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Menu options of the Canon 6D


DSLR Video Tips

with Richard Harrington and Robbie Carman

Video: Menu options of the Canon 6D

Rich Harrington: One of the ways that people often judge their cameras is the menu system, because it makes it really clear what are the core features. Now I normally shoot Nikon, but I must say that I do think Canon has a better approach to menus, not scrolling up, scrolling left and right, it's just like when you hit the bottom of the page, you've ended that menu, you go to the next. Robbie Carman: Yeah, and you know, I think that Canon in particular has really, over the past few years as the popularity of their DSLRs has soared with non-photo people, they've really got into a simplified approach for the menus.
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  1. 1m 23s
    1. DSLR Video Tips Trailer
      1m 23s
  2. 2m 23s
    1. Welcome
      2m 23s
  3. 3m 36s
    1. Frame size recommendations
      3m 36s
  4. 15m 7s
    1. Exploring frame rate choices
      6m 16s
    2. Frame rate recommendations
      4m 43s
    3. Mixing frame rates
      4m 8s
  5. 9m 20s
    1. Understanding color loss
      5m 7s
    2. Understanding detail loss
      4m 13s
  6. 12m 9s
    1. Comparing sensor sizes
      3m 43s
    2. Why choose a cropped sensor
      4m 40s
    3. Why choose a full sensor
      3m 46s
  7. 9m 9s
    1. Understanding how DSLR viewfinders react when recording video
      2m 11s
    2. Understanding live view
      6m 58s
  8. 8m 39s
    1. Understanding aspect ratio
      4m 14s
    2. Why shoot 16:9
      4m 25s
  9. 8m 6s
    1. Composition matters
      3m 24s
    2. Exploring the action-safe area
      4m 42s
  10. 23m 7s
    1. Understanding card speeds
      8m 59s
    2. Shooting video
      6m 42s
    3. Shooting time lapse
      7m 26s
  11. 11m 28s
    1. What is rolling shutter?
      5m 51s
    2. Avoiding rolling shutter
      5m 37s
  12. 8m 11s
    1. Moiré explained
      3m 10s
    2. Avoiding Moiré
      5m 1s
  13. 7m 36s
    1. The dangers of tiny screens
      1m 22s
    2. How to set focus before recording
      6m 14s
  14. 9m 32s
    1. Using your HDMI port
      5m 17s
    2. Adapting HDMI to SDI
      4m 15s
  15. 20m 6s
    1. You call this a mic?
      4m 7s
    2. The impact of Auto Gain Control
      4m 34s
    3. The dangers of not monitoring audio
      7m 27s
    4. Using an attached mic
      3m 58s
  16. 4m 44s
    1. Shutter speed explained
      4m 44s
  17. 19m 49s
    1. The Exposure Triangle for low light
      3m 40s
    2. Adjusting aperture
      5m 46s
    3. Adjusting ISO
      5m 24s
    4. Adjusting shutter speed
      4m 59s
  18. 12m 26s
    1. Avoiding lens flare
      2m 8s
    2. Using a lens hood
      2m 46s
    3. Using a matte box
      4m 15s
    4. Exploring other strategies for avoiding lens flares
      3m 17s
  19. 17m 20s
    1. What causes shake?
      3m 23s
    2. Using a stable platform
      9m 27s
    3. Fixing shake in post
      4m 30s
  20. 16m 24s
    1. What are prime lenses?
      3m 21s
    2. Exploring low-light performance
      3m 2s
    3. Working with shallow depth of field
      4m 31s
    4. Examining cost issues
      5m 30s
  21. 11m 39s
    1. What is a matte box?
      4m 2s
    2. Discussing the benefit of filters
      4m 19s
    3. Reducing lense flare
      3m 18s
  22. 14m 19s
    1. What is an EVF?
      2m 51s
    2. Checking focus
      3m 56s
    3. Checking exposure
      3m 28s
    4. Viewing camera settings
      4m 4s
  23. 12m 5s
    1. What is a loupe?
      2m 38s
    2. Proper focus with a loupe
      4m 18s
    3. Proper exposure with a loupe
      5m 9s
  24. 10m 33s
    1. What is a monopod?
      2m 39s
    2. Exploring stabilized shooting
      4m 28s
    3. Exploring overhead shooting
      3m 26s
  25. 13m 48s
    1. Why use a dedicated audio recorder?
      2m 42s
    2. What inputs do I need?
      5m 7s
    3. File formats to choose from
      5m 59s
  26. 17m 6s
    1. Setting levels
      6m 10s
    2. Monitoring sound
      6m 51s
    3. Slating takes
      4m 5s
  27. 6m 22s
    1. Apps you can use to record sync sound
      2m 55s
    2. Adapter cables
      3m 27s
  28. 10m 1s
    1. Why does my exposure change with a zoom lens?
      1m 21s
    2. F-Stop reviewed
      2m 58s
    3. Strategies for dealing with the problem
      5m 42s
  29. 13m 37s
    1. How can I check my focus?
      1m 27s
    2. Zooming in
      3m 14s
    3. Using a target
