Transcripts
1. Course Intro: Hi, my name is Josh and unprofessional Fujifilm
photographer working across different
parts of Africa. Over the years. I've worked with Sony, nick on Olympus and Panasonic. But I've never found
a system that meets my needs quiet as
well as Fujifilm to creative tools and features that are packed into
the cameras play a huge role in my work and they bring a great deal of
joy to the process. But they aren't always that
easy to set up at first. In this course, we're
going to have a look at the extensive menu
options and what they do. Now instead of re-creating
the same course 1,000 times with each
different camera model. I'm gonna do this
with the x 100 v. And you will find there is a
huge amount of overlap with any Fuji series or GFS
series cameras that you own. If you do run into
a specific problem that isn't addressed
in any of the videos, then you can just
ask me a question in the discussion tab or
ping me a message. If you want to see
any of my work, you can find me on
Instagram and Varro at an African tail or at my
website linked below. I hope you enjoy the course. Let's work together to better
understand how we can use these fantastic cameras to
make more compelling images.
2. The IQ Menu: Okay, so let's go ahead and
dive into the menu circles. Can I switch my camera on? Press the menu button. And in this video, we're
going to go through the image quality settings. So first and foremost, we get the image size. So this is where
Fujifilm reduces the resolution of the image to help you save space
on your card. So you have large, medium, or small as an option. Now, cards are really cheap and storage is plentiful these days, so I wouldn't advise
setting it to one of these unless it's
a real concern for you. But the other thing that
you can do in this menu here is you can change the
aspect ratio of your jpegs. So if you want
sheet three by two, That's the normal aspect ratio. There's camera operates in, or you can set it to 16 by nine and then you'll get
that wider movie look. Or you can set it to
one-by-one and go ultra retro if that is the look
that you're going for. Now of course you can
do all of these things will just by cropping in post. But a lot of the appeal
of the x 100 v is how it stimulates your creativity by how you do things in cameras. So that's one of the options for changing the aspect ratio. The number along the side
is how many photos of that type you could fit onto your card with the
space that's remaining. So obviously, as I go smaller, you could fit more and more. Now the next section
is an important 1.1 that you're
likely to come back to more often than perhaps the other
features on this menu. And that's because you're
going to be choosing between shooting in JPEG RAW. Now, although nothing on
here says JPEG fine is the highest quality output of jpeg that this camera can do. Normal is a slightly
lower quality one, which takes up less space. And then you've got raw. If you just want the raw sensor
outputs and you're gonna do all of the editing after
you import the photo. Now you also have phi1 plus rho, and this is a normal classroom, but these are
important options for Fujifilm for a specific reason. When you use and in
camera films simulation, it only gets applied to jpegs. When you, if you
shoot raw score, the raw image is what will be imported into your
computer and you'll have to do all of that edit
separately afterwards. If you want it to come
straight out of camera with the film simulation or with a simulation that you
yourself dial-in. You'll need to shoot JPEG. Fine. Plus row gives you
the option of both. So you can have the baked in look that you like on the jpeg. And rock can be available if you want to try
different looks out, or if you just want to make sure that you've
got a safety file in case you need to address
it more extensively. Be aware, obviously, this
will double the number of files on your card
and on your computer. So don't give herself too many photos to slog
through for no reason. But this is a good
safety option if you do want the best of both worlds. If you're shooting in RAW, you get the chance to, to decide whether you want uncompressed or lossless
compressed files, uncompressed being the
largest or the data that you can get, and lossless being apparently
no drop in quality. I have never seen a
difference between the two. I've used both of
them professionally. Lossless is a smaller file
size and that can be useful particularly when your computer is filling up with photos. But if you want the full-fat
version, then of course, uncompressed is an
option there for you. The next thing on
the menu is actually one of the most famous bits for Fujifilm cameras and that is selecting your film simulations. So here we have classic Chrome
and nastier and previa, and all those ones that you'll
see on the Fuji groups. I've run raving about
whatever is their favorite. For me, classic neg would
probably be one of them. If you're using one of
the previous 100 cameras, you'll find that it's a
slightly different list. But either way you
can come here and you can select the
look that you want. Now if that's all you want
to do and you just want to shoot with it as
is, That's great. Fujifilm has done an amazing job of dialing and this look. And if you just
wanted to go with normal classic Chrome,
That's all you need. You can now start
taking pictures. However, if you
do want to start, if you do want to
tweak it and make it the exact look that
you're after all, maybe just experiment
a little bit. Then the next page and
a half is for you. So here we have grain effect. So you can tell
that it's a strong or weak or switch it off if you want sort of film grain in your, in your photos and that
can be small or large. You can put a color
chrome effects. Now, if you do on this one, I believe it's on
reds and yellows. And if you do it on
the effects blew, it really deepens the
hues of the blues. So it can be a lot of fun
if you're taking pictures of summer sky is, or the ocean or whatever. So that's, that's one that you can play around
with a little bit. White balance is a
pretty big topic again, if it's not something you
feel that comfortable with, hop on YouTube and just watch a two-minute
video about it. Because it's something
that's really useful to understand. That being said, it's
also something that's not that critical for most people
to set up it in camera. Because one, it's really
easy to fix in post. So even if you don't
do any advertising, but you just upload the file
to Instagram or something. Instagram will let
you quickly change the white balance just
before you upload it. So it's something that can be
changed very, very easily, provided It's not far extremes
of a lighting situation, so it's not ultra, ultra cold. The second point being that the camera is really good
at reading the scenario, seeing what the lighting is, and picking the
best white balance. So for those two reasons, I and many other people
would just leave it on auto. If you do want to tweak it a little bit more
and fine tune it. You can press right? And this appears. And this is what you use. If you are putting in a
film simulation that you've found online on Fuji IX
weekly or something. On those film recipes
that you'll come across. It'll say something
like R1 before. And you can just use this here to set that to whatever
the recipe has told you to. And then you'll get
the warmth that you'll need to get that recipe that
someone has put online. There's also the option of
dialing in your own custom. White balance is using a
gray card or whatever. If you're in a studio or
set lighting environment, you can put in a specific
color temperature. If you know that your
lights are 5,600 Kelvin, you can put that in. There's also, of course,
the built-in profile. So you've got a
daylight and shade, various forms of
internal lighting. And of course, underwater
because all of us obviously shoot with the next
100 ft underwater on a daily basis. Yeah. That's a useful one. So as I said, auto is a good
option for most people. Now, dynamic range, this
is quite technical. And if you really want to get back into it, hop onto YouTube, go to palliate attacks video on the dynamic range of
modes for Fuji cameras. And he will give you all of the nerdy details on
how the cameras do, what they do, and all the different situations
where you'd use it. Basically, the dynamic
range settings are for if you have a
really high contrast, seem like you're out in brilliant shining sunshine and you wanted to take a
picture of someone's face, but if you expose
for their face, everything else is just white. And if you expose for the background to
show where they are, the person's face is just
completely darkening shadow. The dynamic range boost
basically can help fix that. Okay, so 200% and 400 per
cent is just how much the camera intervenes to protect those highlights
and lift those shadows. If you leave it on DR1 hundred, like I normally do, that is the default dynamic
range of the camera. So there's no fiddling around, that's just what the
sensor is reading. And that's gonna be good for the vast majority of situations. Now bear in mind if
you ever see that the 200.400 I blacked out, that's because your ISO
will be down to low. So if you're
shooting at ISO 116, you having a nice clean
image at the base ISO. If we go here,
you'll see that it only gives you the
option of DR1 hundred. To use 200 per cent, you need to raise
the ISO to 320. And to use 400%, you've got to go all
the way up to 640. So again, as a bit
of a compromise, because of course,
you're going to have more noise in your images
if you're shooting ISO 640. But again, it can help if you are in those high dynamic
range environments. Now, dynamic range
priority Gibbs the camera permission
to either boost up to 200 per cent if it's set to week or up to 400% if
it's set to strong. So this is where you
can leave it on auto, but just give it a little bit
more specific instructions based off what you think
is going to be necessary. Or of course, you can leave
it on full auto and just let the camera decide
what it's going to do. The next thing here
is the tone curve. So the tone curve is
like what you find in all editing programs
is where you can increase or decrease the
contrast of the image. So you can either drop
or boost the shadows. And you can do the same
with the highlights. Again, this is
easily done in post, but if you wanna do
it all in camera, then this is a good way to increase or reduce the contrast. The next settings are fairly
self-explanatory color is how saturated you
want the image to be. Sharpness. If you are going to edit, do add sharpness in posts. Don't boost it in camera. But if you're not going
to be doing any editing, then this is a way you can make those details pop
a little bit more. Noise reduction if
you're going to edit, set it to zero or even all
the way down to minus four. Because when the noise
reduction is better dealt with in light room or
something like that. But if it's coming
straight out of camera, you can lift it up. If you think that
you're going to be shooting at ISO 2,000.3200, any of those higher ISOs. That's what you
can use this for. Clarity. Add some more punch
to your image. It also desaturate it
slightly. So just be aware. The only thing is
with this that it can slow down the time of your camera processing the image once you've
press the shutter button, some people like to leave
it on minus four and minus five just to speed up
the camera a little bit. And then they use
clarity in post. But again, if it's coming
straight out of camera, this is where you'd put it in. You won't notice a big
difference, to be honest. That brings us onto the
final page of this section. Here have long exposure
noise reduction, which most people
don't need to touch. But if you're doing star trails or like painting or
something like that, setting it on can reduce
some of the noise you get in those situations. Color space, you should
just leave this on sRGB. Adobe RGB is if you're
going straight to printing. But again, that's really easily converted in any software. Srgb, color space for phone
screens, things like that. So if you are not entirely sure, leave it on SRGB. That's why you want
to be pixel mapping is useful if you are
noticing hot pixels. So what that is is that's little white specks that you'll find in your image that isn't coming from dust on the
lens or anything. Over time, individual
pixels can basically die. And it leaves these annoying
little specks in your image. Pixel mapping goes through
and it finds those pixels, and it basically
switches them off. And you won't notice
it in your photo, but it just gets rid
of those little speck. So it's a good thing to do if you are having that problem. Now, the next two are related to the recipe that you will have
dialed into your camera. Now, if you've gone ahead and taken the
time to put in the, all the settings you want for Kodak portrait 800 or
something like that. And you want to save it to your camera so you can
use that recipe again. Just come here to edit
or save custom settings, pick a slot, Save
Current Settings, and then here you can edit the name
and name it so you always know what that is. So here you'll see I've got
things like as Cusa and cut. I portray 100 I can
use whenever I need. And the way I would activate those is by coming
here in the menu, going to select custom
settings and picking that. And now that's what my
camera we'll be shooting in instead of classic Chrome
or something like that. So that brings us to the end of the image quality settings. Next, we'll go into the autofocus and
manual focus options.
