits such as shooting and LED lights or if you're panning quickly you might get the jello effect in those various combinations of half electronic shutter with mechanical and things of that nature and there's notes on all of these if you are a pure beginner stick with the mechanical shutter for now flicker reduction helps when shooting under certain types of light the camera is able to analyze and try to take the exposure between those flickers to get consistency if you want to use it you can turn it on to all frames or just the first frame kind of a nice feature most modern cameras have flicker features image stabilization mode when we are in stills do you want this to be when we are shooting only or do you want it to be continuous I have a lot of tests that I need to do with the Ibis to find out what its performance is in terms of with or without a lens trying to figure out how much advantage it gives and things of that nature there are some videos on YouTube talking about the glitches people are seeing when using it with a video Fuji is typically pretty good with firmware updates so I do believe that it will be fixed at some point or another at least I'm hopeful our ISO auto settings allow us to determine from three different auto ISOs the default sensitivity which is what it starts at the maximum sensitivity so if you want to put a limit a hard limit on how high you can turn up the ISO in the longest shutter speed so we can come in here and essentially tell it do not go longer than this shutter speed and the reason why you want to do that is because the result could be a blurry image this allows us to set limits on our auto ISO multiple exposure mode I demonstrate on the crash course it is stacking multiple images together we get a preview of the first image and we can line it up on a second image and then hopefully I'll have some time to cover connecting wirelessly to the Fujifilm app to use it remotely coming into the flash settings I was a little disappointed to not find that little baby flash that came with my xt3 didn't find it in the xt4 I kind of feel like certain corners are being cut to save money and costs on the crash course I talked about a godox TT 685 it's about a hundred and ten dollars I demonstrate how to use it how to set it up certain examples in portrait lighting how to change the different exposures of your background it's good full our lesson on flash and these settings in here allow us some control of the flash but I don't recommend doing it from the camera anyway it's easier to do it from from the back of the flash so for that reason we're going to basically skip over this and then we come into the wrench icon there is a ton of different information in here user settings we're dealing with things like formatting the memory card the date and time the time zone difference the language we're using we have the ability to do the my menu settings that I'll set up in just a minute sensor cleaning has to do with when the camera is going to vibrate small cover over the sensor that will kick off sensor dust we have the battery age that will determine the wear and tear of our battery give us an idea of when it's time to replace it if we want to reset our menus we can so we do can do it for the still menu the movie menu or even the set up we have a few regulatory certifications here they don't do anything it's just basically for display sound setup controls out the volume the the sound settings of different rations from the autofocus beep to the self-timer operation of the camera things of that nature volume your screen setup has to do with the display of the ebf as well as the LCD you can see that I've turned my LCD here as I'm recording so you can see the detail of the screen but it's essentially the the brightness color things of that nature image displays when we shoot an image do you want it to automatically playback some sport shooters don't look like that they just want to keep on shooting auto-rotate we leave on preview for exposure and white balance we've already talked about natural live view basically means if we were to use something let's say like a film simulation turning this on would allow us to see it as we naturally see it f log view assist when you we use f log things tend to get a little less saturated in this will basically grade it to be T dot 709 so it looks a little bit more natural as we're shooting framing guidelines these are grids that will appear over our monitor they're useful for lining up certain thing the confusing thing about this is you wouldn't see these unless you knew to come down to display custom setting and salute and choose from four pages of different displays that we can have on our monitor so there's tons of different information we can have displayed or not a lot of this is preference come back up auto-rotate basically means that when we shoot in the portrait mode do you want these Auto rotated during playback we have our focus scale units when we're using manual focus you want it meters or feet certain Fuji lenses will allow us to display T stops and this is where we can determine whether it's T or F dual display setting is essentially when we're dealing with a focus assist tool which side you want the focusing on in which side you want the frame on the large indicators for certain exposure settings we can turn them on in the EVF as well as the LCD here here's the layout in terms of which ones are appearing and what it's pretty cool because we can determine what sets of information we want to appear with the large indicators cue menu background is when we push the cue button do you want the background to be black or transparent you we come into the button and dial setup there's a lot of information in here again just briefly going through some of the things we haven't talked about we can lock the focus lever setting if we come in here and turn it to lock set essentially turns that off to whatever it's on the quick menu we can customize the number of options that we have so if there's too many slots you want to simplify it you can do it for both Stills and video we have our custom function buttons where after some time with your camera you're going to want to