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Canon 1DX DSLR Fast Start

Lesson 2 of 6

Button Overview


Canon 1DX DSLR Fast Start

Lesson 2 of 6

Button Overview


Lesson Info

Button Overview

And we're just going around and talk about all the buttons on the camera so first off on the back of the camera you want to have your camera turned on it does have an off lock on switch and what you want to do is turn it all the way on if you turn it on to the lock setting the camera is turned on but some of the nile's are locked and we'll talk about customizing those later on so for right now just turn it all the way on. Of course you want to be familiar with the shutter release for taking the picture, but you'll also need to be tapping that lightly halfway down so that you can get the camera alive and active because the camera did does go to sleep after about six seconds stops meeting in a lot of the things power down on the camera the main dial right behind the shutter release right next to it is kind of the go to dial for changing a feature on the camera so that's just one that you're going to be going to a lot and then on the back of the camera we have the big wheel the quick cont...

rol dial and so this will be used for making other changes sometimes it'll work exactly the same as the main dial and you can just go back and forth and use whichever one you feel more comfortable using we have two joysticks these do the exactly the same thing it's just that we have one in position for your thumb when you're in the vertical position in one when you're in the horizontal position as we go through the menu settings and want to make changes, you'll use thes set button kind of the way you would use the enter key on a keyboard in a computer program it's your kind of setting that particular feature so these are things that we're going to be using throughout the class and you just need to know for everything else we're going to go through all right let's start on the top of the camera we have already mentioned the shutter release and to talk a little bit more specifically about that it's kind of a three part piece you press halfway down, which wakes the camera, activates the metering system and starts the auto focus and then when you press all the way down is when you take the picture of course, and so you want to be very familiar with that halfway setting on your camera because your camera will be focusing and some people don't like the fact that it focuses when you press halfway down and we're going to talk about how to customize that when we get to the back button auto focus on, but we'll show you how to do that and so just be very comfortable and familiar with that feel of the camera next up over on the left hand side we have the mode button and this is arguably one of the more important settings on the camera. This is setting the exposure mode of the camera and we're gonna want to talk a little bit more explicitly about this so let's talk about it so you're going to press the button and as you are holding it down, you were going to turn either the main dial or the quick control dial in the back of the camera in this case you can use either one and if you want to turn your camera to the program mode and just kind of follow along that is going to be fine and you can just kind of play with your cameras. We go along here so the program mode is going to figure out shutter speeds and apertures for you. It is the simplest mode that this camera will go into. We do not have picture modes we don't have any art modes its basic shutter speeds and apertures and you still have access to everything else on the camera at any time you want now once you are in that mode you can turn the main dial on the camera and what this is going to do is it's going to change shutter speeds and apertures at exactly the same time, keeping them in balance and you're going to be getting either more depth of field or less step the field, a faster shutter speed or slower shutter speeds, and so it's a quick way to kind of slightly modify the program mode, which could be very quick, quick and easy way to work with the camera. Now the back dial changes and is now in control of exposure compensation, so if you want to make your picture a little darker or a little lighter, you can dial things using the light meter in the viewfinder, which we'll talk about a little bit, a little bit darker, a little bit lighter. And so both these dials are active and available for making changes, and so that's the quickest and easiest way to use this camera. But I imagine a lot of people are going to want to have a little bit more manual input on the camera. Next up, we have the a v mode, which stands for aperture value. You'll notice that the main dial, the top dial in the camera, now controls the apertures. The nice thing about this mode is that when you said an aperture, it stays there. It does not change from that setting, and so the back tile continues to be exposure compensation, so if you want to adjust the exposure, you can do that this is going to be one of the favorite modes for a lot of photographers who are wanting a little bit of automation, but not too much still want to have a lot of manual inputs, so I can highly recommend aperture priority. The next option is full on manual and the top dial states with shutter speeds thie back dial now goes toe apertures, and so you're going to be on your own here for setting shutter speeds and apertures and set him as need be. And, uh, and hopefully you know you're doing because that's, the way to go next up. Ah, so these are not these air in the order that you actually encounter them as you are turning them on the camera next up, his time value, which I don't use very much, and I know a lot of photographers don't use a lot. This is where you get to set shutter speeds with the top dial on the camera back dial is still doing exposure compensation. The problem with this mode for some people is that you can easily set a shutter speed that is not available, you said a thousandth of a second and you have somewhat low light your camera may not take a picture that is properly exposed, depending on what you have your eye so set at the lighting conditions. And so it is a valuable tool in certain types of situations and under certain types of set up to make sure that you are staying with a fast enough shutter speed but hopefully you have got that dialed in it's not something I would recommend for the beginning photographer next up is bulb bold is a long time exposure which the camera will leave the shutter open as long as your finger is on the shutter release or on the cable release and so if you wanted to do a time exposure that is longer than the longest time available in the camera which is thirty seconds you want to do a one or two minute exposure you're going probably best be served by getting the remote cable we'll talk about that a little bit later and holding that down for a minute but it's also nice because you can lock it in so you don't have to leave your finger on the button hole time after that we have three different custom modes and the controls on this can be completely configured to the way that you want the camera to work so we have c one c two c three you can customize these with different exposure modes you could have one in aperture priority one in manual you could have specific shutter speeds aperture set me eatery modes drive modes custom settings focusing settings all customized to these particular situations and there are certain photographers who have figured out very highly detailed ways to set their camera. For instance, if you're a football photographer and you're photographing players on offense, you have found that a certain setting an auto in offense work so you have c one set to that for defense you have see to set and then for special teams and other situations you have c three set on dso there's a lot of customization that you can do in this and it all depends on what you are doing with the camera now here's a new feature in my classes and this is for people especially who are watching this on tape that have purchased the class who are wondering well, he's talking about something how do I go in and change it right now? If you're watching live not to worry, we'll get to everything in due time but up on the right hand side of the screen over on the right hand side is a little shortcut for anyone who want to immediately go in and change one of these things. If you want to go in and program these custom modes, what you do is you set the camera exactly the way you want it to work and then you go to set up menu number four custom shooting mode and you go to see one c two or c three and you program that in and so you will see these shortcuts pop up from time to time and so they're mainly designed for people that want to go in and get that change made right now one of the customized modes that you can also get in and control is perhaps let's say time value is something that you don't value it all you don't ever want to use time value you don't want to see it you don't want to be bothered by it well, you can completely