3. AF MF Settings: For this next video, we're going to go ahead and dive into the autofocus and
manual focus settings that you get on the next 100 v. Now the first thing you get
to choose is the focus area. So that's where you want
the camera to look for. The object that you
want to focus on. If you just set it
to here it will. Once you click on it, you can use either the front
or the rear scroll wheels, make that bigger or smaller. So if you set it to this
very small single point, you're saying whatever
is right there. And when I press the
button or half-price, that's what I want
you to focus on. If you make it wider, then it switches to zone. And basically it will look for the high contrast
item in the image. So then it'll pick that
out as you can see here. If you then go and
make it even bigger, it'll take in the whole
image and it'll try and detect whatever it is that you want to be
taking picture of. Again, there'll be drawn to the high contrast
parts of the image. And it'll focus on that. If you've got stuff
moving around in your frame and you don't
want to constantly have to be putting the little single-point
on them every time then using the wide
allows you to put the camera to pick up and potentially track
them more easily. But if you're just, you're doing a photo like
this and you just want to focus on this exact
part of the leaf. You can just put it
small half-price and that's where it'll focus. So that is how you
set your focus area. Next, you have the
autofocus mode, okay? So you can choose
between single-point, zone wide or all. So that's like what we were
just looking at the world. You could pick in this one here. Now, if you go a
single point again, the auto focus will just
go for that one small, small point on the screen
that you've chosen like that. If you use zone, it'll track within a zone
wherever you set the zone, so it doesn't have to
be in the middle if you know that the movement
is going to be happening somewhere
else in your image, you could move that zone down to here or something like that and it'll track within that array, you can make the zone bigger as well by going
back to Focus Area. And then of course
you can choose all and it will take
in the whole image. And widen tracking is again, if your kids are running around and you're gonna get
pictures of them, this is a great
thing to set it to because then with autofocus continuous or
anything like that, it can be watching the
movie in the whole frame, not just in the small point
that you've already set. Next, we have the autofocus
continuous custom settings. Now, this is where
it gets pretty involved and a lot of people won't be messing
around with this. But if you're doing sports
photography or you're, you're really trying to
make sure you're nailing focus in specific situations. This is something
that you can choose. So again, there's multipurpose, this will be your do it all. Auto-focus tracking. Here, it'll ignore obstacles
and continues traps subject. This will be for things
that are changing speed dramatically or things that
suddenly pop into frame. And then again, you've
got four radically moving or accelerating
decelerating objects. All of these things
will be changing, how sensitive the autofocus is and how quickly it's moving. If you want to control all that yourself and you
don't go down to six. And you can dial in those settings just to
or to whatever you want. You can also go to
zone area switching. And this is where you
can help it understand where the subject
is likely to be, need to be focused on. So you can do that all in this is fairly in-depth
for most people, I need to deal with
that, but the option is there. If you want it. Again, this camera
is genuinely fit for professional use and
so it's great that they put those features
in there for you. The next setting is simply
if you want to have different settings for if the camera is in portrait
mode or landscape mode. So if you've got
the camera flipped, shooting for Instagram
or something like that, you can choose to only keep the focus area settings that you've already configured for, either portrait or landscape. Or you can have all of the settings to be
different for again, portrait or landscape or
you can switch that off. I don't think there's
gonna be something that most people worry about, but you have that control. Okay, next you have the
autofocus point display. So that's just whether or
not you want the actual Autofocus point to show
up on screen like that. So you know where the
cameras focusing, some people really liked that. Other people want it to be
as minimal as possible. And so you can toggle
that on and off here. You also have the number of focus points that you can change the configuration of
these focus points if you're shooting in all. Or I think possibly in wide, Let's have a look
That's widen zone automatically sets it
to 117 focus points. I believe all we'll
set it to 425. But if for whatever
reason you want to bring that down to 117, then you have got
that control there. Okay, so for pre AF, if you set that too on, it means that the camera will be constantly trying to make
sure that it's in-focus, even if you're not
holding down the shutter, well, half pressing
the shutter button. So you see here, if we go ahead and move that focus point, it's going to try
and get focused on wherever we move it to there. Then if we move it
back to the main leaf, that's what we'll see. So if you just want it to
be continuously trying to make sure it's in-focus before you even
taking the picture. You put on that. If
you don't want it to be hunting nonstop, even when you are carrying it by your side or
something like that, then you can switch that off. And then as soon as you
have press the shutter, that's when it'll
do the focusing. So that's what the pre AF is. Now the AF illuminator is
for if it's in the front, we had to look at it
in the first video. Now, if you're taking a picture in close-up or in the dark
or something like that. It's basically a
little light that shines to find an object of contrast so that it has
something to focus on. Because if you're trying to
focus in complete darkness, there's nothing for
it to focus on. The AF, light helps highlight
something if it needs it. So if it's too dark to focus, the AF illuminator comes on and it finds that point
of contrast so that the camera can hopefully achieve focus even in those
adverse conditions. You can leave it off
or on as you like, it's not it doesn't have
a big impact if you're not in those if you're not taking pictures in
that specific setting. Now moving on, we're
going to the face and eye detection settings. So here you can decide to
switch face detection on. So of course it'll
look for faces and try and make sure that
it focuses on them. You can also go one step further and have it focus on eyes, which is a great feature because the eye is basically if you're going to take a
picture of somebody, if there's nothing
else in focus, you need the eyes
to be in focus. If they're out-of-focus. You've you've either done something really creative or
you've messed up the shop. So I also can really
help with that. You can go as far
as to say right or left eye if you know
that the person is going to be standing in a certain position or facing
one direction or another. That can help with that. If you don't want it looking
for eyes and you just want it to be looking for
the face as a whole, then you can leave it on
just on face detection. Of course, if there's no
faces or it's getting clearly getting a bit confused by the things in your image, move their statues, or
something like that. You can switch it off and
then it won't hunt for those. And you can just focus on whatever is in front
of your focus point. Okay, Next, we have
auto-focus plus manual focus, which basically allows you to tweak the focus with
the front focus ring. Even if you've, you've used autofocus to focus on an object, but then you want
to just tweak it a little bit with
the manual focus, that's where you can do it
if you switch it to off, spinning them all,
the manual focus ring won't do anything. You can also set
manual focus assessed. Now, these are different
things that will show up on screen
to help you know whether or not your image is in focus and the most popular is probably
focus peaking. If you set this to manual. You can see on here, we get this red that shows
up wherever they're, the subject is in focus. You can also use these
other ones which certainly not as common
but are available to you. So the micro prison
can help us see when textures are in focus
or out-of-focus. The digital split image, whether it's color
or monochrome, is another way of
doing that as well. Now, the way that this is
punching in at the moment. Is that's actually because we've got focus check set to on. So focus check is useful
when you're using manual focus and you really want to want to nail it particularly, I mean, with a objects
that isn't moving, that's probably pretty key. You can use focus check. And as soon as you
turn the focus ring, then it'll punch in for you. You can also use the joystick to move around and
have a look at the image and see if what you want to be in focus is in focus. And if it isn't, you can just keep fiddling
with the ring. And as always, if
you double press, then it'll bring that back
into the middle for you. Okay? So if we go back into the menu, we'll leave that,
we'll leave that set to on for the time being. Okay, So this can be a little
bit technical as well. Basically, if you've got a
part of your image that you've selected for your camera
to decide whether or not it's over
or underexposed. You can actually lock that to
be the focus area as well. So at the moment, if we set that to on
where that box is, is, where the camera will
also look to see if the image is
under or overexpose. You see scale on the side here. That will be based off this bit. Okay? If we go ahead and move it, and particularly if
we go up or down, then we'll in our exposure, then you see how that shifts. That setting has just
allowed us to make the focus area and the place that looks
with the exposure. The same thing. Which can be quite helpful if you want to. If you are using a
different metering mode, then put this to off and
it shouldn't be a problem. Instant AF setting is if you're shooting
with manual focus, but you've got a
button like e.g. this one, I haven't got
it set at the moment. But if you've got a button to allow the autofocus to kick in, so you've got the manual
focus, but you think, Oh, I'd also like the autofocus
to be available to me. So you can figure it
to this button, e.g. this just says if you
press that button, which kind of autofocus
will switch on for you? Will it be the autofocus single or will it be
continuous autofocus? So whichever one you choose, if you have mapped a
button like that to be to step in when you're
using manual focus. As soon as you click
it, it'll choose autofocus continuous
in this instance. So that's what, that is. Therefore, depth of field scale. This is fairly niche
as well in its use. It's basically pixel basis
allows the depth of the camera will simulate what
it looked like with the depth of field
away if someone's looking at it on a phone, on a device and
film format basis, it'll send me late the
depth of field once the, once the photos printed, basically, it's quite clever that it can do this in camera. For most people, I'm sure pixel basis will be the thing
they want to leave it on. But if you're taking your time, you're really trying to get a good idea of how
something will print. You can use film format
basis and it'll simulate how that depth of field
will come across on paper once it's printed, which is a very
interesting feature. Release or focused priority
is basically saying, if I'm trying to take a
picture, What's your, what's the thing that
you want the camera to make sure happens first? So do you saying that it has to focus before
it takes the picture? We're saying that
it needs to just snap the picture at that moment, whether or not it completely
sure it's got focus. So the example would be if your child is going to
be shooting down the slide and you don't want
it to be hunting back-and-forth and deciding
whether or not it's in-focus and by the
time it gets there, your child has already
at the bottom. When actually are using
a depth of field as deep enough that wherever, if it just takes the picture, you're confident
there'll be in-focus and so you just want
it to prioritize, just get the photo. Don't worry so much
about the focus because you've set it to f eight
or something like that. And that way it'll
take the picture more quickly instead of really trying to double-check
that it's in-focus. So that's what, this is, how you can set it for
both AFS as well as AFC. So for continuous autofocus, you have control of
that for both of them. Now onto the final page, we've got the AF range limiter. So again, this is if your, if the subject is going to know that whatever is
you're taking a picture of is going to be within a certain range or certain
distance from the camera. So you know that
you're taking pictures of flowers that
are moving around. Or again, we've got leaves here. And you know that
they're not going to be more than a certain
distance away. You can go ahead and
set it to be closer, or you can set it to look. Further away, you can dial
in your own custom one. So here you can set the
point a and point B, and then it'll only hunt within
that, within that range. So it's, it's quite handy for
very specific situations. It's not something that
you necessarily have one on all the time. It can be handy for
street photography if you know that people who are, if you're trying to
catch people that are walking within a certain
distance from u. So you know that
everyone's coming up the stairs and you
only want it to look within 5 ft to 10 ft instead
of looking all the way down at 50 ft to the bottom of the of the tunnel or
something like that. You can set it to that
and then it'll only, it's much more likely to pick up the subject
that you wanted it to instead of searching the full frame,
coming to the end. Now we've got the
touch screen mode. So touchscreen mode is what happens when you
touch the screen. Who would have thought? So you can put it
to touch shooting. If you set that, then if you touch the screen,
it'll take the photo. If you put it to AF, what we'll do is
wherever you touch, that's where it'll
go ahead and focus. I think I've got the I think
I've got the limiter on. Set that off. Okay. Yeah. So wherever you touch, it'll
go ahead and focus the app, but it's not going
to take the picture. If you set it to area, it won't focus or
take a picture, but you'll just be telling it. Whenever I do tell you to focus, this is where you should look. So you can set it
to here and say, and then as soon as you half-price than it will
focus in that area. And then finally, you
can switch it off so that the touchscreens
completely unresponsive. Maybe you're
shooting through the optical viewfinder in your nose, keeps hitting the screen
or something like that. You can switch it off and then nothing will happen
when you touch it. So most people would
probably leave that on AF or touch shooting if that's something
that'll be useful for you. K now the final
item on the menu is the corrected AF frames you
can set it to off and on. Basically, this is
specifically if you're using the optical
viewfinder here, not the electronic viewfinder, but the optical one. If you put the correct
today a frame or two on, what we'll do is we'll
show a little pop, a little square on wherever the autofocus point is
that you've selected. Instead of if you
have it to off, you'll just see straight
through the glass. It won't, it'll show
you the middle point. It won't show you where
you've put the AF point. So this little point here. If you set that on, then
you'll have that option for when you're shooting through the optical viewfinder as well. Okay, so a lot of technical
stuff in this little bit, but that concludes the autofocus and
manual focus settings.