customize how the buttons operate this is where you do this we get obviously a green indicator about which button we are changing it's pointing to it of customization Fuji cameras are great for that the selector button setting essentially is talking about the directional pad do you want these buttons to be used as FN buttons function buttons or do you want them to control the focus area I leave it on FN the command ow we talked about is that we can use the front control wheel to change our aperture our exposure compensation or ISO when it is set up to those C modes talking about using the shutter for autofocus and turning this off for back button focusing we can do it for autofocus single or autofocus continuous when we push a shutter button halfway down we're also locking the metering when I demonstrated how light is being measured that is locked when we push your shutter button halfway down and we can control whether that lock is happening in the different focusing modes shoot without a lens helpful if you're adapting in the lens isn't recognized if you come in here and turn that on shoot without a card you know if you want to do some test shots without a card you can do that and here I had a couple that thought there was some sort of internal memory believe it or not that was years ago we can control the direction of the focusing ring whether you prefer to go clockwise or counterclockwise you can go linear or nonlinear terms of the throw in terms of how much focusing we're getting as we rotate it these next to the lock modes essentially allow us to determine how exposure or focus lock is attained I would say leave it on P pressing for now otherwise you'd have to toggle it on and off with the switch meaning that you have to press it once to lock it and press it again to relock it another time the aperture ring setting we discussed if we want to have front dial control of our aperture we would set this to command and then switch it over to the read a on our lens there are going to be some lenses that don't have an aperture ring and in those cases you can see it's grayed out right now because I have the 18 to 55 but in those cases you'll have either auto or manual setting meaning that we can let the camera decide in the case of auto but if we want to manually change it we would use the front control wheel so if you have one of those lenses that doesn't have an aperture ring you connect it and you're set on em it will be the front control wheel for that touchscreen settings we talked about so the way the lock function works is that you come into this list and you determine any feature that you want to basically not accidentally bump basically what we're saying once that set you would determine whether everything is unlocked whether everything is locked or whether the selected features you just chose were unlocked so I'm going to leave mine on unlock for now now we're coming into power management pretty straightforward when does the camera shut off performance boost we have a number of variations of performance boost high performance normal or battery saving we can even determine the boost setting for low light resolution or framerate depending if we're looking through the EVF or the LCD we have a lot of options in terms of how to save data to our memory cards the frame number basically means that when we take out a memory card and put a new one in do you want it to continue the image number where it left off or do you want it to renew save original image has to do with the software solution for red eye removal which is in the flash menu so that's right here and it basically goes in and paints red eye out so if that happens do you want to save an original image without it we can edit the file names this four-digit if we're using srgb you want to change those four digits we can change that and then we get into the card slot settings this is really great because we can now record simultaneous video to both memory cards so still image card slot settings sequential means that once the first card fills up then it will overflow to the second card we can also shoot simultaneously to both memory cards or we can record RAW images to one and JPEGs to the other when we're dealing with a video we have the ability to overflow from one to the other so as we're filling up those memory cards it just writes one copy when it's full it goes to card two or we can write to both memory cards at the same time when recording video and we also have the slot selection which basically is asking which slot do you want to start with or write with right now we can select the folder that we're writing to we can also create new folders come in here give it a quick name and finally we have our copyright information which allows us to enter things like our name or company and that would be embedded into the exif data of the file itself so that is the stills menu real quick let's talk about the my menu tab it's right here it's kind of grayed out you can't really see it it's gonna be found under user setting come out to the my menu setting you'll notice that we have one for both stills as well as video and the idea on this is that we just get to pick items that we think we're gonna use a lot but okay so we have that well I'm just to jump around to something like self-timer so we have these two items we can control the order they appear and once we have them the way we like them we're gonna hit OK to save it when we've made our selections we can add more items we can rank them changing the order or we can also remove them but once this happens you'll notice that we get my we can select it now and here are those two menu items that we selected so the ID on this is that probably have over a hundred different menu features to choose from this allows us to put them in the my menu tab so having even done all this tapping the shutter button I know what some of you are thinking what about the video mode okay let's do it real quick we're gonna flip the switch over to the video record icon now when we press the deep menu we have a number of items that have changed image quality is now in regards to film you're going to recognize pretty much all of these one of the