Menu Functions: Movie Setting
alright, it's time to get into the whole video menu here, and the camera has quite a few more options than previous Fuji cameras. And so there's a lot of new things in here. This is Fuji's best video camera to date in this style of X Series cameras. First up is the movie mode where we get to choose the resolution and size of the video that we are recording. And so we have HD and four K options. We have different frame rates and different data rates. Now, not all options are available at all times. It depends on which one option you've selected first, the second options may have some great out areas, and so be aware that that's comment and normal, depending on which modes you have selected. So HD full HD has been kind of the standard for a long, long time. We do have the option of a 17 by nine version of it. And now, of course, the latest trending cameras is four K, and so this camera has four K. But it also has the D. C I version D. C D C. I s digital cinema system, and this is a by n...
ine for those wanting a slightly whiter format to it with a little bit more resolution. So that's your resolution options. Your frame rate standard here in the United States at least is 29.97 off and just referred to his 30 over in the Powell countries there at 25 frames a second. Some people like to record at double that so that they can slow it down or just have a unique look. Movies are typically filmed at a different rate, and so there will be 23.98 which is very close to the 24 true movie rate. But the 23.98 is a little bit easier to work with on most video standards, and then finally, maybe the least interesting graphic in the class today. The data rates You can choose how much data you want recorded along with your video file. If you're doing a lot of editing, if you're trying to get maximum quality out of that, you want to get the largest file size out of their possible. If you're just shooting simple videos and you don't want to take up a lot of space on the memory card. You can reduce the file size down, and it's compressing the video. It might be getting rid of some colors and some detail in some information. That's hard to see unless you really get into editing with a good machine. Next up, we have the types of video files that are recorded. The H 264 is a very standard system, although it does also have the new 265 which can reduce storage. But it needs more processing power in order to do it. And so you're probably safer with H 264 unless you specifically knowing, have tested your system with the new 265 option. So with movie compression movies on these cameras, thes days at least, are not recorded in raw there, recorded in a compressed format, so each file each frame is compressed into a smaller file. Sizes cause video can take up a lot of space, and dealing with that space is still a problem. There are two options on the compression system. On this one is all intra intra frame, where it's compressing each frame individually. It looks at every frame and says. Okay, that's good. Let's say that one and the next one in the next one the next one. And this is really good for editing because each frame is very, very clean. You might say the long GOP option takes things that are not moving in the frame and just copies and paste them with other frames. In that way, it's able to reduce the file size, keep all the important information there, and as long as things aren't moving around too much, it does a very good job. So for more static scenes, the long GOP is going to be very fining. You probably won't notice any image quality difference for things that you're gonna be doing a lot of editing or things that might be moving around a lot. The all interrupt, which is gonna end up with a larger file size, will give you more data to work with so little. It depends a little bit on what your purpose is and how you are using your type of video footage. All right, next is kind of fun, because you can record at higher frame rates and then have it slowed down automatically and so got some great examples here for you. So I think we all know what a frog doing a backflip looks like in real time. Let's take a look at what it looks like in half speed. And what we're doing is recording at 60 frames. Excuse me? 60 frames a second. No, I'm sorry. We're playing recording frames, going back to 60 frames a second or were slowing it down to 30 frames or down to 24 frames a second. So if you want to slow time down, you want to So something in slow motion, you can use these options. Next up is film simulation, and we're going to start running into a lot of image quality settings here and these air very similar to the ones we looked at with stills only there a little bit more important because back in stills, we had J pegs and raw. And if you shoot raw, these things don't matter. And thats why not is important there. But here is a little bit more critical, cause there is no raw video out of the camera. Everything is compressed, and whatever you do here is gonna have an impact on the final look of the image that you're gonna have. And so if you want to use a film simulation, you can for general people shooting just basic video. Yet the pro via standard setting is going to be fine. Some people like the look of classic chrome for shooting movies. That's that's a nice look, but you can choose any of these that you might like. If you are shooting black and white, you can warm it up and cool it down, just like we saw with still images. White balance. Once again, this is a unique setting for video, so you can have different settings one for video and one for stills, which is why we have it twice in the menu system. The dynamic range can also be adjusted here so that you're protecting the highlights once again because it is