4. Shooting Settings & Features: So we'll go ahead and
dive right in with these sports find a mode. Now, there's an interesting
little feature. It'll be toggled
to off by default, but if you switch it
on, then have a look. What it does is it applies a 1.25 times crop to your image. So if you're taking pictures of, if you want to take a
picture of a bird or again, sports photography or
anything like that. Because you've got the
35-millimeter fixed focal length. It's not like you can zoom in. And so what it does is
it applies that crop. It will show you
the whole frame, but it also shows you the little boundaries as well so you know what it'll
be in the picture. And then if you take it, you see it punches in and just gives you that extra
zooms in camera. Now again, you can
do this in post if you just take the
full shots and crop in. But if you want to
send it straight from your, from your camera, this is one of the
ways to zoom in a little bit without having
to deal with all of that. Grant and switch it
back off for now. Now the self timer
is something that a lot of us will
be familiar with. This is for those family photos where you quickly
set the camera up on a tripod and run
into place and all try and smile at the right time. So you've got the choice
of 2 s or 10 s here, delay before the camera
takes the picture. So you can go ahead
and tell that's 10 s. And if you take the
picture, it'll count down. And the light on the
front will flash as you get close to it, taking a photo, flash faster, and then you'll see that
it's taking the picture. If you go to save self timer setting and
switch that to on. When you switch the
camera off and back on, it'll keep that ten
second timer or the two second timer
if that's what you've chosen on by default. Otherwise, it when you
switch off your camera, it will just go back to taking the photo when you press
the shutter button. The next thing that we've got is something that is, again, a really powerful tool and something you
wouldn't expect to find in a camera
in this category. And typically this
would feel more like a casual camera or a leisure camera because of the fixed lens and the
design of it and everything. But this is one of the incredible professional
features that you get inside the excellent hundred V. So if you go ahead and go into the interval
timer shooting, what you can do is you
can essentially do a time-lapse built
into the camera. So you can choose how how often you wanted
to take pictures, if you can do set it so it takes one every 3 h if you're going to do the longest time lapse ever, or you can set it once
a minute, or of course, every 3 s or whatever it is, depending on if you're doing star trails or a sunset
or something like that. You can pick whatever
is appropriate, and then you can choose how many photos you
want it to take. Now, bear in mind that time-lapse played at
24 frames per second, um, because it'll play
back like a movie. Of course, if you
only take 50 frames, then it'll be a
two-second time-lapse. So if you have a specific duration that
you want it to be like you want a 10-second time-lapse hop online and put in
time-lapse calculator. And it will help you to know exactly how often you should
take the picture, um, and how many frames you should, or how many pictures you
should actually tell it to take to get that duration. So that can be a useful
tool if you just want it to keep taking until the
card fills up completely. Then what you can do
is set it to infinity. And it'll just keep
going until you fill up your card or until
your battery dies. So make sure that
your battery is fully charged if
you're trying to do any kind of time-lapse
with this camera? Yeah, that's a that's
a excellent feature. If you set this up. So you say once a
second, alright? And then you press okay. Alright. You can set a delay on it. So if you don't
want to start for an hour or if you want to start in 2 min while you get set up or something like
that, you can do that. Or you can just set it
to zero. Press Okay. And it will stop. And it'll just keep on going. Now, the screen may blackout while it's
not taking a picture. And then it light backup when it's ready to
take a picture. Say if you've got
once every 3 min, you don't want to look
at the greens beyond that whole time burning
through the battery. But if you half
press the shutter, it'll bring it bring
the screen back on and you can kind of
check on the progress. You can then press Okay. To cancel, or of course allow
it to complete and it'll save it in camera and you can
export it however you like. This. Next lesson goes hand in hand with the interval
timer shooting, and this is the
exposure smoothing. So what we'll do is if you are doing a sunset or
something like that and there's one time in the time-lapse is significantly
brighter than later on. Instead of having the exposure dramatically shifted during
your final time-lapse, you can set this to
on and it'll expose the various parts
of the time-lapse to be the same basically. So you won't have that
wild fluctuations. Now if you're going to
edit the time-lapse later, that's fine. But this can be a good option if you're doing it all in camera. Next you have the choice of the auto exposure
bracket setting. Okay? So here you can set how many photos you'd
like the camera to take. And what difference,
how much brighter. Basically, you'd like each
of those frames to be. So think of this as being
similar to HDR, e.g. if you've got landscape
and the foreground is a lot darker and the background
is a lot brighter than. You can use this to take
multiple exposures, then what the
difference in exposure you want, you want them to be. So of course, nine
frames or a full step would be pretty, pretty
significant difference. That's showing that you've
got nine stops of difference between the dark
and bright parts that you want to expose. But you can do it a third
of a stop or even higher. So that's where you'd set that. You can choose if you
want that all to be in one burst or if you'd
like it to take a separate photos basically
like if you're going to combine them in Photoshop
or anything like that. Then the sequence
setting is here. You can choose if
you want it to take the first one auto
exposed to be at zero. So the, what the camera decides
is the optimal exposure. And then to start from the
highest and goes to the lowest to do what's on exposure, then from the lowest
to the highest. Or if you just wanted
to go from low to high, passing through zero or high to low based on whatever
you set it for. All of that can be
calibrated here. The next option is
pretty cool as well. Actually, this is the
film simulation bracket. So you can choose three different films
simulations that you want say you want to
shoot classic Chrome. You'd like a C previa, and then you'd also
like a black and white. So at gross, you can set this. And the camera will
take three days, all with different films
simulations, which is brilliant. So again, if you're
doing this in camera and you're
shooting straight JPEG, you won't have the
ability to change the film simulation afterwards like you would with a roar. So if you don't
want to just have the one shot, one film sam, you can use this
and you can have multiple films simulations
covering the exact same photo. So yeah, that isn't a brilliant little
feature built-in for you. Now the focus
bracket settings is useful again for landscapes
or even for macro. I don't know if this camera is famous for macro photography, but it's where you
dealing with needing a lot of things in focus or a wide part
of the frame in focus. But you also need to set the
aperture so a low number. So let's say it's fairly dark. So you want to shoot
F2 so that you don't have a really dark or a really great noisy image from having to boost
the ISO really high by putting it at f 11
or something like that. But you don't just want
the very narrow depth of field that comes
with shooting F2. You can go ahead and
set this up so that it'll take multiple pictures at different
distances basically. So you can do five,
well, 507 frames. My goodness. Alright, so let's
say seven photos. How many steps you
want it to take, say let's say six. And how often you wanted to take the picture if you only
wanted to be 1 s apart, or if you want it to be
pretty much instantaneous, you can set it to zero. You can also use
the auto setting. What the auto setting does is all you have to choose this, how quickly you want
us to take the photo. So let's say once a second. And then it'll bring you to this screen, which
is quite cool, cause what you can do is you spin the focus ring on
the front of your camera. And it will set the a point. So let's say there. Press Okay. And then you can
spin the ring to show where you want the final Zoom
point to be there. And you press back. Okay? And then if you go to Here, this is where you'll find all the brackets settings
that we've just talked about. So the auto exposure, the film simulation brackets, the dynamic range bracket, and the focus bracketing. If you chose focus bracketing
and press and press, okay, then what it would do is
it would choose that for those focus points and
take all the frames necessary from a to b for you. So it just handles
that in camera. Now as we move on
to the second page, we start with a pretty
creative options. That's if you want to do
multiple exposures in camera and some people do some really clever
stuff with this. It's a lot of fun to
mess around with. You've got the
choice of additive. Additive will do is it'll
layer the first photo onto the second photo without
tweaking the exposure at all. You've got average
where it will do that. But what it'll do is
it'll try and make the exposure's pretty
much the same. You've got bright
where all it'll do is add the bright parts
of the image together. E.g. if you want to
do light painting, this is one of the options that you can use because
it will only pick up wherever you do the Light Trail instead of the entire image. So you'll keep overlaying
the entire scene. Alternatively, you
can just have it merged the dark
parts of the image. So if you essentially want
to do the reverse of that, then this is what
you can choose. Photometry is something
a bit more technical. So this is how the
camera looks at the image and decides how
over or underexposed you are. So you see, as we increase
the shutter speed, This goes down as it's
telling you, Okay, you're a little bit
below optimal exposure, your way below as you go up, because now you're properly exposed and now
you're overexposed. So it's deciding that based
off the settings here, if you choose multi
what it's doing, it's assessing the whole frame and deciding what what are the darkest parts
with the highlights, probably what's the subject of the image and how
should we expose that? As a whole? It's probably the
cleverest computationally. Now, you can do
center weighted where it's still does look
at the whole frame, but instead, it'll prioritize what's in the middle
of the frame. So you can see it's actually
dropped the exposure a little bit on the meter because what's in the middle is darker
than the rest of the frame. So now if we raise this up, you can see it shifts. Spot metering will exclusively look at what is right in the, right, in the center, where that spot is. And if you go to average, what it'll do is it's
kind of like multi. So we'll look at
the entire frame. But instead of trying
to think about what's the subject and what are the contrast levels
around or anything like that? It'll just look out what
are the brightest whites, what are the darkest darks, and what's the average? So all it will do is try
and aim for the average. And so you can see as
we shift down here, actually it's saying that a much darker exposure
is almost at zero, is almost the correct one. So it does have a fairly
significant impact if you're trying to
expose in a specific way. Now, this isn't something
you need to worry about. If you're just going out and about and you're
taking pictures, you're having fun
with your camera, set it to multi. And I mean, because
it's mirrorless, you can see live on the screen and through the EVF if
that's what you sat, how the exposure looks. So it's not something you
need to worry about too much, but if you're
specifically taking photos with very
different contrast in it, or with a model that's wearing
full black or full white. And you really want to
use the auto exposure, then you can tweak this so that the camera knows what
you're trying to do. But if in doubt,
leave it on multi. The next option is
the shutter type. So here you have the mechanical shutter,
the electronic shutter, which basically is silent mode, or the mechanical
plus electronics. So you can let it choose now, if you're just going
about your business, mechanical plus electronic,
unshackled your camera to choose a or whatever it
wants based on the scenario. So it means that you can boost your shutter speed even
higher if you set it to this. So this is a pretty
good default. Electronic shutter is not what you'd want it on by
default because you can have different issues with rolling shutter and things like that depending on
what you're shooting. But it's what you use. If you want to be
completely silent, taking pictures of