differences is we get the peripheral light correction which has to do with been getting definitely something I would recommend leaving on because when you shoot with wine in it wide-angle lens is in get this darkening in the corner it's kind of a tough thing to clean up after the fact we also have inter frame noise reduction but the rest of these I think pretty much pretty much we've already covered in terms of image quality talk about the important tab the first tab which is our movie settings there's a ton of information here that we go into greater detail on the crash course I'll cover the some of the more xt4 specific type things here that are important so the first one is our video resolution 4k video at a 16 by 9 aspect ratio and then we get the number of frames per second 29.97 is pretty close to 30 frames per second that is the video standard in the United States so when we're uploading to YouTube I typically record at 30 frames per second we also have the ability to increase the megabits per second so if we wanted more data it's essentially how much permission are we giving the camera to record at what file size is that as you increase the data rate which is how fast memory can be written to the memory card the hope is that we're also increasing the quality now in actual you know truth reality it may not make a qualitative difference to record at something at 400 megabits per second if you're creating something for YouTube and there's tons of compression so a lot of this really depends on your output strategy where are you displaying this you know is something that's a consideration you should always have suffice it to say that if you're just getting started you're not really comfortable with video do it at 100 megabits per second learn how to edit and then start coming in and tweaking some of these settings so the 4k resolutions 16 by 9 the number of frames per second in the data rate you'll notice under the resolution we actually have the pixel dimensions 3840 by 2160 we get the amount of time we could record with that resolution on the current memory card we can get this warning that you cannot use a shutter speed slower than your frame rate so if you're trying to use a shutter speed slower than one thirtieth of a second it's not going to work there are other options in here including full HD DCI 4k which is a little bit wider and tons of options but if you're recording 4k video or HD video I like 16 by 9 30 frames per second if you're recording something more cinematic you may want to go with you know 24 frames per second which is what what film is recorded that 24 frames if you're in Europe you might be going at 25 frames per second which is the pal standard but you can see we get lots of different options in here I'm gonna leave it at 29.97 4k for now I'm gonna come back out so the file format in the beginning I would recommend MOV at h.264 this is going to allow us to edit a little bit easier on our computers if you want something that's a little bit more prepared and ready to go but more compressed you're looking at mp4 there's also the high efficiency video codec which is a smaller file size so so in under certain types of conditions where we might want for 200 10 bit things of that nature or we're going out to an external recorder at 10 bit 4 to 2 this is something to consider because it's a higher quality video with more efficiency it's a newer codec but I know that's a lot for beginners you're just getting started and you're recording in camera start off with MOV h.264 movie compression in the beginning I would definitely recommend staying with long GOP which stands for group of pictures without going into too much information all intra basically means that we're taking an individual picture for every frame long group of pictures doesn't really work that way it essentially analyzes the frame before and after and it tells the camera to remember what has changed this is processor heavy but the file sizes tend to be smaller and that's the exchange there's a time and place for all intra but those file sizes are typically much larger so if you're just getting started long GOP to start one of the coolest features about the Fuji xt4 is the 240 frames per second I'm going to turn that on and when I do so it brings us into this full high-speed recording now the slow-motion effect is at Full HD it's not 4k but we can basically control the playback that we intend in this case 30 frames per second and if we're recording at 240 frames per second it does the math and it tells us that it will record eight times slow-motion for 31 minutes two seconds okay so something to remember on this is that the face detection that have tested at 120 frames per second on the xt3 was astonishingly good it's one of the few cameras that can pull it off smoothly the 16 255 2.8 lens was the lens that really did the best with it but it's an incredible capability now to do it at 240 frames per second if that's too fast we can come down to 120 and you can see that we're losing 100 and 200 if we go back into our movie settings and set it to 25 those should light up so if we turn this on we would be ready for slow-motion recording and really a great feature to check out turn it off for now the fixed movie crop magnification changes the aspect ratio to 1.2 9 to 1 ratio it's the touch wider than 16 by 9 probably too much information kind of confusing but when we are recording F log or h LG which is hybrid log gamma it's like a greater dynamic range video this setting will allow us to determine what is recorded to what source whether it is a memory card internally SD or to an HDMI device like an animal sinja 5 so what this is normal video to both this one is F log to both normal video and F log to HDMI F log to the memory card in regular video to the HDMI so this allows us to record in two different video formats basically at the same time LG is grayed out because we don't have it turned on right now that same concept could be applied to 4k recording depending on whether you want to record 4k to both the memory card and the HDMI so this is all determining what kinds of movies we are recording things of that nature we have some information