Fuji XT3 Full Tutorial Training Video

hi I'm Michael Andrew and I'm about to give you a free tutorial on the operation of the Fuji XT 3 what an incredible camera at the time of this recording in terms of focusing systems it's the best that I've seen on a mirrorless camera I'm very impressed with it 4k 60 frames per second video we can do 10 bit for two to external there's a lot of amazing things about the camera very powerful for the price $1500 it's crazy right all this said before we get into the tutorial I want to emphasize that this is not the most important photography tool in your arsenal the most important photography tool that you have is between your two ears it's right here oh and by the way I know some of you are coming from other systems if you'd like to get into the tutorial check the table of contents below we've linked everything out but for the beginning and intermediate photographers I want to talk to you guys just a little bit because the operation of a camera is a very low level of shooting okay I know that sounds terrible it's a very small piece of the pie and if you want to take consistently great images there's probably six or seven other things you're going to need to learn the reason why I'm going through the trouble of telling you the story of how I got started it was 15 years ago I had a canon 10 D and when I bought it I was so frustrated I wanted to take it and throw it through a wall and I remember thinking how I how I could see in my mind what I wanted to make but I couldn't translate it over to the camera this is where the source of my frustration was coming from so two years after of trial and error I eventually figured it out and and started really enjoying photography so the warning I'm giving to you guys the beginning and intermediate photographers is don't get frustrated okay I've been there I know how it feels and something that I wanted at the time I was thinking why doesn't somebody just make a course that has everything all in one place the photography basics the composition the lighting digital basics the menu systems the video shooting where is the real world she put it all in one place so somebody could sit down and learn their camera in a few hours not two years of trial and error and that's how I began my career as a photography instructor so what you're about to learn is that just the operation of the camera but I always emphasize learn to use your mind learn to see the image in your mind before you go and take it that's a much higher level of shooting and then the tools that you learn you're gonna start tweaking things to get that image the way you saw it a lot of people who don't know this Tesla pre-visualized alternating current motors before he made them he did it over and over and over again until you made it so there's a tremendous power there and what I'm trying to do is to give you a disclaimer that we can talk about the operation of the camera but this is a very small piece of the puzzle so the good news is the xt3 crash course will be out in a couple weeks I'll put the link in the description there's a lot of information in there and pretty sure you'll mostly have your camera mastered after watching it maybe twice ok I'm very confident that two other resources I want to give you guys if you're a beginner or an intermediate check out Tony Northrup stunning digital photography book Tony's a friend of mine but he did not ask me to say this he's never asked me to promote his his products any time I went out and bought his book with my own money and I looked at it and I was just thinking this is a great resource it's not specific to the xt3 but it has so much great information that once you become fluent there's a lot of tools in there that will help you really excel a third resource I want to give you guys is my new course on the concepts of photography which deal with the discovery of the photography concepts see I can tell you what they are it's far better if you discover it on your own and you own it you'll remember it faster and so I made a course that any in the world can watch no matter what language you're speaking because there's no languages written or spoken in the whole course so with that in mind I'll put those links in the description let's get on with the tutorial first let's familiarize ourselves with all the external buttons and controls of the Fuji xt3 this is the shutter button which has a rotating power switch around it obviously this has to be on for the camera to work the shutter button itself has two phases the first is a halfway depression in the second is a full depression which will actually take the picture getting a feel for where that halfway shutter depression point is will allow you to get focus lock without accidentally taking the picture and this will prove useful throughout your photography career we will be talking much more about focusing later on in the course just behind in to the left of the shutter button we have the shutter speed dial which will allow us to determine either the mode we are shooting in designated by letters or the shutter speed which is designated by numbers I'll be talking about this in much greater detail in the modes and exposure lessons you will also notice the locking center post in the middle of the shutter speed dial pushing it into the down position will prevent it from rotating and pushing it again will unlock it at the base of the shutter speed dial is the metering mode dial which can be changed by pushing on the notched grip you will find at the front base of the shutter speed dial most Fuji lenses have an aperture control ring which allow us to physically dial in the aperture we want either in the manual mode or aperture priority mode the red a stands for automatic aperture which is used in program or shutter priority mode in the camera will decide the aperture in those cases on the far top left of the camera we have the sensitivity dial which controls our ISO the letters determine high-low an automatic ISO it too has a central locking post in the base of this control determines the drive dial which is what the camera does after a full shutter button depression it may be video recording multiple or single frames they can be changed with the najd lever in front of the sensitivity dial and we'll be talking about the drives individually a little later on the top far right of the camera we have the exposure compensation dial which will allow us to change the brightness of our image in certain shooting modes and you will notice that we have rotating control wheels in the front and in the back of the camera they are called the front command dial in the rear command dial and they will help us change our exposure controls the rear dial can also be used to zoom in on the image during live view or shooting the button closest to where your right ring finger would rest is the lens release button which you will press every time you want to remove a lens from the camera body on the opposite side we have the auto focus mode selector switch and above that we have the sync terminal for connecting to a studio stroke on the left side of the viewfinder we have the play in delete image buttons and there are several FN or function buttons each with different default settings FN one is between the shutter speed dial in the compensation dial it will activate face detection FN two is in front of the camera just below the front command dial it opens our drive settings there are four FN buttons on the back directional pad which can also be used to navigate menus and controls the central button will access the deep menu as well as act as an inter button but each of these four directional buttons can also be customized but their default settings are as follows FN 3 is the up button and it determines our autofocus mode FN 4 is the left button it determines our film simulation FN 5 is the right button it determines our white balance function button 6 is the down button it determines camera performance the display back button allows us to toggle different kinds of shooting information on the back LCD monitor the AEL or auto exposure lock in the AFL auto focus lock buttons straddle the rear command dial and they can also be customized just above the directional pad we have the joystick which is critical for selecting different focusing squares as well as navigating menus you can also push it into the camera body to return to Center when shooting or to select a menu item above the joystick we have the cue button which opens the quick menu and allows us to change many camera settings on the front of the camera we have an auto focus assist lamp and under the right grip we have two SD card slots below that we have the battery port this gasket on the bottom will need to be removed when connecting a battery grip on the left side of the camera under the cover we will find four very important ports new to the XT three we have a built-in headphone jack which was one of the complaints I had about the XT 2 as the headphone jack was built into a grip that you had to purchase you couldn't really listen to your audio coming in for video so this is a great update we also have the built-in microphone port we have a USBC connector in a micro HDMI port as you probably know we have a tilting monitor but there is also this little button on the left side of the screen which will allow us to rotate the monitor to the right on the very top of the camera we have the hotshoe which is necessary for attaching a flash or other accessories and on the left of that we have the diopter adjustment control which will allow us to change focus when looking through the eyepiece it's very useful if you wear corrective lenses on the right side of the viewfinder we have the View mode button which allows us to toggle different display options using either the eyepiece or the back LCD monitor I leave mine most the time on eye sensor so that's an overview of our camera I've briefly gone over each of the external buttons in port and this is going to be critical in future lessons so you know which button I'm talking about in those lessons I promise that if you practice the day will come that you will feel you have complete control over your camera and it feels amazing to know how to do everything now there may come a time when you forget which button does what just come on back and we'll go over it again for the rest of this course we will go through each of these settings and buttons individually so you know what they are and what they do so let's talk about the shooting modes and how to change your exposure settings on the xt3 if you're brand new to the Fuji system it can be really confusing because on most digital cameras we have the mode dial the shooting mode dial where you'll see this P a s and M which stands for program mode aperture priority mode shutter priority mode in the manual mode and the first time I got a Fuji I was like where is it you know and so this view here notice how this kind of makes a triangle these are going to be the three settings that are gonna change the brightness of your image now I personally am a big believer in shutter speed and aperture only control light ISO is a sensor boost and we'll talk about all those things real quick so on the Fuji film cameras which are going to notice is that the lens has an aperture control ring and each of these control rings has the letter A in red which stands for automatic so anytime you have your lens set to a that is going to give the camera permission to take control of the aperture setting same thing is true for shutter speed see the a right here if it's on a the camera is gonna going to handle the shutter speed in the same thing for ISO over here so when all three of these are turned to a it's basically program mode camera is going to change all the exposure settings for you and you don't need to worry about anything but let's say that you want a specific aperture maybe you want to shoot wide open and you set it to 2.8 now this becomes essentially aperture priority mode with an auto ISO setting you dial in the aperture the camera is going to decide the shutter speed but let's say that you want to adjust your ISO maybe we'll put it on I don't know ISO 400 again aperture priority mode this time were designating the ISO and in this case let's say we wanted a specific shutter speed 1 mm of a second so these are fractions even though they're whole numbers this is it these are really fractions in this case it would be manual why because we're telling the camera the aperture the shutter speed which is manual let's say that we turn the lens back to automatic and we dial in a specific shutter speed now we're in shutter priority mode so in this case the camera has permission to change the aperture and we're designating the shutter speed now on the 18 255 which is a kit