your sleeping baby or you're at a wedding
or whatever it is, electronic shutter just means
it will not make any noise. The mechanical shaft is
limited in how high it can go. It can still go up to one-four
thousandth of a second. It will make a noise. Even though it's the really pleasing leaf shatter
noise that you get within the 100 v. You can
also change that in settings. We'll have a look at it later. But yeah, so here you've got
just the mechanical shutter, just the electronic
shutter if you want to shoot silently or both, which is probably why should
leave it on by default, especially if you want to go to really high shutter speeds, if you've got really bright
scenes and stuff like that. Flicker reduction is
just handy depending on the lighting that you're
shooting under or screens that are in your
image or anything like that, what it will do is scan for
that and help reduce it. So you might find if
you take pictures under fluorescent lighting
and things like that, you get this very
weird banding or flickering across your image depending on your shutter speed. This can help deal with that. So you can either have
it set to do it on all the frames or
you can have it just apply to the first frame
for whatever reason, or you can switch that off. It's not a it's
not a bad thing to just leave on by default just in case that is an issue
that the camera picks up, it can do deal with it, or if you like, you
can just leave it off. Now the next one
is where you tweak the ISO auto settings. So let's say you've
on the top dial, you've set your ISO to
auto, you've set it to a. And so you've basically
said, alright, you decide what
the ISO should be, but you don't want it
randomly shooting up to 6,400 ISO and slowing down your
shutter speed for no reason. This is a way of putting
a few parameters on that. Auto one, if we click into that, we will see that
the default is 160, But if need be, it can go up to 800, and the minimum shutter
speed it's allowed to SAT is one-sixtieth
second nights. That's pretty slow. If there's any
movement in your scene at all or you're not
particularly steady, you'd want to go with at
least one 25th of a second. Especially as there's
no image stabilization built into this camera. If you want, you
can set it to that. But if you're shooting
on a tripod or whatever, then you can go all the way down to a
quarter of a second. Then auto too. If you set it to this, allows the camera to go
all the way up to 6,400. So let's say you
think that you might be at a wedding party. It can shoot at one-sixth
and the real bright room. But then as soon as you go
into the really dark parts, it can shoot up 6,400. Again, you can tweak
that if you don't want it to be a
slower as one 60th, you can go to
one-twenty-fifth or one-two 50th if the objects
are moving faster. So again, you've got
that control there. And then auto three is just another slot that
you can use to dial in. I believe I've I've
tweaked this a little bit, but you can set
it to auto three. So you say, I know
for a fact that it's going to be a pretty dark
environment wherever I go. So let's assume it
will be at least 6,600.40 and you can go up to, I don't want 6,400 by 1200s. And I know I need a
faster shutter speed, which is why they
ISO is a bit high. So we're gonna say
minimum of one-two, 50th of a second. So again, you're really
dialing stuff in for whatever environment you know, you're going
to be shooting. And now of course, you
can immediately pop the ring out and switch it
to whatever ISO you want. But if you just want
to keep it on auto, these are ways that you
can eat, you can tweak it. So if you want to give it a little bit of
freedom but not loads, set it on auto one. It'll go up to eight
hundreds where necessary, and then your images will
stay nice and clean. So if in doubt, leave
it on auto one. Now that conversion
lens setting is, if you're going to
be attaching one of the converters onto
the end of this lens. Now of course, it's a
fixed focal length, the 35-millimeter millimeter full-frame equivalent
focal length. But there are wide telecom versus available that will
widen the image out to 28 mm. Or tele, convert
a telecom versa, which will cut that into the equivalent
of 850 millimeter. So if you want to
have this camera, I don't want to have an
interchangeable lens camera, but you would like to
be able to widen out your image at times or zoom in a little bit for portraits
or something like that, you can purchase those. But you need to tell your
camera that they're attached. So if you do put one on, come here and say, okay, I've put the wide
one on and then it'll adapt things as necessary. Don't tell it that you're
putting one of these on. If you're not, it's
not going to make your image wider or anything
if you choose wide. It'll just know that you've
put that on and it'll be able to communicate
with you effectively knowing that you're shooting
at that focal length. Instead of the default, The 35-millimeter
equivalent length that comes built
into the camera. The next thing we've got
is a lot of funders, the Digital Telecom inverter. And this does change
things in cameras. So let's have a look. This is go ahead and move up
the exposure a little bit. So this is the image at the standard
35-millimeter equivalent that you get with this lens. Now if you set the
Digital Telecom inverter to 50 milliequivalent, you can see it's punched in. Now we've essentially
it's cropping in for you. But what it will do is
once you take the image, it does some really clever
up sampling in camera to bring you back to a
resolution of 26 megapixels. Now, there are
limitations on that, so there will be
a slight loss of detail and things like that, but it will still give you the flexibility
of cropping in as dramatically as you did before. Because it is still technically
at 26 megapixel file. Just be aware again that
you'll see a little bit of a drop in quality
if you do that. There's also a 70
millimeter setting, which is brilliant because
for things like portraits, 70 millimeter is a
really good frame. Now, you're not getting
the compression that you would if you were using a
symptom millimeter lens. And that's one of the
really flattering features of shooting portraits at 50 mm or above the
compression has an impact on how faces
look and things like that. However, it can be a really
cool thing to do in camera. Again, if you're
going to be exporting your images straight
from the camera and you don't want to be
doing heavy cropping and things like that. You can frame up a 70 millimeter
shot right here using the settings and get the advantage of the
upsampling from the camera. So I think this is a brilliant thing that you should really
play around with. If you set it to off, of course, you go back to the
default 35-millimeter and that the camera
naturally comes with. Another incredible feature is
the neutral density filter. Now as someone who
shoots a lot of stuff in the desert and in very bright
sunny parts of Africa. I'm really, really thankful
for the ND filter. So there's actually a button configured to up here
as we looked at before. And let's go ahead and write this up so we
can see the difference. If you toggle the ND filter on, it brings you down
by four stops. And that can be a huge help if you're in a
brighter environment or even if you're not in
a bright environment, or you want to have a
really wide aperture. So again, you want
to shoot at F2 and you want some motion
blur or something like that. And you're say
you're setting it to a really long shutter speed. So you want to shoot for a
second or something like that. If you took the ND filter off, this is what you get. It wouldn't be
possible to shoot with both a long shutter speed
and a wide-open aperture. You'd have to compromise
on one of them. And then creatively you wouldn't be able to
get what you like. So e.g. if you want to smooth out the water
on a landscape photo, so you're putting a really
long shutter speed, but it's just too bright and everything is clipped in just
toggle on the ND filter. And you have a beautiful image. So it's a feature which is
extremely rare in cameras, in high-end cinema
cameras shore. But in just casual to professional compact
cameras like this, it's a really amazing
thing to have. So something to play around
with as well, definitely. So I'll leave that on, off. So the next section
here is, well, the last menu item here is
the wireless communication. So if you were to click right, What do is put the camera into basically
a discoverable mode, ready to connect with your phone or your
iPad or whatever, wherever you've got the
Fujifilm app installed. So once you've got
that app installed, this is how you can
connect with it. Now, Pell to Tech
and others have got in-depth videos on everything
you can do with the app. It simultaneously very
useful because you can do, you can sort of see
what's on your phone so you can film yourself or take pictures of yourself
without being behind the camera and you can see
the framing and all of that. You can also import images, wireless link straight to
your phone so you can share them without ever having
to remove the SD card. But there's a lot of
people that complain about the crashes and how
unstable the app is. If you are having any issues. It's not just you. It's known with the app, so feel free to
get in touch with me or ask on the
groups if there's something that you're
trying to do using the app and it's not
working that well. But all that notwithstanding, this is where you can come
and set the camera to be discoverable so that
you can connect with it. Hit back. Then, we'll
go ahead and come out. So that is the fairly extensive
shooting settings, complete.
5. Flash Settings: Okay, so this next section has the potential to be
extremely complicated, even though it's only one page. There's only a few things
that you can see here. I'm going to need to put a limit on how deep I go into this, because using
external flash with the 100 fee is going to
need to be its own video because it's quite
technical and it won't necessarily be useful
for the vast majority of people who just want to
shoot with this camera, perhaps using the
built-in flash. A lot of the settings that
you'll see are actually irrelevant if you've attached
a external flash unit. So let's just have a look in and if there are
things that don't seem to be touching on it because we can't dive into them here now, if I haven't yet made the
video and you're dying to know how to use an external
flash on x 100 fee. And you can't find any
other information. Just message me, it will just
chat through it together. Okay? So first of all, you've got the flash
function settings. So by default, this
should be set to off. The flash doesn't go off. Ever. You can also
set it to TTL. So through the lens, I'm not going to dive
into what this means. It's a rabbit hole of information which you
should look into. If you're interested in
using flash photography, TTL basically means you're
letting the camera decide how powerful the flash should be based on how
dark the scene is, okay, So you can set it to TTL and play around
with it and set it to be helping you depending on how exposed or underexposed
the images and sink. This is curtain sync. So again, not something that I can
get into in-depth here, leave it on front if
it's set to front. But you can also
do reoccur in sync if you specifically want that. That's how you can change it. Other settings here
will be unlocked when you attach an
external flash, which we won't do today. Red eye removal is an option. We will remember those red eyes from the disposable cameras that we used to use
back in the day. So yeah, you can
choose whether or not to have that on or not. You've got TTL lock mode. So you can lock it either with the last flash or with
the metering flash. So depending on how
you want to set it, you don't need to lock the, you don't need to use TTL lock, but you have got
those options if you do and built-in flash, this option is not for just
switching it off or on, because as you recall, we could switch it
off right here. Instead it, if you're
using a external flash, it and you want to completely
disable the internal flash, then you can use that so that it doesn't
factor in at all. If you set that too on, then you can have the
internal flash work with the external flash
in a number of ways. Now these settings that
are grayed out here, the LED light settings, That's if you're using
an external flash which has a video
light built-in, you can choose how you
use that video light. The master settings for
controlling a set of off camera flashes as well. The channel settings,
same thing. So again, in a separate video, we can go into this
a little bit more, but I just wanted to
kind of demystify this. If you are going to a bonfire and you want to take
pictures using the flash, you can either set
it to manual and experiment with
different strengths. So 164 being the
least powerful flash. And if you want to go for
really punchy big flash, then you can go all the
way up to one-to-one. So setting it to manual and tweaking it yourself
is one option. Alternatively, you
can leave it on TTL. Let the camera decide
how much flash to use. That should be all you need for using the internal flash here. And we'll tackle
the rest later on.
