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Fujifilm X-T3 Fast Start

Lesson 13 of 23

Menu Functions: Shooting Setting

John Greengo

Fujifilm X-T3 Fast Start

John Greengo

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Lesson Info

13. Menu Functions: Shooting Setting
The XT-3 features ample shooting settings: John shows you how to access them and advises on when to use specific settings, such as bracketing, burst, sports finder mode and mechanical shutter vs. electronic shutter configurations.

Lessons

  Class Trailer
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1 Class introduction Duration:12:33
2 Photo Basics Duration:04:07
4 Camera Controls: Top Deck Duration:21:14
6 Camera Controls: Back Side Duration:26:44
7 Quick Menu Overview Duration:26:28

Lesson Info

Menu Functions: Shooting Setting

we're into a new tab here. This is the shooting tab. And so this is kind of general camera parameters in here will deal with video in a little bit. That's coming in a separate section. So this is emotionally, mostly still photograph features that we're talking about in this section here. First up is the drive setting. We've been talking about this when we talked about the drive dial up on the top of the camera. And so now is where you get to set all these different parameters in here. So first option in here is setting things related to the bracket option. And the first thing that you could to select in here is what type of bracketing do you actually want to do? The most common ones in the industry are the exposure bracketing where you're taking pictures of different brightness. The new one on this camera is focussed bracketing, which could be very helpful for product architectural photographers. The other ones will adjust the look of the image, at least for the JPEG images diving in a...