lens you're going to see a little switch either from a to some aperture blades and when you turn it to the aperture blades you'd be able to set it on your camera using your control wheel see that's something important to point out let's say we wanted a long shutter speed we would turn it to T and then we can dial in the exact shutter speed using the time value and I'll show you that in just a second something else that's also cool is the exposure compensation wheel pointing this out in a second but there's also a setting on here that says C and that allows you to dial in the specific exposure compensation I'll demonstrate that in just a second B stands for bulb which basically means that when you push your shutter button down the shutter is going to open and then when you release it it's going to close maybe we can listen to this real quick so if you had a really long exposure or you're playing around with it typically I like to dial the shutter speeds in with T but bulb is pretty common on most high-end cameras this little P here program mode if I change aperture to something aperture priority mode if I turn this to automatic and then I dial in my shutter speed shutter priority mode if i dial in something for both manual mode so even though there's no dial for it those modes are still recognized by Fuji in the xt3 so let's talk about exposure control which is really just a fancy way of saying changing the image brightness something you're going to want to make sure is that in your menu your screen setup if we come down to preview exposure in white balance in manual mode that is going to give us a live view display of what we're shooting in in terms of white balance and exposure and so I would recommend turning that on unless you're in a studio doing strobe work so the short answer on this and if you don't have your camera go ahead and grab it and follow along if you're if you're a brand new photographer to Fuji system what I recommend is learning in aperture priority mode and what this means is you're going to set your aperture habitat 2.8 on my ring dial and I have the shutter speed dial turned to a for automatic I also think it's a good idea to get in the habit of determining your own ISO and something you're going to notice on the back here is that when you dial in a specific setting for shutter speed or aperture it turns blue see that it's probably a lot easier to see this is dark it doesn't do that for ISO so when you when you dial in your eye so it stays white but if you're on the automatic setting see how it bounces back it's deciding between 60 and 50 there it goes so aperture priority mode means that you dial in the aperture the camera is going to determine the shutter speed and take a picture something play it back and if you're not happy with the brightness of the image a really easy way to change it is the exposure compensation dial it's right here on the top right of the camera and you're going to notice that it has a zero and then a plus one plus two plus three and a minus 1 minus 2 and a minus 3 and there's also that C on there so the short answer is if you want to make it brighter rotate this in the positive direction kappa shutter button play mode notice how it's getting brighter and there's also this little bracket here on the far left that corresponds with that +1 +2 and +3 so at 0 even exposure if I turn this up to +1 take a picture play those back you can see that the second one is brighter we can go even higher and that is a really good exercise if you're brand new to photography learn to change the exposure compensation which is the brightness or the darkness of the image if you want to go in the opposite direction let's go negative two or three oh it's dark so that's a really good exercise take a picture of something turn your exposure compensation up to make it brighter take a picture turn it down to make it darker take another picture if you just master that one little technique as a pure beginner you're gonna be off to a great start but let's talk about this a little bit deeper if I'm to take my hand and put it in front of the lens watch what happens to the shutter speed down here see it's all jumping around everywhere it's got kind of going crazy what's happening is the camera realizes that the light coming through the lens has changed and it's trying to make adjustments to compensate for it so if we were to cover it up completely is going for shutter speeds in the seconds very interesting right so the second thing that's pretty interesting about this is that if you know look at the shutter speed when I change the exposure compensation wheel it's changing so the camera is going to change the shutter speed depending on how much light is coming through the lens and what your desired exposure should be based on this compensation in the metering through the lens so what do these numbers mean over here one two three those are stops so I'm gonna show you something pretty cool here right now we're shooting at one sixtieth of a second and if I rotate this the plus one goes down to one thirtieth of a second one thirtieth of a second is twice as long as one sixtieth of a second and because it's twice as long there is twice the amount of light coming through the lens okay so for the exposure so that's how that works is the exposure compensation dial is essentially telling the camera by how many stops to adjust the automatic setting at fifteen here and we go up to plus three seven point five right it's what it should be it's rounds up to eight if we go in the opposite direction look what happens so at one sixtieth of a second take a guess what do you think negative one exposure would be keep going one 125th keep going what do you think it is gonna be yep should be one 250th there it is keep going one 500 and so that's how the exposure compensation dial works now we can also turn it to see you'll get expanded brackets and in this case we can rotate our front control wheel to dial in the specific compensation that we want that's how that see dial works exposure compensation very very useful when shot professionally at weddings most of the time I'm shooting on aperture priority mode why because you can be inside of a dark church and then you go into a lobby and then you go outside and the lighting conditions would just change so fast you know as they're walking sometimes you don't have enough time to dial in the specific settings that you want so sport shooting I shoot aperture priority why because I don't want to have to deal with changing cloud conditions if you know if clouds are coming in or whatnot I want the camera to take control of that shutter speed setting so let me demonstrate how this works in shutter priority mode in this case we'll dial in a specific shutter speed say one sixtieth of a second I'm gonna turn the lens all the way back to a when I take my hand in cover the lens the camera is trying to open the aperture to be wider and it can't and that's why we get this red so if you see the red there on the aperture the camera is basically telling you for this shutter speed I cannot open the aperture blades wider maxed out so let's say for example you're at a sporting event and you need to shoot moving athletes I don't know one one thousandth of a second camera is not happy it's saying you do not have enough light coming into the lens what would you do think about it how could you make this work if you needed this shutter speed if you said rotate your ISO control wheel to bump it up till it goes away you're absolutely correct there it goes so ISO 3200 the cameras saying yeah we're gonna make that work I can work out for us and as we go higher and higher with our ISO setting it's selecting a different aperture if I take my hand put it in front of the lens see how it starts to change again it starts opening up those aperture blades to get a wider aperture and to allow more light to come in now here's the thing about ISO obviously is the higher you go the more noise you're going to get it really depends on your subject matter and what you're shooting I personally don't like to get into very high ISOs you know 3200 6400 12,800 it's gonna be super noticeable you know if you do a lot of shooting in a certain setting do some test shots know what your limits are it really depends on what you're doing and how much light you have obviously the trickiest situations for most beginning photographers are indoor sports why because you're in a gym you don't have a lot of light so this is shutter priority mode let's take a quick look at program mode so both of those are set to a I want to set my ISO to a so the gist of this is you can change your shutter speed and aperture in program mode but we surrender that control mostly to the camera cameras gonna make those decisions let's talk about manual which the rule of thumb for me is if I have enough time I'm shooting a manual so I'm gonna dial in a specific shutter speed dial in specific aperture they're both blue this means that you are in control of both of those but the shutter speed and the aperture now something you're going to notice is that when we rotate our exposure compensation dial here nothing happens and so what this means is that exposure compensation only works when you have your shutter speed or your aperture set to a it's not gonna do anything in manual mode because manual is you're dialing in everything specifically that's how it works something I also want to kind of point out is that you notice the screen was dimming as we're going through these exercises it would automatically kind of lower exposure there it is right there this is a battery saving feature and if you don't like that you just turn your performance on performance boost mode affects things like your ebf your LCD your focusing things of that nature where you're telling the camera - obviously boost the performance in the the drawback is that the battery is going to drain a little bit faster you're gonna need 2 or 3 batteries if you're shooting regularly I think it would be a mistake not to have three batteries minimum maybe four the battery life is okay it's not great I've shot worse you know with with the earlier Sony cameras those are absolutely atrocious but if you're doing a lot of shooting yeah I probably need three or four batteries and I personally by the the Fuji brand ones the because they they last longer so when you first turn your camera on you're going to get a prompt to maybe sync with your smartphone and I would recommend doing it so you're going to have to download the Fuji camera remote app download that from the Apple Store or the Google Play Store and it should ask you to update the firmware if this is a brand new camera the firmware that originally came on the first production set one zero-zero there were some issues and they've created a firmware update that fix the fixes those issues and they're trying to get you to install it right off the bat and I would definitely recommend doing that something else that you're going to want to do is to come into your settings and you're going to go to the button and dial setting come down to page three right because it makes so much sense that's where it's going to be go to your touchscreen setting and turn this to on by default it's going to be turned off and so what would happen is you would try to use the touchscreen and it's not going to work it's kind of a pain if we have enough time later on at the end of the video I will show you how to sync your Wi-Fi up if it breaks again is pretty straightforward pretty easy but you need to have the app on your smart phone in order for that to work something you should get in the habit of doing is pushing the back display button this is going to toggle different sets of information on your rear monitor so as you push this watch so we lose some we have some shooting information or quick menu getting in the habit of of toggling through that it's going to allow you to find different sets of information and I kind of want to go through them real quick so you guys know what we're talking about here I pick a really fast shutter speed to make that dark so we have lots of information in here and we'll cover each of these individually on the bottom these are going to be the most important one so you have your shutter speed your aperture and your ISO we're in manual focus we have our performance boost battery with our dynamic range we have our touch auto focus setting we have the size of the images that were shooting the number of shots remaining our Bluetooth signal and we have our exposure compensation bar obviously the square is where we are focusing so let's talk about some of the nuances of the new touch screen which is a huge improvement in my opinion over the X t2 you're going to notice in the top right-hand corner this little switch