Canon 1DX DSLR Fast Start

Lesson 5 of 7

Menu System

 

Canon 1DX DSLR Fast Start

Lesson 5 of 7

Menu System

 

Lesson Info

Menu System

And I think there's like over one hundred little items that were going to go through in this camera now to organize things they have put things in these colorful tabs and they have pretty logically put everything I think they've done a very good job it's one of the easiest men use to navigate albeit is kind of large but it is pretty easy to navigate through these different menus and so normally you're going to be using the main dial and the quick control bile dial to go back and forth and if we want to take a look on camera and jump into the menu mode here something that you can do is you can use the top dial to just roll through all the different pages of information one of the nice things that's nice about this is that there is nothing you have to scroll down to see if you do go to the page you can see it you can also jump between the major tabs by pressing the cuba and so sometimes if you know that you need to get to the other end of the menu system you can just jumped forward you c...

an't jump backwards but you could click forward a couple and then go back in if you wanted to and so you didn't see these little yellow mail boxes changes changing color but we're going to go over to the read tab and get started here now a lot of things, we're gonna go by very quickly because we have already talked about him and we're not going to dive into it for a second or third time. So for instance, white balance. We've talked about setting this there's a button on the top of the camera, but we can do this as well in the menu system if we want to. I had mentioned one of the options in white balance was to set a custom white balance. So here we have a photograph of a white sheet of paper under tungsten lamp and it's, very orange looking. What you do is take a picture like this go into custom white balance, so you photograph your white object. Next step is you go into custom white balance, which is right here in the menu system, and you would select this photo. You would then need to go to white balance and set it to custom, and it would fix the pictures after this and fix the color balance on it. So if you get into an unusual lighting situation, you can get set your own custom white balance to fix that particular color problem if you want to go in and adjust the color of the cameras pre selected. White balances you can go in to do this. I don't recommend it for most people because they could more likely end up throwing things off. But you can go in there and do this if you want. Tio the color space is the range of colors that you are recording. The camera normally comes set to s rgb and the internet as we know it today is s rgb, but adobe rgb is a larger color. Gamut when you shoot raw images, you are getting adobe rgb, and so I would recommend shooting with adobe rgb. I know that there are certain magazines that we're requesting that any photographs submitted to the magazine be shot in adobe, rgb color space, and so for any sort of professional use, you'd want to do that, and that kind of brings up another point as we work through this menu system, if you shoot in raw, anything that manipulates your photograph doesn't happen when you shoot it in wrong, there may be an exception to that rule, but for the most part, all these things that adjust the brightness, the tonality, the saturation of an image from the white balance, the noise reduction, any of that sort of stuff is on ly going to do it to j peg images if you shoot j p and my guess is that users in this camera are a lot of them were going to shoot raw but there's also going to be a large number of j peg shooters because they need quick files out of the camera so this is going to just help you adjust the files to the way you like him to work and speaking about that right here under picture styles you can go in and you can select from some pre programmed modes portrait landscape neutral faithful some different options for how the images processed and compressed now you'll notice down there at the bottom it says info detail set if you press the information button on your camera you can go in and customize any one of these and you can control the sharpness contrast saturation and color tone of any one of these to make it more appropriate for the standards that you need and so if you are going to shoot j pegs you can start with I think standard is a good place to start and then just start tweaking it from their next up len's aberration so these air defects in the lens and that's right lenses have defects they're not all perfect the first problem that some lenses have especially fast lenses if you have a lens that goes down to one point four two chances are it's going to have some vignette ing some peripheral illumination correction can be done to fix that what's what's happening is that it's just not letting in its much light in the corners and it's darker you can fix this and that's a great thing to dio on some images but not all in images. Some images just look naturally better with a little bit of in yet especially pictures with people in fact, a lot of my portrait that I take, I add in a little vignette, I like that look at an image so this is something that I don't want to fix and it could be fixed later on in post production software very easily something that is a little bit more irritating in my book is what's known as chromatic aberration this is a color ghosting where the lines don't match up that the different colors don't match up perfectly on the sensor and around kind of bright highlighted backgrounds like in this case, you get this kind of bluish greenish line or a red orange line right beside we're the background is and nobody that I know of likes this sort of thing. And so this is something that I would probably turn on and recommend turning on for you just because it's going to give you a little bit cleaner look to your image and the advantage of doing it in camera is that cannon knows how much chromatic aberration their lenses have and so they can fix it in camera quickly and easily once again, these sorts of things are not fixed if you are shooting in raw, next up, we have multiple exposures. When be honest with you in digital camera started adding multiple exposures. I thought it was a joke, it's like this is something you could do far better in photo shop and just does not seem to make sense in a camera like this, but when I went out to actually shoots and pictures, it made sense I was trying to capture multiple exposure of our space needle here in seattle. In the advantage of having this in camera is that it shows you the previous picture as a partial overlay, so that you can get things so that they line up the way that you want so you can really shoot things and get him lined up perfectly in camera, whereas previously you would just have to shoot things really loose, crop in and move them around. And so it is a practical use thing for somebody who does want to do multiple exposures, and if you do want to get into it, there is a whole sub menu within there, and I will briefly discuss this. For the most part you're gonna either disabled or enable multiple exposures when you get in and you want to enable them, there are some options in there you can do additive or average where the camera just keeps adding exposures on top of each other or it starts figuring it out and darkening pictures to average them all out so that you get a proper exposure you can do anywhere from two to nine pictures. One of the great things about this camera is that it saves the original source files as well as the composite file so that you can work with it later as well and you can work with raw and here so you can shoot original raw images keep all the original raw images as well as the final image you can shoot continuously in this mode so if you want to do two shots you can shoot two shots over and over again or you can set it up to just shoot one siri's of two shots and so it depends on how into multiple exposures you are at that particular moment so there's a number of options you can get in here to customize the way things were going. I will also mention that if you are doing it beyond the additive and average option you khun set it up for bright or for dark objects and you might find better results using one or the other depending on the type of subject material that you have and I think I should also mention that you can't shoot j peg in that mode you have to shoot rock okay, so we are in what's known as the second tab of the shooting menu, so this is shoot to j peg quality. If you do shoot j pegs, how good are each of the different levels that you shoot at? So you help large two mediums and a small, and what you're looking at here is thie compression quality on these. Generally, you're going to probably want to keep these fairly high to keep the quality up high, but if you want to reduce file size, you can set it down to a lower number, but this is only for j peg images. Of course, next up is image type and size, and this is the main place that you get to choose whether you shoot raw or j peg. Now, when you go in here, the top dial will control the raw and the back dial will control the j pick. You have to choose something to shoot raw and or j peg. You know, if you want, you can choose one of each so you could choose the regular raw, which is the full size large raw. You could choose a large j peg or small j pay or whatever combination you want, and so just a turn the front dialogue or excuse me, the top dial in the back dial to select these two options in here now something else that we're going to see and this is one little strange area that they should have right next to this that is thrown in a different part of the menu system for those of you who want to use to memory cards and you want to record to one card or the other or both cards to control that aspect, we're going to talk about that when we get to the tools section the recording function section so it's kind of located in a separate place if you are recording to two card so if you have two cards in the camera you have it selected to shoot two two cards you could then select which card slot you want to go to do you want to send your stuff too? Card slot number one or card slot number two and then you can start specifying his card slot number one j peg or ryan is too raw or j peg and susan, I think we had a question earlier about somebody who wanted to shoot j peg to slot number one and brought to slot number two and now that I see my notes, you can't do that so you could do it in either slot one or slot to so very, very versatile system here, all right, next up I esso speed settings now we can much more quickly select the ice so right on the top of the camera with theis, so but but here's, where you get to customize it, you can kind of open up the other parameters and allow your to get down to it. S o fifty s o fifty, one thousand and one hundred two thousand this is where we can also get in and control the range. I mean, that's, what we're just doing the range, you can expand the range, and so I often we'll just turn it on all the way from the lowest to the highest you never know what she might need out in the field and if you are using auto is so you can set the parameters of how far up it will go here a swell and so, you know, depending on your situation, you might want to set thirty, two hundred sixty four hundred twelve thousand eight hundred issue or limit, depending on what your needs. Now, we also have a minimum shutter speed, and so if the camera is choosing a shutter speed for you, say you've chosen program or time value, you can put it in auto, and the camera will look at what lends you have on the camera and we'll adjust the shutter speed according to the focal inc so the longer your focal length, the faster shutter speed it will use now you don't have a lot of control over it when it's an auto because the cameras taking control of it but that would be one option that might work out when you want to maintain a faster