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Fujifilm X-H1 Fast Start

Lesson 22 of 29

Menu Functions: Movie Settings

John Greengo

Fujifilm X-H1 Fast Start

John Greengo

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Lesson Info

22. Menu Functions: Movie Settings

Lesson Info

Menu Functions: Movie Settings

The next major setup here is the movie settings, so all the different controls for controlling the movies recorded by the camera. The previous Fuji cameras I think had one page, sometimes half a page on movie settings. And we now have four pages of movie settings. The first one is undoubtedly the most important, and that is the resolution and frame rate, and data rate that you are shooting at. And so we have 4K, which is the highest resolution that you can shoot in video here. Standard full HD as well as standard HD in here. There are options for 16 by nine and 17 by nine for the slightly wider, narrower scope on that look. Frame rates, the standard frame rate, 30 frames per second. Some people like to shoot at double that. Some people like to shoot at the Hollywood standard of 24 frames per second. The more data you shoot with, the more material you have when you want to get into editing. If you want to shoot very simple videos, you can go for a lower data rate. It's gonna be for smal...

ler file sizes. But if you know you're gonna be editing, you're gonna be getting down to the frame, working with this footage very carefully, that's when you're gonna want to get the highest data rate possible. So if you do want to use the high speed recording option, there's a number of interesting ways that you can record it two, four, or five time speed. So this can be kind of fun in a number of scenarios, because then it's going to slow everything down. And so, we all know what a normal video looks like. Here's what it looks like slowed down in half. And so what we're doing is recording at more frames per second, and playing it back at less frames per second. And we can slow it down to 1/5 speed, and so if you know you want to slow a particular segment down, you're recording it at fast frame rate, like 120 frames per second, and then playing it back at 24 frames per second. Normally this is something that you would leave turned off, but it is something definitely fun to play around with. Now, a lot of the sections that we see, a lot of the items that we see here in the menu section are gonna feel duplicated, and that's because they are. They have their own distinct movie settings versus still settings, so that when you move the camera and put it into a movie mode, you can have the camera fully setup for shooting in a movie mode with all your special settings in here. So for instance film simulation, you can set this to ETERNA or Cinema if you like that look for shooting movies, but when you switch to stills, it can be in Provia or Velvia, or whatever standard you want in that case, and you don't have to come back in changing each one of these individual modes. So that's, I think forward thinking on Fuji's part, and it makes it very easy from switching back from shooting stills to shooting video. And so dynamic range, it's the same thing that we talked about in stills, but only applied to the movie. Same thing with white balance. You can have different white balance for movie and stills. So this sort of segmentation has made life very easy for the people who want to shoot movies on this, because typically movies and stills, you were setting them up very differently the way that you're setting up the exposure, the contrast, and everything. So all of these are just the same features that we've talked about earlier, but only applied to the movie settings. Moving onto the second page. One of the big differences with shooting movies is that you are not getting raw images. You are getting a baked in, not a JPEG, but a fixed final format. And so these settings tend to be a little bit more important in the movie modes than they do in the still modes. Because this is as I say all baked into the final movie settings. And so, as we go through these, we finally get to the F-Log recording. And so this is something that can be turned on and off. You do need to be at an ISO of 800 for this, and this is gonna be a very special flat look to your image. And this is something that you would use a post-production video software to go in and do color grading to get the colors and contrast to look the way that you want them to. In camera, it's not gonna look real exciting. It's gonna look very low contrast. But it's something that a lot of serious video shooters have been asking for for quite some time. Peripheral light correction. That is darkening of the corners. Do you like that to be fixed, or not? Some people like the look of the original image, and so they're gonna leave it turned off. Other cases they just want to correct for it. Focus area, choosing where you are focusing. Which mode you are choosing for focusing in the movie area. Once again, the multi is the entire screen area, and the area is a small box that you get to choose where the camera is focusing. The AF-C custom setting for the movie, you can choose how it focuses with movies. There's a submenu in here. The tracking sensitivity is going to determine how quickly it locks onto a new subject coming into the range. And this really depends on the type of subject you're shooting with. Usually for a lot of video you don't want it too jumpy in focus, so you want it to stay locked on to a particular subject until it is time to move the focus to that new subject. Next one is the AF speed. To the person new to video, you might think, well I want the lens to focus as fast as possible. Well in video that looks a little bit jarring when you change the focus too quickly, and so some people prefer to have the focus change a little bit more slowly and smoothly. And so, here's where you can adjust how fast it changes when it's shooting video. Pre-AF in the movie, this is where the camera will automatically focus before you actually start recording or press down on the shutter release button. It does waste a bit more battery power, it usually is not necessary. We can use face and eye detection in the movie mode, if you are shooting people, a single person, it might be helpful. In general I tend to like to leave it turned off. Manual focus assist is where you will manually focus the lens, and it is going to jump in and help you out with one of the different systems. So of course we have the same standard, which is a magnification. We have the digital split image, and then probably the most popular for shooting video is the focus peak highlight, because that way you can still see a composure of the entire image that you are shooting, but still see a highlighted area of where you know the focus is going to be. Focus check allows you when you are manually focusing that the focus automatically jumps in so that you can see what's going on. If you need to change