6. Movie Settings: Okay, so you might
want to grab coffee before you dive into
this next video, because the next four pages and get a little bit technical. I'm going to say, as
I have said before, I can't go into all of the details of all the terms that you'll come across in here. Hopping on YouTube
will be your friend. If you do want to learn
more about shooting video, then you can get some in-depth explanations
of various terms. What I will try and
do is make sure that if you're not a
professional videographer, but you do want to get some
basic video out of your, out of your x 100 v that you have the
information to do that. The other thing to say about
this camera is that it's unbelievably capable when it comes to video, it really is. It's got, it's got, it's got most of the
features that you get any X t4 and thinks they're designed for
professional Hybrid Use. So it's remarkable
that a camera this small and positioned in the
market in the way that it is, has got the capabilities
that it does. So we'll go ahead and start
off with the movie mode. And this is where
you're going to choose the resolution that
you're going to shoot in. So you've got four k, of course you've got full HD, and you've also got DCI. Now that's okay. It's just a slightly
wider frame. If you want to go with a little bit more of
a cinematic look, we can also then choose what frame rate you
want to shoot it. So 203-20-4205, you'd like if you're
British like me and you probably work in 25 pay in the US and other places
you work on 2,423.98. Basically, don't worry
too much about this. If you're if you're
trying to get for k video of your kids
and stuff like that. And you want it to
be normal speed, normal video than
set it to 23.98. Let's say. Here you've got the bit rate. Now this is the thing has the biggest impact on
the size of your video. So let's say we go to full
HD and you choose 23.98, you've got the choice of 200, 100, or 50 mbps. Now, you may think that by dropping down from
four K to full HD, you're gonna get a
much smaller file. Now, if they're both at 200, they're gonna be pretty
similar size actually because this is the data
rate of the video. So if you've only
got a small card or you're not as
concerned with getting the highest data rate than 200 mbps is not gonna be necessary for you
because that's pretty high. It really is 100 mb. Be absolutely fine because
it'll be half the size. Or you can even go down to 50, which would be totally fine for the majority of situations. And you it'll it'll only be a quarter of
the storage space. So that's a good thing to
play around with if you need to now at
different resolutions. So when we were
on DCI for K e.g. we only had these
choices going up to 30 P and down to 3.98. Now, full HD, you can actually go all the way up to 50
and essentially six DP. Now 60 p gives you other options if you want
to slow down the footage, but still keep the sound and not use the
slow motion mode. Then you can record
in 60 p and slow it down afterwards in the edit. And again, you've got
the bit rate options. You can choose those
things in here is incredible amount of control
for a camera like this. Moving on, we've
got a great feature that is brilliant
for if you're doing, you want to make little. It's sort of home movies
or if you're traveling and there's just really
cool stuff playing out in front of you and you
want to play it back in slow motion and put some beautiful music
over the top of it, or something like that. This is where you come teach. You go to a full HD
high-speed recording, go in. And you've got all these
different choices, which again is just crazy that you've got
this flexibility. So you can choose to
slow it down Two times. So all of these explain what frame rate is
going to shoot in, what it's going to
slow it down too, and how much slower the
footage will be at the end. So if you're shooting in 120 p, it will convert it to a file. And so it'll be two times
slower and the same with 150 p and two times slower. Here, you'll go 120-30
frames per second. So it'd be four times slower
and it's the same with 125. And then finally, you've
got five times slower. So 120 as well, it'll shoot in and go
all the way down to 24, or you can go down to 23.98
if you want it to fit into a timeline on your
editing software. That is also at 23.98. If you're just saying, Josh, I just want to get
some slow motion video. What should I set it to? Basically, if you
want it to be super slow and cinematic and cool, Go ahead and set it to
120 P at 24 or 23.98. It really doesn't matter which
one of these you choose, but just try and make it the
same if you are doing any, if you are doing any. Filming at normal speed. And you're using full HD, 23.98. Try and make it
don't mix clips of different frame rates
if you're going to cut together a
movie at the end. So if that set to 23.98, it's gonna be better
for you to choose 23.98 here, even though, again, you don't need to
worry about the difference, 24-2398, it's exactly the
same output basically. So this is where you
do set slow motion. So if you set it here, it will not record sound. In this mode. I'm gonna go ahead
and toggle it back to off for the time being. Just as we look at
the other options, the sections that follow are going to be remarkably similar, if not exactly the same, as what we looked at
in the ICU settings. So if you've not
watched that video, please go back and
watch that now because the overlap
will be considerable. And I'm going to basically
consistently refer to that previous video as we go
through this menu, right? So just like on the photo modes, you get to choose
your film simulation. So you can film straight into
classic Meg if you want, which is great, or in a turnout, which is probably
the most popular. That's what this video is being filmed in at the
moment, on my X t4. So yeah, you can pick whatever
films simulation you want. And just like with
the photo modes, you can tweak your white balance in the same way that
we looked at before. Your dynamic range. Now there is no auto
dynamic range option on this on video that's important
to know so you can boost it yourself if you want. So again, if you're in high
dynamic range situations, this is what you can choose, 200 or 400%, it will require
you to put the ISO higher. So 200s, you'll need to
have a minimum at least 320 ISO and 400 at least 640. So bear that in mind. But leaving at DR1
hundred just for your day to day shooting
your normal stuff, that will be the normal
output of the sensor. So that's what I'd suggest. Leaving it on if you've
got no reason to boost it. Your tone curve,
again, this is great. You can put more
or less contrast into the image. If you like. You've got color, you can
boost up your saturation, sharpness, you can
make it sharper. I'd suggest don't
throw it all the way up to plus four or
something like that. That can get a
little bit extreme. But if you want to put a
little bit more pop in, you can do that there. You've got your noise reduction, which non-zero or minus four if you're not going to
be shooting at higher ISOs, if you are going to be, then you can put that up. And if you want to set
inter-frame noise reduction, you can do that here. It'll only work if you're shooting for k or
DCI for k at a, I'm less than thinking 30 PER, if you're shooting for k, any of the Fourier
modes are less than therapy, you can switch that on. Now for log recording
is something that is very interesting, but it's more for
if you want to do your own color
grading and it gives you a much more sort
of washed out image. Actually, this isn't
currently set to movie mode. If we set that to movie, you can see there you get this super low contrast
washed out image. And it means that
you can color grade it in the way that you want. If you're not entirely clear
as to what that means, hop on YouTube and you'll see plenty of
good explanations. It, I'm going to throw my $0.02 in here as someone
who works professionals, videographer and say, I'm doing
f log on eight bit files. This is for people understand
what I'm saying here, but there's only a bit files, Katherine, 10-bit internal
recording with the 100 v. If you're shooting an eight bit F log is something you should only really use if you
absolutely have to, just because there isn't the color data to allow you
to color grade intensively. If you just want to
play around with it, then it's not a bad idea, but I would suggest just
shooting in EteRNA. It's quite a flat profile. It's gorgeous, cinematic look as opposed to using f
log in this camera. So if you don't know
what I've just said, you can ignore all this, use it and leave it to
off and choose one of the films simulations
like a Turner to film in. If you do know, are
saying That's my $0.02 as to using
Aflac in this camera. Moving on, we've got the
peripheral lens clearer, sorry, peripheral
light correction. So that's basically light
coming in from the side. If you, if it's washing out the image a little bit
reducing our contrast, you can set that on and
it will correct for it. Then you got focus area. This chooses where in the
frame you want it to focus. If you're using autofocus. You can see that it goes ahead and focusing
on that leaf for me. But here we'll focus on whatever's in the center
of the frame can be really useful if you're filming something and your subject
is all the way over here, you should move that
so that it knows that's where it
should be looking for the object to focus
on instead of in the center of the frame
or somewhere else. Your movie AF mode. So you've got multi or area. This is just like on the
still image settings. If we go into multi, it'll assess the
image as a whole, um, and then when you
pressed autofocus, then it'll have a look and see what it believes
to be the subjects. So you can see here it's chosen the leaf correctly as
what it should focus on. Or you can choose it to just focus within the area
that you've said. So it'll just look
wherever that box is. The next thing is
the settings for the continuous autofocus mode. So this can be really useful if you're in a vlogging or
something like that. And you want it to focus on
your face in tough autofocus, detecting your your face
and be looking at it. If e.g. your shifting about on your feet or
something like that, you don't want it to
constantly be leaping about trying to re-focus. You can change the speed
of it so that it doesn't suddenly focus in and then out again so that it does a
lot smoother focusing. So you can tweak that here. Or if you want it to be
really snappy because you're trying to film your dog running
or something like that, you can get it to
change really fast. And the tracking
sensitivity as well, if you want it to be on high alert looking for
every little movement, as you can see in the demo, you can leave it on to
or boosted up to four. And if you kinda want it to, just not worry too much
about how about the subject moving a little bit here
and there and only move if it's a small
significant movement, you can set that to zero. So a really, really handy thing with the auto-focus
in this camera. So moving on to the next page, we've now got the face and
eye detection settings, which should look really familiar from the image
quality settings video. So here we can
choose again whether or not it should try
and latch onto the eye. And if you want to set which I should try and
focus on pushing, leave it on auto if you want
it to decide for itself. Or you can switch
face detection off completely if you
are worried about it getting confused by
things in the image are jumping around too much because people are moving in and out. The manual focus assist is
like in the previous video. So here we have
the focus peaking. So if you want to set the
focus with auto-focus, but then manual focus or simply manual focus
and spin the ring. It'll do those red or
whatever color you choose. Highlights on
whatever is in focus, just so you can
double-check that you're on the right thing. You've got focused check again, which if you call this as
when the image jumps in. To make sure that Let's go ahead and
start to manual focus. They go to, they have
the peaking and you've got the focus check
where hops into frame. And it goes really tight and you can just
double-check that it is focus because there's
nothing worse than missing focus
unintentionally. So we'll switch that
back off for now. We've got HDMI output,
input, info display. So this is basically
if you're using a external recorder or a, if you're connecting it
up to use it as a webcam or through a capture card. Are you doing any
of those things? And you just want a clean feed. So what that means is
something like this, or we'll switch it
back to Singapore. So something like this, without all of this information, you can toggle that to off and all that'll show on your
laptop or whatever device you're putting the
feed out to will be just the image without
all of these settings. So that's where you can adjust