compressed. This is a little bit more important than it is if you are a person shooting raw still photograph second page with movie setting highlight tones, so we're gonna be dealing with a lot of image parameters in here controlling the exact photo. And so, for people who are wanting to color grade their footage after they've shot it to try to get the maximum detail. Highlight tone here, find a leave it on zero, but you might want to pull those highlights down to a minus one or minus two. If you want a color grade and protect those highlights as you're shooting them, reverse would be true here of the shadow. Setting this to minus one or minus two will lighten up the shadows so that they don't go quite as dark. And you can color grade that after the fact. How intense do you want your color and saturation? Zero is a good starting point, a justice necessary, Sharpness said in the middle of zero, where it is actually adding some sharpness to it. A moderate amount. But you can add it or subtract it from that point according to your needs, so there's gonna be a couple of different noise reduction options. The 1st 1 is specifically targeted at four K video, and I'm going to say that you might want to do your own testing on this. What happens is it's going to try to reduce the noise at higher ISOS Onley when you are shooting four k, the next one is inter frame noise reduction. And so there's a possibility of ghosting with this turned on, so you may want to check to see if this works out for you. More advanced users may want to just turn this off. F log recording, So F log is Fuji Log. It's a log rhythmic scale, which means that the shadows are not going to be very dark, and the highlights are not gonna be very bright. It's a very kind of looks like a washed out, very non contrast. He looked to the image that is color graded so it gets the contrast and look that somebody wants after the fact in post production software. And so there's a lot of different symbols and words in here, and here's the your key as to where this information is going. And remember, on this camera you can record information to the built in memory card or to an external HTM I device, And so is it going to the internal card or external? Is the film simulation being applied? Oh, are you using the F lot now? There is also something called HLG hybrid log Gamma, and that is designed to match up with TVs that use it. And so what happens is if you record in HLG and you go to an H LG TV, it tries to keep as much dynamic range is possible in the camera, and then it expands it when you get to that particular device. But, you know, you have tohave that you're gonna that device and you have to know that you're gonna be going to that HLG device now. There is a little bit limited range is so is going to start at 6 40 in this case and be limited on the top end as well. Peripheral light correction will correct for a darkening of the corners, and this is good to have on in most situations unless you are really wanting it and wanting to show the look of those lenses. Focus area allows you to choose which area is focused, and you can move that around as needed. In the movie a F mode, we don't have the same options as we did in the still photograph mode. In this case, the multi mode is using the entire area of the image there. At least 90% of it and the area option will allow you to choose to focus in one particular area, which gives you a little bit more control over what the camera's gonna focus on a F C custom settings. When the camera is in a continuous focusing mode, we have some different options. When we are in the video mode. First option is tracking sensitivity. How quickly do you want to lock on and track new subjects? And it kind of depends on the type of subject you're working with and how quickly you want that focus to jump in and change. Next up is a F speed. How quickly do you want the camera to change? Focus Now? The novice would say. Well, I wanted to focus really quickly, so it's in focus as soon as possible. But the more experienced video shooter knows that it's very jarring to change focus real quickly. In many cases, they want to slow it down so that it smoothly goes in and smoothly comes out of focus so that it doesn't draw attention to itself. Next up, we have face and I detection. We saw this before, but this is turning it on exclusively in the use of the movie mode emphasised is gonna allow us into a sub menu, which allows us to focus with those techniques we've talked about in the previous section. One option being where it would magnify. And we can just see it in the frame. Another one is focusing peak highlight. This is probably the best for shooting video because you can see the zone of most in focus area. You can choose different colors and different intensities according to what type of subject and background colors you're dealing with. The focus check. The idea here is that as soon as you touch the focusing ring, it'll automatically zoom in so that you can check to see if you have sharp focus. Remember that you can turn the rear command I'll form or or less magnification. If you are gonna be connecting your camera up to external devices through an H. D. M. I input. This will control what type of recording you're doing. If it's standard, full, high definition, the four K footage, I'm whether you're recording to the SD card or not, there's a lot of different combinations, depending on your workflow. Do you want the full HD output. The previous one was for four K output. This is for full HD. So if you're recording on an external device with full HD, do you want it recorded to the memory card or not? While you are shooting page four in the movie settings is HTM I output info display to start with. And so, if you're gonna hook up a display, do you