Canon EOS R6 Mark II User's Guide

[Music] Jared poen fronos photo.com and this is your user guide for the Canon EOS R6 Mark I. Now, if you already have an R six Mark 1, we have a specific video just for setting up that camera. And there are actual differences between the R six Mark 1 and the R6 Mark 2, and we will go through those when we go through the menus, as well as the outside of the camera, so you know exactly how to set up this camera.

Now, when I'm setting it up, I'm setting it up for how I personally would do it. This video is meant to replace the user manual, but sometimes you may still want to go into the user manual to see what Canon really meant about something. But like I said, this is how I would set it up and how I do set it up to use it out in the real world.

Now, some of this may be basic for you, so you might want to skip ahead. There is a table of contents down below, but I do recommend that you save this video as well as subscribe to the channel right now because we always have new videos coming out that are going to help you in the photographic world, that are going to inform as well as entertain you. So let's jump into this video by starting with the outside of the camera.

First things first, when you get the camera, it won't have the lens attached, but I have the lens attached already. Let me just show you how to take the lens off and put it on. This is one of those things that scares a lot of people when it's the first camera that they've ever had to do this with. But you press this button right here, this is your lens release button. I'm going to turn it towards me and then I take it off.

Right now, we can see that we have the shutter down. The shutter is down. It's one of those settings in the camera that you can do that helps protect the sensor that is behind it, get less dust on it, and hopefully you don't touch it. But you should never, uh, too legit to quit this. You should never touch the sensor or the shutter that comes down. You could break it very easily if you touch the shutter, you might break it, and then you have a really expensive fix going on.

You also don't want to leave the lens in the camera off like this and just leave it pointed up and and and exposed to the elements. The whole reason you don't want to do that is you don't want to get dust in there, or if it's raining, or if it's windy, you don't want anything blowing in there. So when you're changing lenses, turn off the camera. I generally tilt the camera down like this when I'm making a change, and I line it up and I attach it. But for this video, let me just show you how to do it.

You've got a red line there, and you have a red line on this lens. You simply line those up, turn it away, and click. It's that simple. Don't be afraid to do this. You're not going to break anything unless you try to force anything, which you don't want to do. Lens comes off, line up the red lines, lens goes on, and you're good to go.

Now that that's out of the way, let's move on to the battery door. Battery door right here, bottom. Boom, pop it open. It's on a springy spring. It it can be like a fidget spinner. It's like, wee wee, you can play with it. To get the battery out, you just move this switch and it pops right out.

Now, when you get the camera, the battery should not already be in the camera. It should be in the box. You charge it up fully, then you put it in the camera. Now, you should use the battery that came with this camera. This is an LP6 NH. I can't read because my eyes are bad. That is the latest battery that comes with the camera that's going to give you the best power, that's going to allow you to shoot at the fastest frame rates. You don't want to go with the older Canon batteries. They will work, but also the newer batteries will allow you to do USBC charging in the camera, so you can charge and shoot at the same time. And that's, you just want to have the latest battery.

So if you're going to buy a second battery, I always recommend having at least two or three batteries. I don't recommend getting third-party batteries. A lot of stores will try to sell them to you. They do make more money on those, but they are less expensive for you. But I don't think this is the place you cheap out. Do not cheap out on battery because if one just dies on you because it's a third-party battery and for whatever reason it went bad, well then your, so on your photo shoot. Spend the money, get the battery.

To put it into the camera, it can only go one way. Move that switch out, pop it down, shut the door, and you're powered back on, ready to go. But you might have noticed this little, uh, input right here. This is for when you get a battery grip. So you can get a battery grip for this camera that extends it, makes it a little easier to hold, makes it a little heavier because you're going to end up putting two batteries in there, so you have double the power. And also you end up getting a vertical shutter release and other controls. So that is where that would plug into there, and you would actually have to take the door off, and you can save the door inside of that actual, uh, grip. There's a place for the door, but we're not going to take it off for now. So that is where the battery goes.

Now, memory cards. The next thing. Pop this door open. Boom, pops open. Right here, we have two card slots. I currently have one SD card in here. You just pop it out. You guys should know how to use SD cards at this point. This is a ProGrade Digital SD card. I recommend using companies like ProGrade Digital, SanDisk Professional, as well as Lexar Professional are the more reputable, uh, brands when it comes to cards. You also have Sony. Sony makes very good tough cards. They're a little bit more expensive, but yes, you can use a Sony card inside of this Canon camera. Put it in, only goes in one way, press it down, shut the door, and you're good to go.

But you have two card slots. What this means is that you should be putting two cards in the camera at all time. This is how I shoot. I shoot redundant. I shoot raw to one card, and then it copies raw to the other card. So when I take one picture, it's actually saving it to both cards, just in case there's an issue. You also have the ability to do redundant recording when it comes to video. The last thing you want to have happen is have one of your cards completely fail, and you don't have it set to redundant. You have it set to overflow, which makes absolutely no sense. We'll show you that in the camera when we set it up, how to do that. But redundant, same files going to both cards. That is my best recommendation for making sure if there is an issue, you, you at least have a backup. But don't cheap out on cards, just like you don't cheap out on batteries, you don't cheap out on memory cards. You spent all this money on a camera, you spent all this money going on your trips, or you're getting paid to do a photo shoot. You can't cheap out on memory cards.

Moving on to the front of the camera. As you know, we have our lens release button, which I already showed you right there. You have another dedicated button here that you can map out. I believe by default it's set to depth of field preview, which is something I never even used in the DSLR days or in the film SLR days. But map this out to something else. If you wanted to go from silent shooting to mechanical shutter, you can set it to that, and with one press of a button, you go from one to the other.

There is a light right here. This is an LED light. It turns orange. I don't like using that. Uh, that's supposed to help you with focusing in lower situations, but it also becomes a distraction if it's shining right in your subject's eye. Not because it's bright, but because they see this orange light show up and they're like, what the hell is that? I turn that off, and I'll show you how to turn it off.

These two holes right here, these are your stereo microphones. So just know that they're right there, and that's what is recording your audio.

Now let's move to the top of the camera. There's a lot going on up here. You have your on and off switch. Really simple. On right here, off all the way to the left, but in the middle, you have one called lock. Lock can say, like, you don't want to have the touchscreen be active. You could have that set to lock, or it could lock these dials. If it's something that you're doing where you know you don't want to make changes, you can lock the dials so you don't accidentally make a change that you aren't aware of. That is a good feature to have. So on, obviously to the right, off all the way to the left, it says it right there.

Right here, this red button, this is your record button. So this is if you're in photo mode, you can press this, default right out of the camera, right out of the box, to hit record, and that's going to start recording video. But also, all of these C, uh, buttons, almost all of them are mappable. So you can change what the function is that they do. For me, I don't set this to hit record when I'm in my, uh, photo shooting mode. I set it to something else, like, do I want it to be electronic shutter or mechanical shutter, or maybe I want it to be fully silent or not silent? You can change these buttons to almost anything that you want, and we'll show you that in the menu system.

Right here, you have a dial. This is for changing your shutter speed. By default, the camera set that if you go to the left, lower the shutter speed, you go to the right, higher the shutter speed. You can change this if you want, but I leave it set to default where it is, cuz that's how I'm used to shooting with the Canon cameras.

You have this multi-function button right here. This is kind of like a start button on a computer, like, you know, Windows, you hit start, and all of the stuff pops up. Now, it doesn't pop up your menu, but it pops up a lot of quick functions that you could get to extremely fast if you want to. I actually don't use this button for that. I map it out for something else because I don't need to get into the menu system that deep the way that this does, but it's a super powerful button.

This is your shutter button. This is how, by default, you're going to focus and take pictures. So you press it halfway down gently, you press it halfway down, not all the way down, to do your autofocus, or you hold it in halfway down to do autofocus for continuous. And then when you're ready, I got to take this lens cap off. There it is. It's beeping cuz I'm in single focus. Single focus. Press it, and I'm taking pictures. Press it, I'm taking pictures. All the way, taking pictures. So that's how easy that is. That is your shutter button. I know it's simple. I've said it, that this stuff is simple, but at the very beginning, if you're just starting out, it's good to know. And if you already know the stuff, you can skip ahead to the other stuff.

Now, right here is your mode dial. When you get your mode dial, it's going to be set to this A+ green mode, which is an all-encompassing mode. My thing is, if you're buying this camera, if it's your first camera, you may want to start there, but you're going to want to finish in manual. Manual is where I live 100% of the time these days when I'm taking photos because these cameras are so powerful, it gives you all the tools you need to get your exposure right. Your goal should be to jump into manual in a matter of six months, maybe a year, maybe less if you're getting frisky and you want to move quicker.

But let me just tell you what everything is. We've got AV, is your aperture priority. That's where you set the aperture, and the camera will set everything else. TV is shutter priority. You set the shutter, the camera's going to set everything else. Program is basically like full auto, but you have some more controls to set things. And then FV is kind of similar to the P mode, which is programmed these days, but this is basically full auto, but it's a smarter mode that they've added. I, I don't, I don't, I don't use these modes. I just don't.

Continuing around the dial, we have this hybrid auto mode that I will never use, and you probably never will either. You have a scene mode. This is where you would go and be like, I'm taking macros, or I'm taking action photos, or I'm taking portraits, and the camera will try to help you do that with the settings that might pertain to that thing that you're shooting. You've got your creative filters, another thing that I don't touch. Your C3, C2, C1, these are custom setting mappable buttons where, let's say I'm shooting a concert and I know that it's going to be dark, so okay, I set my settings and then lock them into the C3 or C2 or C1. Or then I want to be have a setting for outside because it's going to be bright, so I have a setting for action outside, and I could map that out to C1 or C2 or C3, like I already said. It's a custom setting but, uh, button, and that actually comes in handy when we're shooting video because maybe we want to go from, uh, shooting in 4K to shooting in 1080, but at a faster frame rate.

Only a couple more around the dial. We've got bulb mode. That's where you're going to hold the shutter down, and the camera is going to keep the shutter open for as long as you hold your finger on the button. And then we finish up again with manual. So I live in the manual world when I am shooting because that's, I've been, I've been shooting for almost 30 years. It's just so much easier. It's second nature for me at this point.

All right, we've got this dial right here. Just like this one worked the shutter speed, this one right here is a dedicated button, uh, a dedicated dial set for ISO. So it's really amazing that it's right here by the back of your thumb because when you're shooting, you don't have to hit a button like some other cameras to open up your ISO changing and then turn a dial. In this case, you just turn this dial. You just have to be careful that if you come from another camera system, that you don't think that this is the shutter speed in the back, uh, because it's actually changing your ISO. But the more you shoot, the easier, easier this gets, the more the muscle memory gets built, and you don't actually accidentally do that.

Now let's move over to the top right here. This is your hot shoe. This is where you would put a flash or any other accessories that you want to put into the hot shoe, like a microphone. Now, what's cool about this hot shoe that the R6, the original, didn't have, is that this is a digital hot shoe. That means if you get one of Canon's microphones that is a digital microphone, it will plug right into here. There's contacts in there that will pass the audio directly into the camera without having to pass go or collect $200. It's much more simple. Basically, you don't have a cable running out of the camera to go into the mic jack, which I, I will show you in a minute on the side of the camera. So the digital hot shoe is fantastic.

Now, here's another differentiator from the R6 to the R6 Mark II. They've gone ahead and moved this function button over to the left. As you can see, it's set for stills. If I want to set it for video mode, I would go ahead and switch it into video mode. When you do that, when you switch it into video mode, and you go into the menus, the menu system is going to be for videos. So that's how you change the settings for video, and this is how you would make sure that you're in the settings for photo. It is pretty simple.

Now, the side of the camera, because I just said the microphone jack. Your microphone jack is right here behind this rubber door. Move the rubber door out of the way. You have your microphone jack, you have your headphone jack. Oh, it sounds like a song. You have your headphone jack, you have your microphone jack. I'm really funny, right, Stephen? So funny. So funny. Anyway, that's where you have those. This is a remote port for a remote cord. You have your USBC behind this door, and you have your HDMI, which is a mini, or is that a micro, Stephen? That is a micro HDMI right there. So that's what you have on the side of the camera.

Now, bottom of the camera. Not much. You have your, uh, tripod collar or your tripod mount. This is where you would put a tripod mount or tripod plate or screw this in, or in a GorillaPod if you're going to vlog, you would screw it in right here. It's been like this on every single camera, basically, that's ever been made. I'm, I'm kind of curious. I, I wonder if the original cameras had tripod, uh, sockets, or is that something that came a long way, somewhere down the road, someone was like, you know, I got an idea, I'm going to put this on a tripod, and we should put a screwy thing down here. Maybe that's what they do now.

Back of the camera. There's a lot more going on here. We'll start here on the left. You have a rate button. So when you take a picture and you want to, uh, rate it with a five star, so that when you bring it into the computer, it could have the rating of five star in Adobe Lightroom, you could do that. Basically, it's something that you do to say, this is my favorite picture. You can put one star, two star, three star, four star, five stars. I actually don't rate, but I know a lot of people that that need to deliver photos quickly. So what they do is they rate the ones that they want to transmit or send to someone, and that when they ingest that into the computer into certain programs, it can only pull the rated files, and then they can send those quicker. So if you're going to be using this as a, a sports shooter, which a lot of people do because this is a fantastic camera, that might be something that someone might be asking for. Uh, but it's a quick way to make sure your favorite images get pulled faster if you're going to go ahead and use a software that allows you to do that.