that they're now he gets pretty in-depth with whatever you're outputting
the video feed to. Again, an external recorder or 20 as a webcam or
something like that. So you can choose if you,
while you're recording, if you want it to record for k and send for KT or the device. Or if you want to do any
other mix for k in full HD or record full HD
internally and for k to the other device or not, do it at all internally and just send it
straight out to the, to the device as for k. So you've got all of that, their full HD movie output. So again, if you're going to be filming in full HD instead, you've got those same options. This also applies
to if you've got an HDMI connected into your, your camera, you can choose
when it's on standby. Should it just swapped to full HD or should
it stay at for k? And you can also give recording control to
the external device. There's something like
an Atomos Ninja of ninja five or
something like that. And in Java, if you like, can trigger recording from
the device instead of just inside the camera so you can give it permission
to do that. Or if you don't want that there, you can just switch it to
off and then it will only record if you trigger recording
from within the camera. Now if all of this stuff just didn't make any sense
to you, don't worry, it's specifically for people
that are looking to use a external recorder or
something like that. If that's not something that
you're interested in doing, then you can just
ignore all of that. Now moving on to the final page, we have the zebra settings. Now as ever is just a tool for checking your exposure
while you're doing video. So here you can
choose whether you want them going to the
right or the left. It seems fairly arbitrary. But basically, if
you've got any part of your frame which
is far too bright, that is not even it all, it's getting as white
than zebras will show up like this to warn you that
that section is clipped. Okay. You can have those on just
in case you're worried that you might accidentally
overexposing image, then you can choose how
sensitive you want it to be. If you only want to show, you only want it to show on places that are
100% fully flipped, then you can set it to that. If you want to give yourself
a little bit more headroom, you can choose 90 or 80
or something like that. And then you can adjust
your exposure to make sure that those parts
aren't too bright. And so you can just adjust it until those Ambras disappear. That's just a little
tool for you as you're filming and particularly
bright conditions. Audio settings is very useful. You have your
internal mic settings and your external mic settings. What we get here is we have
the mic level limiter, which it basically
stops distortion. If something like
really loud happens, then it'll limit
the sensitivity of the mic so that you don't
get that horrible gobble, distorted sound like a
speaker that's blown out. You can choose to put
the wind filter on. If you are worried that wind is blowing across
the microphone and causing a lot of wind noise
than you can switch that on and off, cutaway
that frequency. The low cut filter
again as if you've got things that are humming
in the background. Maybe like filming
something and you've got a fridge or something that's causing a bit of an
annoying low toned hmm than the low cut filter that
can help get rid of that. And you've got your
headphones volume. So if you've got headphones
plugged in and you're watching stuff back
or you're listening, you're trying to
hear what it sounds like through the microphone, then you can adjust how
sensitive that is there. Now, the two things that
we've got grayed out here are the internal mite level and
the external mic level. So if you plugged in and
internal mic as an external mic, then you could change
the sensitivity of it there and bring
it right the way down to -12 or plus 12 depending on how much you
need it to pick up. If it's a really quiet
environment, you can boost it up. Be warned that will
increase the level of hiss or noise that you get. You can, if you've
got a good mic where you can adjust the gain
setting on the mic. You can turn it internally
all the way down to -12. And you can turn
it up on the mic, which will give you a much
better signal to noise ratio. Now with the internal
mic as well, you've got the option to turn it up and make
it more sensitive, or turn it down if things are just too large or at a concert and you want to get a clip, then maybe turn it down to -12. Or if it's a very
quiet thing again, you can turn it up
in the internal mic or pick that up for you as well. Now the next setting exists
because the port for the mic is also one that you can use for a
remote shutter release. So that's if you want to take a long exposure
landscape or something like that where if
you press the button, it would cause too much camera shake and it would
blur the image. You can put in a
remote shutter cable. And then when you press that, it triggers the shutter, instead of you having to do
it and touch the camera. You can also do it
in the App Bot. If you are going to plug a
remote into them to that port, then you just need to tell the
camera that that's what it is or else it won't
understand the signal when you try and trigger
the shutter release. This next bit. For timecode settings, it's really surprising that this is built-in
to the next 100 v, because timecode is something
that you tend to use on set when filming with multiple
cameras that are all running. And you need to synchronize
them afterwards. So you want to synchronize
the files here. All the different
angles are in line. Now, it's very interesting that they've put it
into this camera. I think that I'd be astonished if anyone
of you watching this actually will need to use timecode because you're
not going to be using an excellent hundred V on sat alongside other kinds of cameras that also
use time codes. But if you do, then you'll have a pretty
good understanding of what these settings mean. You can set the set it to display the time code
while you're filming. You can decide what the start
time, whether it should be. You want to set it to
automatically start an hour. If you want to sync it
with other cameras, you can do the current time. You can reset it. The count upsetting? Yeah. Whether you want it
only to count out when this recording
or if you want it to, free run drop frames are again something that if you know what a
dropped frame raise, you'll understand why you need to play around
that setting. And the HDMI time
could output is, if we want the time
code to also appear on an external monitor
like we showed before. If you're connected this to a laptop or you're using
something like OBS. Or if you have a external recorder like
as almost an inch or five, then that will output
the time code as well. So again, this is something
really, really niche. I'd be amazed if anyone watching this ever needs
to use the term code. But again, Fujifilm give you
the option if you want it. It's now the tally light
is Italian light just as what comes on when
you're recording. So there's the one on the front and there's one on
the back here and you can decide which ones
you aren't on or off. So if you're filming yourself
and you need to see from the front whether the
camera is recording or not. You can set just the
front one on or front and rear if there's
someone else work in, standing behind the camera. So these are all pretty
self-explanatory options. But if you want one
of the lights to come on or both of them or neither, this is where you set it
and then you'll always know when the camera is rolling. Okay, The movie silent
control is pretty specific. Basically. It deactivates your dials
and you only control the movie settings using the
touchscreen while recording. That's just if you don't want these cliques that we all love to come
through on your video. If you're also changing your
settings using the dials, you can set it to
the silent control and instead you'll be able to handle everything
on the touchscreen, which shouldn't put those
clicks into your video. Again, a useful thing
to have in there. So well done, pat
yourself on the back. You've managed to
make it through all of the movie settings. Again, if there's
times you don't know, hop on Google or YouTube, and if there's things
that you would really like to hear more from me about. Drop me a message and
we'll talk it through.
7. User, Sound & Screen Setup: Okay, so for this last
section on the menu is actually a lot of smaller
sections with a fair few pages. So we're gonna get
our thinking caps on. And whatever is obvious, we're just going to
blast right through. Otherwise we'll be here
for hours and hours. Alright, so we're gonna
go ahead and dive, first of all into
the User Settings. So first you've got format. So this is where you
format your SD card. If you want to erase
everything that's on there, go to that press Okay. And it will clear your
cards so you can yeah. Carry on shooting.
Hey, you've got date and time so you can set
the date and time there. There's time difference. So you can set it to say, Okay, now I'm at home. Or if you want to
dial in a local time so that the XF data has
got the correct time. If you're in Greece or
something like that, you can set the local time
when you're traveling. Here. You can pick
which language you want the one excellent
hundred V to be in. If it's not English than
you've probably had a fairly rough time
these videos so far. My menu setting is brilliant. Here you go in, click Add Items, and you can pick things that you
want quick access to. Let's say you always
like changing your film simulations so you
click right, click at it. You like to be able to change your tone
curve pretty quickly. Just click in and you'll add it. You can go and have a look at other items from the
different menus. So let's say sometimes you
like using the sports, find the mode until you'd like to have quick
access to that. And you're moving my emoji wanted to be able to do
high-speed recording. Yeah, you get the idea. So you can come in, kind of get to have a look at all the
different menu items. Anything that you choose. Let's go back, will appear
here down in the bottom. So this is the last
menu item than my menu. So basically it's just a
quick access for menu. So instead of you having
to scroll through all of these different pages
and things like that to find something
that you use all the time, you can just add it
to the main menu. And then there it is. So format would be a great option to add or wireless connection
or anything like that. So you build out your
own custom menu. And going back here and to use assessing into
my menu setting, you can remove them if you
decide you don't want them. Go ahead and remove that. Or you can rank them
so you can move them around and totally customize it. Yeah, loads of fun. Next you got something useful
or selling your camera on. And a lot of people
wanted to know how many shots you've
done with the camera. Down five-and-a-half thousand on the dot with this, apparently, you don't have to do
any weird plugging it into a computer or
anything like that. It'll tell you
right there, you've got sound and flash on off. So basically offers if you
want to make sure that your camera doesn't
make noise at all, just hard and fast, like you're awake or
something like that. And if your camera goes off, it'd be really inappropriate
and just set it to off. And then you know that
your camera is going to just stay hashed
as long as that set. And then you've got reset. So you can reset the shooting menu if you've
played around with it. Or you can reset the setup and go through
the setup again. And you would be able
to choose language and do those other things that happen when you first
buy the camera. So if you feel like you've
matched anything up in that, this is where you can
come and reset it. And finally, regulatory is ultra boring if no reason
to ever go into this, but it's just some
of the details. Maybe if you're
on a register for warranty or anything like that, you get the regulatory
information right there. Okay. So that's the user setting. Well done for bombing through that one nice
and quickly, right? The next thing we're
going to shoot through is the sound setup. So this isn't the audio settings like for a micro anything. This is the sounds that
your camera itself makes. So you can have the
autofocus beep off or on. I prefer to have it
off to be honest, but it can make that
characteristic little beep. If that's what you want. Self timer does have the flashing light
to tell you how as the self timer counts
down to take a picture of you and your
family or whatever. But it can also beep faster and faster to let you
know when it's about to take the picture
so you can control the volume there or
switch it off completely. There's the operation volume so that as you go
around on the menus, you may be able to hear that, but if you want it to click
as you go between each item, you can put that
bit more tactile or you can switch it off.