displays for the HDMI the important guys in here are the image stabilization mode whether it's Ibis with optical image stabilization which is the one that i prefer there is also the digital stabilization which basically zooms in and crops the image a little bit you're going to lose some image quality some people love it I don't personally use it because I can do it in post and then we also have image stabilization boosts so if you're panning tilting for example on a tripod you would turn this off if you're hand-holding you would try the boost mode zebra settings are essentially these marching ants that we can get to help us determine when we're over exposing we can set the level of exposure here on a scale from 1 to 100 and this can help photographers determine when they're starting to overexpose something just skimming through the rest we got our tally lights for recording we have our custom settings we've already seen this in the wireless communication so those are the most important things in the movie setting tab many of the auto focus settings we've also seen in the still shooting and I'm taking a look real quick the focusing clusters I've pointed out at preferred area we have the ability to change the tracking speed when we're shooting an autofocus continuous we have our face and eye detection 'he's a lot of this stuff we've already covered yep pretty much similar to what we've covered already in the still stuff pretty cool to have a microphone tab we can adjust all of our settings for the internal the external the microphone jack setting if we wanted to determine if it's a microphone or a line in we have our level limiter who wanted to set a limiter on there I usually turn those guys off these three because I do the audio and post-production anyway we have our headphone volume TC if you are a professional videographer you're going to want to come in here there's some options for you to choose from depending if you want to record for example on a free run or record run those are right here drop-frame should stay on and then we have the user settings so I know that's a really quick overview of the deep menu on the xt4 I hope you enjoyed it real quick let's talk about connecting our xt 4 to a smart phone in this case I'm using an iPhone 10 we will need to download the Fujifilm cam remote the short answer on this is when you first get the camera and turn it on you're going to have an opportunity to pair which is an introduction of the smart phone to the camera through bluetooth I skip that step in order to show you now in case you need to do it at a later date we're going to come to the wrench icon and we're going to select connection setting which will activate bluetooth settings so we're gonna hit pairing registration it's going to give us a QR code if we want it I can come into the Fujifilm app and you'll notice that I have other cameras in here already this may be the case in any event if you don't there should be an option to add to camera list it's right here on the bottom I'm gonna select this and come in to X system and I'm going to select X t4 and add proceed so what's happening now is the Bluetooth is talking to the smartphone they're making an introduction they're becoming friends they're basically saying trust each other so here comes the bluetooth pairing I'm gonna hit start the camera is gonna ask if I want to set the date and time from the smartphone sure why not and so now we have pairing and I can select the camera and we have some options in here that are pretty cool so remote release will work fine with Bluetooth it's basically push and hold and you're gonna take a picture no big deal right so when we want to come out of that some other features that we have are importing image so the importing image in the live view shooting it just you got to do it with Wi-Fi and you can see it's already starting to connect but hit join so now the the Bluetooth is doing the work of connecting us to the Wi-Fi signal coming out of the camera so it's not you know your home network it's a Wi-Fi signal from the camera and opens up the ability to import images this is something nice that you're going to want to play around with and take a look we can basically look at the images on the camera which is what we're seeing and select an image tap right here and import it so so I'm moving the image from my camera my smartphone and this will allow me to share it on social media and things of that nature so now we have an imported image and if we wanted to just look at those ones we've imported we would touch on the smartphone pretty straightforward if you're looking to move images yeah we're going to cancel this because I want to show you some other things a couple times I've been using this and when I leave a feature it kicks me out like it's done right now so it's taking me out of Wi-Fi in bluetooth so now that we're kicked out instead of going to the Bluetooth what I'm going to do is just come into the camera icon and go straight to the Wi-Fi wireless connection so now that it's connecting the app recognizes it and we're going to join back into the network so this is something that I'm seeing in this version of the app is that when you're moving in and out of these different features sometimes it kicks you out out of you know that the Wi-Fi connection so in order to get into Live View it wants us in a shooting mode you it's going to try to connect again with Wi-Fi because we need that I've had a couple problems with it so don't be surprised if you run into some hiccups it's usually the first few versions of the firmware and whatnot you'll run into this but here we go now we're connected in live view very handy when you're putting your camera in a position that you can't see the monitor and pretty straightforward a lot of these icons are going to be the same we have the ability to change our shutter speed I'm in manual mode right now so I can change that thing hit OK we can change our aperture remotely very nice I so wanted to bump this up and do so turn it down we have auto ISOs very nice we have our film simulations so if we wanted to choose from a number of film simulations we could do that we have our white balance