Menu button, obviously launches the menu. We've got your electronic viewfinder right here. This is basically a little TV screen that you look through. It's going to show you exactly what you're seeing through the camera. You can look at your menu system through this. You can review images through this. I tend to review images with my eye up to the viewfinder because it is a higher resolution display, more pixels in a smaller area. It's going to be sharper, it's going to be clearer than the back of the LCD screen, which is right here. We'll get to that in a second.

Next up, we have the proximity sensor that's right here. Watch what happens as I put my finger over it or my face up to the viewfinder. The screen blackens out, and the, uh, display all switches into the EVF. So it's really simple. Boom, boom. If you ever find yourself out in the rain and you're like, well, why is it not switching back to my screen? You might have a little bit of water on it, and just make sure that it's not being hindered or blocked by anything. Uh, now, there is another thing. Let me find it. Where is it? There it is. This is your diopter for setting your EVF magnific, not magnification, but if you wear glasses or your eyes are not sharp like mine, you want to go ahead and play with the diopter. Now, the way that you do this is you're going to focus on something with the camera, make sure it's something big in the frame, make sure that it's in focus, and then start turning the diopter until it looks sharp to you. So if you have glasses, use the diopter. If you don't, you may need to change it anyway to to work for your eyes.

Next to here, we have the joystick. This is great. You have a joystick for going through the menu system. You could press it in for for enter. You could use it to move your focusing points if you need to move your focusing points, but it's nice to have a joystick right here. It's in a great place for when you're taking pictures.

Next to that, you have your AF-ON button. So AF-ON is a button that you would press. To some people that shoot Canon, like to do back button focus. I personally don't like back button focus. I prefer having the shutter be my focus. That's just what I think is the best for me, and I also recommend that most people shoot that way. It's more of an old-school way of shooting for for Canon, and a lot of people did like it, and it did work in certain situations, but it never made sense to me to have pressed this for focus and then press this to take a picture instead of have this shutter button be my focus and my picture-taking capability. There's pros and cons to both, but we're not going to go into those right now. But remember, this button can be mapped out and changed to something else.

Moving over to the far right of the back of the camera, you have these two buttons here that I always say, I don't even know why the hell they're here. I mean, I know why the buttons are here, but I don't even know what these functions are. They're kind of holdover functions from the DSLR days that did something more for DSLRs. So I tend to change these buttons to something that I want to have. Maybe it's continuous focus to single focus with a press of a button. I can change from one to the other, and so I could make one of these buttons that, and the other something else. We'll show you all the different things you can change that to when we get into the menu system.

Back here in the middle, we have a magnifying glass. So that's not for taking macro photos. That's for reviewing images that you want to bang straight into. You hit the magnifying glass, it zooms right in, usually 2% or 100%. You can probably set that in the camera, and then you could just move around the screen by touching it, or you could use the joystick to move around the screen as well.

Info button, simply toggles through your info display on the back of the the screen.

Q button is very powerful. Hit this Q button, a bunch of icons come up on the screen that you can quickly access. Now, back in the day, you had to go into the menu system to access a lot of what is in the quick menu. You could actually adapt the quick menu for your own needs by taking icons out and putting icons in. Really simple, really great.

You've got your rotatable, uh, spin dial here. I actually think they call this a command dial. Yeah, that one's actually the command dial. This is going to change your aperture. So you can change your aperture by rotating this. Set button inside is basically your enter button. It just says set.

You have your playback button right here, the triangle. You all should know what that is at this point. That's how you go and play back your images.

And then what is this, Stephen? Oscar the Grouch? That is the Oscar the Grouch button. We've never said that joke before. I've also never said that, we've never said that, that joke before too. So if you believe that, um, anyway, this is your trash can. This is how you delete images. I'll just tell you once again, or, or for the first time if you're watching this video, that I don't believe in deleting pictures on the camera. You should have big enough cards these days that you don't have to delete on the camera because you don't want to accidentally delete something that you might have thought was better on the computer than in the camera.

Let me jump in here real quick because I want to show you this photo edited with 11 of the presets from Fro Pack 3. Starting with Zoolander, followed by Winnebago, then we've got Walter White, Prestige Worldwide, Mount Airy, Mentos, King Contrast, Eert Capone, Canadian Tuxedo, and Fifth Element. But check out my favorite preset of all time called Skittles. Boom! One click, and that's how good Skittles looks. So look, if you're looking to speed up your RAW workflow, give yourself a great starting point, or you're tired of presets just not working, ours work. We created 15 custom Lightroom presets that you can check out right now at fronos photo.com/propack3. While you're over there, you can play with the sliders to see the before and the afters. If you decide to pick them up right now, they are currently on sale, or you could save even more by getting the triple play bundle that includes Fro Pack 1, 2, and 3, as well as Skittles. Now let's get back to the video.

Now we get to the LCD screen. This is your touchscreen. You can touch it. You can flip it out and rotate it to take pictures, right? You could use it like this, but let me just say this, if you're new to photography, this is not how you take pictures. You don't take pictures by looking like this at the LCD screen. I know some of you are trained that way from using your cell phone, but this is not how you do it. And I'm going to explain why in just a second. Um, but I'll show you how you can use this LCD to your advantage.

If there's something that you need to shoot over, you're in a, a pile of people for a football game, you can hold it up like this and turn this like this to shoot. You can get down low to turn and and shoot like this. But you should never be holding it. I'm, I'm going to say it. You should almost never be holding it like this to take pictures, or never like this to take pictures because it just makes no sense. I know some of my friends do it. They do it at weddings. They say, oh, but it allows me to have good eye contact with your subject. Get out of here. That is a lame and terrible excuse right there. You can make eye contact by putting your eye up to the viewfinder and be like, okay, do this and keep going. This, or just talking while you're doing it.

This is how you hold the camera. There is a proper way. Right hand on the camera, this finger, index finger, pointer finger, right on the shutter button. If you don't have this finger, use a different finger because you lost it somewhere, you didn't find it, whatever, you don't have it. But anyway, most people have it. You put your finger here, you tuck your elbows in, you put your hand underneath the lens like this, and this is how you do it. Eye up to the viewfinder. Tucking elbows gives you more stability. Not super shaky, like this is super shaky, and hand above is super shaky. The proper way to hold a camera is like this.

When you go vertical without a vertical grip, I think the best way to go vertical is turning the wrist over. It still doesn't feel good versus turning the wrist under. I think this is the harder way to go ahead and shoot. This is how you properly hold a camera. It's that simple. Don't get this one wrong because it kind of looks amateurish when you're out there shooting like this, or you're out there shooting like this. That's not how you shoot. That's not how you get straight lines.

Another thing I should point out here is that this screen does not get flush or lined up even with the back of the camera. To me, that is a problem. I've told Canon that for years because when you're trying to get your line straight when you're shooting down low, you can't get everything straight if your LCD screen doesn't line up flush. I'm a big proponent of getting my lines as straight as possible in the camera, and that makes it much more difficult. So that's that.

Um, you can flip out and rotate this to protect your LCD screen if you're traveling. I generally just leave it open at all times like this. I don't worry about this getting scratched. I don't worry about it getting broken. Now, if you are traveling and you do have a bunch of stuff, maybe that could bang into the back of it, then you might want to close it for that. But that's it. That's the outside of the camera.

Next, we're going to jump into the menu system. That's going to be the long portion of this video because we're going to start with the photo menu before we jump into all of the other menus. Let's jump into the menu system now.

Before we do that, I am plugged into something called an Atomos recorder. This allows me to record the exact menu in the camera so that you can see it on the screen as we go through it. Now, when I'm doing this, I don't have access to the touchscreen. It cancels that out. I can't look at this. I can't look at the viewfinder. So I won't be able to touch the screen. You can touch the screen when you're going through your menu system because this is touch. You could touch and drag to swipe up, swipe down, just so that it goes through the menu, and you can touch as enter. You can do all those different things. Back in the day, when I did this, when I first started this, like 13 plus years ago, I used to film my TV screen with a camera and then put that in picture and picture. It was a whole thing. The videos were like 15 minutes long. Now they're like an hour and a half long.

All right, we're going to start with the menu system in Auto because I mentioned this. When we go into Auto, you can see, let me scroll back over here, you can see there are only five options in this menu in the red shooting menu. There are only five options in Auto because the camera is like, well, it's an auto dummy. You don't need to know any of this. Not that you're a dummy or anything, but it's like, you don't need this. But if we want to take full control of our camera, we go here into Manual. Hit menu, and watch what happens. There are now 10 different folder options under the red shooting menu that you can go through to set.

Now, before we go through the menu, you can switch from menu to menu a few different ways. We can rotate this ISO dial, and it's going to jump through. We can hit the Q button, that's going to change tabs up top, different colors. You can use the circle dial to go down. You could use the joystick to go over, or you simply could just touch it on the LCD screen. So those are your options.

Let's start with number one. We have image quality. I hit the set button to go into image quality. Right now, we can see that it is set to Large JPEG only. It didn't, and the RAW has a dash through it, meaning we are not shooting in RAW. First thing I do when I get a camera is I change it to RAW and I also turn JPEG off to that dash mark. Let me explain why I always shoot RAW. It says it on my shirt, it says it on my underwear, it says it everywhere that I can say it. I say that I shoot RAW. If you're new to this, I highly recommend you at least start shooting RAW. But what you need to understand is that the RAW file takes up more space, it's more data. But more data is more important when you go and process your images in Adobe Lightroom. Now, you may not want to do that just yet. You may be at that point where you want to go into Lightroom and do that. I do recommend that as a photographer, you start to learn that. But at the very beginning, I would be okay with you shooting in JPEG Large and RAW, just so that you can save those RAW files just in case that you want to go back to them. And you also have JPEGs, which are much quicker to work with. But let me explain the difference between RAW and JPEG. A JPEG is a compressed, lossy file. If you have a JPEG, you put it on the computer, you do some edits to it, and you save over it, you can never go back to the original again. Whereas with a RAW file, with the way that I shoot it, it is, it's an uncompressed, or sometimes it's a compressed RAW file, but it has all of the data. And so that means that if I do an edit to it in Lightroom and I don't like the edit, I just hit reset, and it goes back to the original RAW data. I didn't lose anything. So I like having all the data. Example, if you used to shoot pictures with a, a film camera, you didn't throw out the negative, so why would you throw out the RAW file? And why would you just use a print, a 4x6 print, to make copies of that? That is, you're going to lose a lot of quality when you do that. So I recommend RAW. If you're just starting out, RAW plus JPEG might be a good place to go. But for me, it's always going to be RAW.

Next up is Dual Pixel RAW. This is disabled, and it's always going to be disabled for me. This feature, what it does, is it basically takes two pictures in rapid succession in two different focuses. It may move it micro a little bit so that you can technically change your focus after the fact. The problem is, it's basically one frame, and then you can't shoot a lot of frames quickly, and you have to use Canon's proprietary software to unlock this power. This is one of those features that they came out with years ago, and I never used it, and I'm still never going to use it, and don't recommend that you do either.

You've got your cropping aspect ratio. This is a full-frame camera. Use full frame when you shoot RAW. It's always going to record the full frame of data, even if you went into one to one aspect ratio. But if you shot JPEG and shot one:one, you will not have all of that data. It will be gone. You will just get that square. So I always shoot in full. I don't believe shooting in 4:3 aspect ratio or in 16:9 for stills. It just doesn't make sense. This 1.6x crop mode is a mode that you might use if you want a little bit more reach because something's really far away and your lens can't reach that far. But just understand that this is a digital crop. It's the same thing that's going to happen if you crop in the computer after the fact. You're going to get the same effect. Um, so I just don't shoot with crop at all. I always shoot in full.

Digital teleconverter is off because we're shooting RAW. This is where you could do like 2x, 4x, but again, it's all digital cropping. Digital cropping in the camera doesn't make sense when you could technically do that after the fact. I personally don't crop my images. That's a personal choice. But remember, the more you crop, the more issues you introduce because you're enlarging something. Like if it's slightly out of focus, it's going to be even more more out of focus as you zoom in and crop. So try not to do that.

Moving on to the second menu. Exposure compensation. Another thing that I don't touch in in this day and age, and I never touched it back in the old days. Just know that if you go to plus three, it's going to overexpose by three stops. So if you're like, well, why is it overexposing when my meter said it was right? Well, that's because you have that set, and you probably shouldn't have that set.

ISO speed settings. We go in here, and currently it's set to Auto. I don't let Auto ISO do anything for me for stills. For video, I like using Auto ISO, but not for stills. So I get out of Auto ISO, and then you can just go in and do a bunch of different things. Let me go into the camera real fast. You can, uh, look at the bottom right hand corner of your screen where it says ISO and 100. I'm going to use this turn dial, just like I showed you before. I can turn this dial, and I'm changing the ISO without having to go into the menu or hitting another button. That is powerful. That's important. So just understand that that's how you change your ISO. Um, and you see it's reflected here because I was at 2,000 when I turned it. I'm at 2,000 back here.

ISO speed range. You can limit how high the ISO goes or how low it goes. Say you don't want it to go low to 100, which I do recommend. 100 is going to be the cleanest image, but you can go all the way up to 102,400 as a maximum. But what if I'm like, oh, I don't want it to go past 25,600? Then I could just go like this, and now I'll no longer be able to turn the ISO past 25,600. Now, a good time to mention that the lower the ISO, the more sensitive, the less sensitive to light your sensor is going to be. The higher the ISO, the more sensitive it's going to be. So that means in bright situations, a lower ISO is generally where you start. Just like back in the film days, when you were shooting in bright sunlight, you used 100 ISO film. When you got into darker situations, you used something like 400 or 800. In this day and age, you can go much further beyond that with the digital cameras, up to the 102,400, which I don't exactly recommend doing because the higher you go, the more noise and grain you introduce into your files. So just keep that in mind when you're going to be shooting up higher.