that says off is a little finger pointed up is that as you toggle that it's going to give you different sets of controls for touch monitor focusing so if it says shot and you tap on the screen it's going to focus and actually take the picture if it says AF touch and it's going to focus on that area but it's not going to take the picture this is indicated a little green indicator right here if you tap on it and it says area that simply is changing the focusing square it's kind of hard to see because I have it on a white background there it is but as you move it around and then you would push the shutter button halfway down to engage focusing all the way down take the picture the green box means it's in focus and so this is super handy for changing the focusing square on the X t2 it was mostly through the joystick which it's kind of tedious kind of a pain in the butt but remember now that you have different sets of touch focusing so if you wanted to actually shoot the image focus oh did you see that you see how the display changed right there I'll show you that in just a second that was also kind of confusing the first time but I kind of like the area that's just one man's opinion let's brighten this up a little bit so let me show you what just happened there with the touch screen there are four built-in controls to the touch monitor by flicking in different directions so if you flick up it's going to give you a histogram so the merge and then red green and blue and if you want to turn this off you're just gonna flick up again now in the book it says to do it from the center and what I've noticed is it's a little finicky if you flick to the left see that sports finder mode on and we get a little crop box so we're shooting at a crop of 1.25 X and to turn it off we'd go in the same direction go down there's our level go down again it's off to the right we get a large view for our exposure settings some people prefer this it's small again so really nice very cool a huge upgrade in my opinion to make the ease of operation there's there's ways to customize this so that as you're looking through the viewfinder you can still change your focusing square on the back monitor while you're looking through here by designating specific areas of the the back monitor to be active not some people use the whole thing the problem is is as you're looking through sometimes your nose will touch or you know parts of your face will touch and hopefully I'll have enough time to demonstrate that so let's talk about the cameras focusing systems it can be very complex very confusing the easiest way I like to teach it is the how the wind in the where the camera focuses if you think of it in those terms this is going to be simple how does the camera focus most modern cameras focus when you push a shutter button halfway down we have an audio beep we have a green box it's designating focus down here you see this AFS we'll talk about that in a second you see this green dot those are all indicators saying the camera is focusing push it down all the way camera takes the picture pretty straightforward so how do we focus halfway shutter button depression if you don't have your camera go ahead and grab it follow along so the next question is the when whether it's a one time focus or whether this is a continuous repetitive focus so your focusing mode is changed by the dial on the front of the camera it's kind of a obscure place but I love it there because I know exactly where it is I know exactly what I'm getting and AFS stands for auto focus single one time this is great for subjects that do not move so if you have a cooperating human you know somebody a little older AFS why because you can say hold still get focus lock on them take the picture not is good for kids who move around or moving you know birds in flight things of that nature and the reason is is that when you push your shutter button halfway down and you hold it halfway down the focusing is not going to change in fact I can I can move the camera around and that focus is going to remain locked okay at all times this can be really handy for recomposing so a very common technique with autofocus single is to get a focusing lock and while holding the shutter button down you could recompose your subject push it down all the way and take the picture for most cameras that's how it's done why because you have a limited number of focusing squares in the viewfinder but on the xt3 we have focusing squares everywhere so the need to recompose it's you know there might be some instances but it's not because you don't have enough focusing squares if you push the joystick into the camera you're going to see these rows these boxes these are our focusing points and this is this is the small number 117 if we wanted to change those we could come into our number of focusing points and go for 25 push it into camera look at all these focusing points that we have tons of them right I personally don't really feel I need all 425 showing so I go in and I change it to 117 we'll talk about the menu systems in depth on the full crash course where I talk about you know the video and all these shooting things will I'll show you some things in this course obviously my personal preference I don't need all these extra focusing squares 117 or plenty my opinion but the cool thing is is that we can really jump anywhere very quickly the touch screen if you push the joystick into the camera body it's gonna reset it let's take a look at AF see autofocus continuous see how that change there very subtle autofocus continuous means the camera is going to focus over and over and over again so when I push your shutter button halfway down we get this green light on the grip we also get the green dot in the bottom left hand corner we always look at these white parentheses so those white parentheses designate that the cameras focusing repeatedly so as long as you're holding the shutter button down the cameras focusing over and over and over again great for sports shooting fast-moving subjects cars athletes running birds in flight all those things you're gonna be wanted you're gonna want to shoot on autofocus continuous because the subject is changing its position and focusing is also going to change if we're to flip it further we get to manual focus we've got a bunch of different displays popping up here manual focus you see that this bar on the bottom as I move the focusing ring it's giving me the focal distance when this should be in focus in meters and we got also have infinity that's what that is and there are a ton of really great focusing tools in the camera that I'll point out in just a second manual focus obviously you dial it in and sometimes that's super useful for shooting things like video you don't want the focusing to change I'll come back to that in a second so we've talked about the how we've talked about the win now let's talk about the wear which has to do with the cameras focusing clusters so the way you can see the clusters is this pointing a joystick into the camera something that you should be aware of is that when you're in this mode you can change the size of your focusing square depending on what it is you're focusing if I'm shooting sports I usually want something a little bigger something like that maybe a little bit something like that or that just depends but if I'm shooting birds in the flight this isn't going to be big enough so how do we change the size of our cluster if we push up on a directional pad this is the by default function button - is up where you get this menu single point or all you can drag through this touch and drag we look at single point let's take a look at zone so you're going to see that we have a bigger box now and if we push the joystick into the camera we can see that we can choose much larger areas tracking means that we're going to give the camera permission to actually change which focusing squares are engaged depending on the subject that we choose there are some subtle nuances with this that'll drive you crazy if you don't know them so when you're in the tracking mode and you have your white box when you touch on the screen and you get a lock we get this AF in the corner the green box corners around it and you'll notice that it's already engaging it I'm on autofocus continuous and so as I move the camera it is going to continuously track that subject and change focus with single subjects on a clean background this can work great if you're shooting your kids soccer game and there's 22 people running around through the frame it's not good it's going to be a little bit of a challenge for it to track the subject that you want so this last cluster here all simply means that the camera is going to allow you to select any of those while you're shooting so if we push your joystick into the camera it tells you told you there briefly on the top single point here are the zones keep going and now we have our tracking so essentially it allows us to choose our focusing clusters all together if you if you want to limit your options you would come in and choose one of these so real quick let's talk about back button focusing and how to set it up for peer beginners and intermediate shooters this is something I'd recommend not really messing with as you shoot more and more sports this is something you're probably going to take a look at most really high-end sport shooters use back button focusing essentially it removes the focusing of a halfway shutter button depression to one of these back buttons and I'll show you how to set that up the philosophy of use on this is that every time you push a shutter button the camera goes through that focusing stay and in some cases with sports you might have an athlete who's running and stopping and running and stopping and you don't want the camera to refocus when you take the picture you want to separate the shutter release from the focusing the way we set this up if you want to do it is you come into the menu and we're gonna go to our user setup we're going to go to the button in dial setting there's two things we need to change in here I'm gonna come down to shutter autofocus and it's going to allow us to turn it on or off for either of those focusing modes so we turn it off for single we can turn it off for continuous and when we come back out and push your shutter button halfway down camera is no longer focusing the little green dot here is saying it is at a halfway shutter button depression but we don't get our indicators so the next thing we need to do is to customize I like the AFL button so we're going to come to our F n settings this is where we can customize all of our FN buttons one through six we also have our touch function those are those quick swipes I was showing you earlier and in this menu we get an arrow pointing to which button that we want to customize some of these are great like FN one face and eye detection I kind of like that but we're going to scroll until we find the a FL button if we come over currently it's set to auto focus lock which means that when we push this button it locks focus I'm gonna turn this to auto focus on so now what's happened is focusing has been moved to a FL if I push that button we get our indicators there they are pushing the shutter button halfway down nothing so this allows us to engage focusing and we're ready to shoot we can shoot from here or we can lift up and shoot without losing our focus so very handy so I'm going to change this back just for the sake of demonstration but I also wanted to point out some other things in this customization menu is in the function settings remember those touch swipes up-down left-right on the touch monitor six pages of different things we can choose from and here's one that you might want is the nun so something that I've noticed is that I want to accidentally touch on the screen I'm getting the histogram things of that nature so I could turn it off if I if I really wanted to so before we get into the manual focusing stuff let me point out some very cool features by default fn1 is going to allow you to select this and we have our wonderful assistant here let's just select face detection I off so the idea on this is that the camera is going to find a face and basically automatically put the focusing square on that pusher to button halfway down all the way to take the picture pretty straightforward when you're shooting portraits and you're using a very wide aperture lens like 1.2 there's that 56 millimeter 1.2 super-nice that's really tricky to manually focus that in sometimes if the person's moving around or trying to get a focusing square on it and this is where where you start to introduce eye detection now in this second setting here we're allowing the camera to choose which I picking my left eye skin we push it about I'll avoid