turn off the option of using it by restricting the shooting notes under custom function number two and we will get to that later on in the menu system in detail where you see more information about that but if you want to quickly do it, go ahead and stop the tape and go do it now all right next up on the camera a button that controls two different features at the same time well kind of the same time the auto focus and the drive button and it depends on which dial you turn while pressing that button. If you turn the main dial on the top of the camera it changes the auto focus mode of the camera the options are one shot which are for subjects that are stationary, so if you're going to focus on a model that is standing in front of a backdrop, you would probably want to use one shot camera's going to focus on the subject and then it's going to stop, at which point you can recompose for better composition. The other option is a I servo servo is for things that are moving generally you call this sports photography or action photography and this is where the camera will focus on the subject and continue tracking it as you move around. And so this is going to be something it's the first and most important set up that you're going to want to make in any sort of action type work. So if you're going to go shoot a sporting event, this is the first thing that I would change in my camera into a I servo but most of the time for basic photography you would be in the wind shot mt next up when you press that same button but you turned the quick controlled aisle in the back of the camera. We go to the drive mode and we have some very fun options here single shot obviously just takes one picture when you press down on the shutter release, we have two continuous modes continuous low and continuous high now continuous low is three frames per second but you can get in and customize that as we will see in the menu system continuous high is twelve frames per second and this is working with auto focus and with auto exposure now there are some limitations in here you need to have a very fast shutter speed, for instance and then there's some other settings on the camera that may slow that down slightly but twelve frames per second is pretty awesome we have a ten second to second self timer the two second self timer is very handy when you don't have a cable release the camera's on a tripod and you want to fire the camera without touching and vibrating and moving the camera two seconds is enough time to get your hands off and let the vibration settle out the camera has a very nice silent shooting mode and you know what just in case there's some people in the audience that haven't bought the camera here's what a normal shutter release sounds like I think we have it in the fairly fast mode there and so I'm going to change this to the silent mode just so that you can see how silent it isthe where is it? And I still have the beep turned on which bothers will turn that off later it's a little bit quieter so if you're in a theater environment it might help out a little bit and then we come to the super high speed shooting now this one if you can't get to it right now it's because it is by default turned off when you buy the camera don't ask me why it's just turned off you've got to go in and turn it on and so of course the first thing that I had do when I put my hands on this camera was go out and find something to shoot at fourteen frames a second so without further ado here is my fourteen frames per second went down to the local skate park and tried to take a look at who the best skater wass and this guy was trying to do a fairly complicated trick in here is fourteen frames per second and of course he is airborne for less than a second time and so if you want to get in and allow access to this drive you can go into custom function number three and turn off the limitation on this now when you do this there is no auto focus and so here I just pre selected you can see have a fish islands you could only shoot j pegs and the mirror is locked up and you can't see what's going on during the exposure so there's a lot of limitations it's useful in a situation like this where the subject's technically not moving a great distance and where the lens needs to refocus or the exposure is changing probably more practical than that is twelve frames per second and this does have focused tracking so if you are shooting any type of sports shooting at twelve frames a second is just a fantastic opportunity for you to go in and pick out the exact frame that you think looks the best and so I like to shoot a lot of running and with running there are points in which the runner looks pretty good and other points which the runner looks absolutely terrible and having that twelve frames per second is almost like grabbing a frame from the video and so great opportunity for anybody shooting sports and so that's the drive modes and if you want to go in and you want to restrict some of those drive modes theirs a short cut on how to do it I like kind of like to leave them all available because I could see reasons why you might I want to use those and not have to dive into the menu system to do that but that's just my personal preference ok you'll notice that the top two buttons have a couple of arrows between them and a little funky three frames this is the exposure bracketing of the camera we talked about exposure compensation making your pictures lighter and darker but bracketing is where the camera will shoot a syriza pictures automatically adjusting exposure many people will do this for three frames they did this a lot more back in the days of film when we weren't sure of what we were getting were doing it for other reasons now sometimes hdr photography and so you can shoot up to three stops over exposed three stops under expose. You can do to three, five or seven frames in the bracket siri's, and you will be using this with aperture, value, time, value and program. You will not be using this in the manual mode, and if you want to go in and find out a little shortcut on how to change the number of bracketed shots, you can do that in the menu system. Now, this is not changing these pictures and making them lighter and darker with fairy dust. It is actually just changing shutter speeds and apertures, which is why you can only use it in those particular mounts. So that is the bracketing mode on the camera. The button below that deals with mita ring and flash exposure kong compensation. It depends on which diallo u turn. So with the main dial on the camera that is the media ring system, the camera has four different metering patterns. It has evaluative partial, which is kind of a fat spot, you might say spot, which is a very narrow, two point, five degree area of the viewfinder. It also has a traditional center waited meter from older cameras. Now the spot meter is kind of interesting because you can do multi spot ratings you could take up to, I believe eight. Multiple spot readings where the camera will average those areas out into one exposure, which can be very handy for people who like working with a spot meter. And so, uh most of the time, I think evaluate to evaluate if it works very well. I left the camera and evaluated for all my testing purposes, and it seemed to do a very, very good job, but then again, I am using manual exposure, and I'm checking my images on the back with the history graham now flash exposure compensation obviously doesn't do any good unless you have a flash on the camera. If you do, you can change the flash output right on the camera rather than going up and playing with flash itself, seeing how your hands were probably on the camera anyway, and so the camera and flash will usually work with a system called t t l stands for through the lands automatic flash, and it does a pretty good job, but it often over exposes people with light skin tones and so you can power down the flash and I highly recommend powering down the flash to tt l minus one that's kind of a good setting. Different people have different standards, sometimes they prefer minus two thirds of a stop under bright light conditions, you could go down to minus two for potentially better situation, and so you can work with this as necessary but I would do a little testing with your people photography and flash attached to get that dial in just right we have a little focal plane here for anyone who needs to know exactly where the focal plane that the camera is and so this is where the sensor is in the camera occasionally you'll see a someone in the movie industry for instance measuring from an actor actors face to the image plane on the camera focal plane on the camera because they need to know that exact distance and perhaps we have some questions at this point anything so give me some but yeah we have we have a few I think people are taking it all in but um see paige ability uh says john pointed out that the arrow between the two buttons was for bracketing did he say how to activate the bracketing verify it you have to press both buttons simultaneously that's why the arrows press both of these buttons