Auto ISO range. So this is saying that if you shoot in Auto ISO, you would limit it to say, I don't want it to go up to 25,600 by accident. I want it to go no higher than 6,400 ISO. And then we would make that change, and I'm trying, oh, I have to hit enter because I can't just touch it. And then I can lock that in right here. Now, let me just tell you why I don't use Auto ISO for the most part when it comes to stills. If you're shooting a sporting event, one team is wearing all white, one team is wearing all black. The sensor, the camera is going to misread things all the time because it's going to see, well, this team's wearing black, this team's wearing white. It's going to overexpose one, it's going to underexpose the other. So that's one of the reasons I don't do it because I don't want my ISO bouncing all over the place. I don't want my shutter speed having to change all the time because if we're outside in even lighting, there's no reason that the ISO should change if your lighting isn't changing. Keep that in mind. That is why you don't use it.

There's an option for minimum shutter speed. Uh, right now it's set to Auto. Uh, you could go in there and set it to manual. I, I'm not going to limit how slow of a shutter that I can use. So I don't use that at all.

Let's go back to menu. Now we've got HDR shooting or HDR PQ. This is a mode that I leave off all the time. This is going to save a file in HEVC, which is a new file format. If you have an iPhone or you have a really nice cinema display or one of the newer iPads, and you see HDR video content or HDR photos, it's where it gets extra bright in certain areas because there's more detail. It's high dynamic range. That's not something that everybody has the capability of viewing, and I don't shoot that way because I don't actually like how it looks, uh, with my images. So I leave that off.

Next up, we have HDR mode, which is currently off. It's high dynamic range. Uh, they actually give you some interesting, uh, options here. Now, you've got moving subject, you've got for optimum dynamic range. Now, this is only affecting your JPEGs. I do not shoot HDR, so I don't go in here and turn this on. But that is where it is.

You have your Auto Lighting Optimizer. I keep this off. This is affecting your JPEGs as well. This is where it's going to brighten up certain areas that it thinks need to be over-brightened. I don't use this. I also don't use Highlight Tone Priority, which is if you have bright areas in the frame, it's going to end up trying to bring those tones back down. I don't shoot Auto. I shoot RAW, so I don't use these modes and I don't recommend that you use them.

Moving over to number three. Yes, there's 10 of these. We need to go through, but this is the biggest menu in all of the land and all of this camera. We've got anti-flicker shooting is currently off. Now, what this means is if you're in a gymnasium or you're around compact fluorescent, compact fluorescent lights that are flickering, you could put on the anti-flicker mode, and this is going to affect or help when you're shooting with a mechanical shutter. What is happening is it's only shooting on the flick and not the r or the ER and not the flick. I've never used that joke before. That's brand new. And so that is something that was really useful in situations where there might be some flicker or a TV screen is flickering. Well, that's not going to work if you're going to shoot in the electronic shutter mode because this camera has that. There are other modes that you could use for that. When we get into that, we will show you. But I keep that disabled.

And when I get into that is right now in high frame rate anti-flicker shooting, it is currently off. We can turn it on. We would use this for electronic shutters. Uh, an example of what this does is when I was photographing a comedy show with Michael Rapaport, it's really bad lighting, really bad LEDs at a comedy show. Most comedy shows, unless you're at a big venue, and the lights are flickering. But what I do is I go into high frequency anti-flicker shooting mode, and I can dial my shutter speed into tweener areas. So instead of 1/800th of a second or 1/500th of a second, it could be 1/84, 1/18, 1/147.21 second. And you can watch as the flickering actually stops in the viewfinder when you dial it in correctly. So you have this option. It is a great option to remember that you have if you're shooting maybe in a concert situation where the lights are flickering, or there's a scoreboard that is flickering in the background, or you're shooting a TV. Well, TVs don't really flicker like they used to flicker.

Next, we have the external speedlight control. I'm not going to spend a lot of time with this mode, uh, because one, I don't shoot a ton of flash. But when Steven shoots flashes, you can get a transmitter on top of this camera, which allows you to control Canon flashes and some of the other third-party flashes right inside this menu. So if you do end up doing that, I'm sure someone else that does a lot more flash has a video just specifically for setting this up. But that is where it is if you're looking for it.

Metering mode. We've got evaluative metering, partial metering, spot metering, and center-weighted metering. This is

A hold over from the old school days, this is telling the sensor or telling the image sensor how to read the lighting in the situation. Evaluative is what I leave it in for my Canons. What that is doing is taking the brightest part of the frame, the darkest part of the frame, and evening that out in the middle and telling you that if you use this exposure, that's proper. That theoretically, that should be the right exposure.

Now, that doesn't always hold true because if something is extremely back lit or extremely front lit, or there's something else that you're going for, it might be off slightly. But because we have an electronic viewfinder in this day and age, and that gives you an exact representation of what you're seeing when you have the simulation on, you really don't need to worry about these modes as much as we used to. This really just affects that light meter at the bottom of the camera and where the line is moving. So if you had it on spot metering, it would more read just for that little spot inside the camera. So I just leave it on evaluative.

Me in number four, we've got white balance. Currently set to Auto White Balance. There's a lot of different white balances you can change. When you shoot raw files, you can change the white balance much easier after the fact and not really lose out on anything. When you shoot JPEGs, you are baking in the white balance and it makes it harder to make a change after the fact. For example, if you leave it set to flash and you shoot indoors or outdoors without a flash, it's going to come across very warm or yellow because flashes, the the way that the light is set, it's like 6,500 or 5,500 degrees Kelvin, so it's warmer. The higher the number, the warmer, the lower the number, the cooler. Keep that in mind because sometimes you can dial in your own white balance. If you're in the studio and you shoot a a a a color checker card, you want to get the same color from photo to photo to photo under the same lighting situation, you're going to want to lock it in yourself. Generally speaking, I just leave it to Auto White Balance. Uh, that's where I leave it myself.

Now, you could set a custom white balance right here. You could do your white balance shift. I don't change any of this. I leave my color space set to sRGB. My picture style is very important. This currently is set to Auto. Remember, picture style affects the preview on the back of the camera and it affects a JPEG. It does not affect your raw file. When you take it into the computer, your raw file is still giving you all the raw data, which strips out any profile or any, sorry, any picture style, and you can start over and you can tweak it and change it. But I leave it to Auto for the most part with some subtle tweaks because I like to see a little more contrast on the back of the screen or a little more sharpening because that's the style that I use. I use nice contrast and like nice vibrant colors, but that's just for the preview on the back of the camera. So if you're going to shoot JPEGs, just understand if you mess something up here, say you're shooting portraits and you maxed out your sharpening and it's oversharpened and the bride looks terrible because you're shooting a bride, and then you bring it into the computer, you're not really going to be able to fix it. So, so I like to make sure that if, if you are shooting JPEG, which I don't recommend, you tweak this.

Now, picture style is going to affect video differently. We'll talk more about that when we get to that mode, but just know that it's baked in. So whatever picture style you use there, you might want to tweak that before the, before you start shooting video. But just know that you don't want to overbake something because you can't go back and make it underbake. The best example here is if you shoot photos in monochrome in JPEG, it's always going to be in black and white. Now, if you shoot monochrome for whatever reason in the camera, because that's how you want to see the preview, but you shoot raw, all of that raw data will be there. You bring the file into Lightroom, which is what I edit in, it's going to come in in grayscale or black and white, and then all I need to do is hit reset, and it's going to go back and give me that color data because it saves it. You shoot video in monochrome, you're always going to have video in monochrome.

Let me jump in here and remind you how important it is to have glass, glass, glass, glass, glass. If you just have one lens right now, but you'd like to see what other options exist from Canon in their RF lineup, you can go to the link that is up on the screen right now and check out all of the different lenses that they have. And if you'd like to purchase something, you can do so right from the website.

Clarity. It helps you see the world better. Like I need more mental clarity? Nope, it's not that. It just sharpens your images more. Um, I do not change this at all. So I leave that where it is. Uh, shooting creative filters. I leave, leave this off because creative filters are terrible in my opinion. We don't need to shoot in magenta or we don't need to shoot with more grain. Yeah, it actually offers you something like that. This is terrible. This is terrible. Images are processed to create grainy black and white images. No, don't do that. No, no, bad dog, bad dog. Don't do it. Don't do it. Don't shoot grain. You can do all this stuff later if you really, really want. There's presets. We sell presets. We add grain to some things in presets, but that's because it's a preset after the fact. Do not bake this stuff into your cameras. Do not do this. Do not pass go. Do not collect $100. Actually $200. Go right to jail. You deserve to go to jail if you do that. You don't actually deserve to go to jail. I haven't played Monopoly in a long time. Stephen, it's been a long time. It with inflation, it's now $700 when you pass go, but you also have to pay a lot more money when you go to Boardwalk.

Number five, lens aberration corrections. Right now, what this does is now that the cameras are a lot of digital, these lenses are digital, the way that they make them, they can do corrections that they couldn't do in the past until after the fact. So certain lenses might have more vignetting around the outside or might have some more aberration. With those, you can tell the the camera to correct this in the camera. I actually turn all this off. I, I don't like it. I disable it. Steph leaves it on for video because it's harder to make those changes after the fact for video. But the reason I don't like doing it, digital lens optimizer, I disable this as well. Um, the reason I turn all of this stuff off, I can change it after the fact, but it might crop my image in the camera. And it, what might happen is I might get it back in the computer and be like, wait, why is this missing? I don't want that. I want to have full control. So after the fact, I can put, for this lens, there is a, um, correction in the, in Lightroom that I could do that will basically add it right back. I don't want to do that. So I leave these all off.

Long exposure noise reduction is off. So for longer exposures, you do introduce more noise and grain. I like to, uh, keep this off because I want to make those corrections after the fact, if I even want to.

Next, we've got high ISO speed noise reduction. It's set to standard by default. I turn this off. Now, this is if you shoot at say 25,600. Remember when I said you're adding more noise and grain as you go up with ISO because the sensor is more sensitive? Um, so what you're seeing is noise or grain, those dots. There's nothing inherently wrong with that. But what happens when you add noise reduction? The more noise reduction you add, the softer and more smooth your image image looks. I don't find that to be appealing or appeasing or good at all. Some people like that because they never shot film. But what you're actually doing is mushing your image up more. I'd rather have a sharp image that looks sharp but has some noise and grain in it than one of these mushy, uh, painting looking images. That's why I don't recommend you buy any of the softwares that people offer for noise ninja or noise reduction. I do not recommend those because people think that you need to add noise reduction to everything. I don't think you need to add noise reduction to almost anything. Now, Lightroom on the other hand, adds just a little bit of noise reduction or color noise reduction in certain areas that to me is fine, but it's subtle. So you have noise reduction capability in Lightroom. I just don't recommend that you go far above and beyond because the images start to look terrible.

You got dust, dust delete data. I don't put this on. I don't use this at all and I've never used it ever.

Number six, we've got multiple exposure is disabled. Um, this is not something I do in camera anymore, but it actually can be pretty fun if you try and take like 10 frames, a 10 frame multiple exposure because what the camera is doing, it's going to save a JPEG, but it's going to go ahead and process it and try to mush all the images together to kind of be cool. Like if you have a baseball pitcher, um, and they have that movement, you get the whole movement. It's kind of cool. But you want to do that on a tripod or a monopod because any movement that you add is going to make it much harder for the system to get those lines straight and keep it all correct. It might look terrible. But I, I keep this disabled because I, I really don't do multiple exposures in camera.

Now, raw burst mode is something new that this camera added, and, uh, some newer Canon cameras that are less expensive than this also added. We have an example from the R6 Mark II where we have a diver diving into the pool. Now, what's happening here is that you're basically taking continuous shots of raw files. It's kind of like a, a video, and then you're plucking one file out of it and saving it as a CR3 or as a raw file to the card. It's kind of cool. Like if you want to get the diver diving into the pool and you want to get it just as the hands are about to break the water, you will do that. Now, this mode does take a little bit of getting used to because you're, you're chewing up a lot of data when you do this because it's creating a large file because it has to allow you to go in and pluck out an image. But it is amazing that you could do it. Say you want to get a baseball player, Little Johnny or or Jennifer is swinging the bat, and you want to get the bat on the ball. Well, you could go into this mode and as they swing, as long as they don't whiff and they hit it, you can go back in, dial through, boom, hit the one shot and save it. That is a super powerful mode.

Now, focus bracketing is something pretty cool as well. We did this, an example with the Canon RP back in the day, where if you want to shoot something and get all of it in focus, you're working with macro, and you're shooting a bug, or you're shooting a lens, or you're shooting anything, a watch, and you want to focus stack. What's going to happen is it's going to take a picture, move the focus, take a picture, move the focus, take a picture, move the focus. It could do that a hundred times, and then you mush those images together, really simple after the fact, and now you have a really clean, super stacked image that looks cool. So it's awesome that the camera offers this.

Number seven, we've got drive mode. This is, uh, forward and reverse and neutral. No, it's not. So go into drive mode. Right now, it's on single shot. Then you have high-speed continuous plus. This high-speed continuous plus mode won't work properly if you don't have the proper battery in this camera. It won't light up green in your viewfinder on the back of the camera in the H+ mode if you have the older battery. So you're not going to get that 20 or 40 frames per second that you can bang out with this camera. So just keep that in mind. If it doesn't light up green, it's because of the battery power.