the magnification you can turn the back dial of the camera to get even greater magnification. If you are using an external monitor to send the HDMI signal out of the camera to, do you want the information to also go along with it? And the answer depends on, what are you using that monitor for? If you're just using it for judging composition and setting camera settings, then you do want it. If you're using it for recording, you would probably want to turn it off. 4K movie output, so when you are recording, where do you want the information going? So for instance, you can have the 4K information sent to the memory card, and through the HDMI you're sending a full HD signal, and that's just for a monitor. You can reverse things around if you want. You can choose 4K going out, and recording SD in the camera, and so there's a variety of options depending on what you want recorded and what you want sent out through the HDMI output. And so, the same thing goes for the type of HD footage that you are getting. You can control where that goes and where that gets recorded. The standby quality, you can have it at full HD, which is the 1920 by 1080, or the 4K standard. And if you have an external recording device, do you want that to start with the recording in the camera? That way you don't have to go up and press the recording on that external device. Handy in many cases, and so that's why I recommend leaving that turned on. The audio settings we'll dive into another little bit of a submenu in here. The internal mic level, you can turn that off if you want, or you can go in and you can manually control it. Once again, it's a bit limiting as to what you're gonna get, so don't expect too much out of the built in microphones on any camera. External mic levels can be adjusted, so if you are recording with an external microphone, you can control this on the back of the camera. Mic level limiter. What this is gonna do is it's gonna limit some of the sounds that it's recording that are beyond the microphone's limit. So really loud noises, a loud bang, a loud thunder, explosion type sound effect, it's gonna limit that, it has to do with the dynamic range of audio, which is another very important topic when it comes to shooting good video is getting good quality, clean audio. The wind filter on this will reduce the amount of noise you're gonna get when you have the camera in a windy situation. What happens is the wind hits the camera, it's buffeting against the microphone, and it typically makes a pretty bad noise and this is going to muffle that sound just a little bit. The low cut filter is going to reduce low frequency noise during movie recording. And so, depending on the type of sounds that you're recording, it might be necessary to turn that on. You can adjust the headphone volume by going in here and going up and down of course. That is our audio settings. Next up is our time code settings, and for anyone who is shooting with multiple cameras, this tends to be very important. A lot of times you're trying to sync up multiple cameras so that you know when they are recording, where they go on the timeline. And so if you are editing and using multiple cameras, the whole time code is very important. A lot of different options in here. Simply turning it on and off is our first option. You can choose when the start time is. You can either use current time, or you could use a manual input time if you're trying to, once again, synchronize multiple types of cameras. You can choose a recording run, where it starts a clock as you're recording, or you can have one that is just continually running and you start and stop recording, but the clock never stops running in that regard. Drop frame takes care of a little problem when you are shooting standard video, which is 30 frames a second, which is really 29.97 frames a second, and if you shoot that out for a long enough period of time, it'll take care of that extra frame that you get after several minutes of recording. HDM time code output. Do you want the time code sent out of the HDMI signal? In most cases probably not, but if you do you can turn it on here. There is a light in the front and the back of the camera that can be used as a tally light, which is just a light that tells you that you're recording. Sometimes you want that to be known, and sometimes you don't want that to be known. So you can adjust how it looks, whether it's steady or blinking on the front or on the rear. The movie silent control is an interesting way that you can have the camera setup for a different set of movie modes and still modes, and you can also control the features on the back of the camera silently without the clicks on the camera. Okay, let's do a little demo with this touch screen silent mode. So if I'm shooting a still photograph, and let's say in this particular case I want to set my camera to ISO 1600, and I'm gonna set a specific shutter speed and a specific aperture. Let's set an aperture of 5.6, and I'm just gonna change my shutter speed here to 1/125 of a second, and this is how I like to shoot still photos in this environment right here. Now let's go ahead and move the camera over into the movie mode. All the way over here, and so, I don't want to shoot 1/125 of a second now. I want to shoot at 1/50 of a second, so I'm gonna change my shutter speed to actually 1/48 of a second. This is a little bit high on the ISO, and so I want to come down here. So one of the things I can do is I'm gonna go in here to the menu, and once again I'm gonna do my secret. I'm gonna go down to the tab below, and then I'm gonna go up, movie silent control, and I'm gonna turn this on, all right. So now, I am going to have a little button that I can press here on the screen, and I can make all the settings that I would like to have set for video here. So I'm at 1/48 of a second, and let's see if I can do this so that you can see what I'm doing. And let's change the ISO. Let's see, I'm gonna go with 400 ISO. Open this back up, make another change in here. And so I can control a number of the different looks. Let's go down and change this to the ETERNA. It's a little on the laggy side, and it's not great for actually doing this while you are shooting, but for setting it up. So the thing is right now is that I have it at ISO 400, f/5.6, 1/48 of a second in ETERNA, but if I switch this back to the camera mode, you'll notice I'm back at the old settings of 640th, 1/50 of a second at f/5.6, and so I have a different set of standards when I am in the movie mode versus when I'm in the still mode. So you can very quickly go back and forth from shooting stills to video, and I have found that this has been a bigger problem that I've had with other cameras is that I'm shooting at a particular shutter speed for stills, but I want something different for video. And so now you can make adjustments very quietly in here, but the biggest advantage here is that you can have separate controls for stills and for video.