at exactly the same time okay as opposed to just one good okay, I have a question here from joe ilia I'm sorry that was julie lawrence will you be discussing when to use each focusing option and when to customize each choice? Well, we will be going into the focusing in the menu system and I'll be talking pretty detailed about that and I'm not sure if that's exactly answered the question because the main thing that we've encountered so far and focusing is servo or or one shot and I I think that was fairly well explained one shots for stationary subjects and servo is for action photography, where you were generally shooting, you were generally using I serve a, which is for sports motion and using the motor drive so that you're trying to get a syriza pictures interest in a row. But we will talk about customizing focusing as we move on, so I'm not saying too much more that we can't answer later. Do you see anything? I mean, people are asking about the difference from the one d x and the mark three and quite like comparison there's a lot of comparison camera actions you want to get into that are you know, I think we should probably just stay focused on this camera and move on for a day that I just needed to take a breath. All right? So next up we have our hot two on the top of the camera. Now one of things you can notice about this is that there is kind of a whether ceiling around this so that when you do use the cannon flashes, it is whether sealed in here so the cameras, whether sealed but when you put a flash on that part, is whether sealed as well talk a little bit about some of the cannon flashes we don't have a built in flash on this camera we do have a number of small ad on flashes that are a little wimpy in comparison to what the cameras but can and does make a little ninety e x, which sells for about one hundred fifty bucks the two seventy a little bit more powerful is one hundred seventy dollars they do make a three twenty, which is kind of unusual because it has a video light at a little bit of light if you're shooting video for people right in front of you though, I think most people with this camera are going to use either the top of the line or the intermediate level flash, which is the four thirty e x too I would imagine most people though would be going with the top of the line six hundred e x artie we won't be going into specifics on that operation, but it is a very good flash if you're going to do professional wedding photography event type work, you're going to want to have something like this to be very portable one of the very good accessories toe have with it is the three chord, which sells for about seventy dollars this allows you to hook the camera up onto a bracket and get the flash a little away from the camera also allows you to shoot vertically while keeping the flash above, and so I'm a big proponent of these brackets for that type of situation. No, I did do a little bit of testing with this camera with flash, and it does have a maximum sink speed of one two fiftieth of a second, so if you're using a cannon on camera flash or the off camera cord, you can use shutter speeds up to two fiftieth the second, but not beyond. In fact, the camera won't even allow you to set your camera five hundredth of a second, but if you're going to be working in a studio and I'm sure there's a lot of people who use this that will be working in a studio, you have different set of issues to deal with. You're probably going to be wanting to be at around one sixteenth of a second or slower so clearly at the example that you see here at one three twentieth of a sec. The problem is, is that the shutter blades are in the way while the flashes firing, and while the camera does sync up at one to fiftieth of a second, you'll notice the bottom of that picture is dark and it's because the lights are staying on a little bit longer than the speed lights. We're not going to get into the whole lighting issue but how long the flash duration is a little bit longer on studio strobes and you could even notice at one two hundredth of a second that there is some lingering darkness on the bottom of the frame and so you may want to do some of some testing on your own with your own studio equipment because it may be different than the equipment I have perhaps one hundred twenty fifth of a second might be even safer choice than one sixtieth and so you do a little bit of testing before hooking up studio strobes and getting your shutter speed set for that uh they seem very distracted here but one of the other things that you can attach to the hot chew on the camera is a gps receiver but there is another one that is I think a little better designed for the camera but you can put this on your camera and have gps information automatically put into your metadata of your images but I'm going to show you another one here in a few minutes that I think is even better all right moving over to the right hand side of the camera we have our multifunction button up here and this is going to do well multiple functions which is why they have that name for it to start off with right now it is in charge of focus point selection but we do need to press another button first to activate this button and I'll talk about that in just a moment if you put the camera in a movie record function it's going to be the record button it's not red like most buttons on cameras but it is the record button and if you do put the camera in a spot metering mode, it is what controls activating the multiple spot reading so you put the cameron spot reading you would press that button up to eight times to read light in eight different areas now this button can be reprogrammed if you want to do a number of other functions auto exposure lock, lock and hold and you can see the other listing is there how do you do it? Well, here's the short cut its in the custom functions and so you could get in and re issue what that button does for the most part I would leave it as it isthe next up we have a little light button that simply turns a light on the top lcd so if you're in a dimly lit situation and you wantto set something on your camera, you'll be able to see what you're doing a little bit more easily with that light, then we have three kind of major control buttons we have our white balance city and so white balance has a lot of different options in here and this is dealing with the color of light and making sure that you were recording clean white light and so different natural situations have slightly different. Color tends to them from sunlight to shade a little bit different tent. And so if you are working in those situations and you want to get proper color and you would set the proper white mountains under artificial light, incandescent or tungsten bulbs or very orange flashes very clean, you would set those settings appropriately. And so there are three other options that you have. If you know the specific color temperature, maybe you have a color meter that tells you exactly that it is sixty, four hundred degrees kelvin. You could set your camera to that specific number, or if you work in a studio or an environment that is consistent, you could set that so that it is always exactly the same in color temperature. We also have the option of setting a custom white balance, and the process here is that you would photograph a white sheet of paper and tell the camera that that is supposed to be white, and it would then color balance additional images afterwards. And then we have auto white balance, which is where the camera will look at the scene and try to determine the best white balance possible. And I think the camera actually does a pretty good job in auto white balance, and so I think for many situations it works fine, but if you do know specifically the light source that you're going to be in for a little bit, you can set that with the white balance setting and have it set perfectly so that your images are very consistent in their color caste if you do shoot raw images and we'll get into roger pick a little bit later on uh, white balance is not is important because you can go in and fix that later. Next up is exposure compensation, and this is kind of a funny control because we already talked about exposure compensation s o we do have an additional things, so this is a duplicate slide in the program. Yes, you can go in and dial this and why is it here? Because we've already had it before. Normally you would just turn the back dial well, in some cases people lock the back dial so that they can't do it and so they can use that button in addition to the main dialogue on the camera. Next up we have our eyes so button and you'll notice that it has shaped a little bit differently. It has a little bit of a dimple in the middle of it and it's a little bit smaller it's something that you should be able to locate with the camera up to your eye, you can just kind of feel around and feel right where that button is you'll press that button and turn the quick controlled aisle in the back of the camera. We can go up to fifty one thousand and then if we go into the menu system and turn on the rest of the