shutter speed with longer focal links. Next up auto lightning optimizer we saw this in the quick menu and I need to show you some photos to let you know what's going on here. So in this situation we have auto lightning optimizer disabled in what auto lightning optimizer does. Is it a just the exposure it's sometimes holds back highlights it sometimes lightens the shadows in this particular case I kind of like the fact that it lightens up the shadows. The problem is is you are leading control of your pictures, go to the camera and I don't always want to light in the shadows because sometimes he won an image that has good strong contrast. So this is something that once again it's not going to take place on raw images it's only going to be on jay pegs and it's something I would recommend turning off, and as we go through the list you will see my general recommendations on the right hand side for the average user of this camera, long exposure noise reduction and high aiso noise reduction are closely related. This is where the camera is doing its own noise reduction and applying it to photographs that you've taken either that are long exposures, which are technically one second, longer or in high I s o, which you're going to be higher I so say of thirty, two hundred and above and has a little visual example lois owes you don't get the noise with high iess owes you get that grainy look to it with the built in camera reduction, it tends to do a pretty good job, but you can do better with other software like adobe light room and photo shop and there's many other programs that can help out with noise reduction. So if you're in a hurry, you can use this stuff in camera if you're not, you could do a better job on your own with some other software highlight tone priority we've seen this some other places in the viewfinder it's the d plus and what's going on here is the camera is kind of putting a limiter on the ice, so in the way the exposure is captured, you'll notice the image on the left has some blown out highlights in the doorway. When you turn this feature on it holds back some of the highlights so that you are less likely to lose that data initially, this sounds like a really good idea the problem is is that you can no longer shoot at I s a one hundred which is a major drawback for many, many photographers, and so I don't recommend this for most people, if you should in raw, you can probably get back a lot of that highlight information anyway, so we're moving over to the third tam using that main dial on the camera just to dial over when you take a picture, how long do you want the picture to come up on the back? Lcd of the camera? Four seconds is pretty standard. You could make that shorter or make it longer ah, here's, where you can turn off that very amateur beeping noise that your camera makes when the subject is in focus, and so I highly recommend turning this off. There is visual confirmation in the viewfinder when you're in focus looked at that in the viewfinder information, this next one I would turn off release shutter without card. What this basically does is if you don't have a card in your camera, it will prevent you from taking pictures there's no card in the camera, you can't record any picture, so it kind of prevents you from taking pictures without film in the camera. And so leaving this turned off would be wise for most people, if you work in a camera store, you'd want to leave, it turned on so that you could show what the camera's shutter sound is like mere lock up all right got a new visual to explain this one so here's what's going on with your slr camera when you press down on the shutter release here we go the mere moves up and it wants to move up very very quickly so that you could take your picture. The problem is is that it vibrates the camera when it does that at particular shutter speeds and so when you put your camera in able in the mere lock up mode you will press once down on the shutter release the mere goes up and it stays locked up see it's in the mere lock up position you will press the shutter release again and the shutter unit will then cycle and you would probably want to be doing this with a cable released so that you're not actually touching the camera and as a example of how big a difference this can make. I did a little test to show what standard versus mere lockup turned on and this is shot at one eighth of a second and so there is what I would call a vibration zone on your camera around an eighth of a second where there is a lot of vibration caused by the mere popping up very quickly and so anywhere from about a half second to a thirtieth of a second you're likely to see this problem most notably if you were on a tripod you won't need to worry about this too much if your hand hailed if you're panning the shot but if you are doing a landscape type photography shot if you're doing a product shot under natural light and you're at a very slow shutter speed I would be using near lock up normally though you're going to keep it off next up is something called dust delete data and this is for people who have dirty sensors and have no ability of actually cleaning them right then and there and so if your picture looks like this that is dust those air not ufo's in the air okay, so what you're going to do in this case is you're going to photograph a white sheet of paper at f twenty two so that you can see all the dust you'll then go to dust delete data and the camera will map out where all those dust particles are and clone around them clone over them so that when you take a picture it'll be nice and clean I prefer not to do this I prefer to actually clean the sensor if possible but this is one way to clean up any problems that you have with your sensor now if you are stuck out on vacation in a remote location this would be a good technique for fixing this sort of issue when you get back into town you have your camera properly cleaned whether you are repair service does it you could then shoot a new dust delete data with a clean sheet of paper and kind of get rid of all those cloning marks that you've had on their previously if you have an external flash when you hook it up you can dive into this mode this is kind of what I call a rabbit hole where it just seems like it goes in a little bit but it actually dives in tow a whole nother menu and so you do need to have a flash attached and turned on and you can do such things as enabling or disabling the firing of the flash while it is on the camera you can choose which meter in mode you want I would leave it any evaluative you can choose specifics on how the camera works and what shutter speeds it chooses when you were in an aperture value mode auto is fine for most of the time you can clear flash settings in the camera there is a number of flash settings that you can make with your camera now you can actually go in and change these in your camera rather than going up to the buttons and menu on your flash which just might be easier to reach so you can control the media ring system the rear curtain two front curtain sink exposure compensation where the flash has set out a bunch of the different controls of the flash the flash also has custom settings custom functions that you can program in and you can go in and adjust those as well is clearing those as well and so there's a lot of functions that you can do directly from the camera without even going up to the flash itself. Ok, where does that take us next? So we're over into the fourth tab and we're now dealing with live view and some of the movie settings, so at first I am gonna have this set for still photography all right, the auto focus mode, which I was not really fonda kony said it live face detection or the quick mode I'm not real find of any of these I prefer manually focusing, but if I had to leave it in one spot, I would leave it in life mode there's going to be a box on frame and it's going to look for contrast in that box in which to focus tends to be a little bit slower quite a bit far grid display. So when you have your camera in the live view mode and you're looking at the image on the back of the camera, do you want to see a grid pattern there's a couple of different grid patterns that you can throw on there for composition and for leveling the horizon I like to keep it clean and keep it turned off exposure simulation we're talking about this when someone was asking a question about the light meter in the camera, the exposure simulation I would leave this un enable, because the camera actually does a very good job at showing you if your picture is too bright or too dark now, there will be a light meter in there as well, but if you leave this on, enable it's going very well, mimic what the final picture is going to look like silent, live view shooting is a little bit weird because the mir is up, the shutter is open mode one is what I generally recommend what the cameras using is an elektronik first curtain, which means there is no actual blades going in front just starts to record, and this is really nice from macro photographers for anyone doing high magnification work because you don't even have well, first off, you don't have the mere bouncing up because that's up you're in live you and now you don't even have a shutter movement and a shudder moving very quickly can cause a little bit of vibration as well. The problem with this mode is that you can't use flash photography, so if you're working in a studio and you have your camera in live, you and your flashes aren't firing it's, probably because you have silent mode one or to set up and so if you're in a studio, you're gonna want to disable this feature completely. Now there is a mode to which is a little goofy and weird where the second shutter will not retract or excuse me will not close not reset open excuse me until you take your finger off the shutter its potentially that you could take a very, very quiet picture, move the camera to another environment and then release the shutter. And so for most people, I think mode one if you're working in a studio, you'd want to put this on disabled when you press your set a release, how long is the meeting on the camera active for most people, sixteen seconds is a fine amount of time you khun shorten that or lengthen that as necessary now if you go back up to the top, you can switch it over to movies and we're going to start changing some of the exact same features but when you go into a movie mode and so we're going to see some of the exact same things we just talked about for instance, the auto focus which I would leave on live you for grid display normally I would going to keep that turned off, but here we have something new here is where we get to record or choose what sort of frame raid in resolution you want to record when you're shooting video you know, my guess is that most people are going to want to shoot in hd quality video, which would be the nineteen twenty seven standard video is at thirty frames a second, which is where a lot of people are going to want to be out. A lot of hollywood movies are shot back most of them are sort of twenty four frames a second and it has a slightly different look to it and a lot of cinematography buffs prefer that look to their images and so you might want to choose twenty four frames for that now we did talk about the all I and ii pb before, but all eyes a slightly higher quality mode. It is a little bit lower quality as faras it's compression settings and looking at my notes here if you choose all I it's recording it six hundred and eighty five megabytes per second with type b it's at two hundred thirty five megabytes per second so it's about three times the file size. So if you're doing very professional editing production on this, you'd want to choose all I if you're using it just former general recording I p b is going to save you quite a bit of space sound recording in here and you can control the auto or manual level of the recording of sound for a basic user you'd want to leave this probably it at auto if you are doing this professionally you might want to get in and manually control