Your shutter volume. You've got control over, so
you can set it to silent. Or you can set it to be, There's a nice loud, heavy click if that's
what you want. You can also choose which, such as sound you want. So we've got three different,
three different noises. Different people fall in love, head over heels with
different sounds. And then you've got
the playback volume. So if you're watching a
movie clip that you've taken on the camera
and you want it to volume of seven or
something like that, or they're all really quiet. So you want to boost
them up to ten so that you know that
you can hear it. That's where you can set that. Next thing we're going
to have a look at is the screen setup. So here we've got the
view mode settings. So basically you can decide whether you want the
basins to kick in with a, you only want to
use the viewfinder, only want to use the LCD
or any other combination. So the eye sensor as well
as the LCD display, etc. So that's there. And then for playback as well, if you know that you're never going to want to have a look at the photos that you've already taken through the eye sensor. You can set it to be LCD only. Or if you only want to
look at it through there, you can set it to
the viewfinder. Or of course you can use
the trustee I sensor, so useful to have that. Let's have a look. Yeah. So the ice and so kicking in, I tend to leave it on that. It's great. But yeah, so you can change that there. We've got the EVF brightness. So when you're
looking through here, you can crank up the brightness or you can set it on auto. Sense how bright or dark your
environment is and change that EVF color if
you want to add more saturation
to the image that you're seeing through
the viewfinder. You can also change the actual shift of the
image that you're seeing. I wouldn't necessarily
advise doing this unless you've got a
specific reason for it. Just because you want
the camera to be showing you through the EVF or the LCD, what it also is capturing in terms of
color and all of that. So maybe leaving
it true to life is the best option. Lcd brightness. I've got this all
the way down here at the moment for filming. Just because if I
cranked all the way up, it is a super bright LCD. It's amazing. You wouldn't be able
to see anything. So I'll put that back down. You've got the LCD colors so you can boost the saturation. Again, I wouldn't
do that unless you are very specifically
want to show someone things and
impress them how punchy the colors are in camera. Fine. Go for that, but otherwise leave it on zero. And again, you can
put a bit of a shift, which if you have a specific
reason to go for it, otherwise leave it,
leave them both as zero. Then your image display is after you've
taken the picture. How long do you want it
to show the picture for? I've got that set
to half a second, but if you'd rather have
Along the time to review, you can put out a
one-and-a-half seconds or you can set it so that
just shows the picture for as long as you like until you half press the shutter again and then go back to,
go back to shooting. We now have also rotate
displays set to on. Because if I flip the camera, I want to know that it's also
going to flip all of the, all of the meters and
everything like that. And we're gonna be
looking at it sideways. So that's just a useful thing to keep on unless you've got a reason for
switching it off. Preview exposure in manual mode, I would say you do want to preview the exposure
and the white balance. So kinda see how the
changes that you're making are affecting
the final image. Leaving preview exposure and white balance on is
probably a good idea. Natural live view is
if, because of course, if you've set your, your film simulation
and all of that, it will be showing you what
that's going to look like. So of course, if you've got an classic Chrome
or classic native, you can see the
image is changing. However, if you set the
natural live view to on, you won't see the
effects of any of that. And it will literally just be
a simple washed out image. So the image that you'll
actually be getting at the end won't look
like Watson camera. You'll get whatever
you set it to, whatever film simulation and
contrast and all of that. But if for whatever reason, you don't want to see any of that while you're
taking the pictures. You can put natural
live view on. And it'll hide all of these adjustments
and just make them behind the scenes
before it saves the image to your camera. Framing guideline is
if you want to have the grid appear across your
image while you're shooting. And obviously it won't translate onto the final phase there, but it just helps you frame up your subjects so you can
use the rule of thirds. Grid 24 is good if you
really want to make sure that you're all the lines are level and you're not at
a weird angle for taking pictures of anything with
lots of straight lines. And then you've also
got the HD framing, which will put the 16
by nine overlay so you can see how it look if you
crop it to that aspect ratio. Auto rotate, PB means on
playback should auto rotate. So if you set that on, then basically images that
you took in portrait mode, which are tall, will automatically rotate when you go back and have a look
at them in the camera. So that can be a useful thing to keep on if you're going
to be switching back and forth between shooting in landscape and portrait mode. Now focus scale units is just
obviously meters or feet, whatever you're most
comfortable with, that comes into play on the AF and MF modes that we
looked at in that video. And when you're setting the distances and all of that for focus bracketing
or anything, you can choose whether you
do it in feet or in meters. For the aVF image display, this is if you are using
the optical viewfinder, not the electronic viewfinder. And of course it's
got the little Scott, a little screen in the
corner showing you the EVF. Now, if you set the
image display to full, after you take a picture, EVF will kick in and it'll
show you the picture across the whole screen of the aVF
and then they'll go away. If you do small window,
it will only show you in the small hovering window, the image that
you've just taken. So it's down to
whether or not you want that to come across while you're in the
middle of shooting. Display custom settings
is basically customizing what settings appear on your display sounds
fairly straightforward. If we obviously it
breaks it down between the optical viewfinder or the electronic
viewfinder on your LCD. So if you go onto here, you can see all of these
different options for different pages of choices
of things that can appear. So if we choose to have the
framing guideline show, when we go back to the image, you see the frame and
guideline now appears. If we chose electronic level
or anything else like that, we can just pick the tools
that are going to be useful to us while we're shooting. So obviously the EVF in the LCD, whatever you configure, well
appear on both of those. And then if you go onto
the optical viewfinder, you can choose what things you want to show up
on that one as well. So if you want it
to be different, if you're using the OVS, e.g. you want it to be
really minimal, have no things coming
across it because you want that sort of that
authentic field, then you can remove
all of those. But if you toggle the EVF on, then suddenly you
get all the tools. So you can really set it up the way that
you want on there. So the larger indicator
mode is for the viewfinder, for both the aVF and
DVF, if you'd rather, the indicators and
the symbols inside the viewfinder were a bit bigger because you're struggling
to see them as they are, then you can switch on and it
will enlarge them for you, make it a little bit
more straightforward. You can also do the
same for the LCD. So if you set that too on, you'll see all of the
various settings and indicators here that's talking about ****, have got bigger. And that just makes
a little bit easier. If you don't like squinting, basically, little icons
and things like that. Then the large indicator
display settings, you can actually go in and you
can really customize that. You can change what
indicators are showing. So for each one here, if you'd rather see if
you've got a self timer on or your white balance
or anything like that. You can go in and you can change it so that only the tools that are useful for you are
appearing onscreen like this. Now bear in mind if
you press display, everything will disappear. And that makes it
really nice and simple if you want your tools, of course, that's the
fully loaded screen. If you do that, you've got your tools
and you press display. It'll go away as we
looked at before. But yeah, you can just calibrate exactly what's
on your screen now, very, very few manufacturers give
you the flexibility and the freedom that Fujifilm does to mess around
with things like this. And then finally, we've got the information contrast adjust. So you can set it
to low contrast, a high contrast, or
you can set it to red. So this is particularly if you don't want to destroy
your night vision. Read allows you to work at night for doing
Astro photography. Because if you keep looking at a bright screen and then
trying to look into the dark, you will only see an imprint
of that screen on your eyes. Whereas if you use it in red, then you don't ruin
your night vision, but you can still see what's
happening on the screen. So that's already read a useful feature if that's
something that you need. So that brings us through
these screens set up.
8. Button, Power, Save & Connection Settings: Okay, so for the next section of this rather extensive menu, we've got the button
and dial settings. Now, the focus
leave a setting is, if you leave that to On, that means let's change
the display here. That means you can move
that around like that. Now if you're worried
about bumping the joystick and constantly
changing the focus point. What you can do is
go back into that, set it to lock, and you won't be able to move
it around with a joystick. Or you can set it so
that if you push it, locks it, and then
you push again, unlocks it so it
isn't all bad idea. If you're accidentally
snagging this are hitting it with your
nose or something like that. And it's changing
your focus point. For the quick menu. You may be familiar with
this little button here. You press that and you
get the quick menu where you can change
settings on the fly. You can have 16 slots, trial eight or four if you
want to keep it simpler. For you can then decide which ones you
would like to have. As those for. You can have cross eight, etc. So you just go
onto these and you can dial in exactly
what you want. I have left it on the native 16th lots because
I find that quite useful. But if there's just too
much on there for you to need to deal
with at a glance, then you can use the 48 slots
are 12 instead of the 16. For the background of that menu, you can also decide
whether you want it to be transparent, like this. Or if you'd rather
it be black and a little bit easier to
see as you're using it. So I think the contrast of the
black can be quite useful. So I leave it set to that. Now, for the function settings, this is where you
can go through. It gets a little diagram of
the camera and you can map what every single
available button can do. Hugely powerful. And once you really know your
camera and how you use it, should go into this and play around with it because
you may find that you, you suddenly see,
oh my goodness, I am rummaging around for that setting in the
menu constantly. Whereas I could just
set it to be a button and you could set it to be
that button or that one, or whichever one you need. And it just make the whole shooting experience
much more fluid for you. So this is a great place to come and have a little
bit of a mess around. The command dial
is very similar. So that's this front dial, this back down here. And you can change whether
they control the ISO aperture, exposure compensation,
shutter speed. So that's where you come
to change those around. People coming from
different camera brands will be used to the front being shutter speed and the
back being aperture or front being ISO, whatever. So if you're more comfortable
with a certain setup, you can put it in here for
the shutter autofocus. Basically, this is saying that when you half
press the shutter, do you want it to
autofocus or not? For most people,
that's how they, how they choose one to focus. If you haven't set to two on, then when you half-price, that's when it'll go ahead
and grab focus for you. But if you'd rather
that it didn't e.g. so you've dialed in manual
focus and you don't want it to keep resetting the focus every time you
go to take the picture, you can switch that off. So you can do that for both
AFS and AF c individually. On here. So you can switch that on or off depending on what mode
you're going to be shooting. And you can do the exact same thing
with the auto exposure. So you can set it so that it, once you've pressed the
shutter button halfway, it won't make any more
changes to the exposure. And that's that. Or you can set it so
they can continue looking at the exposure,
reading the setting. You're holding there waiting for a perfect moment and the
lighting suddenly changes, you can leave it so that
it will adapt to that. Or if you don't want it
to fluctuating at all, you can go ahead and
set that to off. Shoot without card
can be useful and dangerous if you want
to test out settings, but you don't want to
pop your memory card in. You can go ahead
and leave this on. Then your camera will act
as if you've got a card, but when you take a picture, it will just display it for 1 s and then that picture
will be no more. It can be really useful if
you're just experimenting, but it can also be misleading
if you go out the house, you forgot your memory
card and it looks like your whole camera
is operating normally. It's yeah. So that can be a
slight problem if you go ahead and set it to off, as soon as you try
and take a picture, your camera will be telling you what as it will
have done already. There'll be nudging
you yet again. Saying, you don't have a card, It's not actually going
to save anything. That can be a helpful reminder if you're someone that tends to accidentally walk off with that memory card in your camera. The focus ring setting is
pretty self-explanatory. You can just decide
what direction it should change the focus in a different lens manufacturers
do it differently. And so if you are used to it being clockwise
or counterclockwise, then you can set them here
and not get frustrated because you keep accidentally manually focusing in
the wrong direction. You can also set the focus
ring to be non-linear. Which means if you
spin it faster, it'll jump forward
faster or linear. So the Doesn't matter how quickly it's just how much
distance you turn it, that's how much it'll,
it'll change it. So that's a very popular
form of response just because it's more
like how fly by wire, wire and other lenses have
worked for people in the past. Next you have the
control ring setting. So when you spin the focus ring, if you want, you can just
change the focus as usual. Or you can have it change
the white balance. You can have it switched to
a different film simulation. I've used this in the past. It can be a great way of quickly toggling
between films them. Or what's loads of fun is if you put it as the Digital
Telecom inverter. So when you're taking a picture, if you spin the focus ring, it'll actually zoom in
a bit for you and you zoom in and you spent
a little bit more. And I'll zoom in further. And you've got like a fake
zoom lens built into, built into the camera just
by spinning the Zoom, which fills the fixed ring, which feels incredibly
natural if you don't find yourself using the
Digital Telecom inverter, but you really wish you used it more because it can
be a lot of fun, then this is a good
thing to set it to you because you'll find yourself
using it all the time. The a and AF lock mode is basically saying
that this button here, do you want it to only
work when you press it? So it locks the exposure and the focus or do you want it
to act like an on-off switch? So if you click it in, it'll stay locked until
you click it again. Or you just want to hold it and only when you're
holding it while at work. The same thing happens if
you do set this button to be auto white balance
instead of the AF, then you can decide
if you want it to be pressed or just clicked on
and off in the same way. So you've got those
options there. So the aperture ring setting is if you want to simply use
it to change the aperture, which is what most
fuji shooters do. That's what we do on our interchangeable lens
cameras as well. The aperture ring is
just a fantastic thing. You can leave it on auto.