little bit further here, auto exposure bracketing if you are going to choose auto exposure, bracketing what set up. Would you like to have for it? And so when you get in here, you can choose how many frames and how maney steps, or how many stops of increment between each of the frames and so kind of the traditional bracket waas three stops or excuse me three steps. One. Stop apart. If you want a little bit wider coverage, you might do five shots that gets you a little bit deeper into the dark and the light areas so that you have more area to work with one frame or continuous. Do you want to shoot one picture at a time, or do you want the camera toe automatically fire through the whole Siri's? In most cases, it's better toe fire the camera through the entire Siri's so that all of the photos were taken as close together as possible. The sequence setting allows you to change the sequence in order. The default system for a lot of cameras, including this one, is to shoot the normal exposure first and then a Siris of the brighter and darker ones. But when you're looking at a film sheet or you're looking at a grouping of images on your computer. It makes a little bit more sense, going from lightest to darkest or darkest to lightest. All right, if you're going to choose auto exposure bracketing, how much of a difference do you want between the images? It really doesn't make a lot of sense to do anything other than one. The 1/3 and 2/3 is a very, very small amount. You're not likely to see much difference in an eso bracket. Siri's for the film simulator. You could get to go in and select which three films are simulated in the bracket, Siri's and so choose your three favorite films or whatever three you want to work together with. If you're going to do the white balance bracketing, you can choose different increments and how much it will vary the colors. It's not a very popular mode from what I can hear, and so said it as need be if you do plan to use it. The focus bracket is the interesting new one, as I mentioned before, it shoots several photos, each focused a little bit differently, and all of those photos will then need to be processed in an outside software program and in this case, you can go in and get incredibly sharp photos of subjects that you would not normally have enough depth of field to dio. So that is our bracket settings. Next up is controlling the high speed burst of the camera. So when the camera is in the C H mode, which setting do you want, kind of the standard one would be 11 frames per second. You can slow it down a little bit if it's a little too fast, and in special situations you can employ the Elektronik shutter and the 1. crop. Be mindful that you do need to have the electronic shutter turned on for this to work with. 1.25 crop is not a very big crop, which either good or bad, depending on your point of view. And so it's still pretty easy to work with most normal lenses on that, and it's just enough of a crop that they can process the information in there a little bit more quickly than with the whole frame. Next up is features related to the continuous low setting on the burst mode, and you get to choose which frame rate you prefer, and you might want to do that for the speed of the action and how it looks at different frames in the advanced filter setting. You can go in and choose which filter is going to be used when you said it to that setting on the drive dial. Next up is our sports finder mode, and what this does is it crops into the frame by 1.25 and gives you a little bit smaller file size. Now this is very reminiscent of a like a camera, which shows you the frame lines and a little bit of the area outside of the frame lines so that you can see action coming in going out and you can see a little bit wider view for compositional reasons. It's not something that I think most people are going to use a lot, but can be handy in particular situations that might have tricky composition. Pre shots E S Yes, stands for Electronic Shutter, and this is a very cool mode, but it's not something that's gonna get used a lot, but I have found it very beneficial, at least in one circumstance that I will show you. So let me explain what's going on here. When you press halfway down on the shutter, the camera starts to record images, even though you're not pressed all the way down, even just halfway, and it stores them in the buffer for a long period of time. And so it'll store all these images in there until you press a full way down on the shutter release. It will store anywhere from 10 to 20 frames in there, and then it will re continue to record photos as long as your finger is pressed down on the shutter release. And so that's your burst shooting. And so you'll get a total number of captured images here, some before the time you actually press the button. Now, this is not gonna work for everyone in every situation, because it's on Lee the electronic shutter, and it will only work and continuous high. Now, the time to employ and use this and when there is, is when there is something happening so quick that you don't have time to react. And so one possible scenario would be if you were out whale watching and the whales air coming up, and there's breaching out of the water. But you don't know when they're going to come out of the water he had set there. You press your finger halfway on the camera and you would wait and wait and wait. And as soon as it happens, you had pressed down and the camera would go back in time for about two seconds, say, and get all of those images so that you could see it coming up from below the water. Now, I use this. When I was in Bhutan and I was photographing archers and they were firing an arrow, the problem was is that they would hold it in position for up to 10 seconds. So you can't just start shooting because you don't know when they're gonna fire. And when they fire, the arrow is just gone in a flash. And so by just watching them pressing halfway down on the shutter release. And then as soon as they fired, I just tapped for just ah, half a second on the shutter release, and I was able to get photos of an arrow in flight just after they had released it. And without this technology, this is a really really difficult thing to time, right? And I was shooting at 30 frames a second. And then as soon as they fired, I just tapped down all the way. It recorded probably another shots, the arrow gone and the person just standing there with their empty bo. But I was able to get a number of pictures of the arrows and flights. Now, as I mentioned before in the class, this uses an electronic