Then you've got high-speed continuous, medium, well, they call it high. Then you have low speed continuous. Right here, you've got yourself timer set to 10 seconds, self-timer for 2 seconds, then you have a continuous self-timer. Let's say you want to take 10 pictures of yourself. Uh, I can turn this to like, we could take this to 10, all the way to 10. And let's say I'm making thumbnails, I can set it to this, press the button on a on a on a tripod, and I could sit here and be like, beep, beep, beep, click, beep, beep, beep, click, and it's going to automatically take those pictures, up to 10 of them. That is a pretty cool feature to have. So, uh, I don't usually shoot single unless you're trying to just challenge yourself and get one shot. Uh, generally, I will live in high-speed continuous or high-speed plus.

Interval timer is currently disabled. This is a pretty cool, a really cool feature that you used to have to set an intervalometer for, which was a computer box that you would plug into the camera that would do all of this. So, for example, every 10 seconds it will take a shot, 10 shots. So after 10 seconds, takes a picture, another 10 seconds, takes a picture. But you can set this to as low as 1 second, and then every second it will take a picture up to, I think, 900, 1999, which might be the option that you have. I need to hit info to set. Boom. So let's say we want it to be every second, we would dial this down. This is good if you want to do time lapse. We click in here and I can go up to unlimited. Nice. So you can actually set it to unlimited and it will just keep taking a picture every second until your battery runs out or you fill your card. This is where that USB-C charging will come in handy. So, uh, I'm just going to set this to 99 right now. Hit okay. Or well, 98 and boom, we're out. But I need to turn off this now because we don't want it on.

Bulb timer is disabled. We'd have to go into bulb mode to do that. We've got silent shutter function is currently off. This is powerful. Um, I love shooting in silent and electronic mode. So if I go into electronic, if I go into silent shutter function, see what happened to electronic shutter mode? You can't shoot with the first curtain, electronic shutter, or mechanical shutter if you are in this. If the silent shutter is on. So I turn this on usually with a button that I set on the camera or some quick menu setting if I'm going to shoot silent or I want to use the electronic shutter. So first curtain shutter is what you can, is what you can use. You get your 20 frames per second with this. Or with the mechanical shutter, you get your 20 frames per second. But with electronic, you can go all the way up to 40 frames per second. It says fast moving subject objects might look distorted. Can't be used with flash photography. What they mean by that, that is a big warning. Um, that when you had a slower readout speed of a sensor back in the day, what would happen is you would take a picture, and then the sensor would take longer to get written all the data on it, which means if you shot a baseball player and they were throwing the ball, the ball would totally warp and be wobbly and it wouldn't look round. Whereas with a stacked sensor like a Canon R3, it's going to capture it more round because it has such a fast readout speed. The good news is this R6 Mark II has such a fast readout speed that you generally don't have an issue with any warping. I've only seen it with this camera one time when we were photographing a tennis player testing out the camera, and they were going through a really fast move. The tennis racket got a little warbly, or the ball, the tennis ball warbled a little bit. It's not going to show up every time, especially if a ball is coming straight at you, but when it's going across the frame, it might show up. So just be aware that most of the time it's going to be pretty good with this camera.

Release shutter without card. I don't want to take any pictures without a card in the camera. It's like if I didn't have film in the camera, why would I want it to take pictures? I actually did that as a kid. I was like 14 years old, trying, I was shooting this hockey practice. It was like World's Hockey, and it was all the US team playing at the first, playing in Philly, whatever. I, I, I took a bunch of pictures. I'm like, I should have finished the roll by then. And I look, and I never loaded the camera with film. So why would we do this? We really don't really want to do this. There, there would be a reason to. No, there would be no reason. Because the reason is, you, Stephen, the reason is, you huba stank. That's right. That song was so good until they killed it. And now when you go back to listen to it, you're like, yeah, that's a banger. That's a good song.

Number eight, we've got is image stabilization mode. Is mode is on. So this, this camera has image stabilization built in. Your sensor is image stabilized. You want that on for the most part when you're shooting photos. Um, I use it all the time. Now, you have digital is for video, which is going to crop in just a little bit to give you extra stabilization over the image stabilization that's built in. And still photo is, is all, is set to on right now. So that means that when you're looking through the image sensor, when you're looking through the camera and your finger is pressed halfway down, um, is, is going to be moving. It's not going to only turn on when you take the picture. So just keep that in mind. You can control the IS mode from the lens most of the time, or in this area. So with some of the newer RF lenses from Canon, you will get up to eight stops of image stabilization. Now, what that means is it's going to counteract any movement that you personally have to allow you to shoot at slower shutter speeds and still have a sharp overall image. Keep in mind, if you have a subject that's running across the screen and you're at 1/10th of a second, you are not going to freeze them because you get eight stops of stabilization. It can't freeze the action like that because that's not counteracting your movement. So just don't make that mistake. A lot of people make that mistake in their thinking.

Customize quick control. We've got this Q button on the back of the camera. You can go in here. I'm not going to do it right now, but you can take certain things out of the menu that you don't want to have show up on the back of the screen for something that you might not use. You can go in and do that.

Touch shutter is disabled. That's where you use the touch LCD screen to take a picture. If you do that, you de, you, you deserve to get punched in the face. You really do. You deserve to get punched in the face if you're that person shooting pictures like this, that's not stable, and you're like, oh, I'm going to do this, I'm going to tap the screen to take a picture. Don't do that. The only time I could ever see you doing that is if the camera has to be in a weird position and you need to do it. But there is a way around that. There is a Canon Connect app that you can activate on your phone, which allows you to see an exact preview on your camera and then press the shutter button and actually take a picture. So there's really no reason to do this.

Image review. So image review is currently set to 2 seconds. I disable this. I do not want the image to pop up on the screen when I'm taking a picture.

Now, viewfinder display is disabled. So what that means is if I was looking through the camera and taking pictures, if my eye is up to the camera, it's not going to show me that preview until I review, remove my eye, then it's going to show me this. I leave this off at all times. I can hit the button very simply to hit the play button to review my image. I don't need it popping up and being a distraction. So I keep that off at all times.

High-speed display, because we're not in the electronic shutter mode right now, is currently off. What that's going to do is turn down the quality slightly of your display. I haven't noticed it. I haven't seen it be an issue at all when I'm using, um, when I'm shooting at high frame rates at 40 frames per second. I don't even notice it at all. So don't even worry about it.

Metering timer. How long will the meter stay on before it turns off? The longer the meter stays on, the more battery power you're going to end up using. These batteries are actually very good. You're going to get a lot of shots out of it and a lot of video recording. But I leave this set to 8 seconds because it's not something that I worry about anymore.

Display simulator. Display simulation. This is important. This really is the greatest thing since sliced bread. Let me show it to you because this is how I can demonstrate it. Let me get into, uh, this to take a picture. Do we see how it's dark? It's not the proper exposure. That's because it's showing me with the simulation that it's not the right exposure. So now I know I need to drop my shutter speed, right? I can drop my shutter speed to let in more light. Do you also see in the bottom middle, next to ISO, to the left of that, you could see the meter? That's your light meter. So generally speaking, if it's in the middle, that means it's the proper exposure. But look, if I point it somewhere darker, you see how it's throwing the meter off? Or if I throw it somewhere brighter, the meter is totally off. That's why I, you can't rely on the meter fully. That's why I don't do spot metering, and I think evaluative metering is a good general starting point. But this is just showing me that, oh, I'm underexposed. Oh, I'm overexposing. So just keep that in mind. And then you just dial in. Usually, you just look through the camera and you're like, oh, it looks right. That exposure looks right. You're 99% of the time, you're going to be pretty darn close to the right exposure when you get it pretty close.

Now, we've got optical viewfinder simulation. View assist. Steph uses this for video. He actually sets it to this button down here, which is the, uh, what do they call that again? Depth of field preview. He, he sets it there for when he's shooting video because he likes to see the full scene. What it's going to do is give you a bright look of the scene. I don't use this. I don't, I, I just leave it set to simulator all the time. So I personally leave this off, but he likes to use it to see that, oh, I'm not off by a stop because the scene is actually this bright or this dark.

Shooting info display. This is, this is a, this is a deep menu. Uh, screen info. You can see that on your screen, on the back of the screen, the LCD, you're going to have all this info. But what if I don't want this? I don't need this. I can look through the camera and see this. I can turn it off and I can hit okay.

Viewfinder toggle info display settings. So when you hit viewfinder info toggle, so if we hit the info button, it'll switch between these modes. You could also go down to edit. I will hit info and I could take certain things off, like, oh, I don't want this on, or I don't want this on. I can turn them off and I can go ahead and hit lock, or I can hit okay, and they'll no longer be there.

Viewfinder vertical display is on. So this is great. Vertical display means, did you remember how we saw the, um, down at the bottom of the screen a few seconds ago, all of your settings, your shutter speed, your aperture, ISO, and your meter? Well, when you go vertical, what would happen in the old days is you would have to read things sideways because they would be up on the side. But read them sideways. Now it will actually rotate the screen, put that stuff down at the bottom when you're shooting vertical. It's much easier to see. It's really awesome. So I leave that on.

Grid display. I turn off. But if you want a checkerboard to help you get your line straight, or you want a checkerboard for rule of thirds, you could do that. A 6x4 grid or a 3 by. Look, this just way too much. This is like if you're in Star Wars and you're trying to blow up the Death Star. I can't remember now, but yes, the death, you're trying to blow up the Death Star, and you're in Star Wars episode, that was four, right? Yeah, I think it was four, and you're flying in, you would use this mode to shoot those rockets to blow up the Death Star. Funny how that's the way you blow up the Death Star. That's all you really needed to do. So I leave grid display off.

Histogram display is set to brightness versus sRGB versus R. The color display. I don't use the histogram very often, but if you do, you would want to use it for brightness, 9 out of 10 times.

Lens info display is actually really good to have enabled when you're shooting here. I'll go back to the, uh, screen. You see the 50mm on the bottom right hand of the screen. That shows me that I'm at 50mm. If I had a zoom lens on, like a 70 to 200, and I would zoom to 135, it would show me 135. It's actually good to see that data on the screen because you know, like, I liked 135 when I, I took that picture. So you could easily get back to that after the fact. So let's go back in here.

Now we have viewfinder display format. This is if you wear glasses, you're going to go to display 2. It shrinks it down just a little bit so it makes it easier for you to see. I like having the full display because I'm blind and I put my eye so far into the viewfinder to help me see it. But this is what I do, and you could also, uh, yeah, that's what I do. I leave it on display one.

Display performance. It is currently set to power saving. Um, I like to put it to smooth. Person, uh, smooth is the Santana mode and Rob Thomas. It starts playing so smooth. Every time I'm so funny. You know that's funny, Stephen laughed. Did you laugh inside though? No, you didn't because you knew I was going to say that. He actually didn't. I haven't said that one for a while. But I like to keep it smooth.

And then we go into number 10, we've got movie record size. Now, you might be saying, Jared, why is movie record here when the top of the camera is set into photo mode? Well, this is simple because you have the red record button set by default to allow you to activate video recording quickly, even if you're in photo mode. So you would go in here to set all of your video settings. Now, just understand that you're limited on the modes that you can get to for movie recording size until you switch this switch over into the other mode. So this is just meant to be quick. You could quickly make those changes.

Sound recording is set to Auto. We like to shoot with manual personally because we could change the record level because look, look, look, if I put it all the way, I'm peaking. It's all the way in red. That's bad. But if we bring it down and we get it to about that -12 dB, that is a good place. So that's how you can change audio recording to manual.

Wind filter. We always turn this off. And auto noise reduction. We disable as well.

Back into the menu, we got ISO speed settings for video. You can set this same as with your stills. Auto, uh, slow shutter. You could say you want to limit how slow of a shutter you can go with, uh, video. I don't change that. And then shutter button function for movies. You can go in here and say, when you're shooting movies, if you have press the shutter button, it's going to do your Servo autofocus. But the way that I like to have the camera going, it's always autofocusing. Well, when I activate it there. Uh, so you have that option. You could also go in here and you can change it to meter plus one shot and metering only. But I leave it there by default. And that gets us through the longest menu, the red menu, number 10, which then takes us into the autofocus menu.

Let me cut in here and say, would you like me to send you a free guide to capturing motion in low light situations? Examples outside at night, indoor shooting a concert, or you're trying to get your kids at one of those events on stage? Well, just look for this orange box over on fronosphoto.com. Put your name, email address in it, hit send. I'm going to send you that guide for free.

I like to call this the magenta menu, aka the AF menu. Starting with AF operation. Currently, it's set to one shot. You have AI Focus, and you have Servo. I'm going to show you how this all works and explain it to you in just a second. One shot means when you press your finger halfway down on the button and you move your camera, the focus is going to be locked. It's not going to continuously focus. AI Focus is the camera deciding, should it do basically one shot or should it do Servo, which is continuous focus. So I generally, I'm either in one shot if I need to get a specific subject that's not moving, or I'm in Servo for continuous.