That's what it'll do. Alternatively, you can
go ahead and choose a command for it to fulfill. So instead of it being
a changing aperture, it could do something
else for you, like change to a different mode or changed film simulations that commands you can set up when you do the function
buttons and all that. You can determined
the command dials. I think that you can change what that actually does when you
turn the aperture ring. So for most people
don't leave it on auto, but you have got
that if you want it. Touchscreen settings, again, pretty self-explanatory here. You can have the
touchscreen offer on. You can add the
double-tap settings. So if you want to add more
touches to the repertoire, if you want to add double
tops and stuff like that, then you can, you can change the touch function
while you're shooting. Again, if you go to the
function button settings, you can decide if you want, if you swipe up,
it'll do something I swiped down to swipe
across swipe, right? So those options are
there or you can toggle them off and
the touchscreen won't work in that way while you're actually
taking a picture. And then there's the
touchscreen settings during playback. Now, this is really useful. You should always leave this on. Because then when you're
looking at an image, you can pinch into Zoom and do all these things that
we're really used to doing. If you're old school, you don't like
having that option, then you can just scroll in and out and you don't want
to move it like that. You can just use the joystick so you can
disable it if you like. I don't see much reason
why you'd want to. And this last one is
quite interesting. You've got the EVF or OVS. So basically, if you're looking
through the viewfinder, you can decide if you still
want the touchscreen to work, because you can use it to
set your focus point, e.g. or you can swipe
up and down on it. So this says, do you want the whole screen to work
while you're looking through that or just the right or a corner or that
corner or that side. So you can really mess
around with it if you are interested in looking
through the viewfinder and still using
touchscreen control. So you can just kind of fine
tune it a little bit there. And now the final thing
here is lock settings. Say you're going to
hand your camera to somebody who doesn't
really know what they're doing and you don't
want them accidentally completely changing your
custom film recipe, or you don't want them even just changing them white balance or
something like that. They're going to take
a few photos while you're at a wedding for you
or something like that. You can go ahead and either lock all the functions
or selected functions. And what you do is you
go into here and you can go and change while and pick everything that you'd like
to lock so that they can't accidentally remap your buttons or change the focus to cooperation
or anything like that. So this can be nice
if other people are going to be using
your camera and you don't really want
them accidentally changing things that
they shouldn't do. That finishes off the
button and dial settings. Next, we'll go into
the Power Management. Soldiering on through to
the next part of the menu. We've now got power management. Thankfully, there's only
a few items in here. So here you can pick
how long you want the camera to stay on before automatically power's
off to save battery, it can literally be
as short as 15 s, it's really short, um, or 30 s up to 5 min, which might be a little
bit long if you want to be saving battery or you
can switch it off. So it never automatically
Paris down, which can be a good option
for a lot of people. Felt performance. You can set this to boost
or normal boosters. A lot of implications for the
refresh rate of the screen, for the brightness, for how quickly autofocus is,
things like that. So if you're looking for optimal performance and you're not worried about batteries, you've got a whole bag
full of them, then great. Set it to boost and enjoy
the, the faster everything. So to normal, which
is absolutely fine. That's the normal
running of the camera. What happens when you
switch it to normal though, is you lose the next option, which is to calibrate the EVF, the viewfinder
performance. So either you can set it to brightness priority so
that's as bright as it needs to be or
as prices you've set it to me or smoothness. So that'll increase
the refresh rate. So basically if you're moving of back-and-forth and sweeping
the camera side-to-side a lot and you're looking
through the EVF, smoothness priority is probably going to be a more
enjoyable experience because otherwise
things will be lagging behind and it won't, it'll look a bit
choppy and stuff. But if you're just taking pictures of not necessarily
static objects, but you're not
sweeping the camera back and forth all the time. Then brightness priority can just give you a clearer
image through the EVF, which can just be a nicer
shooting experience. You can also set
the auto power off temperature to be standard. So basically if
this starts getting a little bit hot,
it'll warn you, and if it continues
to get hotter than it will automatically
power itself off, you can move that so that
the temperature is higher. And if you set that on, it just means that
it'll be more tolerant. It's not as good protecting the batteries then which really can suffer
and higher heat. But it will still have that safety just a won't
be as cautious if you're finding yourself in a little
bit warmer environments and you don't think it needs
to be as careful as it is, you can set that to high. This is a thing that
I need to tweak a fair bit because I shoot
in the Sahara Desert and I don't need endless I'm warnings going off when I know that
everything's fine. Moving right along
the next section is the save data setup. So here you'll see if you take a photo or
something like that. It might say give it a number
4,004 and X1, 4,005, 4,006, whatever you can
renew that and set it back to zero if you're starting a new project and
it'll be easier for you to organize
your files if it started from
zero instead from a random number wherever
the camera is at. Or you can just leave on
continuous if you're happy with whatever file naming system
it's already got in place. Save original image is funny. This is specifically for
the red eye removal. You can set it to
on and then it'll save one image with the
red eye removal built in. And also the one where
they're off just in case you're not
particularly happy with the way that it's done it. You can edit the file name. So you can change what the
prefix is before the numbers. Which is really useful. Again, if you're working
on a specific project, you can do that. And you can split that for SRGB or shooting in
Adobe RGB again, if you're going to be printing, look at the earlier video. We talked about this. I believe it was in
image quality settings. And you can change
the extension for both of those individually. And now you select folder, there's a great feature. You can put different folders. So if you're going to, you're taking family photos
and then you'll get, you know, that you're
going to go off and take some pictures of a
friend's birthday party. And you would rather that
was in a separate file on your SD card and you weren't they weren't all mixed
up or anything like that. Then you could go into here and you could create a folder, give it a new name like birthday
or something like that. Then you could come
here and pick that. And then all the
photos you take from that point would go into
the birthday folder, which is just brilliant, so much more useful if
you're gonna be organizing lots of images that you've
taken in different settings. Finally, here you've
got the copyright info. So if you want to save
copyright info into the, the EXIF data, the data that's
within each photo file. You can go ahead and
put your name in here, or your company or whatever
it is that you want to, want to put the
copyright info as well. So your websites, etc. So that's one of the options
for just kind of putting your stamp on your work
if you're worried about people trying to rip
it off or whatever. So that is the saved
data setup, right? We're on the home stretch here, final item on the menu, and that is the
connection settings. If we go ahead and
get right into it, first of all, we've got
the Bluetooth settings. So here you've got the
pairing registration. So using this, you can, if you open up the
Fujifilm camera app that we talked about before, you can connect with the camera. You use it while it's in this
pairing mode, basically. And then you can
control it remotely. If you've already set up a phone or whatever
with the camera, like that's mine, that then you can just choose it
and they'll connect with it. You can also delete any
previously paired devices, like if you've sold your
phone or something like that. Here you can toggle your
Bluetooth on or off. If you leave it on all the time, is going to drain
your battery faster. So it unless you're geotagging
or setting or to upload, which we'll just talk
about in just a second. You probably want this to off, but you can't switch it on if you know you're
going to be using the app to connect you
off into your camera. Auto image transfer
is very clever. It will transfer your photos as you take them
across your phone. Which is great. I mean, it'll do this for jpegs, won't do this for all
files or for movies, as it says underneath here. But if you don't want it to be doing that in your
other important for yourself later on,
set it to off. But if you want to going
straight to your phone and you're uploading as you're
shooting and stuff like that, then they go, you've got
the chance to put that on. For smartphones sync settings, you can choose what you
want your smartphone to communicate to the HDR camera
if you want it to tell you. If you want it, tell the camera what the location and time is. If you're moving around or just the location
or just the time, or if you'd rather keep all
of that in camera untouched, you can set it to
off and your phone won't impact that at all. Moving on to the PC, autosave. So you have the option to set up a connection
to a computer, either through the simple
setup which will use WPS. Or you can press the WPS
button on your router. Or you can manually
configure it. Or you can do manual setup and you can actually punch
in the details yourself. Instead of using the WPS button, you can delete a registered PC. I haven't gotten any, which
is why that's grayed out. But if you do, you
can delete any if you don't want them to be
linked with the photo, with the camera anymore. And you can also see details
of the previous connection. So if you have
done a connection, it will show you
the IP address and the SSID and the MAC
address and all of that, just in case you need them. Now, the insect settings is basically if you are
using an influx fridge, Well Fujifilm and
snacks printer, which is really cool. I've got one you can do is
you can put in the SSID, which is the number that appears on the bottom
of the printer. And this will allow you to
link directly with it so you can print straight from
your camera to the printer. So that can be a lot of fun. And particularly if you're at a party or something
and you want people, you want to be able
to take a picture and give people the photo, kinda like a polaroid. But better quality. Then this is one of the things that you
can use to connect straight to one of the
little pocket printers. For the PC connection mode, you can decide what
you want your camera to act as when you
connect it to a PC. So it can either be
lucky usb card reader. So it'll just, the files will show up on your computer
when you plug it in. You can use it like a USB drive and take them off or
drop stuff on whatever. Or you can use it as a raw converter or backup
slash restore machine. Now, there is a whole
lot involved in that. Basically, if you,
there is Fuji x rho, which is PC software
that you can use if you connect
up your camera to your laptop and you use Fuji IX Roar than
with your raw files. You can, you can apply
custom films simulations in a way and you can change them in a way that you
can't if you do it, try and do it directly
on your computer. So really interesting feature and pieces of software
that Fuji offer. I believe pals attack has a
more involved video on that, this backup and restore. So it's about how you can transfer all the
camera settings from this onto a different camera
or move them onto here. You can use that
here if you've set it to function in that way
when connected to a PC. Usb power supply setting is pretty straightforward
when it's plugged in, do you want this battery
to charge or not? If you don't want it
to charge at all, then set it to off. And if you do want to take
a bit of charge while it's connected to a PC or of course, anything through USB port, like if you're on
the go, I charge this with a power
bank all the time. Set this to arm. Really great feature. Now, general settings. You can change the name of
your camera when it appears. If you don't want to
advertise to everyone, you got an extra 100 v. You could just change
the name to you, Doug or something like that. So you can tweak that. This really caught me on it. It's quite a lot of
people out as well. This resize images
for smartphone. Just set that off. On, is the most
annoying setting. It basically changes
all of your, all of your jpegs too, like free megabyte files
or something like that. So it means you can
transfer them more quickly and find you can
upload them more quickly. But that tiny files, they're much smaller and
they just they're not great. So if you leave that on which I think it might be set
to by default on here. When you, when you wirelessly transfer
images onto your phone, you're going to have a nasty sharp because
they're all going to look like really small,
low-quality files. So just set that to off
and thank me later. Geotagging allows you to
use your phone to tell your cell your camera
where you took the photo. So if you set it to arm, if the Bluetooth is connected, when you take a picture, your smartphone will say, oh, this is where you are and
it'll embed that into the into the data of the photo. You've got location info. So again, you can put more and
more information in there. Because of your phone. You've got your buttons setting. If you've mapped a button to be your wireless
connection button, you can have it either be
the pairing and transfer or it can be the wireless
communication button. So if you map e.g. this button here or
one of the ones on the front to be your wireless
communication button. Then that's, you can decide
what kind of wireless, the thing you want
it to trigger. Going onto information. You've got the Mac address
and the Bluetooth address. If you need to dial
them in manually on to another device like your PC or your phone in
order to connect. And finally, you have
reset wireless settings, so it'll reset everything
that you've already done. Remove all the devices
that you may have saved. And if you think that you may have gone astray
and messed up a few things, then that's the way to go because it'll just set it
all back to, back to normal. And you should be fine. Alright, well, if
you've made it through that entire last section, gives yourself a
pat on the back. Well done. You've now learned a ton hopefully about
using your x 100 v. I know I have. And if you've got any questions, then just hit me up and
we'll talk it through.
9. Course Outro: Alright, if you've
made it through all those menus and terms, then give yourself
a pat on the back. Congratulations, you have now invested more time
into understanding your camera than 90% of
photographers out there. If anything, wasn't clear, pop a question on the
discussion board. Don't forget to check out my
other new courses as well, such as this super short been covering Fuji Films,
films simulations. And you're always welcome
to connect with me on Instagram or Varro
at an African tail. Cheers and all the best.
Josh Chard
