Menu Functions: Screen Set Up
our next major category in the set menu is the screen set up. So we're gonna get to control what we see on the screen. What sort of information and display is there? And this is really gonna help things out? Because ideally, I want to be able to see my composition, my subject, my framing as easily as possible without distracting information. On top of it, I only want really important information on top of it. And so you're gonna want to be a little picky and choosy about what is on there and not first up is overall brightness of the electronic viewfinder. And so you can set this to auto or manual. I like to have it very consistent, so I just leave it in manual and that controls the brightness of the viewfinder that you look through with your eye. We then have and I don't know why, but we have two different color settings. The 1st 1 is on a blue to yellow scale for color, and you can set as necessary. It probably doesn't need adjustment, and then we have another one that also controls b...
lue and red, and hopefully this doesn't need any settings or adjustment at all. And then we're gonna go through much of the same controls but this time directed towards the LCD on the back of the camera, and so will first adjust the brightness, which sometimes needs to be adjusted so that you can see it in different lighting conditions. And then if the color was to drift. And this could happen potentially after years of used. For some reason, something goes wrong. The color's could drift on these LCD displays, and you can correct for that with these color and LCD color adjustment settings in the menu. Next up is image display. When you take a photo, do you want to see the image on the back of the camera now, traditionally on the DSLR style digital camera that was a standard feature. He take a picture and you see it on the back of the camera with a mere list camera. It's not nearly as necessary because you get a great preview just looking through the viewfinder. You get to see the exposure, you get to see the white balance. You get to see a digital version of what you're looking at. So a lot of people in order to speed up the process, have turned this off. And so you could very well just turn this off and just use the preview to see if you're getting the right photo or not. You don't need to stop and re examine every single photo that you take. This is one of the cooler displays, and some other companies have started to follow suit on this. When you hold the camera vertically, it changes all the display so that you can read them more easily in a vertical format. And so this is something I would definitely turn on. The only time it doesn't work very well is if you are pointing the camera straight up or straight down. It sometimes gets confused as to which way is up and down when you're pointing in those directions. And so for most people, I'd say you'd want to leave. This turned on all right, second page with our screen settings, the preview exposure and white balance when you are in a manual mode. So this will be his ear. Teoh explain with some visuals. So on the left side of the frame we have a preview exposure and white balance and I'm going to be changing the apertures. And you can see the picture is getting lighter and darker, as is the exposure indicator on the left side of the frame. Now, over on the right side, we have this feature turned off, and I'm gonna be changing the exposure. But the picture is not changing it all. It's trying to give us a consistent, solid good photograph to view our subject with and for judging exposure. We can only do it with that exposure indicator on the left side of the frame, and so it depends a little bit on how you use the camera. But if you want to make sure that you're gonna get the right exposure and the white balance, I would leave this on exposure and white balance preview so that you can see as you're taking a photo. If it's going to be properly exposed. Natural live, you will kind of tweak the view through the viewfinder, so that's a little bit easier to see. In some cases, it may not be accurate to what your picture is gonna look like, but it makes it easier to see with your own eyes and toe, so it tries to mimic the way a DSLR looks. And so you can judges to yourself. It doesn't have a real big impact in my mind. And I think one of the great benefits of the muralist camera is that you get to see the final image essentially before you shoot it when it comes to all those exposure and image adjustment parameters. And so for most people, I think leaving this off will be just fine because they would get an exact preview that Do you want to see a framing guideline? This can help. For compositional reasons. Make sure that your horizon is level. Make sure that your subject is within an area that might need to be. There'll be three different options that you can choose here, and this doesn't actually turn it on in the viewfinder. This just selects which one you would have turned on if you turn it on in an upcoming setting. So which one of these is your favorite? Three Auto rotate playback will automatically rotate vertical images for you, and that can be nice if you're gonna be doing a slide show on the camera. But the thing is is that if you want to see the maximum size image for judging sharpness and clarity, you probably want to