But let me, let me take off the lens cap here. Let's do this. So right now, we're in one shot. You see how it lights green and it's beeping when it's in focus? I'm pressing the button halfway down, and as I move, the focus is locked. Boom, it's locked. It's not shifting. But if I, I'm actually going to use the Q menu here to to quickly change this. I'm going to go from one shot to Servo. Now it's locked on my eye and it's continuously focusing. Or if I turn around here and I'm like, hey, Stephen, what's going on? It finds him. Stephen, move over to the left or your right. Don't hit your head on a door that doesn't exist there. But there's Stephen, and it's tracking. It's continuously focusing. Like if I want to focus here, but then I want to focus on the background, I want to focus here and then I want to focus on the wheel of frow. Then, hey, focus on the wheel of frow. And and there you go. Or, you know, here's my hand, and there it goes and finds my hand. So that's continuous focus, uh, right there. So let's go back into the menu here. You don't have to dive into the menu anymore to do this. As you saw, I hit the Q button and it was real easy to get to. We're going to run through that whole section when we get to the back of the camera or showing you what you're going to see in the viewfinder. But most of the time, you're going to be in Servo.

AF area selection. All of this is on the back of the camera as well when you hit the Q button, but you've got whole area, you've got spot AF, one point, uh, expandable area, expandable area AF around. You got one, two, three for flex zone. And this one is whole AF, which is all-encompassing. So as you saw when I showed the picture of me, it just grabbed my eye. It knew that it found the person. And a lot of what people are shooting is just people photographing people. So I think that this whole area AF is fantastic. But you could also go into this expanded area AF, and when I go into shoot this, let's see, I can move the focusing points around to tell it, well, I want it here, or I may want it to start to look over in this direction. So it's going to use that box area to find your autofocus. If you didn't do it and you did the all-encompassing, it would just most likely find my eye. Unbelievable autofocus in this camera. Doesn't get any better than what this camera offers. You are lucky to have something the quality of this. So most of the people are going to be in whole area AF, and sometimes if you have to get a specific object, you could go to one point and you can move your points around.

Next is whole area tracking Servo AF. I honestly wish that this camera would give me more information on what exactly this means because it doesn't make any sense to me to actually turn this off. Um, I wanted to use the whole area to track my Servo AF, so I just go ahead and leave that on.

Subject detection is currently set to people. You've got Auto, people, animals, vehicles, and none. So Auto is going to decide, oh, is it a person or is it a bird? Um, generally I leave it on people. But if I'm photographing birds or animals, you switch to the animal, and it's going to give you a smaller focusing point on the eye because it knows what it's looking for. It does a fantastic job doing that. You do have a lot of options for vehicles. It's just that you can't independently select it. Be like, I'm photographing an airplane, I'm photographing a truck driver, right? But if you are photographing, say, a motorbike person, someone on a bike, and you want it to track their face, you can still have it take priority to find that helmet. So you do have that option. But just go in here and make sure that you change it back to what you are actually photographing. And don't forget to do that because I've done that in the past.

Eye detection is currently set to Auto. You could disable it altogether so that it won't find the eye. But if you're photographing people, you kind of want to find the eye. It's really important and really powerful. Today, you could have it auto-select, you could always have it find the right eye, or you could have it find the left eye. Um, I leave it on auto. Sometimes it's a pain in the butt because it's going to take the eye that's closer to you. Sometimes I can still maneuver the camera a specific way to switch eyes. Canon needs to do a better job of being, being able to select eyes when it sees them. Nikon does a great job with that, but this is one thing they could get a little better.

Switching track subjects is set to one right here. Let's read info. This is not done in proper English, but it says, set how ease the tracking to switch to other subject from the existing subject. Instead of saying, set how easy it is for the tracking to switch between one subject or another subject. There, I wrote it, and then I go back and I, and I have to figure it out. So do you want it to stay locked on a subject with initial priority and stay there, or do you want it to move quicker to switch to subjects? You would go to two. I just leave it in one right now, but this, you, you'll go in there and tweak it for yourself.

Focus mode. You've got your AF or MF. Most likely, you're going to be shooting in autofocus, but if you ever need to go into manual focus, it is there for you.

Number two in magenta, in autofocus, is the case modes. This is really powerful stuff right here. You could leave this in Auto. Generally, I just find myself leaving it in case one for all, multi-purpose setting. You can see there's like a runner, uh, that's about to cut their face off from the figure skater. The skater's going to cut their face unless that's like a, a blocker in there to say, oh, don't do it, run into the wall. But whatever. One is pretty versatile. You can see what two says. Continually track subjects ignoring possible obstacles. This is very good. It shows a tennis player. If you're focused on a tennis player on the other side of the court, and you don't want the near side tennis player to go in and out of focus, you want them to always be out. It's going to keep priority set to the other person on the other end. It's really good. This is for instantly focus on subjects suddenly entering, um, the AF points. Maybe that's not great for soccer where you want to focus on one person and have it stay sticky on them and not get a distraction. So keep that in mind. And then tracking sensitivity. If you want it to track things faster or be more sensitive, you would then pop it up here. You have a lot of stuff that you can do here. What does rate? Oh, rate. If you go into rate, hold on. Let me go up to three and let me go to rate. You can actually change sensitivities. You can see that you can change the tracking to go more, or the acceleration and tracking to go less. Whatever you want it to be, you can just go ahead and change that. So this is super powerful and gives you a lot of options. I really don't go in there and tweak, but really, if there's a specific sport you shoot, then you could go in there and tweak that and make this better. I'm going to leave it on one for now.

Let's go to number three. We've got one shot AF release priority. So I like to have it for focus. Let's read what it tells us here in the menu by hitting info. Focus priority. No shot will be taken until the subject is in focus. Release priority. Prioritizes shutter release over focus. Be aware the camera will shoot even if the subject is out of focus. For the most part, you're not going to run into trouble with things not being in focus in this day and age. Uh, I don't even mess with this because most of the things I, I haven't run into an issue with this camera not shooting a photo because it thought something was out of focus. I've seen it in the olden days before, and by olden days, I'm like 10 years ago, when the, when the early DSLRs would let you not take a picture, and then you'd be like, well, why aren't you taking a picture? It looks in focus, and it really was, but the camera was like, no, you can't take this picture. And I was like, oh, screw you.

Preview AF is disabled. This is just a weird mode. This means that if we enable this, the autofocus is just going to keep moving over and over. It's just going to keep focusing even with your finger not pressed halfway down on the button. It makes no sense.

Lens drive when AF is impossible. I leave this on.

AF assist beam firing. I actually turn this off. Is it going to come on right now? No, the beam isn't coming on. Let me see if I can get the beam to come on. Nope, I can't get the beam to come on at this point. But let me go back into the menu. Uh, I don't like this beam at all. It's an orange beam and it blinks and it's annoying and it can distract people. So I go ahead and I disable this. I turn this off. I don't want LED light on either.

Number four, we've got touch and drag AF settings are currently off. This is for if you want to use the back screen to move your focusing points quicker. We used to do this before you had this type of autofocus that does it faster than I can do it. I just use the joystick. I don't really need to touch the screen anymore. So I leave this off. Now, I just leave it on disabled at this point.

Limit area AF. Uh, so basically what limit AF areas means is when you go into the menu and in the back of the camera, and I'm like, oh, I don't, I don't want these three. I'm never going to use these three. I'm never going to use this one. That means they won't show up as options that you need to toggle through. So it's much quicker to get to the modes that you might end up using.

AF area selection control. We've got the MFN button. It's currently set. Let's see. Let me, let me go and hit that. We've got that. So you can see how powerful this MFN mode is. But I don't like, I don't like this. This is just way too much. This is way, oh, and I got to rotate this back dial to make, oh my God, this is just, this is this is like Axl Rose singing, why do you have to go and make things so complicated? This is just way too complicated and I don't ever use it. So I end up not using that multi-function button. And we'll show you how I map it out and change it.

Next, we have sensitivity AF point selection. This means how fast the focusing points will end up moving when you use the joystick. This is, yeah, I'm going to put this up to plus one. I would put it up to plus 29 million if I could to make it move faster. But we don't really need to worry about that because if you're in continuous autofocus and lock on tracking, it's just doing the work for you at this point. But if we want to move it quicker, we can go ahead and do that.

We've got orientation linked AF points. So I just leave this on same for both vertical and horizontal. This means that the autofocusing point will be in the same spot when I go vertical or I leave it in the horizontal mode. If you want it to be that it will go relative and change, like if I have it on the, the, the right, I want it to, I don't know, I don't use this mode. Just leave it to this and it, and it's fine.

Limit subject to detection. Same thing as I just showed you a few clicks ago. If I'm never going to use car, and I'm never going to turn it off, and I'm never going to use auto, I might not even want those options because I want to quickly be able to hit between people and animals. And then we've got left/right eye detection. So if we're never going to use any of these, say we're not, we don't want it to ever detect left eye Lopez, because she's gone on. We just get rid of it and, and it's gone. Rest in peace, Left Eye Lopez. But that's not something you would want to ever do.

Done. AF. Number five, manual, manual, manual. Full. Yes. We've got manual focus peaking settings. This is a super powerful one. If you turn this on, you will then use, uh, level for highlight and color would be red. This is great for video focusing. You can set it for video focusing as well. But if you're going to do manual, for whatever reason, I don't know why you would ever shoot manual at this juncture in this day and age. But when you turn your focusing ring, you will see that the stuff that's in focus will show up in red. So if you're trying to photograph a person, their eyes might show up in red. There might be lines around there because.

That is showing you that that's in focus, so that's just what that means.

Next up, we've got Focus Guide. I like to put this on. Uh, the way that it works is you get, when you go into manual focus and you set the camera to manual, or if you had a lens that has a switch that switches it to manual, you would get these two triangles. And as you move the focus, uh, on the lens, these triangles will move in and out. As they get to the middle, it will light up green to let you know that it's in focus. Pretty good for someone like me who has terrible eyes. But someone like me will always use autofocus because that's better.

Movie Servo AF is enabled. You want that to be on. We want, uh, Movie Servo AF when we're shooting video. We want autofocus.

Next up, we've got Electronic Full-Time Manual Focus. Is off. We're not using manual focus basically ever. Lens Electronic MF is set to off as well. Focus ring rotation. We're not going to rotate this or change it. We leave it set to where it is. RF lens manual focus ring sensitivity. If you want your manual focus to go quicker, 'cause these are drive by wire, right? There's no actual, you're not physically moving the lenses like in the old days. As you focus, the, as you change the focus ring, the lens would move mechanically. Now it's all done digitally. So actually, when you say you're shooting manual and you lock focus on something, you turn off the camera and you turn it back on again, it's probably not going to be in focus where it was before. It just doesn't leave it in the same position. So just be aware that when you turn the camera off, even if you set it to manual and you locked your focus in, you need to redo it when you go back in.

And that takes us through the AF magenta menu and onto the playback menu. Where in playback number one, I don't do anything in here. I don't protect images, erase images, rotate stills. Uh, I don't change any of this stuff. So I, I don't go in here and do any of this on the camera. This is all stuff in the computer. No print order, no photo book setup. I don't raw process in the camera. But if you needed to quickly process a raw file for some reason and then send it to your phone wirelessly, you, you could do that, um, to send it out into the world. Or you could actually just have it transfer as a JPEG anyway.

Creative Assist, nope. Quick Control Roll Processing, nope. DP Raw, nope. Dual Pixel Raw Processing. That's if you, Dual Pixel Raw. This is where you could play with it without having to go into the computer. Cloud Raw Image Processing for the cloud. We don't, I don't even know what that is. And then Playback with Creative Filters. I don't want to play with creative filters at all. So no resizing, no cropping, no converting HEIF to JPEGs unless you shoot HEIF and you want to convert it to JPEGs. That really doesn't matter. You could kind of do that in the computer at this point anymore.

Five. No slideshows. Let's see. Set Image Search Conditions. Um, wow, I don't do any of this either. Nope. We're going back. Let's go back. View from the last scene. That's what I want. I want a view from the last image that was up on the screen. I don't want it to always reset back. Magnification. So two times magnification. I like, I like magnifying from the focusing point and maintain the position is disabled because we're going to go from the focusing point. What this means is when you're reviewing an image, and I'll show you later, when reviewing an image, you just hit the magnifying glass and it's going to go in 2X and it's going to be exactly where your focusing point was. So the point of checking focus at 2X is to make sure that you're actually in focus, that it's critically sharp the way that you want it to be. Just remember, as you zoom in on an image, it's, it's blowing it up quite large. So if it looks like it's ever so slightly out, it might really not be out when you print the thing big. So just keep that in mind.

Six. We've got Image Jump. So you could change this to, let's say, if we're going to rotate this top dial when we're reviewing images, it could jump 10 images. You could have it set to a custom number like 69 or 58. You could have it, you could, you could see all these different options. Wow. Display movies only. I don't do that. I leave it on 10 'cause I like to actually jump through at 10 frames every time I hit the switch. Let's see. Nope, not changing anything during playback. And the rate button, uh, function will set the stars.

Seven. Playback Information Display. So if we're playing back the image on the back of the screen or in the electronic viewfinder, and I don't want this, and I don't want this, I don't need this. I don't need all of this stuff. I don't want all this stuff. Why do I have this? I don't need it. Get rid of it. And I just want these two options. Then I just get those two options. I actually wish there was here, maybe this option will do it. Let me see if I can. I don't want any of this. I want the one where it's just a full screen with no information. I just like to have these two on there. It shows me the information that I need to see. And you would go back through the info menu to toggle between these. So let's go out.

Highlight Alert. Disabled. So if you ever see an image that you're looking at after you took it and you see blinking white areas, say you were photographing a person in front of a sky, and the person looks fine, but the sky is blinking, that's just letting you know that there's no detailed information or data in there. It's always going to be complete white. There is no other information. So that's why it's blinking and just letting you know that there's no data or information there.