take the picture and then we get really specific we can tell it to choose the right eye or the left eye as the priority depending on which one you prefer this is a very powerful tool for portrait photographers you can see does a really good job of finding my eye if you are a portrait or wedding photographer if you're shooting with wide apertures it's a great tool you not always perfect but it's going to be more accurate than trying to say for example choosing a small focusing square and trying to get that dialed in right each time so it's a huge time-saver so that is face and eye detection in the menu system the deep menu system image quality IQ af/mf auto focus manual focus there's a lot of pretty cool stuff in here I'm on page two of three we'll talk about menus just a little bit preauth okis is something that i leave off what this means is that if you turn this on the camera is going to start focusing automatically wherever the square is I don't like that because it's gonna drain the battery obviously but it's also kind of slowing the process down I don't want the camera pre focusing in places I don't want it to we have an auto focus illuminator that's a light if it's you know if you're in a dark situation it's going to kick on turn that off the eye detection stuff we just talked about this is the menu version of selecting those things auto focus manual focus this works in auto focus single mode basically means is that when we focus on something automatically we can engage our manual focus and change it oh did you guys see what I just did there well people don't know that is that this back button if you push it into the camera body it's going to do a quick zoom so check that out very handy when you're shooting video if I get a focus lock and lift my finger up and rotate the ring nothing happens push and hold it down and rotate then I can dial in manual focus very nice the manual focus assists now if you are in manual focus that's one way to get there this will also work in the mode that we just talked about so for engaging this rotating the wheel let me show you a couple cool things standard basically means it's off in my opinion the one that I like the most is peaking peaking is essentially a color highlight over the areas of the highest contrast which is the assumption is that that's going to be in focus I like red that's just one man's opinion so you'll notice that when this is on if I'm using that feature I just showed you you're getting these little red highlights on the edges in my eyes that's supposedly telling you it's going to be in focus for the most part it's pretty accurate if you're shooting at a very very wide aperture it's not always going to be perfectly accurate so you know I'm always looking for a sharpness if we were in the manual mode if I flip this over to manual we can see the red peeking already and we can select different colors and when focus is lost lose the color it's a great tool let's take a look at the split image color and then the digital micro Prizm we'll go with color for now ourthe monochrome this is going to essentially put a little box you can see that there's four horizontal strips in there hard to see but what I'm going to do is punch in so you can see this and I'm gonna move this out of focus and I want you to take a look right here on the edge so on these vertical lines you can see that that line is is not straight it's broken up so on this the split screen you're looking for the point to when that line emerges to become straight there it is and that's a way that you can tell if this isn't focus or not is that the vertical lines are going to line up we can take this a step further and we can go with digital micro prism and we get this simulated micro prism which is also very cool I'm going to push in to the camera with this back rotating wheel and I'm going to mess this up and what you'll notice is that we get this same thing except now we get it in both directions so for vertical and horizontal lines it's the same basic idea we're looking for the point and when that line see it's all jagged it's almost serrated right now looking for the point and when that line becomes straight again and that is it appears to be a great focusing tool for manual focusing focus check right here I kind of like it might drive me crazy basically means that anytime you are in manual focus and you start to rotate your focusing ring it's going to punch in it's essentially the same as pushing this into the camera except it's automating it to the focusing ring and that will work with the af/mf on so if we get auto focus let's go to AFS we get that and I rotate the ring see how it punches in very fast very nice and a lot of these features can be used in combination let's go there so there's my focus there's my punch in there's my peaking all together it's very so one last side note on the manual focusing stuff is that make sure you're on manual focus because you won't see this if you don't again we can toggle through these different screens is that when we flip this over to manual focus we get a new screen that gives us some additional information and tools we have our focusing distance on the bottom there it tells us the approximate distance to our subject we get our exposure bracket and we'll also get this punch and zoom here it's pretty cool so look at this is that I get an overview of what I'm shooting I can see my focusing square in there just letting me shoot it doesn't let me touch it but we can move it with a joystick this is one of these instances of the joystick is going to come in handy again and it's giving me a preview right here punched in so we get this zoom feature here and we can see where we're focusing in the peaking x' there you can still see the peaking there so that's kind of a cool little feature for manual focusing just so you know if you see it if you don't like it you'd press the display screen to get out of it I also wanted to talk about focusing for video so if you flip this over to video mode and we're an autofocus single to start our touch screen is active there's a couple pretty cool things about this is that now when we're shooting video we can touch on the screen we get an auto focus and it allows us to pull focus by touching the monitor now the speed at which this happens can change depending on the lenses that you have and typically for video shooting in the past it's very common to shoot in manual focus you know we would flip it over to manual we would there's are peaking great if we wanted to focus over here and we would come in here and we'd you know fumble with you know basically this until we get it but now that we have a touch screen and it's very good I don't know if that's necessary so we can come back to simply touching on it and another thing that's cool about this is that if we were in autofocus continuous is that the camera is going to be focusing over and over and over again depending on where that square is so if I come back over here so it jumps on focused in my face back here so if I'm shooting on a gimbal and we'll talk about this in the advanced crash course is that when I'm when I'm tracking moving subjects there there are ways to use this and exploit it to your advantage the continuous focus or if you want to do a single so if we go back to AFS see how we I keep toggling the big versus small and we can't see that so auto focus single is a one time focus very useful it's a very powerful technique in cinematography is to pull focus that way you don't need all these gears and wheels we can go to auto focus continuous which means the camera is going to be focusing over and over and over again in that area something I need to point out is that we don't have the same focus in clusters when we are on a video mode so when you're the video icon we're given two options multi which essentially is going to let the camera pick the closest subject to you that's basically how it works so we'll move over here there it goes it's engaging focus in I don't really like that mode to be honest with you over here stick with the area designates exactly where you want it to focus very powerful and again I'll be showing you some more focusing techniques on the the main crash course that I'm someone on my website something you'll notice in the menus a lot is to get these things grayed out and you notice I press the menu button and it brought me right into video shooting so depending on what mode were in so if we're on single mode Stills and I push it now it's taking an image quality if something's grayed out it basically means that we can't access that feature because we have another setting turned on but if we come to autofocus manual focus and we come to autofocus continuous custom settings this is going to allow us to change the tracking sensitivity and the speed of the tracking there's five presets and we have a custom one down here at SiC position six the short answer on this is that if you are a pure beginner and you're just learning your camera leave it on set one maybe set to get comfortable changing your focusing squares things of that nature it's gonna have a bigger impact if you do a lot of high-end sport shooting you're gonna want to play with this a little bit I I test if I'm shooting a new subject matter I will test it you know go back and I'll look at the images and I'll count them to make sure that this is what I want to work with when I go out and do the epic shootouts this is something I'll spend a lot of time setting up beforehand so if you were to come in and change these settings let's take a look at them real quick tracking sensitivity has to do with the positional of the focusing plane it's whether it's behind or in front of if you want this to happen quickly you would turn this down towards zero it's very fast if you want it to be less quick to change you would turn it to three or four twos the default speed tracking sensitivity has to do with changes in acceleration or deceleration so if your subject is moving steadily kind of gives you a preview you would have it lower if you have a fast-moving subject that changes rapidly you would turn that up again this is something you're gonna want going to want to test out the zone areas switching has to do with when we're using a zone auto focusing square something remember those bigger zones we were choosing essentially Center means that it's going to prioritize focusing towards the center of that zone whereas the front is going to prioritize on subject matter closest to the camera Auto is basically the camera is going to be given the ability to switch it starts at center and as it moves to the front then it would change so let's talk about white balance and every time I talk about white balance on youtube I get tons of emails from people who are angry with me about something I'm about to say our eyes are amazing seriously they're incredible in we see light automatically in different temperatures of light so we don't really notice it as humans we're indoors or under fluorescent lights then we walk outside very hard to notice this but camera sensors don't have this ability they're not quite as precise in in seeing different temperatures of light change so what happens is oh and by the way we're going to go push on the right side of the directional pad to pull up our white balance menu is that if you're if you have your camera setting on the wrong setting you'd see something like this everything was gonna be yellow where everything is gonna be a bluish or a purplish tone and you know you'll be like what is going on okay so if you're seeing these hues in your pictures either very very blue or very very yellow this is a white balance problem the short answer is if you are a pure beginner you're gonna probably want to start off on auto auto does a decent job most of the time when you start seeing these different shades you're gonna want to come down to one of these other icons so we have a daylight icon we have a cloud cover icon we have different fluorescent lights we have incandescent lights see how blue it is and we have underwater okay so that's the short answer the long answer is that different types of light sources produce different colors of light and that's why our cameras are being affected and these are referred to as Kelvin temperatures and they they can scale typically anywhere from 2,500 to 10,000 okay now this is this is the thing that pisses everybody off is when I say the lower temperatures are more yellow okay the cooler temperatures are going to have an orange juice so if we're talking about something like candle light candles are very yellow that is a very low Kelvin temperature 2500 2800 temperature and as you go higher and higher up on the Kelvin scale that light becomes more and more bluh okay so the very very hot temperatures in terms of the