options, we could get all the way up to two hundred thousand and so I, of course, wanted to run a little test to see how good this is, so ran down to our space needle to do a little low light test, so obviously you can see here it is after sunset in the desk period of the day, and I shot at all different isos, and of course I also one hundred is the best that's the native ice over this camera, and I'm not even going to show you examples of two hundred, four hundred, eight hundred sixteen hundred cause they're all dead, fantastic and so let's, just look at the ugly stuff to start with. Yes, it is super grainy at two hundred thousand and so the top two or three settings on this camera are not very good now these are I should mention raw images, so they're straight cuts from raw and highly magnified, of course and they could be improved you can throw some noise reduction which I'm going to talk about next on this and if you have a poor view of the screen I would say up to sixty for twelve thousand eight hundred is quite clean and very workable for most situations there are places where you could push it a little bit further but it just gets very difficult to work with and so what I did at sixty four hundred and at fifty one thousand these air shot in raw once again I decided to shoot these in j peg as well in use what is called as in the camera noise reduction we have an option for j peg images to add a little bit of noise reduction so the camera will help kind to kind of smooth over some of this noise and it does improve the process but then I decided to take the raw image into a program called the dhobi light room and try to fix the noise on my own and I'm not an expert in fixing noise but I think I was able to do a better job than the in camera processing and so one of the choices that you'll have to make when shooting this camera is do you want to shoot raw and fix it later and probably do a better job or have the camera fix it in camera and have it done very quickly and I can see two very different needs with this camera where some people are shooting raw and they want to get the absolute best quality and they're willing to spend the time later on to fix it and there are other photographers who are shooting on a deadline and they want the camera to make it as best it can in camera and so for some people you will want to turn on the noise reduction for other people you want to shoot raw and fix it later totally depends on the uses that you have for that camera and so as I mentioned before not all of these I isos are available you can only get from one hundred to fifty one thousand you can't get up to the high one in high two settings in order to kind of turn on those options you need to go in to the shooting menu number two to the eye so speed settings and will be dealing with us when we get into the menu section you can also control the noise reduction in shooting menu number one if you want to go in and change that right now okay we're going to be moving to the back of the camera but you can see these icons a little bit better on the top of the camera we have the auto exposure lock button and the auto focus point selection so let's go to the back of the camera and we have these two buttons. Well, we're actually have four buttons that do the same thing well, too, and two we have the vertical position because the camera has a built in vertical grip, and if you want to change the focusing points, the camera has sixty one focusing points and this is going to be the first step, and we're going to talk about focusing a little bit more detailed here, so step one is pressing that thumb button, as I like to call it the auto focus point selection. Next up, you'll use the multifunction button we talked about just a moment ago in front to select the different points and then in some situations, not all you'll either use thie quick, controlled ill on the back, the camera or the little joysticks, the multi controller to move the focusing point or groups of points from left to right and top to bottom. Now we have a number of different ways to focus. We have spot auto focus, which is a very, very small area that you can move around to any one of the sixty one focusing points. Now you'll notice that there are two boxes there's kind of a bigger box and a smaller box the focusing is taking place within the smaller pinpoint area it's a very precise small area, I don't recommend using this for most type focusing because sometimes there is not a good contrast in such a small area and so if you are trying to focus you know within a day very, very narrow gap that might be a good choice for most situation I think single point auto focus is going to be more practical and a better use that once again could be moved around to any one of them the modes or any one of the points within the frame we have an expanded area a f point expansion uses five points so it has one main point in the middle and it looks to the four nearby brackets for help in focusing and when we're starting to work with multiple brackets of focusing we're going to be typically using this for sports and action photography if you're focusing on a person for instance you want to focus on the eye for instance you would just use a single point you could use the spot or the single point once again oftentimes used her sports this is one of my favorite modes for sports is the nine point eight five point expansion once again we can move that around to any area within the frame we have zone auto focus which at first looks exactly like the nine point until we get it off to the side and it is encompassing twelve different points so it's looking at twelve areas rather than looking at one area and then looking for help in the nearby areas? It's, starting with nine, we're starting with twelve, and I think this is probably the best for most types of sport sport photography, and then there is a very, very generic mode, sixty one point autofocus thatjust activates all of them at the same time. Now, whenever you're in a multi point focusing system, one of the default settings on the camera is that it's going to focus on whatever is closest to you, tow where the camera is at. And so if there are two things to focus on its focusing on what is closest to the camera and that may or may not work in some situations, and so you might want to choose a smaller bracket, and so that you can get it any more precise area. And so I think the zone areas, it depends on the sport, the lens, the angle of you that you have there's a lot of parameters as to which one is best in anyone situation, but the basic modes of changing him are all the same. It's a couple step process with the button in the back, the button in the front and then potentially one of the other controls, and if you don't use one or more of these modes, you can turn it off from the options selectable in the auto focus custom menu you can go in and unchecked the box that you don't even have to work with that particular one if you know that there's one or two of those areas that you never want to use let's talk a little bit in more detail about the focusing points in the focusing system on this camera uses what's called a phase detection autofocus system and this has been around for many, many years and it is a very, very fast system and this is the way that it works. It is looking at a box whether a smaller big box and there are horizontal line sensors in some of them and if a line is not running through it, it cannot see it and unfortunately a horizontal line sensor cannot understand a vertical line it can on ly understand I understand a line that is going through it and it understands a line that is broken as something as needs to be focused and it can direct the lens to focus that line. There are other sensors in the camera that are vertical line sensors and they're specifically looking for vertical lines. If there disconnected, they will direct the lens to focus it so that you can get a sharp image when we talk about the focusing points on this camera, there are different ways that they're described some are known as f two eight horizontal line sense there's this means they're looking for horizontal lines and they need a lens that has an aperture of f two eight or faster you might see a focusing point that is listed as f four vertical lines so it's looking for a vertical line and it needs a lens that is f four or faster in order for it to work we might have something called it at five six cross type sensor so you need a lands faster well five six or faster and it works in both horizontal and vertical lines and so the best of these three types sensors is thie f five six cross type sensor because it's conceive article horizontal and it works with a wide variety of lenses so here is what type of sensors you have on a one d x these that you see listed in blue here r f five six horizontal line sensors so they work on pretty much all lenses that are currently available but they're on ly looking for horizontal lines the next siri's it's kind of a little complicated here some of them are five six all right, they are these these ones in teal here r f five