it because we'll be able to control it with that silent control on the back of the camera silent live you shooting this is what we talked about earlier I'd probably leave this in mode one and the meeting time it's the same as we talked about how long this e meter staying active but when you do put it in the movie mode you knew you now have a fifth little tab that you didn't have before and time code is something that serious video shooters like because they can go in and change the recording time they can have an actual free running time running on multiple cameras that air sinking up different cameras when they get into post a little bit more easily and so for most people in here I would not even recommend going in there if you're not going to shoot video you don't need to go in here at all if you do know video really well we'll probably you know it better than I do but we do have a number of options that we can control in here the counting up start time movie record play movie play count and you can either choose to have like a start time so when you start recording you see one second two seconds three seconds or you could set it up for free run where it just has a clock that's running the whole time and from it depends on what level of user you're at as to where you're going to want to go with that silent control this is for the audio controls with the quick control dial on the back of the camera that seems like a nice feature to be able to control so I would probably enable that the movie shooting button that normally starts recording is the m function button that's that little button right up by the shed a release you can enable the shuttle releases to start recording if you want which could be kind of nice but the problem is is that you can no longer take still images if you do that so do you have to be careful about choosing that next up is the autofocus section but I do need to grab just breath here so we'll see if there's any questions will take questions after each major tab it's too that just to give me a little breath okay massive media had asked him mirror lock up the map to a function but no and there's been a constant complaint with canada about just putting your lockup button on it and they're kind of is a mere lock up button it's called live view it does turn on the screen on the back of the camera that's the downside but no there isn't a direct button for doing that the shortcut that I use is I put the camera in live you and then operate the camera the other option is that you can put mere lock up into something that I'll talk about at the end of the menu section called my menu so when you hit the menu it's just one of the five options you have right there in front of you so it takes no more than three seconds to set so facebook gts photography is asking if you're going to touch base a little bit more on off camera flash and the options associated with that no, I'm not the flash system opens up just this whole box of new questions in gear and accessories I will say that the cannon six hundred flashes is great flash and if you want to get into really professional lighting work you're going to be looking at off camera stuff that's non cannon and brand and so it just it goes into a whole other realm of things but anything more directly related to camera sitting there be more than happy to answer in this class. Ok, I have a question here uh from ashu who asked what gps unit does john recommend other than the cannon one that you listed I haven't used the gps unit with this there are two there's one that fits on the hot shoe of the camera and the one that fits on the side I would say the one on the side is probably the better one to get but I don't have a lot of personal experience with either one of them okay thank you so do you need to go into more content now where can I keep going? Let's go let's go with it okay if you more dull to bella images asks if I'm shooting fashion type portrait's and families uh if you could only afford one lens this is kind of going back to before the break but what would that one lens b I would probably get an eighty five millimeter lens if you're doing lots of group portrait ce you into the size of your studio is another thing that would be important in there you may want to fifty millimeter lens in there but I think in eighty five is is the go to tool whether that's the one point two or the one point eight they're both very good lenses okay question from mac port aereo from spain is there a light meter in live you mode or does it dim automatically and that's enough? Well let's uh go to the on camera this might be something what we could do right here in the studio so let's put it into the live view mode and let me put the camera into a manual mode daniel now going alive you and press through our information buttons we have our hissed a gram see little bit of information here we have at the bottom if we can see right above my finger we have a light meter where it gets darker and it gets lighter actually, we're kind of limited with her shutter speed there so here we can go darker and lighter and we can see that with the brightness of the image we can see that with a light meter and if we want to pull up the history graham we can see the history graham shifting from the left side to the right side so lots of different visual cues and a behind the scenes look at what's in the studio here. Um one more kind of general question did l a o seven asks, is it practical to use the cannon us one d c for wedding someone cinematography I think she meant the deed, right? Well, the sea is thie special cinema model of this camera, which is virtually the same camera. I mean, it looks the same on the outside they've taken off. I think they took off the p c synch of the camera and put on something else. If I can remember, uh, they put on a headphone jack because the camera does not have a headphone jack on it right now, and so with but beyond that there is some internal differences about the software and the hardware that's in that camera but this camera can be done. This camera could be used for totally professional purposes. If you get into the rial video side, you may want to go to some video websites that specialize in that and they'll talk about where you're going to see those differences, because the big difference with the ceos one d c is that it can shoot four k video and four k if you don't know what that means. It means four thousand pixels across the long side and the screens that you see here are two thousand pixels across and that's what we're broadcasting, I believe in in hd, and I was actually just listening to on the way down the c e s show is going on right now, and one of the companies is debut ing, therefore k screens. The problem is, is that they said there's, not many cameras shoot four k video. This does not shoot four k video the one d c does there you go an incredible explanation. Okay, one final camera question before we go, move on. This is from leo edwards photo said, I just bought a one d x as a progression from my four year old, one day s three how likely is it that cannon will bring out a one d x s soon? Well nobody knows for sure and they certainly haven't told me there are plenty of rumors out there that cannon is testing higher megapixel cameras out there my theory and this is totally my theory with no evidence is that the cannon engineers in the different departments got together and the sensor group said hey look, we've got this fifty megapixel sensor and they put it in the camera and the lens department said our lenses aren't good enough for fifty megapixels and so they said, well, you go make better lenses and so now they're starting to see all these upgrades toe lenses so I think they're building to handle higher megapixels sensors if you're familiar with the xo optics it's a great website that analyzes lenses um how sharp they are how good sensors are and they've come up with a new rating that's caused some controversy and what they do is they have rated lenses with a specific number is how many megapixels it can resolve and so if you have an eighteen megapixel camera and you have a lens that can really only resolve on average twelve megapixels you're not really getting the most out of it and it doesn't do any good to have thirty six megapixels or fifty and right now the highest cannon lens I think available is twenty one megapixel lands and so it's an interesting way to rate lenses it's not perfect but it's kind of a simple way we could get a higher megapixel camera, but unless you have the lenses that can support it it's not going to do any good, can we get apple to build us some computers? I can deal with fifty megapixels? Yeah, exactly e I don't even know and so more is better I you know, I know that we're going to get there eventually, but you know if you don't have the resolution here and there will be practical limits as to what we can get to because you know, as good as this system is here, there's just an ever so slight little bit of movement here and in your lens and everything else there's tolerance is manufacturing tolerances that we are kind of stuck with until we start building a hundred thousand dollars cameras and so it's very possible, I think candid will come out with a one d x s that will have thirty six, forty two megapixels and night like nikon camera that came out that has thirty six megapixels. Most people who own that camera don't know that nikon says that that camera should only be used and it's got this short list of lenses with especially enhanced sharpness lenses and there's a list of about ten lenses that they should be using with it and they shouldn't be using the other ones because they're not good enough for thirty six megapixel sensor and so those were some opinions in there I'm how about it as you will let's move on okay ok so the next big section we're getting into his auto focus and that is one of the things that is special about this camera is that it is highly customizable with the focusing points is we've already seen the focusing modes which we've talked about and now they brought up something brand new which are these different cases case one through six which are different ways of tracking subjects that are moving you know if you're going to be photographing a static object if you're going to focus a statue in the town square this isn't going to matter okay? This is mattering for sports and action photography and you'll notice these six cases that we have deal with different types of situations and within each of these there are three parameters so let's look at these three focused parameters and what exactly are they doing? First up is tracking sensitivity all right? We have the option it starts off a zero and we can lower this so that let's say we're focusing on a subject in a field sport and a referee runs in front crosses your line of sight very briefly do you want the camera to refocus on this new subject in that particular case you probably don't and so you might want to dial this to the minus side so it stays with you the subject that you are tracking already wanted to jump to the new subject. There are certain types of sports where you don't care who's in the front, you want to make sure who's ever in the front is in focus. The next option is how fast your subject is accelerating or decelerating. If you were going to photograph a runner in the marathon race, you'd want to have this set to zero because they're moving at a very steady rate if you were going to photograph something like football, or perhaps the long jump where a runner is going from a very fast speed to a very slow speed or stopped suddenly. So I think football and soccer would be a great example of that you'd want to set this at maybe number one or number two, so how fast to your subjects stopping and starting? And then the final one is auto focus point switching. If you select multiple focusing points, how quickly do you want your camera to jump from the point you selected to the next nearby point? And this totally depends on the type of movement that you're subject. Has birds in flight erratic