Kelvin scale up in the nine thousand ten thousand that's going to be a very blue light okay if you really want to get into the science of it the way it works is scientists have a theoretical it's an object it's called a blackbody that when that black body is heated to specific Kelvin temperatures it radiates a certain wavelength of light that is how Kelvin temperatures measure white balance and in Kelvin is an actual temperature okay so the confusion comes in is when I say lower temperatures are very warm colors okay but they're cooler Kelvin temperatures and so this is where the confusion comes in is because when we see a very yellow image we want sometimes we say that's that's very hot looking image and the blue light looks more cool because it's like ice okay even though that's a higher Kelvin temperature so if you can make the distinction between the Kelvin temperature being warm or cool versus the appearance of the image being warm or cool you are going to be correct if you don't know what you're talking about you're just gonna say oh that's hotter oh that's cool and so when I say candle light at 2500 K is is a cooler Kelvin temperature they people freak out no no it's warm it's warm and so both definitions are correct so that's where the confusion comes in and to take this step further we have a Kelvin temperature setting here you can even see it so Kelvin 10,000 K now you're looking at this and you're like Michel you don't know what you're talking about look look how orange it is that's right what we're doing when we set the camera to 10,000 K is we're telling the camera to do the opposite of the light that we're shooting in so if we're shooting in Kelvin 10,000 K it's gonna be very very blue and this would set that blue color so this is why I like to talk about the philosophy of use on something like the crash course where I can get into these like really nitty-gritty details instead of just saying oh just change to the icon that you're shooting in and I believe my students have a deeper understanding because we talk about these things so as you'll notice we come in here and we can start turning the temperature down it's basically we're telling the camera what temperature were shooting in okay so if we're shooting in candlelight that's very very yellow and I continue to turn this down the opposite effect is going to be a very blue light the camera is trying to compensate for the cooler Kelvin temperatures the lower temperatures maybe that's what I should say it's orange so it's going to counteract it with blue so that's the Kelvin scale and there's some other great tools in here something that you're going to notice is that we have these little arrows pointing to the right white balance shift allows us to shift the color tone in specific directions so if you notice something a little funky if you're in a mixed lighting condition this can help correct it I rarely use this at all okay so something I don't use a lot of if I'm in a mixed lighting condition the thing that I do is a custom white balance so we have white blinds in front of me right here and I push to the right gives me some options don't change anything obviously go back the shift of white balance again is there I don't want that shudder new white balance so it's telling us to take a picture of this and so what's happening is the camera is being instructed this is white change the setting automatically we'd hit okay and that's how you custom white balance I did this a lot weddings if I'm shooting let's say a movie for example and we know the exact color temperature of the lights I'm typically shooting in the Kelvin that feel it's more precise there's a lot of cool things that you can do with this like really interesting things daylight is considered to be around 5,600 K it's the widest of all the temperatures okay and as you go obviously again this is gonna be like candlelight it's gonna be more yellowish so something cool that you can do is let's say we're shooting an incandescent light 3200 for example I know those can range and fluctuate a little bit so if we shoot at 3200 and this would be white in that incandescent light remember that the higher Kelvin temperatures are more blue so what this means is that if you were shooting interior and you wanted to make it look like it was nighttime you would use tungsten lights indoor so it'd all be white and then you would bring daylight balanced lights into the windows and they would look blue and that's how moonlight is faked a lot is is shooting between you know incandescent light in daylight balance lights okay so there's a lot of very cool little tricks like that we'll talk a little bit about that when we're shooting the video stuff on the crash course so that's a quick overview of white balance including the philosophy of use and a lot of the ideas behind it so let's talk about some of the things that the touchscreen can and cannot do for us for example if we are playing an image back and we wanted to zoom in obviously it's just like a smartphone zoom in or out we can swipe left or right to check out our images continue to swipe down we can zoom out so very nice obviously for the focusing squares it's great what it can't help you do is to navigate the menus so if we were to hit the menu button and to try to navigate that's normal but the cool thing is is that it's great for what it's supposed to do changing the focusing squares amazing navigating pictures no menu control unfortunately few odds and ends real quick is that we have a sensor right here just below the viewfinder so when we look into the eyepiece it's gonna essentially be a battery saver to save the back monitor a couple other things I want to point out is that if we push to the left on our directional pad is we get the film simulations I honestly kind of just shoot on standard people rave about these there's these different looks depending on what you're shooting they are definitely worth checking out if you're new to fuji systems so let's talk about the metering modes as you notice we have these four little icons directly below our shutter speed control dial the easiest way for me to explain this is to probably talk about the spot metering mode first fuji recommends that if you know for most situations you're using something called the multi metering mode which is sampling the entire screen but we're going to talk about this on spot mode and we're gonna come into the menu and make sure interlocked spot auto exposure in the focusing area are linked together what this means is is that we're tying the spot metering to the focusing square and the reason why i'm doing this is because it can make a lot of sense in just a second so i'm telling the camera to basically measure light from this focusing square if you have this turned off it is going to measure light see how it changed right there from the center of the screen so if I to move that so this is a headlight lamp I have setups very bright there's gonna be an area dead center in the middle of the screen that it's going to be sampling from but I don't that doesn't make sense to me this makes sense to me is tying spot metering to my focusing square because whatever I'm focusing on obviously we want it to be exposed correctly so metering modes are very important for program aperture priority and shutter priority mode not as important for manual because we dial in those shutter speeds and apertures ourselves so when we're in the spot metering mode the camera is going to measure a very small window to make a recommended exposure setting in this case I'm in aperture priority mode so it would make the recommendation - shutter speed watch what happened happens when I do this so currently I'm looking at this part of the blind and as I move my focusing square / this bright light everything changes why because the camera is measuring light from the focusing square now it's disregarding everything around it it's saying this is the most important thing to look at when making exposure setting recommendations so it says it's very bright and you need a fast shutter speed if you want to expose this properly the moment we move that away from the bright light it's now sampling the blinds behind it this can be very very useful when you're shooting portraits into backlit situations so say for example the Sun is behind your model and the corners are overexposed okay so the camera can get confused cuz that's really really bright well in that case you would want to go to the spot metering mode and tell the camera to only meter from your focusing square okay very powerful if you are brand-new to photography Multimedia mode makes sense the other two modes are the average metering mode which essentially tells the camera to try to get everything under an equal exposure on the Fuji xt3 crash course that I'll have available on my website I'm going to take you down to the beach and we're gonna do some sunset shooting the reason why I mentioned this now is because typically when you're in certain landscape situations when you have a very very bright sky in a very dark foreground without using some special tools it's almost impossible to get those balanced evenly and I'll show you how to do that on that video but this average metering mode is what they recommend for landscape shooting lastly we have our Center weighted metering mode which is an average of a center spot and an overall sampling of the screen it just gives more priority to the center but not all of it so those are the metering modes the ones I use the most or really the spot metering mode in the multi metering mode so let's talk about the drive modes the drives are located just below the ISO dial there's a little lever in the front you can change I like to think of the drives as what happens after you push a shutter down and what it controls on the far left we have obviously the video icon bracketing which means the camera is going to change a setting automatically between each shot we have continuous high-speed burst which with a mechanical shutter 11 frames per second pretty incredible we have continuous low speed bursts we have a single shot we have a multiple exposure mode which is kind of fun to play with advanced filters so panorama mode shooting from left to right if you want to change the direction you would push to the right of the directional pad if we can go from right to left up down I use panorama mode more than I expected to for example I shoot with a 16 to 55 lens a lot and sometimes I want to get a wide-angle shot that I just don't have lens for so in those situations I use panorama so let's talk about each of these will briefly cover the video in just a moment let's start off with bracketing so each of these settings most of them have a control in the menu when we come into shooting setting Drive setting bracketing setting so the first menu item on here is what type of bracketing that we're doing whether it's auto exposure ISO film simulation white balance dynamic range and the focusing bracketing so this is what the camera is going to bracket but what and then it allows us to come in and change some of those individual settings for each of them so the number of frames and the amount of exposure is the first one kind of confusing the first time you see it the important one over here is by how much are you changing the exposures typically two to three stops and you'll notice that we get it's a little bracket on the bottom okay that's telling us that which images would be under or over exposed so we're going by two stops three stops two to three is pretty normal so this is say two so once you have the exposure amount you want it to change this side is the number of frames so any number that you see here is how many shots it's taking so three five seven nine you'll see that has a plus minus sign which basically means it's going to be taking images that are overexposed or underexposed plus only means only over exposures minus means only under exposures and you'll notice it's not exactly set on zero I'll show you why in a second it's because I have my exposure compensation dial turn two plus two-thirds so when it's on zero that middle exposure lines up on zero I rotate it to negative three for example it'll bracket around the negative three or it'll bracket around plus three just depending on what you're doing so this question is do you want all three shots to be fired continuously which typically I do I don't like touching the camera when it's bracketing or a single frame at a time which you'd have to push your shutter button down three times and then the sequence do you want an even exposure over exposure under exposure or do you want to change the order maybe over exposure so that's what the zero means it's even exposure plus as an overexposure negative is an under exposure same thing for ISO bracketing