shutter, which means it's kind of scanning the image in from top to bottom, so anything that is moving radically left to right is going to be a little distorted. But because the arrow is so thin, this distortion is not really easily seen. In fact, I can't see it at all in this. It's if you had something tall and thin that had a very particular line, would it be very easily seen? And so this is one case where it actually works out quite well. Normally, though, you're gonna leave that thing turned off next up yourself. Timer said it as necessary. Interval timer shooting. So this is kind of fun. This is where you can compress time. You can set up how many shots you want over how long? A period of time. This could work really well in a lot of outdoor situations where you have things moving like clouds and people or things like that around. And so this was set up on a slider movement and getting some extra movement in there. So one of the things that I like about the Fuji's is that they shoot at a lot of in between shutter speeds. Most cameras jump by third stops in the shutter speeds, so it'll go from 1 25 down, 180 than 60. It's kind of this stair step. So if the light is changing, there's these kind of noticeable jumps as the exposure is changing, and what Fuji does is they put mawr shutter speeds. There are a lot of shutter speeds you'll see on a Fuji that you won't see on another camera, and it's in order to make this curve, you might say a little bit more smooth. And so if you're doing a time lapse where the light is changing, it tends to be a little bit more smooth than other cameras out there. And so the options that you can change in. Here is the interval and the number of times. So how far apart do you want the shots and how Maney total shots do you want? Of course, it's going to depend on what you're doing. But if you're looking for just a little hit of interval magic to add into some sort of video, having 10 seconds and then maybe clipping it down to five seconds might be reasonable. And so I tend to shoot for, like, 10 or 12 seconds of total video. And if videos running normally at 30 frames a second, which is pretty common, then you're gonna be shooting 300 or 360 shots for that interval. Siri's Next up is shudder type. Things are gonna get a little bit complicated here, so I'm gonna have to explain things visually on this case. So we have. The choice is between mechanical Elektronik and then Elektronik, front Kurt front shutter curtain. And so let's talk about what each of these dio first up is. The mechanical shudder. And this is where we have the traditional shutter blades first in second shutter curtain, and so with the muralist camera, we need to close one there that our exposure is happening. And there is the potential for shudder, shock and vibration from that shutter opening during the exposure. The 2nd 1 then comes in and closing, and this is gonna be perfectly fine for virtually all photography on this camera, I would say just leaving it in the mechanical option is going to be the easiest, safest, simple solution. But in other times, there's some benefits toe having on Elektronik shutter the way and electronic shutter works is that electronically turns on and off all the pixels for that duration of time. The caveat is that it can't do it all at the same time. It basically does a scanning system where it scans it one row at a time, and it takes about 1/40 of a second for them to scan the bottom up to the top. So anything that moves and would be blurry at 1/40 of a second is gonna have a distortion problem when we use an electronic shutter. However, the big advantages is it's totally silent. If you were going to be photographing in a theater where there were subjects standing on the play and they're not moving around extraordinarily quick. You could use the camera in there without any shutter sounds at all being heard, and so it's very, very quiet. Another option is the Elektronik front curtain. And so this is where it starts the exposure by just turning on the pixels. And then it will come in with the blades and close the exposure. And so it's kind of 1/2 and half version, and we'll see how that's has an option coming up here in just a moment. And so let's take a look at what the problem is with the electronic shutter. And so I was shooting a test chart, and then I was panning for right to left across the test chart with the mechanical shudder. And I still get straight up and down lines, and it looks like a normal grid pattern. When I use an electronic shutter of 2/50 of a second, it gets warped, and that's because of the scan time. Now, if you think while just set a faster shutter speed, that doesn't solve the problem because you still have the scan time problem, the pixels air turning on and off more quickly but it takes a while. The scan it. When you shoot this out in the real world, you're going to get distorted subjects or the background will be distorted in some way. If you have a circle, the circles air no longer circles cause they're moving and they're being recorded at different times. And so there is a scan problem with this. So the pros to this Elektronik versus the mechanical shudder is that you can get some very fast shutter speeds so it could be useful in portrait photography, where you are wanting to shoot it F 1.2 in bright light and you need 16 or 32/1000 of a second. That works out pretty good. It's nice for silent photography when you don't want anyone to hear the shutter clicking and it is vibration free, and it might be good for some macro photography projects. However, the list of cons is quite long. It won't work in many different modes on the camera, and you get distorted subjects at with anything. Thats moving very quickly, and so it just doesn't work out for a lot of situations. And so it's something that you may want to turn on in special situations. So the range that the mechanical shudder goes to and from 15 seconds all the way up to 8/1000 of a second and with flash 1 to 50 of them below the Elektronik front curtain shutter will also work within the same range. And there's a little bit shorter shutter leg, although I am having a hard time really noticing that I'm and you might get some reduced noise or vibration if you will have the camera mounted with a very long lands or in a macro situation with using that front. Kurt Curtain Shutter, The Elektronik shutter has a little bit more range up there at those faster shutter speeds. But there's a lot of problems as we've mentioned before, So going through the options that you have here, the mechanical shudder, as I say is the safest