leave. This turned off the focusing scale Units can be adjusted between meters and feet. We're not gonna have an argument of what's better metric or standard system. The world is pretty much chosen 98% towards meters, but it is available in feet for those of you in those few places that don't have it yet. So if you're using an aperture, lands with one of the cinnamon lenses are aperture unit for the cinema lenses. You can choose T numbers or F numbers don't have time to get into what the differences. But the T stops are typically the way that they work with cinema lenses, and so that would make sense with that type of lens put on the camera. The dual display setting that I talked about before you can choose which one of the frames is thief focusing frame and which one is the composing frame. The focusing frame is the one that's magnified in much larger the composing. One is Theo entire frame, just to see if the composition is still as you want. This allows you to go from focusing into composing without having to press any buttons. You just simply look from one screen to the next display. Custom settings. Okay, this is where you can turn on and off individual things that you see in the frame. Now we had a question earlier in the class, and I believe it was about the touch screen mode. And I do see a check box on page three of four for the touch screen mode. So if you don't like it, you go uncheck that box and then you don't see that thing in the viewfinder all the time. When it's a feature, you maybe don't use it all. And so I think if a good way to do this would be toe uncheck all the boxes and then go through them one at a time, figuring, is this really important to me so important that I want to look at it all the time in the viewfinder and for critical shooting stuff? Yeah, put it in there because it's important to know that. Okay, we're on our third and final page of screen settings. For those of you who would like to have larger numbers. There is an option for larger numbers. Now I do like the larger numbers I will personally have to admit. But I don't like the fact up that they take up more space of the image. So you're gonna have to be a judge as to whether that's worth it for you or not. And then you can choose to have these turned on or off in the E V f and then separately for the LCD. Then if you do have the large indicator set up what shows up when the large indicators air turned on. And so here you can actually substitutes subtracting something's the from the view that you don't need on a regular basis. This is kind of an interesting when the menus can be set to different contrast levels. Uh, standard setting is gonna be fine for most people. Maybe with poor vision. The high contrast might be easier to see if you're doing a lot of nighttime photography doing Aurora Boreal is shooting. You don't want a really bite bright camera, destroying your night vision and maybe distracting others around you that are also shooting. And so the dark ambient lighting would be an interesting option that I think that might help out in that type of shooting situation where you're out shooting at night for a long period of time.
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Leverage the new viewfinder for live view and playback
- Understand how to navigate and customize the menus, modes, and settings
- Know when and how to use the sports mode for subject tracking and fast shutter speeds
- How to take advantage of the film simulation and grain effect modes
- Use the 4k film options for incredible video performance with amazing opportunities for color grading in post production
ABOUT JOHN'S CLASS:
The Fujifilm X-T3 is a mirrorless digital Fujifilm camera, hauling features from the 26.1-megapixel sensor to the 4K video and up to 30 fps shutter. But the Fujifilm’s X-T3 long list of features is just money wasted if you don’t actually know how to find them and put them to use. Skip the floundering through menus and join photographer John Greengo exploring the camera’s many features, from customizing the camera to understanding subject-tracking focus.
This class is designed for photographers using the Fujifilm X-T3, from those just pulling it out of the box to photographers that just haven’t found all the camera’s features yet. The class can also serve as an in-depth look if you’re not yet sure if the Fujifilm X-T3 is the best camera for you.
This Fuji camera class covers the camera from understanding the controls to customizing the menu.
What's packed in this Fujifilm camera Fast Start? Learn the vital information in less time than it takes to analyze the menu -- and have more fun doing it too.
WHO THIS CLASS IS FOR:
- Action Photographers
- New Fujifilm X-T3 Camera owners
ABOUT YOUR INSTRUCTOR:
John Greengo has led more than 50 classes covering the in-depth features of several different DSLR camera models and mirrorless options, including Fast Starts for Canon, Nikon, Sony, Fujifilm, and Panasonic. The award-winning photographer is one of the most celebrated CreativeLive instructors, leading classes covering a myriad of topics, including the previous Mark II and Mark III 5D cameras. Greengo has used the 5D series since the first 5D. He's led photographers through the ins and outs of advanced options like the EOS 80D and EOS 7D Mark II to entry-level Canon Rebel cameras like the Rebel T6i and T6.