animal movement dance? Certain types of sports were soon players or stopping and starting and moving around suddenly our options where you're going to want to go in and change this now, unfortunately, I can't tell you where to set your camera because what you shoot is going to totally change what you're gonna wanna have set. What I could say is that if you start with case one it's a good place to start, it has everything kind of set to its normal parameters. Case number two it's going to track subjects, ignoring obstacles. For instance, in tennis, you have these yellow balls that are flying in front of your subjects, swimmers oftentimes have water splashing around them that you don't want the camera to refocus on. So it's it's taking the tracking sensitivity to the minus side on some things like downhill skiers and maybe the finish line of a race, you want the camera to focus as quickly as possible as to whatever is right in front of that sensor for subjects where athletes are starting and stopping very quickly once again football, soccer long jump you want to track their change in acceleration quite a bit, and so we've increased the acceleration tracking in this mode. Number four number five is dealing with more erratic movement and actually five and six, which I'll bring up now are very similar with just some slight differences in there, and so which one's? Best for the type of work you do? It depends on your subject. It depends on your lens. It depends on your style and how you're shooting so there's a number of parameters in there for most people. If this just seems way too complicated, start with case number one and then I'm going to give you a tool toe work within a couple of minutes to help you figure out how this needs to be adjusted. Beyond that we still have four more tabs if auto focus adjustments the first one is in aye aye, servo. This is where you're moving, you're capturing moving subjects the first image what's most important that it's in focus or that you can fire the shutter release and with this setting that you see here it's an equal priority, you can prioritize allowing the camera to fire the picture or making sure that it's in focus I would leave it in this middle position equal priority to start with. Depending on your needs, you may need to go in and make this adjustment. Now we have this same adjustment as for the second image in a siri's of images and so this gets into really fine tune dealing now is your camera not getting enough sharp pictures or is it not allowing you to shoot the picture is some of the questions that you would be asking about in this particular mode, for the most part, equal priority would be a good place to start as a baseline on this. All right? Moving over to tab number three there are a number of oftentimes they're older lenses, or they're at least very big telephoto lenses that have elektronik ring focusing, which means that when you turn the focusing ring on the lands, you're not really physically turning the focus of the lens you're turning electronics, which are changing the focus and this customization controls that aspect of it. Normally, if you press down on the shutter release halfway, you'll be able to touch up the focus manually afterwards if you don't like being able to do this, you could turn this off if you want to uh and so it's not something that's going to apply to most people auto focus being firing if you have a flash attached to the camera, there is a light on the front of the flash. If you want that to help you focus, you could leave this turn on. I actually like to turn it off in many cases, but it's only going to come on when you have the flash. Another option that I like is infrared auto focus on ly I r f on what that will do is it'll just use the infrared light, which is not as easy for people to see one shot auto focus released priority when you have your camera in the one shot mode which is where? Excuse me for just a moment here you're shooting static shoved subjects the camera forces the camera to be the camera forces you to be in focus before the picture is taken and that is the normal parameter if you don't like it, you could turn it out of it but I would generally leave this one the same as you see it there ok this one I have not used a lot in actual use I have heard some good things about this what's going on here is that the camera is using facial recognition in color information to help track your subjects movement and so by turning this on it's possible that you will get more in focus pictures sounds like a good thing that downside is is that it may slow down the shooting of the camera and you might not get as many pictures as you were expecting to have in that particular motor drive. I have this recommended turned off at this point because I have turned it off in my testing of the camera and the camera is amazing without this and so I like having those twelve frames per second because I really didn't have any focusing here's with it, but if you are having having focusing problems with certain types of subjects in movement you can try turning this on it may slow things down but you may get a bit higher percentage rate of infocus pictures when the camera can't focus what do you want it to do in most cases you're going to want it to continue to try to focus but if you are from for instance a long lens user your lens can go way out of focus and it could be a long delay before your subject is back and focus so most commonly this is going to be a bird photographer or wildlife photographer he would want to turn this off so if you have a big lands like a three hundred or up, you may want to consider turning this off depending on the type of work that you do with with the camera selectable auto focus point camera has sixty one focusing points if for some reason you only want to use fifteen focusing points, you could narrow it down to fifteen points or you can narrow it down to nine points they're also there are some reasons why you might want to do this with special lenses. One of the other options is you could go down to simply the forty one cross type focusing point so if you don't want anything but cross type focusing points you could go to forty one it does change the size of the brackets and everything that you're working with so normally probably gonna want to leave it all. Sixty one it's nice having those options in there. Ok, this is what I was thinking of a moment. Select a f area selection mode. You could probably want to check all these off so that you have the option, especially in the early days of using the camera. You can use all the options if you know that you never want to use these options and you don't even want to see it. When you make a selection, you can uncheck the box and then press ok, but normally I would check all six of those boxes off just so that they're an option, depending on what type of situation you get in next step selection method, normally you're going to use that multifunction button on the top of the camera. If you want, you can use the main dial personal preference of your choice there. Orientation linked auto focus point all right, this is something that I recommend turning on normally. Let's say you grab these top brackets on your camera and then you turn your camera vertically. Well, now those brackets that were on the top are over on the left hand side. If you turn on the orientation linked autofocus points, you can program in points when you're in the horizontal. Position and then when you switch to a vertical position, you have a different set of points that it jumps to and you can program these while the camera is in the horizontal or vertical position. I found this really handy when switching back and forth between shooting sports and a horizontal versus vertical mode. The points don't go kind of off to a completely different side, and I don't have to reposition the points on the camera, so it kind of allows you two completely different settings at the same time highly recommend that a f five the final tab of auto focus, and so the first thing we have in here is thie autofocus selection pattern and what's going to happen at some point in time is you're going to select the center point and you're going to work your way over and select the far right hand point and you're going to want to go all the way over to the left hand side, you have two options now. The main option is to press the left hand arrow like ten times to get over there. Well, they should really call this the wormhole because if you turn this feature on rather than pressing left a dozen times, you can just press right and it wraps around the backside and instantly goes over to the other side of the focusing points and so just gives you a more maneuverable way to switch focusing points from one extreme to the other and so I would turn that on continuous okay, we're getting to some areas that people had questions on about displaying focusing points as they're looking through the camera and this does get a little complicated in here once again apologize for this but there are basically four different times when you want to see focusing points when you're selecting them that's kind of important when you're just kind of sitting there ready to shoot when the cameras auto focusing and when it has achieved auto focus so of these four different periods of time when do you want to see the focusing point and some people have different opinions of what they think is important? The first option is it showing up pretty much all the time you can choose to show all the focusing points which is a little too cluttered for my book you can have it not show up while the camera is focusing you can have it not show up when the cameras just kind of in standby mode and when it's focusing and so I generally amusing selected one, two, three, four but other people have other opinions and what they like to see in the viewfinder so customize at will in their next up viewfinder display illumination and so what's going on in here is that the camera focusing brackets will glow red and when you're under low light levels, it changes a little bit in its brightness, and the camera figures out how bright and how dim these things should be, and the camera does a pretty good job, so I would leave it in the auto mode, but you could leave it on so that they're always turning red, or you could turn it off so that they're not make sure I got all that correct, all right, next up, and so there's there's that and so with version firmware version one point one point one, which is new, and your camera may not have this information down at the bottom of this, you'll notice where it says q f point during a servo a f so if you hit the cue button, you'll get this additional menu. And what was bothering some people about the original way that this camera focused is that when you're focusing on moving subjects, you couldn't see the focusing points that were being used, and they have added that feature in so auto focus points during a I servo can now be illuminated either normal or brighter, and a lot of people do like this, and so you might want to try turning this onto illuminated normal setting, and that is once again for sports photography in the a I serve a moat. When we're talking about the viewfinder I told you about the little a f down there in the corner of the viewfinder well, if you don't want that there you can turn it off with this f status and viewfinder the little green arrows will still be there and you can use those to let you know that the camera is focusing but you can turn off that little a f if you want and so you could have it in the frame or just outside of you and I kind of prefer the outside of you option less clutter in the viewfinder and susan this one's for you this is a f micro adjustment all right? So special slides to deal with this okay, so normally when you focus on a subject you want to focus right where you're pointing the camera but sometimes with certain lenses, especially tele photos especially very fast lenses the cameras will focus a little bit in front, which is called front focus or they might focus