six horizontal lines so they're looking for horizontal lines with all lenses but on lenses that are a little bit faster at foreign faster they're looking for vertical lines as well so these are a little bit better points than the previous ones the next group of points are even better these ones twenty one focusing points here in the middle are with five, six lenses, and they're cross type, so they're looking for all sorts of types of lines, so the camera has a total of forty one cross type a f point. Now, the ones in the middle, the very middle of these five and the vertical here are kind of special because when you use lenses that r f two eight and faster, they have a dual cross. They haven't x as well as a plus, and so they're looking for even wider latitude of lines and the point at the very, very middle, the center of the whole grouping is extra extra special because it is an f eight cross type sensor, and so you can use this sensor. You can use the expanded point area or the large box for focusing with lenses that are faa cannon doesn't make any faa lenses, but they make and have five six lens that you can put a one for converter on. They make f four lenses that you can put a two times converter on where your maximum aperture is, then f eight now, in order for this to work, something that you do need to note is that there is a firmware update that happened on this camera few months back. And I'll talk about from where a little bit later on, but you need to have firm where one point one point one to get the faa focusing its something that was not available at the time the camera was introduced and has since been a little upgrade that they've made on the camera. Now there is additional information with a lot of different lenses that cannon has and you want to look in the instruction manual pages seventy six to eighty one to find out very specific detailed information as to how these different focusing points work with different lenses it can get very, very complicated there several pages in there that detail all this sort of thing and this might be a good time to pause for a moment and see what sort of questions we can address at this point let's do that there was an interesting question that came up from martin seventy six going back to the I s o and I never really thought about this before. How does the auto I also feature work? We want to get into that we'll be talking a little bit more about auto eso but what it's doing is it's just looking at the light meter and it's adjusting the esso upwards and downwards and normally I just say don't use auto I so it's terrible but in this camera you can customize it and you can limit it so that it doesn't go beyond a certain number which is kind of nice and you can also use it to work with shutter speeds where you can limit what sort of shutter speeds it will work with and so we will talk further about that okay very interesting another I also question actually from hank hey says do you use fifty I so often do not use fifty fifty is not as good as one hundred it is something that I do use just not often and so when you are really in need of a slower shutter speed and the most common scenario is you're shooting a waterfall or water for instance and you're at a half a second and you want to get down to one second you need to use a lower I sell but maybe you're already at f twenty two on your lands you can't slow it down any more you're trying to get a slower shutter speed you could then drop it down to fifty it's technically not as good as one hundred it's very close but one hundred is still technically better in any situation but sometimes for aesthetic reasons you need to get down to fifty so it's just kind of a nice little later a little room to go overboard so it looks like we have a couple autofocus questions says from uh seepage bility who would like to know what f mode would be best for bird photography it depends what type of bird photography what size of bird, what sort of lends you're using and is the bird in flight or is it on a branch for instance, if it is sitting in a tree that has some obstructions, you'd probably want to use the pinpoint focusing that way it's not going to get caught up on a branch in front of you in front of the bird if the birds in flight I would probably think that using the nine point or perhaps that the zone focusing which can use up to twelve points and then you can move that a little off to the side depending on which way the bird is flying to allow for good composition but you definitely if the birds in flight you want to be in a I servo and it depends on how close you are to the bird, hopefully you have a big enough lens that you're pretty close it's filling, you know, at least a quarter of the frame or eighth of the frame on using multiple points on that bird. Can I just say that? John gringo, you are the absolutely perfect person to ask that question. Well, I'm not the world's greatest bird photographer, but I've done a little bit you have, so I just love how you started that out depends on what kind of bird so another auto focus question from uh buck wheat what which type do you find his best for maintaining focus in group sports I'ii maintaining focus on a specific player in a group of soccer players who you know that just opens pandora's thiss and we're not I'm not able to address it right now because I got a bunch more slides on it because there is a hole custom menu on focusing because it's not just this is just the tip of the iceberg in some ways I'm focusing because just choosing the focusing points and continuous or still is the start beyond that we're going to choose well when it's tracking a subject how quickly does it change according to how fast if somebody's accelerating or decelerating how often is their interference for instance, if you're working with field sports where there's a ref and a ball that may get in the way of the player that you are shooting, how quickly do you want the camera to jump onto that reference the ball you don't in many cases and so you don't want the camera to be quite it's responsive and so we're going to address more of these when we get to the menu items and we can see the options available in there and so and then kind of wait a little bit on that one there's more to come okay, okay, you might, uh wait on this one too I'm not sure this is from randy, who would like to know how the camera is for video courses. The five d mark it well, I have a special slide and no it's extra special because it's brand new for this class the camera is not good in folks. I will explain visually why on dso, anyone who shoots professional quality video with this is not going to want to auto focus while they were shooting. In fact, I don't even know that it's possible to auto focus while you're shooting. But auto focusing on the camera in the video mode is not great that's not really that's not really a common thing to do anyway, is it to put auto focus on when you're it's bad technique it is even with the mark to yeah, I never thought of focus. Yes. Agreed. All right, cool us because you're good. What was that like? Well, she learned from a good tio way. Have a bunch more auto focus questions coming into you want to wait on that? Let's let's, do a couple. Okay, so best shot asks which auto focus would you use? Would you recommend for one person studio portrait? One studio I would shoot first off one shot, so just focus in him and then I would just choose the single point in the middle all right focus in recompose and I'll address an issue that I'm sure somebody has potentially ready to go. There is a little bit of an issue if you are going to focus in the middle and moved the camera off and there has been some concern that if you do that the focus points going to change by you moving because you've moved the camera and in theory they're correct, but I've done some testing with very fast shallow depth of field lenses and it's not really a problem the problem is focusing in re composing is if your subject moves or you move, so if you're shooting with susan's favorite lens theeighty five one point two you have super shallow depth of field, right? You're focusing on the eyeball and you slightly recomposed well, if you lean forward a centimeter and your subject leans forward a centimeter which they may not even notice that's going to throw off your focus point. And so you do have to be careful about any sort of distance adjustment, in which case you might want to choose one of the outside brackets and so sometimes it's better to focus and recompose justcause it's nice and quick. Other times you may need to want to choose one of the other brackets I find that when I'm shooting a portrait of somebody and I got him in a certain composition where they're not in the middle I will use a focus point off to the side exactly where their eyes so that I don't have to focus lock focus lot focus lock focus locked to shoot all the pictures and so it's just a little bit faster once you get in that situation um but you just need to make sure that the focus point that you choose is locking onto your subject properly so really, really