by how much do you want the ISO to change just like plus one film simulation you get to designate which of those simulation types you want white balance contains about how much and then the folks bracketing if you guys do macro how much depth you want continuous high so if we turn or drive to CH high you'll notice that it's at 11 frames per second so at 11 frames per second we have a mechanical shutter it's a physical shutter that opens and closes 11 times per second in order to take 11 images per second now because it's physically moving that takes a certain amount of battery you know power and processing speed is it's limited at 11 frames per second if you want to speed that up we can turn the camera over to an electronic shooting mode and shoot up to 30 frames per second electronically which is pretty awesome we get a crop meaning it's gonna be punch in we're gonna lose some megapixels but yeah the xt3 will shoot 30 frames per second in an electronic mode cropped which is awesome I'm gonna do my testing and all that all the other stuff at 11 frames per second with a mechanical shutter because you get less rolling shutter so if I'm if I pan with the camera on a moving subject sometimes things get warped in an electronic mode but the continuous hi this is how you could designate it or if you don't want to shoot 11 frames per second you can go 8 frames per second it gives a prediction in terms of how many RAW images in how many JPEGs so 200 JPEGs on 8 11 frames per second is about 145 consecutive frames which is pretty good not bad you know it's over 10 seconds of shooting so back out sometimes you don't want to shoot out at 11 frames per second if you want to adjust that you can flip this over to continuous low and adjust anywhere from 3 to almost 6 frames per second we have our single shooting mode which is you push your shutter button down and take one image then we have our multiple exposure mode and this is kind of fun it's kind of gimmicky but it's also kind of fun it allows you to stack two images on top of each other so you would take a picture and then you're going to hit OK for the next and it basically gives you it's gonna be hard to see because it's there it is kind of see it an overlay of the two images and it basically allows you to combine them so I just doubled my blinds they're kind of a fun thing to play around with the advanced filter modes I'm not a huge fan of it if you come up to drive setting and you come down to your advanced filter setting you're gonna see all these different looks so we have a strong vignette income added just different things to play around with I think they're kind of gimmicky you can do all this stuff in Photoshop if you really wanted to not a huge fan as much as the film simulations but it's there and then again the panorama mode which we briefly talked about so let's talk about the timer real quick so if you're taking a family portrait you want it to jump in there and you come into your menu South timer right here there's a two or a ten-second turn it off most of the time you're gonna have it turned off sports finder mode is essentially turning on crop okay and it gives us some limits of when it cannot be used electronic with a manual mechanical shutter so let's turn this on and what's going to happen is we're gonna get this little crop this little box here this is crop 12.25 X and the cool thing about this come up to our drive setting go to continuous high-speed burst and now we have these turned on so if you wanted to shoot twenty frames per second have at it 10 frames 20 frames 30 frames per second you can also do 20 frames per second without the crop as long as you're in your lectronimo so that's how you get access to these higher frames per second just know it's cropped not as many megapixels the faster you shoot the faster its gonna fill the buffer so at 30 frames per second JPEGs 60 frames basically means you have two seconds of shooting if you're shooting raw you're gonna get just over a second you wouldn't even notice it's gonna go through it pretty fast free shot electronic shutter basically this is a buffering we've seen it in some other cameras that when you push the shutter button halfway down it's going to start buffering those images so even before you push your shutter button down all the way it's going to be capturing images and clearing the buffer out and it's waiting for you to engage the shutter and then it will basically capture a few frames before you pushed it all the way down it's kind of cool couple other cool things we have in here interval timer shooting intervalometer that's what it is it's awesome you can come in here and basically select the number of shots that you want up to a thousand images and at what interval do you want these images taken out per hour per minute per second so infinity for let's try every two seconds turn that off when you want to start do you want to start now or do you want to start later an hour later right now let's start it right now here goes hit okay and so that's a built-in intervalometer very nice really nice sometimes you have to buy in it you know an additional piece of equipment to make that work real quick let's let's talk about pixel mapping basically means that when you see certain pixels in your images that are bright or inconsistent or colored it basically means that that has to be reset and this is going to allow you to do it come into pixel mapping it's gonna say you want to start it you say yes and in many cases it's going to reset the hot pixels and it'll clear it and it happens with other cameras too in fact you know remember 5d mark ii had a problem there's a way you know there's kind of this hidden secret way to to get to reset but that's how you do it if you have hot pixels let's talk about the deep menu real quick obviously some of these things we're going to talk about in this video I cover more of this in the crash course there's I mean I spent about an hour and 10 or 15 minutes on it so a lot of information but in terms of navigating the menu you're going to notice that we have these tabs over here on the Left IQ stands for image quality a af/mf stands for autofocus manual focus tools we have our shooting settings we have our flash settings we're actually going to have a strobe course on the xt3 crash course very useful we have our movie settings there's a lot of meat in here I spend a lot of time on this then we have our setup and you're also going to notice that as you continue to scroll down obviously comes up something else I want to point out here is that you're going to notice these three little boxes next to image quality those correspond to which pages you're on so this is currently page one of three so the top highlighted one is the first page and as you were to scroll down on the tab it would change to a completely different set of information but if you wanted to scroll down on the pages you'd have to come here and scroll down the thing that I don't like about this is that you can't scroll up within the same tab it's gonna take you to the next item here so just keep that in mind when you're navigating if you're getting lost is to keep in mind that some of these have multiple pages so there's a couple cool things that I want to show you guys in the setup user settings something you'll see down here is that there's an additional tab down here it's not highlighted it just says my it's kind of grayed out can't really get to it that is a customizable tab and we customize it by coming up to user setting oh here's format so if you have a memory card putting a memory card into the camera it is going to wipe the memory card clean so just make sure you want to do that we have our time and date settings time difference so you can have a home setting and then when you're traveling and you're in a local a different destination you could change that time setting language setting English my menu setting this is where we can come into the menu we're going to select add items and basically pick things that we think we might use okay so if we're talking about something like our camera of video shootings movie mode very useful I think it's useful and hit okay another one might be I don't know something like F log recording or maybe focus check or output or zebras or audio there's a good one audio setting okay so now we have a new tab that is customizable and so we can put the things in there that we use a lot that we don't want to go searching for I think movie modes a great one why because you may want to change your format whether it's full HD or 4k or DCI your frames per second you know the the things of that nature it's nice to have it in one spot audio levels is something you know we can have all our audio levels set they're easy to access easy to find very nice if you wanted to clean the sensor when the cameras turned on or off you can do that when coming in here can reset the settings if you wanted to a lot of different sounds the camera makes to come in here we have an auto focus beep we have a soft timer beep we have an operational volume we have a shutter volume it's like this little click there it is so you know especially for using if you're trying to be quiet obviously you'd want to turn all these off-screen setup we talked about some of these this already but the EVF scan be adjusted the LCD this is all different settings you can have some guidelines be turned on is there's a little there's a lot of different little things in here I talked about most of this on the crash course so we have our customizations for our buttons and our dials lots of different customizations in here tons of them management how soon do you want the camera to turn off we have a performance boost and then we have saved data set up so very important for dual memory cards if you're using two memory cards this thing in here frame number do you want it to be continuous or do you want it to renew when you replace the memory card you can edit the file name and if you have two memory cards in there which I don't and this is grayed out you can determine whether it's a sequential meaning that once the first card fills up next card kicks in a lot of people like having backup which means one copy is going to go to each memory card and then you can also do raw onto one memory card in JPEG onto the other if we had a second card in there you could even designate one for video and one for stills you can select the folder we have you know one shoot and we're going to a second shoot we could create a new folder and name it if we wanted to and we have two different folders on the memory card and then we have our copyright information so if you wanted to put your name it would add some metadata to the files you can have your name your copyright information a lot of cool stuff image quality first page image size typically I'm shooting on L 3 to 2 ratio of 3 to 2 that's the sensor proportions the numbers here on the far right tell me the number of shots remaining so you can make the image is smaller but the reason why I don't shoot let's say in medium or small is because I can take large images and downsize anytime you can't take small images and up size and retain the resolution but you know if you're shooting mainly for the internet or you don't need a lot of resolution you need to you want you know you want to say file size sure that makes sense vast majority of the time I'm shooting here the number of shots remaining image quality this has to do with something called compression it's it's how much data is memorized in the file so there are ways to optimize and be more efficient with file space typically means that the process is going to look at adjacent pixels and say hey you know those two colors are close enough let's just call them the same color fine is the the highest level of detail normal there's gonna be some compression you can shoot fine JPEG with raw or normal with raw and you know I've done a lot of tests on other cameras I haven't done it yet with the xt3 it's very difficult to see this as a human okay the difference in the quality some people say they can see it I'm not one of them maybe in very I don't know very grainy situations it may make a difference but you know with lower ISO s you know when it's it's hard to see it with the human eye just keep that in mind or you can shoot RAW normally now something I have to say about RAW files is the jury is out as of this recording on the best raw converter for RAW files this is very important because I think most of us are using Lightroom or Adobe Camera Raw and in the past that hasn't given the optimal sharpness for example for Fuji files and the reason is the Fuji sensor is very unique it's called an extra and sensor I did a video on it explaining how it's different it's it's extremely unique to Fuji cameras many