in back of where the subject is and so it's a little bit in error and what you need to do is you need to adjust your lens is what you will need for this is a focusing target and I think a ruler works quite well you will need a measuring device in which a yardstick works quite well we'll put your camera on a tripod and you'll focus on the target and you'll see whereabouts on the measuring device. Your camera is actually focusing now, if you want to get really official about this, you can go buy one of these lens of lines for about eighty bucks at a really good camera store, and you focus on the target and you see if your cameras actually focusing at the right distance. Now, I am just a little too thrifty to go out and buy one of those things, so I'll use my trusty ruler in yardstick. I'll set it up, I'm going to focus on the ruler and you can go in and you can make adjustments for each and all of your lenses. So I took a lands and I said it to minus twenty minus ten and onward, so you could go between plus twenty two minus twenty. Now this particular lands you can see where it is focusing with the yellow arrow marks, and you can see it zero the camera is front, focusing ever so slightly but it plus ten it's back, focusing a little bit. So what I would do with this particular lenses, I would set it at plus five to get the exact focusing point exactly where the cameras focusing, where do you how do you set the lens, john? You have to go into this particular micro adjustment setting on the camera and you have to do this test with every single lens you have you can program the lenses of the camera and so the camera knows which lenses on the camera and so it programs in with this particular lands I'm going to set a plus five but with this lands it's a minus eight and with this lens it's a plus thirteen and the other cool thing is with the lens that zooms like this, you could set it two plus two at twenty four and minus five at one o five so that if it changes during the zoom you khun set for two ends of the zoo, so additional slide here. All right, so how do you actually do this? You need your camera, you need all of your lenses, you're going tripod probably a cave release you could use your self timer, you can use any sort of measuring device you want, but I think a ruler and a yardstick are very easy common things to work with here next up for setting the camera. You're going to want to be an aperture priority or manual you want have your camera at maximum aperture because you're trying to show the shallowest up to feel possible you want to be a lois, so you're going to be in single auto focus you're gonna lock the mere up so there's no vibration you're getting the best image quality possible and make sure your turn image stabilization off if necessary the steps that you're going to have to do is manually unfocused the image and then auto focus on the target lock your mirror up take a picture play it back you don't even need to download it you can magnify it do it all in camera and then compare images that you shoot with different micro adjustments and so maybe we could go to the camera I have here which is probably not adjusted because it is a rental from glaser's camera but let me go into micro just so that you can see a little bit about what's going on let me jump over to the final tab micro justice currently turned off one option we have is to adjust all lenses by the same amount so if you knew that your camera was off a little bit you could fix it but that's pretty rare usually you're going to need to go into the land so this one we have a wide setting in a telephoto setting they're both said said it zero yeah I need to be hit info to register and then aiken go into these lips and I can select anywhere from minus twenty two plus twenty so let's just set this one minor difference let's go minus three and a telephoto will put it at plus four and kick out of that. Go back into the menu and we can see that the wide setting is set to minus three in the telephone setting this plus for so this obviously takes a little bit of sit down, get it figured out a lot of testing, and I know when I tested and micro adjusted my camera, I had a few lenses, and it probably took me about an hour to go through the whole process just because I want to get it all set up and do it right. But if you have a really fast lands, if you have an eighty five one two a fifty one to aa one thirty five f to a one point four lands that three hundred two eight, four hundred to eight if you're not micro adjusting it's like you're just throwing thousands of dollars away that you spent on good lenses, because if you're not getting the proper focus, this may be why tolerances are very tight when you get to those shallow depth of field. And this is the way that you can adjust for it, and I know it's a little bit of a pain to adjust, but previously we had to send all of your cameras and lenses back to cannes and have them calibrated now that you can do it and customize it per lands. It's a much better thing in the long run. So, john, can I ask how how much money do people usually spend on calibrating or having somebody else do it or buying a tool? And you're teaching them how to do it for free, right? I was thinking I could open up a little business. I could, michael, just for you, if somebody wanted to dump the gear equipment at my house to micro adjust, I would micro just a camera and ten lenses for two hundred fifty dollars. Wow. Are you guys at home here in that e give me john kringle's address? I just send all your equipment to me. I'm sure that I want how many problems are blowing people's minds here. And that is bp photography. The empath harvey, I'm sorry had asked if that's applicable for nikon cameras. People are saying, can they do that with their five d mark? Three is that just this's? A somewhat new feature. It's in the five d mark three it's a five d mark to its in the cannon seventy it's not in older cameras like a thirty or twenty that's it's a relatively new feature in nikon cameras it's called fine tune and it works in the same way. Ok so and if you have lenses under four point oh you suggest doing this or is there a limit that varies the shallower the depth of field the more critical the focus the more important it is okay I would say if you have a lens that's f forty five six it's not super critical because let's just say you have a seventy two two hundred f four lands when you focus at a normal distance you probably have like three or four inches in focus and if that's off by a quarter inch it's not a big deal but when you're dealing with a half an inch and you're a quarter inch off that's a big deal definitely and so that could be a reason why if you have a eighty five one two and it's not always sharp is it not sharp or is it not focused in the right area and that's something you really need to be careful about examining your photos that you need to look very closely at those mistakes and problems he certainly did well that's great info I mean these are our tools are lenses are tools and they got a neat already yeah exactly they should be in working order so that's a good good hint you just saved a bunch of people a lot of money so this is the end of the autofocus section so any other auto focus questions that was a great time for it okay. Um photo w r x said will lens auto focusing micro just know the difference between two copies of the same ones. Yes, it will. And I am trying to remember me. I may have to dive into the menu system here I let the camera peek over my shoulder on some cameras. And the problem is, is I teach a lot of different classes and they can keep track of serial numbers and I am afraid this mean up yet. Yes, we can keep track of serial numbers so let's say you working with multiple versions of the same lens, you can keep track and calibrate individually for individual lenses by serial number. Very cool. Um, another question along those lines and I don't think you have rulers there to actually show us, but q q q is asking khun john, show us how he set up the two rulers so that it's basically it's in the slide, but yeah, yeah, I mean, basically, what I did is I just took a a ruler and just put a couple of books there, so is standing perfectly vertical, and then I just laid a yardstick so that you could see if you're focused in front or behind that subject, okay, so it's, just that general principle, you need something solid, straight up and down to focus on and then you kind of need a ramp so that you can see either it forward foreign back where is it? Focusing okay, so get a kitchen table be careful about the floor you're working on because you want to make sure that it's not moving around so if you could be on a concrete floor that would be really good go outside on a nice day on the shaded area might be good so people are starting to ask am our two thousand three where do I find that this micro adjust in the mark to is there a general menu way finding in the five d mark tio might be in the custom control's ok I think it's buried in the custom controls which is kind of towards the left in orange towards the back into that it's called micro adjust the name of it is the same okay, thank you so I think we can continue if you're ready. I'm not ready. Oh yes getting just getting ok so we'll move on thiss next actually be pretty quick it's just the playback menu so when you're playing back images what's going on uh you can protect images, go ahead and lock them. The problem with this is that you can reform at the memory card and you can delete all those images and so it only prince yu from deleting them not them being erased by formatting if you're going to play images back on camera or on a tv monitor, you can rotate images if necessary you can erase individual images if you want hook your camera to a printer who you can set the print order and some other characteristics of printing directly from the camera, you can copy images from one card to another, which might be a very useful purpose this would go in and allow you to copy either individual images or entire cards of information from one to another next play too raw image processing if you have a raw image, you can process and make it into a j peck and so that's kind of a nice little feature in case you need to make a single j peg at a particular time and by the way, on the raw image processing that won't won't work with small roz or medium ross. If you have a j peg image, you can resize it and it probably should go without saying that you can't make it larger you can only make it smaller, you can rate images now. I thought this was one of the stupidest things in the world being able to rate your images in camera, but I actually found him very practical I was in some situations where I had nothing to do for an hour and I had my camera there and I knew I needed to get home download and pick my best images so I was able to go through the camera pick off what initially looked like the best images and it just saved me editing time down the road and so if you're stuck in an airplane or an airport that's a great use of your time to go through an edit be aware that you don't have a perfect view in the back of the camera some of my images that I thought were pretty good we're not tax sharp and there were other images that were good that I didn't think were good by looking at him in camera you can create little slide shows in camera you can transfer images from the computer from the camera to the computer. I highly recommend a card reader for doing that when you play back images the dial on the back of the camera will jump from image to image the top dial. The main dial on the top of the camera will jump ten images at a time so you can jump through a lot of images very quickly but you can change this to jump one hundred images or a number of other different settings by going in and adjusting the setting in here. One of the options I was using is once I got it images rated I could jump between two star and three star images and get rid of all the other junk in there at least it's far is what I was looking at. All right, the third