setting again all this remote distance is about 20 to 25 feet is when you'll start running into problems so it's not really designed for a long-distance thing to take a picture just push your shutter button down really great see we have some other indicators like our battery life our flash or focusing mode something that's easier than going in to download images and back to the camera mode is just to use this little icon here and it seems to be a lot more stable jumping back and forth between those two features very important for me to note that when you want to shoot to the video mode here is the video camera just touch that icon and you can start and stop recording and then we can stop it when we're done recording I've used this many times to start and stop recording on a project on camera or whatnot instead of going up and actually touching the camera something else I want to know real quick wait okay it's going to disconnect from Wi-Fi but when we come back out into the main menu you'll notice we get these little green dots that's when something has happened and in the case of a notice and in the case of firmware updates you're sometimes going to see these you can see we have an XD 30 and an X 100 V connected to this smartphone this is how we can download firmware updates and there's almost undoubtedly an update coming to the XT for probably within a week or two after I publish this video that will allow us to update the firmware this is a really nice way to do it so we can do it through the app we don't have to use memory cards and things of that nature so when that next firmware is ready this is where you're going to come and do it in any event that is how we connect do it first with bluetooth pairing and then that time moving forward do it through opening the app and turning on your Wi-Fi connection and it'll do a lot of the legwork for us so we don't have to go into our settings and set up the Wi-Fi and things of that nature I wanted to take some time to make some lens recommendations as well as some other important accessories if this is your first Fuji camera the kit lens that I recommend is the 18 to 55 it is probably the best kit lens of all cameras out there it is very sturdy it's very tough its compact this is a good all-round shooter you know if you're traveling or things of that nature and the beautiful thing about this is you can find them for all day long on eBay for very affordable prices we're talking in the one less than $200 all day long but if you're doing any kind of high-end work I'm a big fan of the sixteen to fifty-five two point eight it's a much higher performer it's a fixed aperture at 2.8 it's sharper it has great focusing silent motors if you're doing any kind of you know slow motion videography that is the lens that I would recommend its outstanding general-purpose video shooting lens many of you will be looking for a lens that has a little bit more reach in in the cases of for example wedding photography or short distance sport shooting you're probably looking at the 50 to 140 and remember there is this focal length crop factor equivalent we're going to multiply it by 1.5 and that will give you the effective equivalent focal length the full frame so it sits in the ballpark of a 70 to 200 it's a great lens I have it I use it I love it many of you have purchased this camera for sports shooting at the time of this recording your best option is the 100 to 400 it is an amazing lens I think for the value you know 15 frames per second it is going to be a very powerful combination for sports shooters if you're looking for a wide-angle lens I prefer the 10 to 24 f4 over the 8 to 16 2.8 I made a video on those two and I go into the reasons why and there's also tons of great primes depending on what type of shooting you're doing Fuji makes excellent aps-c size lenses I think the vast majority of you if you haven't already you're going to need a tripod and the starting tripods I recommend are the be free by Boggan Manfrotto I like the carbon-fiber one it's a little bit more expensive and there's also a company called me photo that makes these aluminum tripods they're kind of like starter tripods if you're looking to save some money I will have an additional link to an equivalent tripod that will save you about 50 or 60 dollars it's the same tripod just made by a different manufacturer many you will be interested in flash systems the flash that I recommend is the godox TT 685 FF stands for Fuji I also like their X Pro trigger which will allow you to put the flash off-camera I cover these techniques and that exact flash on the XT for crash course it's an additional almost hour lesson in terms of the operation to set up the shooting and things of that nature it'll save you a tremendous amount of time and money if you go with that go Docs and watch the crash course many of you will be getting into videography and the XT 4 is absolutely loaded with video features I love it because we have face detection at 240 frames per second which allows us to do these fantastic hero shots there are not many cameras that can face detect at that high frame rate I also like it because it's very light it can put it on a gimbal but if you're doing any kind of high quality audio you are going to need an external microphone and if you're just getting started the microphone I recommend is the Maven mini mic it comes in a kit it includes a dead cat and it is a phenomenal value this has been made to spec by me because it covers a wider frequency range than some of the competing models that link is also in the description in any event the best investment that you can make right now is right here it's the knowledge to terms of the operation of the camera so if you enjoyed this video and found it helpful I would strongly recommend my Fuji XD for crash course I will put that link in the description any event thank you guys so much for watching and I will see you next time [Music] [Music]

Channel: Michael The Maven

Views: 280,309

Keywords: X-T4, Fuji X-T4, Fuji X-T4 Training Tutorial, Fuji XT4, Fuji XT4 Tutorial, training, manual, guide, how to use

Id: m5frhQ_X3T8

Length: 132min 45sec (7965 seconds)

Published: Mon May 18 2020