want the information about your shooting parameters? Shutter speed aperture. I s O Do you want that to be displayed on your external device? And that really depends on if you're using your external device for being a monitor or for recording what's coming from the camera when the camera is connected up to a monitor. What's the standby quality when you are recording? Do you want it to be in four K or full high definition? Do you want the cameras record button to trigger the external recorder? This is something that could be triggered through the HD. My cable that it is connected up with makes it pretty convenient, but some people have an external monitor in a different place. They might want to do it in a different manner. The zebra setting. This is getting really nuanced in our preferences. Here you get to choose whether the zebra stripes are slanted to the left or slanted to the right. And so these air showing you Aires of highlight. So this is a little bit different than the focusing. This is showing you where areas are over exposed and you get to be picky about which direction the zebra stripes are. Angled. Zebra levels can be adjusted according to how soon you want to see them. How close to overexposure? How much over exposure will they be blinking at you? There's a number of different audio settings in here so that if you are recording with the built in audio or external audio, you can adjust for those. First up is the internal mike level. If you want, you can set this on manual or on automatic. If you want, you can hook up the external mike and go in and adjust levels manually, going up and down the scale. As seen, Mike level limiter will reduce distortion caused by input that exceeds the limits of the microphones audio circuits. And so, if you're gonna be shooting, say, a firework show or possibly a loud concert. This might be good to put on there if you had to use your built in microphone. Wind can also be a problem. And so this will muffle loud wind noises. If you are in a windy situation. Personal experience. You want to use an external microphone with one of those wind muffs around it to dissipate the wind noise on the mic. The low cut filter will reduce low frequency, no noise during movie recording. And so, in special audio situations that may be necessary. If you're gonna be hooking up headphones, you can adjust the volume here, and that is all within the audio setting. Next up is timecode setting, and this is for people who are gonna be editing their videos. This is for the cinema files out there that might be using multiple cameras and want to have cuts and edits in a very precise way. And they want to be able to track their footage. First off is what type of time code display do you want to see? Do you want to see it in your normal recording time? You've been recording for one or two minutes, or do you want to see it in a time with frame stamp option, you can choose a particular time that it's starting. You could just have the current time, or you can input a time. If you want, you can have it do a recording run or a free run. Eso. It starts in the recording or is just running all the time. The drop frame doesn't actually drop any video frames. What it does is it re labels the frame because, ah, lot of video runs at 29.9798 frames per second and after about 10 minutes recording, there's a little bit off, and this will adjust it for easier editing, which is what most basic people will do. Some advanced people we'll be using offsetting in doing things manually. Timecode output. Do you want it going out to the HD? My recorder that you're plugged into depends on what you're doing with that out. But the tally light is a little light, either on the front or the back of the camera that lets you or your person that you're recording know that you're actually recording and sometimes you want to have these on for notifications. Sometimes you don't want him on because they can be distracting eso set as necessary. You can also said it toe blink if you want, or to be steady. Next up is movie silent Control. And so in this one, I would recommend turning it on, and you must have the touch screen settings turn on, and this will allow you to go in and set shutter speed aperture settings without making any clicking Noise is now. The Fuji camera, for the still photographer is great because there's all these tactile controls on the top. But as you turn them, they make little noises and going on the back of the camera, you can have a distinct set of video settings. So, for instance, when I shoot video, I'm often shooting at 1/50 of a second. But when I'm shooting stills, I could be anywhere with shutter speeds. And so, by using that this set up, you can have your whole video settings distinct from your still photographs and going back and forth. It's a little bit easier because you don't have to make quite as many adjustments in most situations, so that could be very handy and So if you want to turn this on, don't forget to go into the set up men you and turn on the touch control so that you can actually access this feature. All right, that brings us to a close of the video menu as well as a bunch of other menus as well. A lot of different controls. Hopefully, you've been able to set your camera up as we have been going through this video check in with cannot to see if there's any questions we can address. All right, John, So much to get through in this course. Um, Fuji is awesome. OK, so these are just some. If you could clarify some of these questions that came in Diane, it's asked, How do I quickly change from still mode to movie mode? Is the drive wheel the only way the drive wheel is the only way, And so that little collar along the top left of the camera just flip it over to movie and you're there, which is quick