struggling with us yeah, I'm thinking about that too I'm going to be thinking about that the next time I shoot I just tried it all I just have just having a lot of problems. So susan, do you use the center point most of the time? I wass but I mean and then I would be my most my images would be solved, so now I've started using the out of focus points and still soft I'm just I'm shooting low light I'm shooting people it's just I'm having I'm having a lot of problems with it, not really sure and I don't ever instructor could've live has a different story. Yeah, you know, so it's kind of like which one do I d'oh d'oh, I'd use the senator do I use right? Well, the fact that matter is is that the center points or all the focusing points should be accurate and we're going to get into micro adjustment focusing which is something that I bet you haven't done on your camera cool that you need to address if you have fast aperture lenses and so there's a lot of things involved in focusing certainly are giants so hang with me through the long class we're going we're going to get to all this stuff and so let's take one more question and then we'll move on all right one more question um I guess there was a question that goes back to a button question c yeah let's see here but in question this is from donna who asked how do you know what the m f end is set on? I don't even know what that in function the multifunction button well, if you go back to that slide which I'm not going to right now it's right now it's set for selecting focusing point so you gotta press maybe we'll move the camera around so you can see what I'm doing on this camera here and so you press the back button on the camera to activate focusing you'll press the m function button if I could get this turned around there we go so you then you would press the in function button to select the different focusing points now on its own just when the camera's kind of in the normal shooting mode that button doesn't do anything when you're in spot metering, it's going to measure different areas wherever you point the camera, and if you're in the video mode, that's going to start the recording and turn it off, and if you're still not clear as to what's going on, hang with me, because when we get into the menu, we're going to get to the point where we can customize that, but I hate to delay people and not answer the question, but when I have a visual for I much prefer to wait for the visually are visual learners, part of the beauty of trade, of life you get, you know, you speaking, and they also get to see what's going on, so don't apologize, but great, ok, so back onto the buttons in the back of the camera. Next to that autofocus button is the auto exposure lock button. It's got little ass trick there, and this, obviously, there are two buttons, one for the vertical, one for the horizontal, and as it comes out of the box, it is an auto auto exposure lock button, which means that it locks the exposure when you are in an automatic mode doesn't do anything when you're emanuel aperture priority shutter priority program, you can press that button into lock the exposure now some people like to use this for other features so you can re program this button and how do you re program this button? Well here's your shortcut on how to do it you can also go into the quick menu in addition to the custom function number five menu and you can re program what this button does depending on how you work on my camera I typically don't even use this button it also it's not something you should feel obligated that you have to program and use on a regular basis. The next button over is a favorite for many cannon users it's the auto focus on button so as the camera comes out of the box kind of the default system is that you can focus using the fun button back button for focusing and I mentioned before the shed a released some people don't like focusing with the shuttle release and so this is an alternate way to focus and one of the things that a lot of photographers like to do is they like to turn off the focusing with the shutter release button on the front of the camera that way their cameras not constantly refocusing every time they actually want to take a picture I'm going to show you how to do that in a little bit in fact I'll show you had to do it right now if you want to jump into your custom functions you can go in and you could change what this button does as well as the shed a release button in the custom controls and so if you don't want to do auto focus on you want to do something else with this but you can program it as necessary I tend to leave it as is it's an easy button to identify with your thumb and find and so uh I kind of like to keep it right where it is I say I say next up we have a little picture of a camera and a live view mode so when you can't kick your camera alive you it pops the mirror up and you're going to be ready to shoot videos or just view through the back of the camera so let's talk a little bit about this and explains what's going on all right so on a single lens reflex camera we have amir that is bouncing the light upwards now there's something unusual about this mirror in that it is a partially silvered near there's the middle portion of this mirror you can see through all right put your hand behind it you're going to see your hand partially through this mirror and the reason it is partially silver is so that a certain amount of light a little bit of light can come through to what's called a secondary mir which is attached to the back of the front mirror and it bounces light downward to the auto focus sensor all right so this is how your camera is auto focusing it sees that distance and it knows how to focus the lands now when you put the camera into a live view mode to take a look at what happens the mere needs to get up and out of the way the shutter needs to open and now you can see what's going on in your camera with the back screen of your camera but notice your auto focus sensor down there it is not happy with the situation because it doesn't have any information to work on this is why your camera cannot auto focus when you are in live view a mode so to get into the life you mode first thing you're going to do is press the live view button you'll hear the mere pop up and you should be able to see what is going on through the leads all right now the big thing is dealing with auto focusing your camera can't focus using the traditional sense and so these are the three options you have the camera just looks on screen in contrast and uses a live mode it's an on screen box you can use the multi controller the little joystick to kind of move this box around and then you compress down on the shutter release to focus its slow it's not real good under low light conditions but it's the best of the helter natives in my opinion the next option is the face live mode, where is a face detection? It looks for faces and focus on faces, does a pretty good job but doesn't always work in all situations and then has a quick mode where it drops the mere down, uses the traditional focusing system and then brings the mir back up. I'm not a big fan of this one because you can't see what the camera is pointed at when it's focusing. So for most people who are shooting movies for people who are using live you, virtually everyone who does this in a professional sense is manually focusing it's just because this camera is not good at auto focusing, if you do want to get in and change these auto focus modes, you can do it in shooting menu number four using this camera for video you can get absolutely stunning video from this camera, but you often need a bunch of accessories, and it will end up looking like one of these contraptions that has all the different accessories that somebody who shoots video might need. And so, while the camera is capable of very, very good quality video, you're going to need more accessories to really bring out the best and what this camera has to offer a few few items that I think would help out a lot for somebody getting into it is a viewfinder. Like the zoo kowtow, z finder pro gives you some magnification on the back of the finder so that you can see and focus what you're shooting at very, very clearly there's a number of rigs that you can get, depending on how you want to hold the camera and what type of movements you want to dio, here are some of the more popular brands, these can get a little pricey, but they can be indispensable if you're trying to shoot with some good production with what you're doing. All right, so focusing is the big issue highly recommend manual focusing when you get into a live view or movie mode. Some notes about shooting movies is we are shooting in h two sixty four format linear pcm sound. The maximum file size is going to be four gigabytes or twenty nine minutes, fifty nine seconds. If you reach the end of four gigs of data, it will automatically start a new file that is key, continuous so you can add those together. So it's not really a problem, but the camera will stop recording after twenty nine minutes and fifty nine seconds, the camera