AF Point Display. Is disabled. I like to enable this to show me where my focusing point actually was because sometimes I'm like, that doesn't look sharp, and that's 'cause the focusing point wasn't in the right area.

Playback Grid. I leave off. Movie Playback Count. I like to see the record time. HDMI and HDR output. This is if you're doing HDMI output for HDR. HDR is currently off. And that takes us all the way through the playback menu. Pretty simple, pretty easy.

Let me jump in here real quick and let you know that this video is brought to by Squarespace. Now that you picked up your own camera, do you want to show the world your photos that you're in control of? Well, get a Squarespace because it's simple, easy, and affordable, and you don't need to know coding. It's what I personally use for JaredPoland.com, which is my personal Squarespace site. Now, if you want to get a 14-day free trial, head on over to squarespace.com/fronosphoto. If you decide that it's for you, use the code FRONOSPHOTO at checkout to get 10% off your first order. Now let's get back to the video.

And now we're in the, the smartphone, the connectivity, the wireless, uh, mode, which is the purple menu for all of your Wi-Fi settings. This is where you will connect to your phone with the Canon Connect app. It's really easy to walk you through it. Canon has basic tutorials right inside of the app. I'm not going to show you right now, but it's real easy on an iPhone. It's real easy on an Android, not that I actually have an Android, uh, to just follow the directions and connect the, the app to the camera. It's a really powerful tool 'cause you could put the camera up in the rafters if you wanted to photograph your kid or something, you wanted a cool angle. You put it up there, you watch your phone, you hit the button. Say the kids are like walking onto the ice and you wanted a top-down, or the goalie, the goalie, you want a top-down shot of the goalie, and you can, can get access to the roof just for fun, the rafters. You can have it point straight down and you can sit there on your phone taking pictures or taking video. Or it really comes in in handy if you're a one-man band doing your own video where I'm sitting here and I want to hit recorder, make sure that focused, or I want to change my settings. Super awesome. So this is where you do all of that connectivity.

Transfer images to FTP server. That's something for the higher-end photographer, the professionals that need to transfer from the, from basically from the field. I think you would need the vertical grip for that that allows you to actually transfer via FTP server, but I'm, I'm not fully sure. I know that's what it does for the R5. Advanced connection. We're not going into there. But airplane mode. If you're for whatever reason need to turn off Bluetooth and Wi-Fi fully, you would go in here and you would turn airplane mode on. And that's going to turn off all of the extra Wi-Fi stuff. Wi-Fi is currently disabled. Bluetooth is currently disabled. When you walk through the system, it's going to tell you what to enable and what to disable. It's real easy. That's my camera name.

We've got GPS device settings. Now, you don't have the ability to have a GPS right from the camera, but when you connect it to say your cell phone, it knows your GPS location. And that's something that you could take a picture and record the GPS location into one image. And then later, if you're in the same exact location, you could just copy that in the computer. For me, the GPS location doesn't matter. But if you're a landscape photographer and you want to get back to the same exact spot that you were before, then that's something you would want to use your phone for to get the exact location details.

Error details. I don't even know what that is. I don't want to hit it. I'm not even going to hit it. And then Reset Communication Settings. That's what it's called, the communication tab, 'cause I have great communication skills.

And now that is it. We're going to move on to the wrench menu. The first option we have here under one yellow wrench is Record Function + Card/Folder Select. This is where it's very important when you have two cards in the camera where you make your settings. So I don't want my photos and videos going to separate cards, so I have that disabled. Now, record options for for photos. That's what the camera is standard. Auto switch between cards. That's weird. Record separately or record to multiple. I am going to record to multiple. I want to record the same images on card one as I do in card two. Cards are not that expensive. I mean, some of the good cards are expensive, but your photos are worth a lot more than if you ever run into an issue. I want both cards recording both photos. I also kind of want them recording both videos when I am shooting video.

Now, Play. Just means which card will play back. Uh, one thing to note here is if you delete something from one card, it doesn't actually delete it from the other card. So keep that in mind. It's kind of weird. I actually would like it to delete, but like I said, I don't delete on both. I don't delete on the camera anyway. Uh, and I don't change the folder setup. That's, you could name it something if you're doing a job that requires it to be named, but I don't go ahead and make any changes there.

File numbering. I always want it to be continuous. I don't want to, every time I take the card out and put it back in, have it start back at zero. So it will go up to 99,999 before it resets back to zero again. That's just how the Canons work. You can go in here and you can change the file name. This one is set to 5M5A. I could change that to something else, you know, I can make it like JPZ or JP1 underscore. Um, and, and it shows you at the bottom how the image name will end up showing up. So you would go in here, you could touch the screen and change it. I'm not going to do it 'cause I don't have touchscreen capability 'cause I'm plugged in here. Uh, but I'm going to go ahead and hit okay. Um, but yeah, real easy, real simple.

Formatting. This is where you want to be careful. I have a card in, uh, no card in slot two. Okay, so it's telling me that because I don't have a card in there, but I do have a card in slot one. And I'm not going to format it 'cause I don't want to erase and delete everything on there. So I'm, I'm actually going to back out of here for a second. So when you get a card, you put it in the camera, a brand new card, and you're going to go format it. That's going to talk, the camera is going to talk to the card, be like, "Hey, I like you." "We're like, I, I can talk to you 'cause we're now friends." And it's going to tell the camera how you should write to the card. It's real simple, it's real easy. But what you need to get in the habit of doing is after a photo shoot, you want to make sure you back up your images on your computer. And what backing up means, it doesn't mean you just put it on your desktop and that, 'cause that's not a backup. That's a, that's a, that's an original. Actually, technically, it's a backup while you still have the stuff on the card. But once you reformat the card, you're only left with the images on the desktop. A backup is having it in at least two places. It's a good recommendation to back up your images in multiple places. One could be the cloud, one could be the desktop, one could be an external hard drive, one could be two external hard drives, whatever you want it to be. Make sure you back things up. Make sure you're not formatting a card where you haven't backed up images where it might be difficult to get those files back with recovery software. It's not impossible, but it becomes more of a headache and it could become difficult.

Now, Auto Rotate. Is very important to me. At least right now, it's showing by default, auto rotate is on for the camera icon and for the computer icon. What this means is if I shoot a vertical image, it's going to show up vertically. But on the horizontal display, it's going to have black on the left and black on the right. And I don't like that because I don't want the image to be smaller. So what I do is I only have this for on on the computer. So that means that the image will show up vertical in my viewfinder, and I have to turn the camera to see it fully. I like that because I want to see the vertical image fully. But on the computer, I want it to be rotated when it comes into the computer so that I don't have to do it.

Now, Add Rotate Info. Is currently disabled for video. This is actually good to have enabled. What is happening here is when you go vertical, it's letting the camera know that this video should be brought into the computer vertically. Because if you're shooting some vertical video content, because that's what you want to do, then that's how it's going to tell the computer to bring it in vertically.

Date and Time Zone. Real easy. You go in here and you set things the way that you want it, month, date, year, however you want to, and what country you're in for the time zone.

Now we're moving on to number two. Language. Uh, I didn't curse, so I shouldn't have to say language. I should say earmuffs. But you can go in and change the language. The one, one they didn't add here is Canadian. Um, because if you went to Canadian, it'd be like, "Oh, he, uh, press the okay button." "A, what are you talking to, boot?" "Sorry, can't do that function." It changes it to speak like a Canadian. I would, I would buy. Wait, I got a Canadian I/O raw shirt on right now. Would you like that mode, Stephen? Yeah, I'd like that mode.

Video system. NTSC. Yep. Help text. Is currently set to small. That doesn't matter. You could set it to standard. Uh, Movie Guide. I don't, I don't want the movie guide. What that is saying is that, oh, sorry, Mode Guide. What Mode Guide is doing, it's the animations that come up when you go into these top dial settings. I don't use them, so I turn them off. I never want the Feature Guide either, and I turn them off. If you get a camera like this and it's your first camera, maybe leave it on for a while and then when you don't use it or it becomes a distraction, then you could get rid of it and kick it to the curb.

Beep. Is currently enabled. You heard that earlier when I was doing AF, uh, single point, you heard the beep to let me know that it was in focus. I kind of like hearing that. Different volume. You can change, you can change the shutter volume when you're shooting with the electronic shutter. It could be louder. Oh, I think it will do it. Oh, yeah. Oh, yeah. Oh, yeah. Or turn it completely to zero for, uh, silent. Oh, one is quiet. Yeah, I mean, that's up to you. I, I don't need to hear it too loud. But if you're photographing a model, it might not be a bad idea to turn it higher because models are used to, you know, hearing a shutter and then moving.

Focus beep. Same thing. How loud do you want the beep? Depends on where you are. Touch sound. Self timer. You can make that beep. Generally, you want the self timer to beep. Oh my God, it's a bomb, right? All right, it just stopped. Oh, and it didn't explode. That's a terrible joke, Stephen. Do not use this mode on an airplane. Somebody will probably be like, "What is that?" And you never want to say "bomb" on the airplane. Uh, beep per this video taken. I leave this where it is. But yeah, you can go in there and figure that out yourself.

Headphones. You got your headphone volume. You can go ahead and set to all different, up to what, 15 down to one or zero. So set that first headphones. And then power savings. Currently, I have everything disabled because if I didn't, it would shut off our recording, which would ruin this. But you're going to go in here for, uh, screen dimmer. It's the defaults are actually pretty good for this. But if you find yourself seeing that the camera is auto-powering off too soon, then you can go in here and make that change.

All right, the first thing here is Screen/Viewfinder Display. Is set to Auto. One. This is when you flip out the screen. These first two options. So see one, see which one works for you. Uh, viewfinder. This would mean that it would only show you the viewfinder. Or this would be that it only shows you the screen if you don't want the proximity sensor to be on and you just want to use the screen. But remember what I said earlier, I will punch you in the face if all you use is the screen. You have this beautiful electronic viewfinder that you should be using.

Screen brightness. I leave this set to, uh, four. That's for the back. I just want it exactly in the middle. Uh, I just want it in the middle because I want as close of a representation of the proper exposure as possible. Viewfinder brightness is actually more important. I'm not going to hit this right now 'cause it wants me to put my eye up to the viewfinder to set it. I leave this in Auto because what it's doing is if you go into a bright area, it's going to brighten up the screen a little bit. You go into a dark area, it's going to gradually make the screen a little more dim because you don't need it to be super bright if you're indoors. But what it's going to do is give you a very close representation to the proper exposure versus if you set it to straight up really bright, you might be a stop or two off when you try to get your exposure right. So I leave that on auto.

Screen View, Viewfinder Color Tone. I leave set to two. Fine-tune Viewfinder Color Tone. I don't change this at all. UI Magnification. Is currently disabled. That's if you have trouble seeing. It will make that larger. HDMI Resolution. Is currently set to Auto. Number five. Touch Control. Is set to standard. You also have sensitive and disabled. I don't want to turn off touching the screen, but you could do that if that's what you wanted to do.

Now, Multi-function Lock. Is actually a way that you could do that. If I wanted to not have the screen on, I could turn this check mark on. And that would mean that when I go into the lock mode up here, it turns off all of the functioning screens. Meaning I can't tap the screen anymore. I would have to go out of lock to do that. Let's see.

Shutter at Shutdown. So what this means is you would go in here. Right now, it's set to closed. Every time I turn off the camera, the shutter is going to come down, which gives you the perception of protecting your sensor a little bit. But the shutter, if you screw that up, you're screwed as well. Or you could set it to open. That it's always going to be open when you change lenses. The reason that I leave it on open personally is that when I'm changing lenses, I want the camera to turn off as fast as possible and turn back on as fast as possible. It actually takes a split second longer to put the shutter down and then to put it back up. It's not instant. So I feel like when I'm changing lenses, I don't want to have to wait to change my lenses for that shutter to come down.

Sensor Cleaning. You can go in here and have it do auto cleaning when you power off. You could do clean now, which I'm not going to do 'cause that would deactivate my camera. Or you could clean manually if you ever need to go in there and use a sensor swab to clean it. I don't personally do that. I recommend sending that to Canon or going to an authorized dealer who can go ahead and do that service for you if there is dust. Um, I mean, auto is fine. It's basically shaking the sensor when you turn off the camera, which is hopefully spelling or expunging any dust that might have fallen onto the sensor.

Choose USB Connection. Uh, this is if you're going to be using your camera for doing video calls. You would say that when I plug video, when I plug the USBC in, that you're telling the computer that the, that the camera is going to be a webcam. So if you're into OnlyFans because you blow up balloons and pop them for a living, that might be the setting that you want to use right there. So really simple, real easy, very informative.

And number six. Reset Camera. No, we're not doing that 'cause we just set it up. Custom Shooting Mode. If we were to set, say, I want to shoot in brightness and I have a mode for that, or I want to go outside and shoot in a faster situation for whatever reason, I want different settings. I can go into the C1, the C2, or the C3 modes and I can have custom settings for there. Maybe ones for portraits, maybe ones for low ISO, maybe ones for higher ISO. So it just more quickly gets you in there. For manual, that's where you would change the C1, the C2, and the C3 on the dial.

Battery Info. It's telling me I have 71% battery left. So you get an actual indicator of how much battery you have left. Shutter count. 124. I've taken 124 pictures with this battery since charging. And recharge performance is actually down one bar. This is an older battery. It's, it's a newer battery that we use, but it's older because it's down one percentage point out of three. And wouldn't say percentage, so it's down one green bar, meaning when you get to the very end, it won't hold a charge as long.