believe far better because of how they build the sensor and removing the optical low-pass filter things of that nature but because the sensor is unique we don't have a lot of information about the best raw converters for it yet so if I find that information I'll add it in the description just know that probably a good idea to shoot in raw in JPEG when you first start out if you've if you have the camera it's relatively new just keep that in mind it's a unique sensor it's not going to be converted the same as most CMOS sensors and so there are some programs in the past that are even a little better than Lightroom so keep that in mind raw recording uncompressed means it's going to be the full size the full resolution all the data is going to be in the file lossless compressed means there's going to be some saving of space so to speak with out losing any information it's I've tested some of these files on other cameras and some funky things happen just depends for example when I do my dent dynamic range test sometimes in lossless compressed I see some really weird artifacts on certain Sony cameras so uncompressed is pretty much full-size full resolution all the information for the raw and lossless compressed is going to be a smaller file size we have our film simulations also available using the left directional tab their grain effect I'm not a huge fan of it if you wanted to turn this on it's more of a JPEG thing chrome color effect same thing white balance we can control from our back menu the dynamic range setting is how much contrast you want in your images in for the most part it's almost always on 100 highlight tone I leave this turned off shadow tone color sharpness I usually don't play around a lot with these in camera I like the JPEGs coming out of the Fuji think of these as color profiles like picture profiles on other camera systems if you want to tweak some of the settings noise reduction long exposure noise reduction things of that nature lens modulation optimizer think about when you're shooting very wide-angle lenses we get vignette in the corners and this allows for in-camera cleanup very useful color space srgb unless you're shooting for magazines and there's a specific need for Adobe RGB so when we're talking about the flash settings there's a little teeny miniature flash that comes with the camera it attaches into the hot shoe it's not a great flash ok if you have nothing else it can save you if your subjects close enough but it's a very small flash it's very close to the lens and I don't like the look of that it's very unflattering even when it works but for some basic fill it can work put it you just put it in here and the truth of the matter is if you want to do high end strobe work you're going to need some special equipment I use alien bees for my studio work because they're inexpensive and they work there's also portable speed lights that we can attach to the camera I'd love to have a lesson on that on the crash course there's a lot of information when you start using strobes so that's beyond the scope of this introduction to the camera so real quick let's talk about some of these movie settings there are some important things in here like f log for example the movie mode if you come up here is going to allow you to select the aspect ratio in this case sixteen by nine the resolution 4k and it's important to note that the resolution is listed here on the bottom three thousand eight hundred and forty wide by 2160 pixels tall very important to make the distinction between standard for K in DCI 4k digital cinema initiative or something like that it's a little bit wider 4096 pixels wide 2160 pixels tall most 4k cameras do not shoot DCI yet okay so this is very cool second thing that I want to point out is it gives you the amount of time you have left on your memory card here in the bottom right hand corner this number here is the number of frames per second 29.97 is the standard for video in the United States P is progressive-scan some of the earlier DSLRs shot and interlaced drove me crazy most cameras now are shooting progressive scan it's a whole conversation and we can even shoot 60 frames per second 4k that's one of the features that's awesome about the XT threes we have 4k 60 frames per second now something you're going to notice little quirk about the XT 3 is the data rate 100 megabits per second the little B means bit there's 8 bits in one bite right so this is the rate at which information is being written to the memory card a hundred megabits per second 200 megabits per second and there is a whole conversation that you can have with many people for many hours about the quality of video when you are writing a faster data rates the short answer is especially if you are recording 10 bit 4 to 2 which we can do to an external recorder with this camera you want as much data rate as possible because there's more information that has to be written to the file ok and as a side note make sure you have a good memory card class u3 is the standard for 4k you can't go to Walmart and buy one off the shelf there for 10 duck dollars and think you're gonna be recording 4k video get a Class III card okay now something that's very interesting a little quirky kind of thing about the xt3 is that if you look at the number of minutes remaining so when I when I go from 100 to 200 megabits I'm writing twice as fast twice as much data it's more specific which should mean I should have half as much time look at this it's not changing what the heck why is that not changing it should change it doesn't make any sense right so watch this goofy thing I'll flip this switch over to the video mode and I'll come back into that file I'll come over here and select it now it's changing okay so for whatever reason the number of minutes you have left on the memory card to get an accurate prediction you got to be in the in the video mode something that's interesting about this is full HD let's take a look at it Full HD which is in terms of size four times smaller than 4k 100 megabits per second we still have the same amount of time left for that hundred megabits per second when we come down to 50 megabits per second time doubles so just be aware of that if you're changing your movie modes and you're not in the video selection it's not going to be accurate recording 4k at 100 megabits per second is going to be the same amount of data as recording Full HD at 100 megabits per second those file sizes are gonna be about the same even though 4k has twice as much so I know that's a lot to get into just something to think about other cool video settings we should take a look at real quick h.265 what was it three and a half years ago when the NX one came out is a Samsung camera they were in the first tab h.265 it was so ahead of its time that you couldn't you couldn't even really use the files cuz Adobe couldn't handle it Dobby had to catch Adobe was behind that was a great camera h.265 smaller file sizes and this allows us to come in here and to select it and you also notice that we get this 4.10 bit 4 to 0 10 bit 4 to 2 and it's kind of hard to see this is SD so when we're using h.265 we can shoot 10 bit 4 to 0 to the memory card which really doesn't impress me a whole lot 10 bit means it has more colors the gold mine is in this third number 4 to 2 that is really what you want if you do color grading there's more color information and we can do that with an external recorder h.265 h.264 also with an external recorder something you're going to see in some of your settings I hope you guys don't mind me going off on this I like to talk about philosophy of use a lot long GOP group of pictures this is going to be grayed out when you have h.264 because that's the only option they want you to use h.265 allows a second option all intra basically what this means is this is intra frame compression this is interframe compression there's a difference long story short in trough frame compression means there's going to be individual frames captured for each individual SEC frames per second okay so for shooting at three thirty frames per second there's gonna be 30 individual frames long GOP is different every single frame looks at the next frame in the frame behind it to figure out what changed if nothing changes it can basically say don't worry about those pixels and just save some file space so the result is you get smaller file sizes that require heavier processing from the computer with long group of pictures all intra means those are all going to be individual frames individual pictures some cameras let you export those two to make stills so if you're shooting 4k and you want to export a still all inte R is the way to do it computers typically in the past they needed a little bit more processing power this is why Sony cameras overheat is because they use an inter frame compression and they overscan and then they throw in a way to it's a huge amount of data to put on those processors and so Sony cameras eventually overheat it'll be interesting to see how far we can push the Fuji I haven't had any problems with it so far but that's what all that means hope I didn't get off course there without getting into too much of the weeds and we'll talk about this on the crash course about F log recording the short answer is this is going to allow you to capture a greater amount of dynamic range in terms of brightness in one man's opinion is that F log is not great when you're shooting 8-bit four to zero that's just me okay and so there's a lot of things about chroma subsampling you would need to know about color information in the data rate and this is a good 20 minute discussion you know I've gotten arguments with people about this if you are not shooting in 10 bit 4 to 0 I try to get it right in the camera I just tried to make it look good in camera you know I'll use polarizing filters if I want to bump the saturation up and the reason is there's not enough color information for aggressive color grading I have never met a professional grader who prefers 8-bit 4 to 0 over 10 bit 4 to 2 never met a single one of them and what happens is we get some of these cameras oh and hey it has F log okay and so you shoot an 8-bit four to zero and you start color grading it and it just falls apart I've gotten into some very long arguments with people about this the recommendation is is if you decide to do an important shoot with F log do a test with it first do a test attempt to grade it watch what happens to the shadows the darks is gonna be you know sometimes a lot of noise in there make sure you know what you're doing before you go out and shoot a flog 8-bit 4 to 0 F log at 10 bit 4 to 2 man awesome amazing but you're going to need an external recorder to do it so that's my quick advice on a fog when you turn it on and you look at you know a scene it's going to be it's gonna look a little bit different you know scale down the colors are kind of a little bit muted this is so you can get greater dynamic range within the file but again that's a whole different discussion couple quick notes on shooting video obviously to start and stop recording you're going to push the shutter button we get this red light indicator on the grip it's off to the races for up to 30 minutes press the shutter button to stop recording stores it another thing I want to point out over here is the audio levels very important if you're doing any kind of high end audio you're going to want an external microphone whether it's a road onboard mic or a lav mic it's tons of different lab mics out there very important that you keep an eye on this that it doesn't clip out so anytime you see that red that's that's bad it means you're losing audio information even in the yellow that's it's not very great and you want to have some room to clean the audio up and you know process it and things of that age so keep an eye on that another thing I want to point out is right now I'm an aperture priority mode because I have my shutter dial turn to a we also have a front command dial and I do not recommend changing this if you're beginning shoot the way I showed you put put it on a four shutter speed you know automatic or if you're an aperture priority mode put it on the aperture let the camera make those decisions if you want to customize this the way you do it come in to your command I'll setting what this means is that there are three different settings you can change for your front command wheel your F stops your exposure compensation in your ISO the rear control wheel is going to change your shutter speed okay under certain circumstances when you first look at this this isn't gonna make any sense but basically what it means is that if you push that front control wheel in you can toggle between these three controls in order for this to work you have to have the lens aperture