Class Description

Get the most out of your new Fuji X-H1 camera with this complete step-by-step walkthrough of the camera’s features. This camera has gotten great reviews as being the best of the X series mirrorless cameras. You'll learn why this camera is highly sought after by enthusiasts and professional photographers alike. Join expert photographer John Greengo as he gives you all the information you need to understand the camera's buttons, menus, and functions.

In this Fast Start class John will show you how to use:

  • The new shutter which can work mechanically, electronically or with an electronic first curtain
  • The new focus stacking option for infinite depth of field
  • Fujifilm's first 5-axis in-body image stabilization
  • The new video features with slow motion and time lapse capability

John is a CreativeLive veteran instructor and an experienced photographer with over 50 Fast Start classes in the CreativeLive catalog. With his experience in analyzing camera manuals, he will discuss the complete breakdown of your camera’s exposure, focus, metering, video and more. After this class, you’ll be able to use your new Fuji X-H1 with confidence.



I have been thinking about buying this camera. After watching this class I know that I have made the right decision. John is fantastic! Previously I have watched a random assortment of youtube videos by self-proclaimed experts. It turns out that many of the things that these so-called experts have said about this camera are simply wrong. John is the real deal. He goes in depth for every function and explains everything very clearly. His graphics are wonderful, he obviously spent a huge amount of time on preparation. If you have this camera and want to understand it better, or are thinking of buying it, I highly recommend this class which is taught by a true expert.

Mark Ballard

Well done! Worth every penny. Shined shoes too.