option goes up to 1/1000 of a second, which will be good for most people. We have the full electronic. The main reason I go to that is either if I need one of those faster shutter speeds for doing Portrait's under brighter light with shallower depth of field, or if you want a really, really quiet shutter. The E front curtain shutter. We'll give you a little bit shorter shutter leg, but there's not a lot of benefits to it. And there is possible exposure issues when using fast shutter speeds, and it is possible to lose rez elation resolution in out of focus areas. Haven't been ableto confirm that and see that with my own eyes. So it's something you may want to test. And then there are combinations of all of these together. You could choose in Plessy, which is pretty good because it will keep you in with mechanical shutters and Onley. If you need those higher shutter speeds will kick in and allow you to use those an Elektronik manner going above in 1/1000 of a second. And then we can choose options where were combining the Elektronik front curtain shutter and the mechanical, as well as all three of them together in each one kicks in and works at a different time. And that is not a totally bad option, either. There you just have to worry about the distortion if you are photographing something at a very fast shutter speed. So in Plessy is a good option. I think in this case, next up is flicker reduction. Generally pretty good to leave it on. But let me explain what we're doing here. The problem is, is thief fluorescent lights that sometimes were working under very in brightness. This is just the way they work. They flicker very quickly so quickly, we don't see it with our own eyes. But when we fire our camera at 11 frames a second, it's gonna vary, according to Teoh, the brightness of the light, how bright our image is going to be. And so you could be taking a lot of pictures with the exact same shutter speed and aperture and getting different brightness levels in your photograph by turning the flicker. Reduction on what happens is the camera analyzes the light and times the light so that the next picture is taken at the next peak. Now its potential. You're going to shoot it one or maybe two frames per second slower because it's delaying kind of waiting for the next peak wave to come in. But the advantages is that you're shooting with the maximum brightness and your shots are consistent, and so this might happen for somebody shooting gymnastics where they use that type of light. And that could be really frustrating. If half of your images need to be brightened in half need to be darkened really frustrating, looking at those type of images and editing them. So this is a good system. If you work in that type of environment. If you're out in natural light, you don't need this. The image stabilization mode for the lenses that do have image stabilization can be adjusted to two different settings, shooting only and continuous. For most people, continuous is gonna work, which means the stabilization will be taking place when you're looking through the viewfinder and when the camera is actually shooting a photo. Some people don't like the look of a lens that's being stabilized while they're looking through it, in which case you could turn it to shooting on Lee. And ideally, when you were on a tripod, you should turn stabilization off. But there is a switch on the outside of virtually all the lenses, so it's pretty easy to do that without having to dive into the menu system. Next up is our eso auto setting, and there are three different presets that you can save in here so you can have different options. If you like to use auto isso for different types of environments and shooting conditions, the controls are first. What sensitivity do you want to have the cameras set at and 1 60 would be the best cause That's the native sensitivity. The next option is the maximum sensitivity. And here's where you kind of want to set a ceiling of How high do you want Theis Otago, but go no further and so pick off the top quality that is acceptable to you. And then finally, we have the minimum shutter speed. Now you could set a particular shutter speed like 1/60 of a second would be a reasonable handheld shutter speed that most of us can handhold. But the other option here that's quite nice is auto, because what it does is it looks at the lens that you were using and will set a shutter speed appropriate to that lance. Larger telephoto lenses will need faster shutter speeds, and wider angle lenses will need or can deal with slower shutter speeds. And so the auto setting seems to be a very good option here. Next up is the Mount adapter setting. I mentioned that this is the adapter that's for like, a lenses. And if you put different like a lenses on it, you can press the button on the side of that lens and get into this menu, and you can have different presets for which lens you're using. So metadata can be passed on, uh, from the lands to your file about what lens you're using. You can also make certain types of correction for distortion, color shading and peripheral illumination in here to fix any defects that might be inherent in the lenses that you are using. And that is for the like a range finder lenses. Next up is wireless communication. We're gonna be tackling wireless a little bit later on when we get down into the communication settings in the set up men you. But this is where you can turn the WiFi system on and off with the camera. You can have the camera hook up to smart devices like phones and tablets. You can also have it connect up wirelessly with a computer and wirelessly send information whether you're doing a tethered style shooting, although in this case it would be untethered or downloading images

Class Description

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
  • Videographers
  • 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.

Reviews

Justina Tumaite
 

Thank you it's super helpful. I loved it :)

Eric Geerts
 

I've been with CL for quite a while and I pretty much got used to (all of) John's top quality classes. Kinda been waiting for this one over the last months. So thanks again, John, for your consistent 5 star quality standard!!

Robert Felice
 

I loved this class! How much did I love this class? I loved this class and I don't even have an X-T3! I have the Fujifilm X100V, a camera similar enough to the X-T3 that this class easily covered 85% - 90% of the features on my camera. It's also a camera new enough that there isn't much available on how to use it. This class got the job done for me. Well done, John!