tab and the playback menu deals with highlight alert so I got a special little slide here for you highlight alert blinks hot pixels at you, and so in this case, any pixel that is over exposed is blinking it it's a nice warning that you potentially haven't overexposure problem not all pixels that blinking at you definitely are causing a problem. In some cases you have a bright light that is just not within the exposure range of the camera, but it is a good little tool for scene if something is out of range of what your camera can capture. All right, if you're having focusing issues, pay attention to this auto focus point display when you turn this on when you play back images it's going to show you the points that the camera was using for focusing and so for anyone who really wants to find him in the focusing on their camera, you want to turn this on now personally, after you get used to this, I get tired of these boxes over my subject and I don't like him but it's good for analyzing what was the camera doing? What was the camera thinking when it took this picture? So you know which brackets it was using and you can start to tell if it was front focusing or back focusing and maybe what's going wrong with the camera so it's a good analyzing tool to think about next up is a playback grid when you play back an image there's a number of different grids that you can use over your image just for compositional reasons, or for whatever reasons that you might want, not something I generally use. Next up, we have our history, graham. Normally you'll have a brightness, hissed a gram, but one of the options that you can turn on, which I like is the rg v hissed a gram, which shows you the red, green and blue channels in what type of light, how bright and how dark of areas they're recording, and so that's something I like turning on next up for the video buffs when you're playing movies, are you playing back using the recorded time or the time code? For those of you who have gone in to the video mode and have adjusted the time code, most people will simply have this at the record time, so if you have a one minute video, it'll say one minute or sixty seconds magnification, when you play back an image, there is a magnified button, and if you press in on that, the camera is going to magnify in on that image. Now there are different levels that you can zoom in this is that for acts but the one that I like his zooming actual size because it is in it is then zooming into pixel for pixel of what you shot on the sensor versus what's on the screen in the back so that's the best way to judge sharpness now you can go in even beyond this but it's probably not going to help you out as much as doing actual size so I would highly recommend actual size for resuming if you're going to put the camera up to an hd tv this is going to control some of the features that if it connecting with your tv you can use your tv remote to play images back and so that's the playback menu I don't know if there's any questions regarding the playback menu if not we'll just kind of keep moving forward all right, so let's go forward I know we had some questions on this record function with the card and folder selecting all right so this is where you get to choose what your camera does with the two memory cards that might be in the camera. We have the recording function standard which goes to one card or you could go to a garden the second slot we have auto switch in which case it regard records to the first card and when the first card fills up you then go to the second card you could record separately so you shoot raw images toe one card and you shoot jpeg images to the second card and then finally you could do the backup system multiple cards so you're shooting exactly the same thing you could shoot raw or j peg and they're both going to both cards so you're going to end up with two identical cards of information so those are the options the one that I kind of like his auto switch that way if you have an extra card in there it just automatically fills it up but there's a lot of different purposes and reasons why you might choose one or the other here now the other thing that you can do in here is you can create a folder and shoot two images on that folder you can then create another folder and then go to that folder for most people I recommend just independent cards but if he only had one card you could have multiple folders with business and personal items on it for instance and so you will get in here when you get into this mode you'll have a couple different settings the recording function that's what we were just looking at standard or auto switch you can record what card you're going to and then which folder you're going to and you could also go in there and create different folders as well next up we have file numbering. I would leave this at continuous unless there's something very specific you were trying to dio what it does is it continuously adds one to the previous image in its file numbering system. The camera has a number in system that goes up through ten thousand and it will just automatically cycle through that you could have it automatically reset, or you could manually reset it at any time you want. But I don't recommend that for the average user with the file name, you can go in and you can customize the name on it to your your initials. For instance, moving on to auto rotate. This is kind of an interesting thing because the camera has is set to rotate it on the camera and on the computer when you shoot a vertical image, it becomes very small when you play it back on the back of the camera, if you turn off the camera portion of it, it will keep the image very large on the camera. You do have to rotate the camera to see the image, but generally that's usually not a problem because the camera is usually in your hand, justus, you have shot a vertical image so I turn off the camera part of this it just makes your image is a little bit easier to see out in the field they don't play back well if you're gonna play it back on a tv set, though formatting the card when you want to get rid of all the images on your memory card, you have the option of deleting the pictures, which will delete them, but they'll still be on the card and they could potentially leave folders and directories that might cause a communication there with the camera. It is better to reform at the card, which cleans off all the data and establishes a clean line of communication with the car. And so kind of a standard procedure for a serious professional photographer before they go out onto a shoot is to put in some cards and reform at them at that time. And so this is where you would do that moving up to set up a tab. Number two. How quickly do you want the camera to power down? One minute is fine for most people. In most cases, you could make it longer, or you can completely disable it if necessary. The brightness of the screen on the back I would normally leave it in the middle unless there's a problem with it, or you're viewing it under very bright light conditions, you could make it brighter at that point from, but for average use, I would just leave it right in the middle. I was trying to estimate what time of day that I will actually be talking about the time and date on here. And I am very close because I have estimated the date which I knew this many weeks ago. And I estimated it would be one eleven. And according to my watch, it is one fourteen. And so I was three minutes off guessing when I would reach this point of the class. How did you do that? I know what time you go to lunch. And I know how long it takes me to get through things. And so not that of three months off that's the closest I've ever been. I will try to hit it one of these days. My computer says one ten, so oh, you let me just go back from e teo. Alright, language. If you see this, you are in serious trouble on your camera. Because that is cling on in the camera does not have cling on in. There is one of the pre set languages. Eso you will change that, of course, to your appropriate language. Sorry. Had to geek out there for a moment. Just a moment. Just a moment had a lot of geekiness. Okay, next up is the viewfinder grid and this is in the viewfinder that you're looking at not the screen on the back of the camera but actually the viewfinder if you like looking at the grid which can be very helpful for architectural photographers for telling vertical lines landscape photographers for telling horizon levels it can be kind of nice for composition but it can also clutter up this the screen so I kind of leave it disabled but there's lots of good uses for it. Next up we have the info button. What sort of things do you want to come up when you press the info button? I like all of these options, so I leave them all turned on, but if you really don't find one of him of any use to you you could go in and uncheck that box. All right. So the third tab in the setup menu here in north america we used the ntsc system in europe and other parts of the world. They use a pal system. He would set this up for your appropriate video system. Next up we have battery information. This is really cool. You can go in and see exactly how charged your battery is, how many times you fired the shutter at least on that battery charge so it gives you very highly detailed information about how much battery life you have left we've talked about dust on the sensor and so we can talk about it a little bit more thoroughly here the camera has an automatic sensor cleaning system that I would leave turned on in auto cleaning does a very good job keeping dust off the sensor, but you can also go in and manually clean the censor yourself. Not everyone feels comfortable doing this it's got two parts to it. The first step is to use one of these air blowers and to take the mere off and kind of clean out the mirror box area, put the camera into the manual cleaning mode and just blow air in off the sensor you don't want to use the canned air step two is using something like this. There are a couple different options out on the market this is the one I'm familiar with that I know is quite good is a sensor swab. It is a very, very slow fancy q tip. You might say you put a couple drops of alcohol liquid on it and you wipe it across across the sensor cleaning off any dust on that sensor. It sometimes takes a couple of cleans and can get a little tricky not everyone feels comfortable doing this. You can turn the camera back to cannon or a repair center and they will do it for about one hundred bucks. You can buy the materials yourself for about fourteen communication settings there's a number of devices that you could hook up onto the camera whether using the wireless system or you're hooking up to the land wired system and this would go in and set up some of the parameters if you were doing tethered, shooting or using some of the wireless systems with the camera, if you're using the gps system, you would use this to go in and set up some of the parameters of the gps, we're not going to go into that set up tab number four save and load settings onto a card. If you are so fortunate as to have another one d x camera and you have spent the last four hours of this class programming this camera, you can save all those settings on to a memory card and then take him over to your other d one x and automatically download those now. Another trick that some people have done is thie camera only has three custom modes on it. You could save your cameras three custom modes and then save everything on to a memory card and that's your football card. So you take an old compact flash card that you're not using anymore because it's too small for regular data and then when you shoot basketball, you're sticking your basketball card and it's got all the parameters for the way that you like to shoot basketball and so it's another customized way of saving a whole bunch of settings, taking him off the camera and then setting the camera up in another way highly customizable as I said. All right, so this is where you get in a program and your cameras