ring set to a first of all your exposure compensation should be set to C and we also have to designate some other things in the menu that I'll show you real quick so when we come down to the ISO dial setting when ISO is set to a do you want it on auto or do you want the command wheel to control it if we continue to come down aperture ring setting when it's on auto do you want the camera to change this or do you want to be able to do it from the command ring so once those are set up and I'm gonna rotate the exposure compensation to see tap the shutter button all of these become blue push into the camera body and we get this little icon here coming up well it's only toggling between ISO and exposure compensation let me change the ring to a so now I have all three sets and as I push into the camera body you're going to notice something different is highlighted each time f-stops exposure compensation ISO I think it's just faster to change it on the dial but you know everybody's different so if I wanted to change my aperture now I can change it with the front control wheel if I wanted to change my exposure compensation now I can also do that with the front control wheel if I want to change my ISO I can also do that now all with the same control so it allows you to toggle through those different things I personally don't use that as much I just dial in my aperture with the lens and dial in my ISO here and shoot away exposure compensation has a dedicated will but it's there if you want it come down to display custom setting this item here you can choose a number of items to be shown histogram for example if we wanted that there's the histogram so that menu item is going to allow you to change what is showing on the screen let's take a look at the quick menu designated with this cue button very subtle controls in here that are powerful if you don't know what they are so it's a quick menu basically bass simply means is where you are now what you have selected and we can touch on the monitor in this quick menu we can use a joystick we can change our setting by rotating our rear command we'll here and you can see that there's seven custom settings and a base the base means where you are now by default most of these are processing things that you know are helping to create sharpness or color it's the recipe in terms of how these images are going to be baked but you'll notice on the bottom we have these four different icons here that are kind of things like the self timer or face detection or the flash functions or the LCD brightness something I should point out is that when you go to a custom setting say C 2 here and for whatever reason you change one of the settings you're going to get this little red dot this doesn't appear on all of these camera settings but typically with image processing types of things white balance and things of that nature you know sharpness so if I hit OK I can come out I'm shooting come back in now I Munsey to the red dot is gone and let's say I go back to c1 okay hit okay come back in I'm gonna go back to c2 again and you can see that the white balance has reverted back to what it was originally so when you see these red dots on the picture styles this is a temporary change as long as you're shooting in that custom mode the moment you leave it it is going to go back to its saved settings okay so there's two important questions number one how do we change the saved variations into the quick menu number two is how do we change what's being displayed in terms of accessibility okay so when you are in the menu this quick menu if you push and hold the Q button it is going to open the deep menu and you are going to have the option to customize the different settings available on that profile okay so you can come in here and edit it until your heart is content can reset it if you want right pretty cool and you can see that most of them start off with a different film simulations that in and of itself is pretty mean okay and you'd come in here and you obviously save it right so come in here and change something I don't know let's go let's change auto white balance to that right back it's gonna ask you if you want to save it let me hit cancel that's cool and I'm in and of itself right I'm gonna tap the shutter button and we can also get there by coming into the menu third tab on the first page it's right there in the second part of this which i think is even way cooler is that if you push and hold the Q button in the Live View screen as you're shooting you are given a different customization option so this screen is going to allow us to customize which features appear in the Quick Menu so for example if I was satisfied having my film simulations on my directional pad back here maybe I don't want to have it right so let's select this and I'm given four pages of different options of things that I could designate in that spot anywhere from anything retirement or nothing or microphone video features really whatever you want and so the recommendation I make to pure beginners is in the beginning don't worry about the quick screen to learn about your shutter speed your aperture your focusing maybe white balance you know learn the basics when you become an advanced shooter and you're shooting certain kinds of situations it's going to make sense to customize some of these so you know if you're shooting you know if you want Raw on a certain setting you just want to set up ready to go you would go into your customizations and set that up so we'd be there every time and you wouldn't have to fumble through all these settings so very powerful customization menu is accessed with a cue button real quick let's talk about connecting by Wi-Fi when you first get the camera and turn it on you might get a prompt to connect by bluetooth I've played with the connection by bluetooth and by Wi-Fi the Bluetooth connection is a little laggy it feels like the camera is always a little bit behind so I like the Bluetooth connection more you're going to need to download the Fujifilm camera remote app it's on the Apple App Store Google Play download it make sure you have it on your smart phone I'm using an iPhone 10 there's a lot of cool things you can do with different connectivity one problem you may run into is at the time of this recording if you come into connection setting and you come over to all these settings in here you won't find Wi-Fi you're going to find Bluetooth but you're not going to find Wi-Fi so for whatever reason it is in the shooting settings the camera icon you're going to come down and select wireless communication that's going to turn on the built-in Wi-Fi of the camera I'm going to come over to my keep my iPhone settings I'm going to find my Wi-Fi tab and I'm going to look for the Fuji camera Wi-Fi here it is turn that on so I am connecting to the camera through the camera's Wi-Fi not my home Wi-Fi so it's direct this will work out you're in the woods you can still do this so it's connecting to the camera's Wi-Fi next I'm going to open up the app and you can see that we were giving a number of options the most useful is the remote control and we'll talk about that one first cameras asking is it okay to connect and hit okay so that's how you connect to the camera and most of it's pretty straightforward we're given certain shooting information up here autofocus single we have our film simulation number of shots remaining image size compression down here we have our exposure settings we have our shutter speed aperture ISO if you want to change your ISO you'd press ISO and you're given a number of options from auto ISO to specific ISOs if you wanted to change your shutter speed you can tap left or right if you wanted to change your aperture come in here and select aperture we can change our film simulation white balance better self timer mode we can turn on if you want in order to change your focus you can tap directly on your smartphone's screen very nice take a picture we can play that picture back there are some sample pictures I've been taking we're given the option I don't know if you guys saw that you're given the option to download it to our smart phone and there's another option that you can select that will resize it to I think it's 3 megapixels if you wanted to shoot in video mode and flip this lever over get that little teeny bit of cropping off the top and the bottom and then we can record video and some camera apps to see how fast it is some camera apps won't let you record video for whatever reason so overall the functionality is pretty nice however there is one problem that I really don't like about this app when you exit it's asking if I'm disconnect and hit OK and so it kicks you out of Wi-Fi connection so if I wanted to jump back in can't do it I have to turn my Wi-Fi back on I can go for pairing registration looking for Bluetooth this is how this works and with this guy up it's asking pair of the smart phone yes they're searching for each other like two lovers lost oh and they are found okay so this is how you do the bluetooth pairing this is this camera yeah that's it it's asking me if I want to set my date and time from the smart phone yeah I don't really need to back given some options in here to add location so it'll take the GPS settings from the phone and upload it to the camera I kind of leave that off because I don't want that extra feature running in the background the whole time you can pair it with it with the time I'm just gonna select off for now and so now we're taking back to this screen again so we can browse the images so there's that see again disconnect not a huge fan of that every time you out of the menu so now we're kind of stuck in this fun phase some of the settings we have down here in the corner is we can have an auto transfer there you can delete the registration a firmware update for the camera very useful when I turn the camera on I did a firmware update this is where it's done so it's communicating with the camera if there's a new firmware update you would see it on the phone and then you could pair that way and you could reset the app settings if you want sure why not let's do it so just reset it that and something that I didn't really want to do was have to jump in to the menu each time so I assigned a custom button here to be my wireless button for the sake of this demonstration so I would have to come back out reconnect in this case this is why I'm not a huge fan of these extra steps and so Fuji if you were listening you want to improve how this app works once you're connected leave it in this screen until we we actually leave you know cuz the geo-tagging feature so that's my thought on it you know and there's these other features Auto transfer on or transfer off some information on the website but for the most part it's a decent it's a decent app it's pretty good I've seen worse I like the flow of it I like that it's fairly easy to connect I just don't like it after you disconnect every time you leave that screen so some of you are going to have some questions about lenses Fuji makes incredible lenses the construction the build the look the feel my favorite of all the lens companies I his things are awesome the 18 to 55 it's basically a kit lens I recommend that as the starter lens simply because it's native focusing I think native focusing for anything moving for portraits is the way to go yeah there are adapters but that's gonna be better for things like landscape shooting things that don't move I use the 16 255 2.8 expensive well worth it most of my shooting is done with this lens there's also the 52 140 2.8 portraits you know intermediate sports shooting things of that nature an amazing lens also keep in mind there's a multiplication factor because we're shooting on an aps-c sized sensor so you're gonna multiply the focal length to give you the full-frame equivalent there are a good range of Fuji lenses and I'll talk more about those on the xt 3 crash course if you guys enjoyed this definitely check it out we're about two or three weeks away from posting that I'll take you out into real world shooting situations and I'll walk you through what I'm doing and what I'm thinking and it'll make a huge difference in your shooting also check out Tony Northrup stunning digital photography as well as my new Universal photography concepts course I'll put those links in the description got some great tests coming let's find out how well the XT 3 stacks up against some Sony cameras very interesting to see this thank you guys for watching I'll see you next time you

Channel: Michael The Maven

Views: 992,876

Keywords: XT3, Fuji XT3, Focusing, Menus, How to use, Fuji XT3 Tutorial, X-t3, Video Shooting, Operation, Manual, Touch-Screen, Crash Course, Free

Id: 1p_bHajS3kM

Length: 117min 38sec (7058 seconds)

Published: Sat Sep 29 2018