has two different file formats for shooting video with still pictures we have j peg, and we have raw in this we have what's called all I and I bp a large file in a small file I don't do a lot of video editing and so I haven't looked and seen it the difference between these but from my understanding the all I gives you a little bit better editing capabilities so if you're going to have your footage professionally edited, talk to your editor, give him some samples and see what's going to work for you. For many photographers who are just trying to shoot some additional video clips, the ibp is going to be full hd very good quality if you want to do additional editing, you're going to go with the all I there is a fairly big file size difference, so there is a bit of a penalty for shooting that larger file size we have multiple resolutions that you can choose, we have different frame rates that you can choose and you could do all of that in the movie setting section of shooting menu number four there is a limitation on some of the extremes with the isil, so we can't go up to two hundred thousand and shoot videos it's limited to just twenty five thousand six hundred and of course this is primarily a still camera, so if you want to shoot a picture you can shoot it at any time by pressing down on the shutter release all the way all right through the video stuff, okay, we have a removable eyepiece on this camera, in case you wear it out, you can buy a new one, and if you're shooting in bad, whether they do make an anti fog eyepiece that sells for about twenty bucks, which is kind of nice for anyone who's shooting in a damp and wet environment on a regular basis, we have an I p shutter that is a blind that blocks the shutter. If you're going to be using the camera in a remote location and you're not going to be looking through the viewfinder this blocks light coming into the viewfinder, which may adversely affect your exposures. If you are shooting in aperture, shutter priority or program and you're not at the viewfinder, you would want to flip the switch if you're using manual exposure. It's not going to matter hidden behind the eye cup is a day after adjustment, and so this adjust the focusing of the viewfinder, so when you get the camera new, depending on how good your eyesight is, you're going to want to adjust the doctor for your eyes. The info button gives you a variety of information. We have a couple of different screens, we have the camera settings which give you a bunch of information about the set up of the camera most notable on this is in the bottom left corner it's going to tell you the number of shots you have left we have an electronic level which is kind of nice for getting the horizon correctly level, and then we have shooting functions, which is something that we're going to go in and talk a little bit more about later when we get into the quick menu. If you don't see all these or you want to turn some of these off, you can go in to set up menu number two and customize which one of these settings is turned on and you have access to next to that is the menu button, and that is the whole second half of this class, so we're gonna wait to go through that button. We have our multi controllers down here are a little joy sticks for moving around and adjusting, focusing points and going through the menu system. The quick menu is a short cut to some of the most popular feature changes you might make in your camera, and we'll be looking at that a little bit more closely in a few minutes. We, of course, have our quick control dial in the back with the set button, which we talked about before and what's not really visible is kind of in that crevasse that valley as you go around, that diallo is a silent touch pad if you shoot video and you want to control the sound recording, you can use this silent touch pad to increase the microphone sensitivity or decrease it without making a clicking or adjustment noise on the camera and so that's. The only reason it's going to be used is for adjusting the audio sound, but it can be very handy for anyone who is working in the video mode and doesn't want to make noises on their camera. We already talked quite a bit about the lock on and off. Beware that we're gonna be able to adjust which functions are locked when we put this in the lock position, the memory card door. When we flip this open, he is going to have to see f memory cards that you can use either together, and I'm gonna explain more in the menu system because there's a setup, you can either have it shoot toe one card or to both cards you khun split, wrought a one j peg to another. You can shoot rod a boat there's quite a bit of customizing that you could do with that particular feature, and it uses all the standard cf cards type one or type two, which is everything on the market today now. If you want to control these features that I just talked about, I'll explain it more thoroughly when we get to the menu setting but it's just set up menu number one it's called the record function card folder select you can create different folders on the card and shoot two different sections of the card if you want, the access lamp comes on when you are recording data to the cards, you don't want to take the card out of the camera while this light is turned on. It means the camera is working next up what we got. So we got a big old three point two inch monitor in the back, the camera a little over a million dots there, very good viewfinder and then we have our rear lcd panels. This is going to allow you to make some quick changes without diving into the menus. So we have a number of buttons down here. We have our quick image size, and this is where we can select raw or j peg images or combination of him and you, khun see right in the back as to which card you are writing to in what type of files you are writing to those cards, I would imagine a lot of people are going to be shooting raw in this camera if you want to get the most out of it. But there's a lot of people who may need quick results and are probably shooting large j picks in that case. But you can also go through and customize and shoot different size ross in different sized j pegs. And when we get into the menu setting, you can really customize the size of some of these j pegs in compression settings within there. So there is more controls to come with that. The camera is a very, very connect herbal camera. You could hook this up using a variety of means until you. If you are working with a land, which is a local area network connection, for instance, you're gonna be doing tethered shooting in a studio, for instance, you could help the camera, and this lets you know that you are connected up and accessing data back and forth directly with a computer. You notice these next few buttons are in blue because they have to deal with playback, and generally playback buttons are in blue, so first off is simply playing back an image. You can go in with the info button that we've already talked about, and you can adjust the information that you can see while the images playback so you can see just the image you can pull up basic shooting data, like shutter speed and aperture. You can pull up basic history, graham and other information including an rgb hissed a gram or go back just a straight to the straight old image next to that you have the magnifying glass which allows you to zoom in and check sharpness which is very handy out in the field in making sure that you got sharp pictures if you zoom back and you'll be using the main die along the top of the camera for this you can zoom back to see thumbnails of four or nine images so that you can work quickly school through different images so you can try using either the top dialogue the back dial to kind of scroll through these images garbage can button obviously for deleting your images and then we have a protect button which is also a voice memo button and so what's going on here is if you see an image that you want to make sure that you don't delete you can press the button and it would protect the image but if you hold down on the button for two seconds it'll start a recording and you see a little microphone there right next to the button you could record up to thirty seconds of information if something particularly happened during the game and you wanted to mention this is that person particular section of the game or you want to mention someone's name or an email address or a little audio notation you can put that in there and this button will be able to be customizable when we get into the menu setting as well and there's our little voice microphone right there okay, moving over to the side of the camera where we connect stuff up to it. So what are we going to connect up to our cameras? If you work in a studio, you may be hooking up a p c synch court, which would plug in right here. Next up we have our type in three release, and so if you want to hook up your camera for landscape photography, for instance, you can hook up the rs eighty in three, which is a very basic remote shutter. The more advanced when it's the tc eighty now the r s