Copyright Information. Let's see. Do I have my information in here? I do. I've already set it, but when I reset the camera, I left this in here because I didn't want to have to do it again. For author, I can put my name in here and put Jared Poland. Copyright Jared Poland. FronosPhoto.com. I can enter the author's name, enter copyright details. You could delete it all from here. I do recommend that you put your name in here. Maybe you put your phone number in there. I don't do that because when I share images online, I don't want random people calling me out of nowhere. That's kind of a pain in the ass. So if you ever find my number, yeah, please don't call me. That isn't good. Uh, but put this in there because this is going to save the information in all of the pictures that you take. Doesn't mean someone can't strip it out later, but to have the raw file with your metadata in there, uh, of your copyright information is definitely a bonus and a plus.

Manuals and Software URL. You would use your QR code to launch the actual manual, which is probably a PDF at this point. Certification logos. We don't need. And the firmware. When you need to update firmware or check the lens firmware, you go in here. The lens firmware is 1.0.0 and the camera firmware has been updated to 1.1.1. So it's really easy to go through and do all of that. We're getting there, guys.

Let's move over to the orange menu. This is your custom settings menu. So if you want to change your exposure level increments from one-third of a stop to say, half stops, I don't recommend doing that. I like it. You would go through here, but I'm not going to go through all of these settings. Once you get to here, this is where you need to start to go into super detail. I don't really change anything in this mode. I don't change anything in this mode. But in three, I go to Customize Buttons. Remember I said you can map out these buttons for what you want it to do? And you see the icon for the camera and then you see an icon for a video camera. So the left is these custom buttons for stills and the right is the custom button for video. So if I don't want the red button up here to be for recording when I'm doing stills, I click the button, I hit okay, and I'm like, "Okay, what would I like to put there?" So I might want to put there silent mode. So if I want to go between silent mode and not silent mode, watch this. Silent mode is on. And now silent mode is off. So you see that with it. Was so easy to map those buttons out. So keep that in mind. You go in here and you can make some changes.

So I don't like the, the multi-function button here to do what it does. I could change that to something else. Usually on cameras that don't have a dedicated ISO button or switch, I will put the ISO there. But I could put silent there. I could put single shot there. Actually, so one shot to servo could go there. And I could go, okay, one shot servo with one click of a button. One shot to servo. That is so, that is a dream we always wanted that with DSLRs. And Canon finally did it with the 5D Mark IV. But before that, we always had to go into the menu or hit a button that may move a switch. In this case, we didn't need to do that anymore. So that's something that I changed. What else do I change? You could change these back buttons to do anything you want. Oh, this one. I showed you. This is for depth of field preview. We don't like that. But Stephen liked making it. What'd you like it as? DOF simulation. OVH simulation. Is that in here? That's in here somewhere. No one really uses that. That's why it's hidden there. There it is. OVH, right? That one? Yep. We hit that and that's going to give you the simulation. And so that's why you put that right there. You see how easy this is? Same thing for video. Whatever we wanted to be, we could go ahead and make those changes. But they're going to be different than the changes that I just made. So super powerful right there.

There's one more button I like to set here. That's the center button, the set button. Good, Stephen. You got it. I got it. Great. Good. You got it. Let's go ahead and we click on it there. What I want to change to, I'm looking for the zoom on playback. Yes, zoom on playback. What this is going to do is when my eye is up to the camera and I'm shooting, and I stop shooting for a minute and I want to check the image real quick, I can just hit the set button and it pops up the image for me and it zooms right into that 2X right to where it was in focus. That is so fast and so awesome. That's what I love to use.

Now, customizing dials is another thing. I don't change which direction my aperture and shutter speed and ISO go and what dials do that. But if you want to, if you want to change, you want to be old school, you could maybe put the ISO back here. I'm not going to do that. But you have control ring exposure. So right now, the control ring is set to set to exposure compensation. There's a lot of control rings on Canon RF lenses. So this is where you would go to change it. If I wanted to do aperture, which I, I don't, I could use that shutter speed there, ISO if I wanted it to change. I don't like it because I don't want to accidentally hit something. Now, it's better for video for some, some cases to have settings there, but I don't like making changes from the ring. So I generally just turn it off and I want the ring to do nothing. And then then I just have it set to nothing because I hate accidentally changing settings.

And then we could clear custom settings, which I'm not going to do 'cause we just set them. Uh, add cropping info. I leave all this stuff off. Audio compression. Compression is a very important one. I'm not sure why it's hidden here and not in the yellow wrench menu, but audio compression. We want to disable this. You don't want compressed audio. Like we don't want compressed JPEGs. Compressed audio is like MP3 quality, which is still good, but when you could have the better audio quality when you're recording, you don't want to compress it. So you want to do the best audio right there. Uh, let's see.

Release shutter without lens. Is currently off. So you can't take a picture if the lens isn't on there. There is a reason why someone would do that very quickly. When people used to shoot weddings back in the day and they didn't have a macro lens 'cause they were cheap, they would take like a 50mm lens or an 85 and reverse it, yeah, and hold it up to the camera, take a picture and shoot through it. And would kind of give you a macro feel. That's not really something we do anymore. Uh, that's it.

Number five. Clear all custom functions. We're not doing that. Takes us out of the menu and all the way to my menu. Hey, hey there, it's Jared. You see the subscribe button down below? Could, could you, could you hit it? I mean, if you really find this valuable and you don't want to miss any of my videos, hit the subscribe button. It lets us know that you care. But also that thumbs up helps as well. But hit the subscribe because we create videos weekly. There's photo news fix, there's a raw talk podcast that you can get wherever you get, get your podcasts. And there's a lot of fun and informative content. Especially that I've been doing this for over 13 years. There's 3,000 videos for you to learn from. Now let's get back to the video.

My menu used to hold more power. This is where you go to put things that you want to get to quickly that you might not have a dedicated button for. Like if I just want to format my card, I put it here instead of having to go into the wrench menu to find where it is. So I go to configure. If I want to add something, I would hit select item to register. Let's say I want image quality here. Well, no, image quality is something that you can get to from a button. But anti-flicker shooting, high frequency anti-flicker shooting, I could get to all this from the outside. But let's place this here. I hit okay. And then, I mean, that's it. It's, it's, it's going to be there. It's now registered. So, uh, let's see. Go back. Go back. And it's right there. And then you could change where they are. You actually get two of these menus. So you could add to it. You could make two, or you could delete it, or you could show when it shows up. Um, I don't really use this tab anymore. It was a big tab back in the day, but now it's not really a tab that we use. That's it. That's the menu as it pertains to stills.

Now I'm going to switch into the menu for video to show you that we don't have to do the whole process all over again because there's only certain items that you can change for video, which makes this process much quicker. As you can see, there are only eight options or eight menus here under red. We don't have to go through 10 of them. We honestly don't have to go through all of them because some of them are going to be the same stuff. But movie record size. Remember I showed you earlier how in photo mode when we change the menu record options to the, the quality we wanted to record, that it only had like six or seven there? Now you have access to all of these different options. So if I want to do 4K IPB standard or 4K IPB light, you have those options now. Standard is more where you want to be. Uh, if you want to use, you're going to use more, it's better quality. Light is for lighter lifting. I, I'm not sure most of the time why you would want to shoot in less quality, but if you're doing a super long recording and you don't need the highest quality ever, that might be where you do that. That's actually how we do these because we don't need to have the highest, highest quality because we record these things. It takes us almost four hours to make this video. It's a long video, but we want to get it right. So we go in here.

Now, High Frame Rate. Is off. This is where you go if you want to enable high frame rates. So we now put it on. We go back to Movie Record Size and here are your options for that. You've got your 180 frames per second IP standard. You've got your, uh, the light option for that. You've got your 120 frames per second. And then as well as your 120 frames per second light. Now, keep in mind, when you're in this mode, it's going to be a baked-in file. So you're not going to be, it's going to already come in slowed down. When you review the image, when you review the video, it's already slowed down. Some other cameras actually let you record it regularly and then slow it down later. So you could go back to the non-slowed down version. You also do not get audio with this mode. But something else I want to show you is when we turn High Frame Rate off again, look what happens. It reset from where we were before for not high frame rate. So just know that when you make the change, you got to go back in and automatically, or you got, you got to go back in and make this change. This is something that Canon should learn from and do a better job of not doing.

Movie Cropping. Is disabled. We don't crop our movies. Digital Zoom. Is off. And Sound Recording. Is set to manual. As you saw, you could set it to auto, you could disable it all together, so no audio recording will be heard, or set it to manual, which is where we like to be. And you can dial down the record level until it plays basically right about there with the -12 dB in the green is a pretty good place to be. You'd rather be under than over.

Number two. We've got Exposure Compensation. We leave that alone. ISO Speed Settings for Video. You have the different options. I like to leave it to Auto ISO. You could also have it say Max for Auto ISO is 25,600, not 102,400 in this case. So that's perfectly fine. Auto ISO for video is, is very good. It gradually makes changes. I remember the days where it didn't gradually change and you could see it changing. Now it's just smooth and easy. And I rely on Auto ISO for running and gunning when I'm making vlogs. But if you're locked off and you're doing an interview, you don't want Auto ISO on at that point.

HDR Shooting. HDR PQ. We leave this off. We're not shooting HDR video. We've got Auto Lighting Optimizer. Off. Highlight Tone. Same as with stills. I leave these off. Eighth Stop Increments. Is currently disabled. I actually like to make this enabled. So now you can see that it says 56. And next to 56, you can see the orange, uh, whatever's lit in orange, that's the corresponding, uh, wheel that you use. In this case, now I'm going down to 4 and 7/8 and 6/8. F4. Then I could dial this down to 2.8. And you can see that they're not just F2. You know, you would go from 2.8 to, uh, 3.2. But now you can go in between. So you have all these different options when this mode is on. So I like to leave this enabled. It's nice to have those increments to choose from.

Four. Auto White Balance. Is set. This is where I say these are going to be baked in. You're not shooting raw video internally with this camera. You can do external, right, Stephen? Yeah, yeah. You can do external with this one. Uh, but remember, white balance is going to be locked in. So make sure you have the right white balance set when you're shooting video. Or for me, for running and gunning, I know Stephen doesn't like when I do it, but I leave it in Auto because I'm running from indoors to outdoors and I don't really care that much with the vlog. So that's how I let it do it for me with the white balance. You could set your custom white balance, white balance correction.

Picture Style. Remember what I said earlier? If you shoot video in monochrome, it's always going to be in monochrome. You can't reset it after the fact. So make sure your picture style is set the way that you want that file to come into the computer. Canon Log settings are currently off. You do have the option to turn this on to shoot in Canon Log, which gives you a flat file, the closest thing to raw. It, it's not a raw file, but it's all flattened out so that you can add a LUT or some other corrections after the fact in the computer to give it the taste that you want. So it's going to be a lot flatter, but you do have the ability to make that change later.

Clarity. If you overdo clarity in your video, you're going to be upset. If someone looks really crunchy, and that's just not a good thing. So don't really tweak that too far unless you know what you're doing.

Number five. Lens Aberration Correction. All of this stuff, you could leave it on. In this case, if you want those corrections baked in. Usually the lenses aren't that bad, but you could leave it on. Chromatic Aberration Correction. You can leave that on as well. It's a personal choice. High ISO Speed Noise Reduction. Same thing. I don't want any noise reduction. I turn that off.

Pre-recording. Set. We do want this on. Some times you got to play with it to make sure it works for you. But what this is doing is pre-recording up to 5 seconds before you hit the record button. That's not a bad mode to have because sometimes we miss the action and we're like, "Oh, I should have been recording." In this case, you can have it set to 5 seconds. Uh, let's see.

Time Lapse. Is disabled for video. Time-lapse for video is actually pretty cool. That's a cool feature. You should play with sometime. Movie Self Timer. Is currently off as well.

Number seven. Is Image Stabilization Mode. We have it on for the camera, which uses the full sensor. Or if you put on digital, is it's going to crop down a little bit to give you extra stability. So it's digital stability on top of the optical stability. So it's cropping in and then just making your, it's, it's really still. It actually does work pretty well.

All right, Customize Quick Controls. We, we talked about this. This is the Q menu for video this time. You can make those changes. Shutter button function for movie. You could have it metering. You could have it do no, uh, on full press. We could have it start and stop. So you have the record button, but you can also start and stop it with the shutter button. So that's something if you want to do. Have two options, you can do it. Meter Timer. 8 seconds. False Colors. Are currently off. You can put these on if you want. If you want to get more creative or not more creative, but you want more control. Zebra Settings. Are if you turn this on, it's going to help you see if your shot is overexposed or underexposed. And then you have Shooting Info Display. Same thing as with stills. You can go in here and change this for video, but it, it should actually be the same, right, Stephen? Yeah, yeah. It's the same as before. The reason I asked Stephen from time to time is we go through a lot of cameras. So some cameras have it and some cameras don't. In this case, it does. So we don't need to go in here and change any of this again.

Now we're at number eight. You have Quick Control Screen. This is when you hit the Q menu. Right now, it's set. When you hit it, this is what's going to pop up in your viewfinder at the back of the screen. Number two is a new feature that they added to the R6 Mark II that you have to hit the Q button twice quickly to get into this for video mode. So you can have both of those options set and hit okay. We already did.