see one, two and three moons basic operation here is set the camera up exactly as you wanted to come into this custom mode and save it as one, two or three. Once you save let's, say you set number one to a particular type of photography, you could make a few adjustments, go back in to see one and update it with the new features that you have added to that setting. And so it is up datable on a cz you need to know you can also set this two auto update, which means that this is a little dangerous. You put it in a custom mode you make any change, it automatically records that change into the custom mode and so let's say you're he got it in the football mode, but for some strange reason you want to put it into spot metering for one particular special situation well, that spot meter in his now programmed in that mode so you need to be very careful about the auto update in custom shooting note next up if you have totally not been paying attention you've screwed up your camera you can clear all the settings and it takes it back to the factory defaults that's actually the first thing I did this morning said it know where the camera had been in who had last used it on dh so I just want to make sure all the settings were back to their normal settings copyright information this is kind of cool you can go in and put your name you could put your website you can put your email address and put it right into the details of the information of the camera this gets recorded to the metadata of your photograph and so any time you give somebody a photograph it's going to automatically have your copy right right on the photograph and so if somebody wants to get a hold of you it's very easy to do that all right? This is one of those things that you're on lee going to get on a one d x you're not going to get this on any other camera system a system status to display and so what what this goes into is it it's telling you the number of times the camera has been fired all right and you know what? Let's just check I don't know if I had the same camera because I borrowed this camera to make this class are going to go and I'm going to see if this is the same camera by looking at the serial number and how many times the shelter has been fired because this came out of glaser's rental department and we can see that this is a different camera cause I have a different serial number here, and this camera's been fired twenty nine thousand times, and the camera on the keynote has been fired twenty two thousand times. And so, you know exactly if you're going to sell the camera, if you need to updated in any way how many times the shuttle has been fired, the camera also has an info camera status log. And so the camera keeps track of problems it's like a computer keeping track of any issue. So on this one, let me press the info button. And so this camera had a little issue back on october six that had a caution. Number two I can't tell you what a caution number two is right now, but there is information in the instruction manual, so it kind of keeps ah, log of any sort of problems. So if you need to send your cameron for repair, the technicians air going to kind of know what's been going on with that camera, something you're only going to see anyone d x level of camera, finally, we have the firmware version. This is the software that is operating the camera and from time to time they make improvements like the one we talked about with the f eight focusing bracket, so if you don't have firmware version one point one you want to update your firm where and what you'll need to do is you'll need to go to cannons website and download the new software put it on a memory card, put it in your camera the camera will recognize the new software when you go to firmware version and we'll ask if you want to update your software and I would go ahead and do that something that might take about fifteen minutes in time but if you don't have version one point one point one you could get some slightly improved focusing performance with that okay, let's see, we got a few questions um so let's see bm photography says john what about the spinning brushes that use electrostatic to collect dust from the sensor? I have seen those and as fascinated as I am by shiny wereley objects I've never tried it so describe it it's actually well it's bin's let's see, I it's got like an anti magnetic something or another on it and then it spins to get the static charge off of it I believe I may be totally wrong on this and then you would swipe off any dust in there and I think they call it the arctic butterfly and I've heard not bad things about it. I mean, I it seems to be fine it's just not what I use the sensor swab it's kind of like the old fashion a way of getting getting the sensor clean and it does a good job, but with the automatic sensor cleaning, it does seem to do a really good job on its own rarely needs to be cleaned. So the question if you need to practice on your micro adjusting it might bring all my lenses so we're starting a new business. I just figured you know what? Seriously? Okay, so question from donna who had asked why is it that when I have two thirty two gig memory cars and each slot of my camera will only, uh let me shoot around seven hundred images when in the record to both that's how yes, interesting question. I was frustrated by this myself because I got two big cards in there. Why am I only limited to this number? Because what it's doing is it's telling you how many images it can shoot to the first card that's it and then when it jumps to the second card so you see that number dwindled down to one zero and then it switches cards and then that number will go back up to seven hundred oh, now that reason that it's at seven hundred is with that size card. I'm guessing it's because they have it set in raw. Plus j pay. If it was in j paid, they're probably getting like two or three, four, five, ten thousand. If it's in raw it's probably more around a thousand, it might be just arrived. I forget the exact numbers. That's a good tip when your friends so learning on the camera, that could be frustrating. Yeah. And so hitting the info button in the back of the camera also shows you, but I don't have I only have one card in the camera here, but that yeah, that could be frustrating. Okay, so maybe just a couple more here? Sure. Illusion photography says is the camera bluetooth enabled for printing? About how far away can the printer be from the camera? If so, I don't think so. It's, not bluetooth enabled, had its own. I don't think you can do. You can do wired printing, but I just got to let you know that there are a bunch of people out there that are laughing right now because one of the jokes about some of the candid cameras, not this one. But previous ones is that they have a print button on the back of the camera. It was considered one of the most amateur things ever being able to print directly from your camera a special button dedicated to that because nobody ever used it. And so printing from the camera is not something that I would highly recommend. I realized as much as my little ideal world of what photography would be like. There are practical applications for that, but this camera does not do that question from my k canada. What the custom memories one, two and three is there a way to stop them from resetting to the safe settings after the camera goes to sleep? So if you've made a change without using the auto update feature, I think I may need you to read that again, like got most of it, but it's it's a complicated it is ok with the custom memories one, two and three. Is there a way to stop them from resetting to the saved settings after the camera goes to sleep? If you've made a change without using the auto update feature no it's, an easy answer I had to think about. It is one of the frustrating things, because sometimes when I have my camera set, I have some custom of settings on my camera and I go in there and it's pretty close to what I want so I make a change and then when the camera goes to sleep all of a sudden that changed that I just made disappeared on me and so I tend to stop going to those modes and I just use manual and I set it up as necessary and so there is a limitation on that and I understand the frustration so we're at about one twenty three right now do you have more you want to go into we have the final big custom and you I'm excited so right you faint excitement really well yeah you're very good I think this is the grand finale and I'm not kidding around okay so we're on the final home stretch here okay so this is the final custom settings like nothing else we've done is customizing this camera all right so exposure level increments so when you're setting shutter speeds and apertures and so forth you can set it in third stops this is common in the industry you can change it if necessary most people leave it the same I also is kind of the same thing you can change it to one stop most people leave it at one third stops bracketing auto cancel when you put your camera in bracketing do you want it to stay there consistently or do you want to do it for just one set of pictures and so hdr users who are doing this all the time we're gonna want to leave this on me make sure I get my notes right here auto cancel enabled on means it's going to cancel after you shoot your bracket siri's which is the way most people are going to want to do it they're going to shoot one bracket and that's it hdr users would actually correct myself here hd users would want to turn this off so that they can continue shooting hdr pictures one after another after another and then manually go back in and turn them off bracketing sequence ok normally your camera's going to shoot the normal exposure first and then a dark one and then a light one if you don't like that sequence you can go in and change the secrets so it starts dark and then goes lighter or starts light and then goes darker whatever your preference here most people leave it so that it shoots the normal picture first number of bracket and shots so here is where you can choose either three shots two shots five or seven three is the typical number but there's a lot of reasons that you would want to choose something other than three some people like to link the spot meter into the auto focus point that they have chosen this is one of the rare cameras that you can actually do this if you are choosing a focusing point way over on the right hand side that's where you can do your meeting as well if you want to link them most people usually leave the center the spot metering with center point which is thie symbol that you see up there now but you can link it to auto focus if you want to safety shift has to deal with working in the time value and aperture value modes I normally leave this turned off the problem with this mode is that if you set a shutter speeder aperture you may not get what you asked for because the camera doesn't like the settings and it will change it on you and so there are some reasons why this might be useful for but for most people I would leave this turned off all right page to dealing with exposure you could go in and restrict what shooting modes you have access to so for instance if you don't use the time value mode you could uncheck that option for the most part you're probably going on leave them all checks so that you have access to him if you want them you could restrict the meter in modes that you don't want to use once again usually leave these all checked off media ring in manual if you go to manual exposure do you want your meeting system to stay as you have chosen in the other modes or do you want it to go exclusively to spot partial or center waited most people will leave it with their current setting but if you want to set your camera in a different way so that it chooses a different metering pattern when you go into manual this is where you do it you can customize the range of shutter speeds if for instance you don't want your camera to shoot it eight thousands of a second you could restrict it can't think of a lot of good reasons that most