version is going to sell for about forty five dollars the tc eighties, going to sell for about one hundred thirty six dollars, and has a number of other functions. Probably most popular is the interval ometer, where you could get the camera to take a picture let's say every ten seconds for an hour and you can end up with a very interesting time lapse video next up above that we have our microphone input. If you want to get good quality video, you probably want to get good quality audio on this as well, and so you can plug in other micro felt's now cannon doesn't specialize in microphone, so there are other companies. Uh, sign heuser makes the m k g four hundred, which I think is a very nice, highly compact microphone road makes a very popular one that's a little bit larger in size. And if you do want to get great video, one of the key things is getting audio off of the camera itself. And so something like one of these zoom portable digital recorders is very handy for recording better quality sound above that is our system extension terminal. This is where we adapt other stuff and here's, that gps receiver I talked about earlier this is the gp won. This still allows the hot shoe to be used for flash or anything else that you might need up there, and this will record gps information and add it to the metadata of the camera. We also have a wireless transmitter, and this is working off of a wifi system. So you khun transfer images from the camera to a nearby computer. Now I'm not going to going into the full details of this whole setup that might be a five hour class in and of itself right above that is little mounting hole so that these things stay positioned and secure on the camera. Over on the right hand side we have our ethernet which is kind of one of the things that is new about this camera that isn't on other cameras it's a rather big port but allows the camera to communicate very very quickly with a nearby computer so if you are doing tethered shooting this is how you're going to want to connect it up you could get those raw files downloaded to that computer as quickly as possible and I think you have just a little note on that you do have one hundred meter cable link that you can get up to on that it's a gigabyte ethernet port below that we have our hd my port this is where you're going to want to look your camera if you want to play images images back to be seen on an hdtv if you wanted to download pictures directly from the camera I don't recommend it but it is possible you could be using this a v out connection right here and that is I believe using a usb two point oh so it is not very fast we have our battery lease where we have access to a reasonable size battery the lp he for in now this camera does use the predator the previous l p e for battery you can use both in this camera but let me check my notes here the new battery charger that you get with this camera the ill p e for in you don't want to use the old batteries on I'm not sure exactly why, but they say not to use the old batteries on the new charger, and if you want to find out exactly how much battery power you have left in the setup menu is a very handy battery info that tells you how many shutter clicks you fired the camera and how good the battery is down to a individual per cent of one one hundredth of a percent level, so you can see if your cameras that ninety nine percent or one percent level. If you do need to keep a constant power source running on the camera, you can plug the camera into the law with this a c adapter, the four it sells for about one hundred bucks inside, not visible here, and your camera does have another what is commonly known as a watch battery twenty twenty five battery this keeps the time and date going when you don't have a battery in the camera, and so, after about five years, this battery may wear out and you may have some funky issues with the time and date you simply need to replace this little five dollars battery, not too much going over on the right hand side of this camera, we do have the controls for the vertical grip on the camera, so if you want to turn off the controls on about to talk about there is a special on off switch. Not for the whole camera. Just for the vertical controls. We have our vertical shutter release very handy for the shooting. In the portrait mode, we have our main dia, which is duplicated down here on the side so you don't have to reach around the camera to change your shutter speeds. And then we have another multifunction button that you can use as well for changing, focusing points and doing spot metering on the bottom of the camera. You have your standard quarter twenty tripod socket, which is going to hook up with all the common accessories for tripods. Ball heads, all types of heads and accessory planes. Your serial number will be down there. Make sure you note that one. Have that recorded in case this camera gets stolen, we have a hand strap mount. So if you like to use a hand strap, there is a place to locate that down on the bottom of the camera. Okay. Moving around to the front side of the camera when the camera has thes self timer. It's got a little indicator in the front so that you know when the shutter is about to fire. And then we have groups of buttons now these buttons air duplicated there's one for the vertical and one for the horizontal. This first one you can see it's a little bit con cave it's shaped a little bit differently than the other, but so you can keep up tactile feel what's going on multi function to button can be customized, however you want it to be, and so there's a lot of different options that you can have in here, and it just totally depends on what you want to do with this camera and so there's your little shortcut on how to get in and go get that set the way you want it set. Now, the button right next to it is also customizable but is currently set at depth of field preview, which is a good practical thing for a lot of people that have many situations you can go in, and you can customize that as necessary. Depth of field preview used to be a big time professional feature on cameras now it's a little bit easier because you could just shoot a picture and see what's going on, but here's what's going on when you press the depth of field preview is that it stops the aperture down to the actual aperture that's going to be when you take the picture, let me play this video again so the aperture stops down, you can see in the viewfinder how much depth of field you get because normally when you look through the viewfinder, you're seeing things on ly at its most shallow step, the field, and so that could be a handy feature. But if you can see something else there that you think is more valuable, take note because you could get in and change that with custom function group number five custom controls we have our lens mount, which will be mounting up our lenses here in just a moment. Your built in microphone is right there in front len's release. Obviously, I'm sure you've dealt with that now. One of the things that's unusual about this camera is that you have interchangeable focusing screens that you can put on the camera. Now most people are not going to have a great need to change these focusing screens, but if you do like to use manual focus, so if you're using this for video and you use manual focus lenses, there are other lenses that make manual focusing easier and so you can replace these and these air available for usually thirty to sixty dollars or so, and there's a good number of them available these air just a few of the samples that you can get. The electronics that are going to be connecting up with the electronics and the camera. I want to make sure that these air not broken or obstructed in any way.

Class Description

Take this Canon® 1DX tutorial with John Greengo, and you'll learn everything you need to know about the camera. In this class John provides hands-on introduction to your Canon 1DX camera's operations, detailed instructions on how all the menus work, as well as instruction on how to shoot great photos with this specific Canon camera model.



This is a brilliant course. John explains the camera in a very detailled way. Really great. I wished to have a comparison of noise using different ISO settings and just a second later John offered that. Very good work, very helpful. Thank you for that work, John.

a Creativelive Student

If you own a Canon 1DX DSLR you should take this course. John is a master at explaining in easy to understand detail on how to get the most from this camera. I own one and John's course is the icing on the 1DX cake. I appreciate the amount of time and effort that he put into creating this course. I feel we are lucky to have someone so dedicated to create such a detailed presentation on this camera and others like it. Thank you John!

Maggie Buckley

John Greengo, you are a wonderful teacher. I can't say enough on how thorough you are. I truly enjoyed viewing this video and at my own time and pace. Thank you , thank you, thank you. Looking forward to my next class.

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