Viewfinder Display Format. Standard. Low Res is currently on. Next, we have HDMI Display. This is really for if you're doing just raw video recording. You could have it show on the back of your screen. Uh, it's not going to record to a card, as you can see here, but it would show you the screen preview on your camera as well as on the recorder. So right now, it's just set to this one by default.

HDMI RAW Output. Is currently off. This is where you would turn on to go to something like this, like an Atomos recorder to record raw. Just make sure you get one that is is capable of recording raw. And then Time Code. Is another thing that I don't go into. That's for if you want to have multiple cameras running and you want to sync the time up.

Moving on to AF. We've got Movie Servo AF. Is currently enabled. We want continuous autofocus unless you don't want continuous autofocus, that's where you would go. AF Area. Same as with stills. You can go in and select which mode that you want to use. Subject Detect. Same as with stills. You go in here and say, are you doing people? Are you doing animals? Say you're interviewing a, uh, I know what you would do if it was Mr. Peanut. Like if it was Mr. Peanut and you were interviewing him. Does he only have one eye? He has a monocle. But you would, is he a person or a thing? I would put that one.

on auto cuz he's not an animal, he's not a vehicle, and he's not a person. I would put that one on auto. Um, not sure where that came from, but that's what I would do. Eye detection is set to Auto. Uh, switch, uh, track subjects. This is the speed at which it would track subjects when you're shooting. So if you wanted to track someone like me who's running around or you're doing action, you wanted to switch subjects either quicker, or if there's one person you want it to stay locked on longer, you would let it stay locked on them longer. Focus mode AF, you would go in here if you wanted to turn it off to manual focus.

Number two, we've got Movie Servo AF speed. So when active, it's it's always focusing, and the speed, you can max it out, you want it to be faster, or you can make it slower. That's going to give you a rack. Slow it's going to give you a rack focus that's a little slower. So you have to decide, do you want something that's more cinematic, or do you want it to be more, uh, camera-like and be faster? We have R's maxed out on the Canon R5 that's recording right now. It's going to give you the same effect. Steven's focused on the camera, then he can shift to my shoe, then he can shift back. You can see how fast it is when it is maxed out.

Next up, we have Movie Servo AF tracking sensitivity. So if you want to be as responsive as possible, put it all the way up to responsive. Or if you want it to stay locked on longer, you would then have it stay on locked on longer. Three, lens drive when AF is impossible is on. I never turn this off. Four, touch and drag AF settings are currently off. You could still turn that on like you did with stills. Limit area AF, same as before. If we don't want all these options to show up, we could take them off and then just lock it in. AF area selection control, so you can change with this MFN button in the front, the, uh, AF area that you're selecting. If you wanted to quickly get through that, let's see, sensitivity, the, the AF points. Right now, it's on plus one. This is how fast they're going to move. So that's same from when we change it to photos. Limit subject detection, same as before. You could have it show up or not show up. Left eye, right eye detection, same as with stills. But if you want it to be different for video, you can go ahead and make that change. Manual peaking settings, I explained that earlier. That's currently off for video, video, but you could turn that on as well. And I actually like the focus guide if we are shooting manual. You want to see that focus guide.

Number six, electronic full-time manual focus is set to off. We've got lens electronic manual focus is also off. Focus ring and rotation, I leave alone. RF lens manual focus ring sensitivity, if you want to manually focus, qu, faster or slower, just like we said before. That is set to where it's set right now. Um, and the rest of this, as I go through there, there's really nothing different. It's basically all the same as before. All the same stuff that we set before is all here. Uh, same as before.

Let me jump in here once again and say, are you tired of all your friends and family looking at your photos and saying they're fire emoji or thumbs up emoji, but don't really give you actual feedback that can help you grow as a photographer? Well, I've done something about it. I started fronosphoto.com mentorship. When you go over to that website, you're going to see two different options that I offer. One is a recorded 15-minute rapid-fire critique where I take up to 50 of your images that you send in and give you a rapid-fire critique. The other option is a one-on-one 45-minute live Zoom call with me where we go over your images and answer any questions that you might have. There's a full sample of the 15-minute rapid-fire critique as well as the one-on-one mentorship on this webpage, so you can see it to see exactly what we're going to talk about. So if you want me to be your mentor and give you actual good feedback on your photos, not always good because sometimes they won't be good photos, but it's going to be a real critique to help you become better.

Now let's get back to the video. We are finally there. We're through the menu system. The next thing that I want to do is I want to run you around what the icons are on the screen that you're going to see when you're looking through the camera, as well as looking at the back screen. So this is primarily what you're going to see on the screen when you look through the viewfinder or you're looking at the back of the LCD. Now, it might be slightly different 'cause I'm plugged in, but it's going to be fairly similar.

So the icon at the top left is manual. That's what M stands for. That's where if I change it to TV, AV, or anything, that's where you would see that icon. Right to the right of that, you see 3,031. That's how many images I have left on the SD card that I have inside of the camera. And 64 is the amount of images I have in my buffer. So if I'm doing 40 frames a second, I have about a second and a quarter or almost a second and a half of shooting capability here. But check this out, your ISO is going to affect how many shots you can get in your buffer. The lower the ISO, the less data you can see. It's 73. When I put it all the way up, you're looking at 56 or 54. So you're getting less shots at the higher the ISO is with your buffer. So keep that in mind. To the right of that is your battery indicator. So you see how much battery power, at least, is there. It doesn't give you a percentage, but you can see that it's just one tick down from full. The, the hand waving at you is letting you know that your image stabilization is currently active and on.

Down at the bottom left of the screen, we can see the 13th of a second. Next to that, on the left, you see the orange thing. That's telling me to use this dial, the top dial, to change the shutter speed. As I go over to the right, it goes higher. Over to the left, it goes lower. To the right of that, telling me to use the back dial, that my aperture dial, for changing my aperture at third stop increments. You've got your light meter right here. Right now, you can see that it's totally underexposed. Um, and you would want to get that lined up in the middle to give you a representation of what the camera thinks is the proper exposure. The 18% gray exposure, uh, I showed you how to do that earlier. And then to the right of that, you have the back dial, which is for changing your ISO. So one more thing is on the screen. Right above there, you see the 50mm. That's to know that we are at at 50mm. It's a prime lens, which means it's not a zoom lens. It's always going to be in, uh, it's always going to be at 50mm. With a prime, if it's a zoom, it is going to change.

Now I want to hit the Q menu. So this is the Q button right here. We hit the Q button, and that brings up all of these quick functions. You can change this and take, get rid of things that you may not want to use, but this is so powerful. You can touch the back screen to make these changes or use the arrows. So at the top, we've got our autofocusing modes. I can arrow through and make a change. Oh, look at that. You see that it skipped one, two, and three? That's because those are not options. Those are options I turned off earlier. So I can only, much more quickly, get to what I want to get to. Servo, servo to one shot. I have dedicated buttons for this. I don't need to come here. I don't need to change my image quality here. And then we've got frame rate, your drive mode, you've got your high-speed plus your high-speed continuous. Oh, now we're, let's go into high-speed plus because I didn't show you that earlier. Back on the left-hand side of the screen, you see how it's lit green with an H+? That's because I have the better battery in the camera that it came with. That's going to give me the full power of the camera to get those 40 frames per second. Back into the Q mode, you can see how you can jump through these different sections. It's real easy. Under there is your metering. Now, top right of the screen, this just sends you back out to shoot. You've got your anti-flicker is currently off, but you can change it there quickly. That's just the anti-flicker, that's not the high-speed anti-flicker mode. Your auto white balance, you can change here. Your picture style, your subject detect. You could see that car is not selected. We just have people and animals 'cause I selected that earlier. And then we have cropping ratios is currently set to full. That takes us all the way through the, uh, the quick menu.

Let's see what happens if we hit info. Info. You see how we're toggling now? There's more stuff on the screen. I'm toggling through and more info is coming up on the screen. So you can know from the icons I just showed you what's on the screen. But sometimes I don't want all of this in my eye when I'm shooting because it becomes a distraction. So if you ever find that the histogram is up and you don't want it up, just keep hitting the info button 'cause you could have zero info on the screen, which isn't good, or you could get it back to this clean mode, which is what I personally like.

So now I hit the playback button, and that brings up this screen. Um, not a good photo. Not a good. That's a good photo, Jared. So what, what do I do if I want to bang in on this? I hit the magnifying glass. By bang in, I mean zoom in. And I'm zooming in. And to go even further, it's showing me magnifying glass and back button. So we're in the, sorry, this back ISO dial. We want to turn that, and you can see how far I can zoom in. Then I can zoom back out by going the other way. I keep going and going, up, up. I went too far. Some people always, they send me messages, "Oh my God, I got this checkerboard up on the screen. How do I get rid of it?" Well, you're in the zoom mode. You just have to go ahead and turn that ISO dial again, and it brings us right back to the full frame. Now, you can, you can cycle through by touching the screen. You can pinch and zoom if you really want. You could turn this dial that's going to go one image at a time. But if I want to jump 10, I can turn this top dial, and you can see it's jumping 10 images at a time. Except for the fact that I took 40 frames a second for a lot of this. Um, see, look, now we're just going through. Up, up, up. Yep, just keeps going.

But let's say we want info. I can hit info, and all of that info is going to pop up on the screen. 1/80th of a second at F4 at ISO 2500. I can go even further and get more info. But I only have those two options because I turned off all of the other options. Um, I want to find the vertical photo real fast. Here's a vertical photo. Do you see that it's horizontally linked on the screen? It's not vertical because it's taking up more real estate. But when you bring it into the computer, it's going to be rotated.

Now, what if we have a bad photo and we want to delete it? Do we delete it on the camera? Stephen? No. Do you? No, no, you don't. Do you really not? Usually not. Usually not, says. But if you want to delete, you would hit the trash can right here, and you would say, "Erase image." Erase scene, incl. Ooh boy, you got to be very careful that if you do a, if you do a burst, you could erase the entire burst in one fell swoop. That's a dangerous thing to do if there was one image that you really wanted. So be careful doing that, um, that you don't erase everything altogether. Uh, that's something you don't want to do. But yeah, that's it. That's rotating through the images for playback.

Now let's show you the info on the screen for when you're shooting video. Now remember how I said there's an info button? Check this out. We hit the info button once, and it brings up all of this extra stuff. Top left, manual. We're shooting video manually. To the right of that, you can see that it says 2 hours, 11 minutes, and 38 seconds. That's how much record time we have left. You've got the battery indicator next to that, and you can see the orientation, uh, indicator to the right of that. That's a camera with an arrow over it. As I rotate my camera, you can see what's happening. It's showing the computer or the camera to save that data, uh, that showing which way it should be oriented when it comes into the computer.

Now let's go back to the left-hand side. Uh, right below the time, we have that waving hand again. That's to let us know that we've got our image stabilization on. We can see our focusing mode there. Card one is where everything's being saved to. If I had two cards in the camera, it would show you that it would be going to two card slots. We're in 4K, 20, 23, uh, 24 frames a second in IPB. Below that is, we're in manual audio, uh, where you can manual audio recording. You can see where the levels are. As the levels go up on the screen, left and right, you can see that changing. You've got your headphone volume to the left of that. And below, you've got the green dot with Servo AF, letting us know that the continuous AF is on. No video timer is set. You've got overheating thing, which is not on. We don't really overheat that much anymore. And then there's the D, which I believe stands for duplicate recording. Right below there, you've got your shutter speed and what dial it corresponds to. Onto the right of that, you have your aperture, and to the right of that, ISO. Right above there, you have your Wi-Fi is currently off. You've got your 50mm, letting you know about that. On the right-hand side, we have a grayed-out box, which is actually digital zoom. We have that grayed out, so that means you can't activate it. You've got, uh, people detect, which is on there. Then you have your picture style is in auto, and then auto white balance above there.

But we also have the Q menu. We hit the Q button, and you can see you have the same options for changing your focusing mode, what card do we want to save to, if it's one or two. We like to do redundant here. You can go in and quickly change from 4K to something else. You could change your levels for your audio recording here, your mic, your headphone recording. The Q2, I, oh, you would hit the Q button again, or you would just hit this to activate that second menu. The two dots indicate that I can toggle over and bring up another screen. So you can see Canon Log settings, movie record settings, HDR shooting. So you have those options all there in that second Q menu. Um, below there, you have your IS mode, auto white balance, your picture style, subject tracking, and your digital zoom.

That is, that's everything. I mean, there's a lot this camera can do that is super powerful. But I want to go ahead and hit record so you hit record. You can see the red record on the top right. I used to like when it blinked, but it just, it's just on. But you know that you have a red box around the screen. That is on. That's letting you know that you're recording video, and also the timer is counting up. 14, 15, 16, 17. I'll just keep counting. But no, you could see that it can count. And then to stop it, I go ahead and hit the record button again, and now we are done recording.

Okay, we made it this far. If you got this far, #Igotthisfar. Down below, I really thank you guys for watching this because the whole point of making this video is to help you more quickly understand the new camera that you have and how to set it up, or how I personally would set it up. This is personal preference. Stephen sets his camera up differently than me because he's primarily shooting video over here, and I'm primarily doing stills. So we do set them slightly different, but you need to go in there and play with it and see what works for you. This is just giving you a great starting point. As I said earlier, if you haven't subscribed to the channel and you find this valuable, hit the subscribe button so that you don't miss new videos. We make videos about photography. They're fun, informative. We do photo news each week. There's also a podcast called Fronos Photo Raw Talk, where you can get it wherever podcasts are available. Um, but I really appreciate you guys watching. Thank you very much. Jared Poland, FronosPhoto.com. See you.