people would do this but it is capable and when you can also go in and limit the aperture rage auto exposure micro adjustments so we see that word micro adjustment again in this case it's dealing with the exposure if you find that your camera and it shouldn't do this out of the box but say sometime down the road everything is a little bright or a little dark and you tend to have to overexpose or under exposed to compensate for the problem in your camera you could adjust the light meter here in your camera so hopefully you don't need to go in and adjust this but this is a way to tweak the light meter in your camera a little bit you can also do that with the flash exposure in the light meter normally you're not going to want to go into this one as well but you could go in and tweak it down the road if your camera is not spot on next up we can control the continuous shooting speed of the high speed motor drive and the low speed motor drive and so you can set this to a variety of settings between oh anywhere between one and twelve frames per second depending on which mode urine and so find out whatever mode that you happen to be at I actually found this really, really convenient I was shooting a sporting event where I was using lights outside in the lights had a particular recycle time that wasn't twelve frames a second and I was able to back it off just to a place that I could get the flashes to fire in sync because these were remote flashes with the shutter speed that I chose so it's kind of nice to be able to specify exactly the shutter speed that you wanted or the motor drive rate if for some reason you needed to limit how many times the camera fired in a particular burst, you could do that if you didn't want to use some of the drive modes you could turn those off in this area here once again I'd leave most of them turned on moving over to page for group for dealing with display an operation if you change out the replaceable focusing screen to a different standard, your camera will need to know about that because it's how some of the meter in has done in the camera so normally you're not going to change this, not too many people change the focusing screening these screens in these cameras viewfinder information during the exposure. So while you're taking the picture that green line of information down at the bottom of the frame is on, I think it's kind of convenient to be able to see what's going on, especially during a long exposure shouldn't cause any problem, but some people don't like it so you can turn it off lcd panel during bold and so when you are in the bowl, which is the longtime mode, do you want the lcd panel? Illumination turned off, and that could potentially affect the exposure, and so I would leave it turned off recording card image size setting. Normally you're going to use the little tiny display panel on the back of the camera for this if for some reason you want to use the larger lcd panel, you could change it to the larger lcd panel, but for most people, I would just leave it with the rear lcd, and that brings us to the next page, getting towards the end here. If you don't like the way the dials turn on the camera, you could reverse the direction that they turn in order to get higher or lower center speeds, for instance, not necessarily a changeable thing on this camera, in my opinion uh do you want to be able to change the aperture value when the lenses off the camera? One of the great advantages when the first came out of having these auto focus lens is is that if you had a lens set to two point eight, you switched it out put another lens on you didn't have to set this lends to two point eight the camera automatically had it set at two point eight, which is a really convenient situation any time you're in a situation changing lenses very quickly so if you're going to change lenses very quickly, you probably want to leave this turn off. Not too many people are going to want to change the aperture on the camera while there's no lens on the camera multifunction lock okay, remember that on off lock button we talked about the beginning of the class well when you put it on the lock which features do you want it to lock the dial on the back of the camera? The main dial the little joysticks you can go in and you can customize what buttons and dials are locked when you put your camera into the lock mode, most people locked the quick dial in the back and that's it it's the one that's just most easily bumped by either an errant knows for us lefty eyed viewers or somebody just grabbing the camera quickly and then we have something that we saw before in the quick menu, which is custom controls and this is where you get to go in and we're not going to do every one of these, but you can go in and you could customize the different controls now the first one is controlling the shed a release button if you want to turn off auto focusing, you can turn off the focusing on the shutter release button so that it only does auto exposure and takes a picture doesn't do anything with focusing you would then use the button on the back of the camera for focusing and there's a variety of options for a number of the other different buttons on the camera so have at it enjoy customizing your camera and here is the problem that we had earlier in the day with the voice memo walk button the camera normally comes set to press the button to lock an image, hold it to record an image and then you would normally play it back on your computer or something. But you can you can go in here and you can customize how it is played back, so what I've done is I've gone in that are a little break and I adjusted this I can no longer lock images but I can play back audio annotations on there and so within this you can change it depending on what you can even use this button for rating your images if you want and so there's a number of customization is particularly for this button all right moving on to the next page cropping information you can shoot with cropped information but in order to do this you need the canon digital photo professional software now it doesn't actually crop the image it shows you how to crop it in that software so you could have the camera set up for for instance a square ratio and then in the cropping and then in the software it would show you what the square image is going to look like and so that's more feature of the supplied software that comes in that particular program not something most people would use timer duration this is how long the functions are going to be active after pressing a button because the normal operation on camera if you want to change the isil for instance is you're going to press the esso button and your cameras going to give you about six seconds to make that change and if you don't do anything within that time it just goes back to the normal shooting note you can make this longer or shorter if necessary next up we have the shutter release time like wow ok so what's going on here is that when you press the shutter release there is a slight leg in time before the actual picture is taken, and if you want to be very precise, it is point zero five five of a second, which is fifty five milliseconds. You can reduce that to thirty six milliseconds if you want, you know that may seem like you may seem like, well, that would be obvious. I would like to have a quicker response camera. The problem is, is that depending on how far the aperture closes down, the further it closes down, the longer it takes to trigger the shutter release so you can set it to thirty six milliseconds but it's not going to be consistently thirty six milliseconds, depending on what aperture you have set. And so for most people, I would leave this at standard it's a tad bit slower in some cases, but at least it's consistent and I think consistency is more important than a couple of milliseconds. The audio quality of the memo that were recorded has two different standards, either forty eight k h z or eight kilohertz whatever quality audio you want to record, okay, when you press the delete button, what you normally have to do to get rid of an image is you're going to hit the garbage can button you, then turn the the control dial to select that you do want to erase that particular image and you press the set button which means you got to do three things to erase an image which is a little too much work in my opinion and so if you go to erase selected you'll press the garbage can press a button and then just simply pressed the set but and so it takes it from a three step process to a two step process just a little bit easier to get rid of any unwanted images out in the field without making it too easy. The final page in here is real simple clearing all the custom functions out and going back to the default system that the camera came with out of the box and then we get to my favorite menu which is my menu you get to program in whatever you want here okay so what my menu is and what you're gonna want to d'oh you're going to want to go in and you're gonna want to register three, four, five six things that you use on a regular basis and so some things that I have programmed into my cameras I like checking out how good the battery is someone I know how much battery life the recording function which card are you going to? I like using near lock up from time to time occasionally I'm changing the image size that's not as important on this camera because we do have a button on the back of the camera forgot about that one I am going in it in and out of the live view movie settings and changing some things around in there I'm formatting the memory card on a regular basis you're going to find your own things that you do on a regular basis in the camera and go in register, register those to my menu you can good then go through and sort them in an order of importance and then you go to display from my menu and able that and what happens then is and when you press the menu, the first thing that comes up is my menu so the things that you most likely or to use our right there available for you to use and so definitely a good way to customize your camera so let's see uh nick asked a while back they say I try to custom balance I think white balance here, but when I took the shot of a white or gray card a question mark will appear and I can't do the white balance why would that be? I'm not sure little troubleshooting let's shall we do? Ah field of field operation here? Sure ok, so we have a pretty white ceiling up here, so what I'm gonna do is I'm going to put my camera and to an aperture priority mode temperature priority and we'll just set a reasonable eyes so we're going to go with four hundred and I'm going to set it to a little bit on the white side, and so what I'm going to do now is just manually focus on our white ceiling and take a picture, all right? So there we can see this very exciting picture and we play this back, and what I'm going to do now is I'm going to go into the custom white balance and see if I can even remember where it is customs set, custom white balance I'm gonna press set, select image on card and I got a question mark as well. And so what? I need to d'oh let me check this out, because why am I forgetting things? Let me think about this for a second try to leave the camera so you guys can see it. I said it because we have five different I forgot to mention this five different custom white balance setting something they choose number one, we got the little joystick. We're going to go down and select an image on the card and we can scroll through our different images, but the image that we want is this white one here. So I'm gonna press set use white balance data from this image for custom white balance one that sounds okay to me, okay, it's working, okay? And we're not going to edit the name and so now, unfortunately, this is pretty white balanced in here. But that was the key. They needed to use that little joystick to go down to select the image.

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.

Reviews

user-63d8a5
 

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.