      3m 44s
    4. Using AutoFocus at the start
      5m 12s
  30. 17m 19s
    1. How many batteries do I need?
      1m 27s
    2. Power or no power
      4m 6s
    3. Other batteries to consider
      6m 35s
    4. Strategies for lengthening battery life
      5m 11s
  31. 27m 29s
    1. What adapters should I carry?
      1m 21s
    2. Adapting audio
      7m 13s
    3. Adapting video
      8m 54s
    4. Power options
      4m 9s
    5. Connecting gear
      5m 52s
  32. 16m 4s
    1. What type of microphone should I use for run-and-gun shooting?
      2m 16s
    2. Built-in microphones
      3m 36s
    3. Shotgun microphones
      4m 27s
    4. Microphone preamps
      5m 45s
  33. 13m 38s
    1. What type of microphone should I use for an interview?
      2m 2s
    2. Lavaliere mic
      6m 35s
    3. Boom mic
      5m 1s
  34. 16m 45s
    1. Why do I need a fluid head?
      3m 6s
    2. Standard photo head drawbacks
      4m 1s
    3. Why use a fluid head?
      6m 9s
    4. Converting a photo tripod
      3m 29s
  35. 13m 34s
    1. Why should I use a slate?
      2m 0s
    2. Using a digital slate
      5m 13s
    3. Using a physical slate
      3m 32s
    4. Alternate metadata
      2m 49s
  36. 10m 42s
    1. DSLR recording time limits
      4m 14s
    2. Legal limits
      6m 28s
  37. 22m 37s
    1. Is the Canon 6D right for me?
      2m 36s
    2. Beneficial features of the Canon 6D
      3m 41s
    3. Drawbacks of the Canon 6D
      4m 21s
    4. Menu options of the Canon 6D
      11m 59s
  38. 21m 17s
    1. The Nikon D600
      2m 38s
    2. Beneficial features of the Nikon D600
      6m 4s
    3. Drawbacks of the Nikon D600
      3m 45s
    4. Menu options of the Nikon D600
      8m 50s
  39. 8m 39s
    1. Can I attach lights to the camera?
      4m 57s
    2. Moving lights off-center
      3m 42s
  40. 18m 4s
    1. How do I get my camera into tight spaces?
      1m 58s
    2. Using GorillaPods
      3m 52s
    3. Using additional Grip Items
      4m 30s
    4. Using a DINO
      3m 50s
    5. Using a Lens Skirt
      3m 54s
  41. 17m 42s
    1. How can I get smooth tracking shots?
      1m 42s
    2. Walking the camera
      7m 55s
    3. Using sliders and dollies
      8m 5s
  42. 23m 1s
    1. How can I fix shaky shooting?
      4m 37s
    2. Fixing shaky shooting in Final Cut Pro X
      8m 54s
    3. Fixing shaky shooting in Premiere Pro
      9m 30s
  43. 15m 18s
    1. How should I manage my cards in the field?
      2m 16s
    2. Using card wallets
      5m 33s
    3. Mirroring your data
      7m 29s
  44. 23m 56s
    1. How do I transfer my footage?
      12m 15s
    2. Monitoring your footage
      11m 41s
  45. 26m 28s
    1. How do I rack focus?
      1m 47s
    2. Using a Prime Lens
      8m 22s
    3. Using a Zoom Lens
      9m 13s
    4. Using a follow focus
      7m 6s
  46. 22m 56s
    1. How do I clean my camera?
      2m 55s
    2. Keeping the lens clean
      7m 48s
    3. Cleaning the sensor
      8m 2s
    4. Performing a wet sensor cleaning
      4m 11s
  47. 23m 58s
    1. How do I get slow motion footage?
      1m 50s
    2. Setting up slow motion in camera settings
      4m 57s
    3. Slow motion in Final Cut Pro X
      6m 17s
    4. Slow motion in Premiere Pro
      3m 57s
    5. Slow motion in After Effects
      6m 57s
  48. 14m 53s
    1. How do I import into Final Cut Pro X?
    2. Transferring from a card into Final Cut Pro X
      5m 3s
    3. Importing footage into Final Cut Pro X
      8m 51s
  49. 12m 10s
    1. How do I import into Premiere Pro?
      1m 19s
    2. Transferring from a card into Premiere Pro
      3m 55s
    3. Importing footage into Premiere Pro
      6m 56s
  50. 19m 13s
    1. How do I sync sound in post?
      1m 20s
    2. Syncing sound with Final Cut Pro X
      4m 40s
    3. Syncing sound with Premiere Pro
      5m 57s
    4. Syncing sound with Plural Eyes
      7m 16s
  51. 12m 50s
    1. Lighting with available light
      2m 23s
    2. Calculating the sun's position
      2m 7s
    3. Reflectors
      1m 42s
    4. Shiny boards
      1m 31s
    5. Evaluating the results
      5m 7s
  52. 16m 2s
    1. Lighting with alternate sources
      3m 3s
    2. Battery operated LED lights
      2m 15s
    3. Using an inverter
      2m 28s
    4. Using a generator
      1m 19s
    5. Flashlights & GL-1
      1m 28s
    6. Evaluating the results
      5m 29s
  53. 26m 3s
    1. Shooting in small places
      1m 44s
    2. Using portable lights
      8m 0s
    3. Compact lighting
      1m 8s
    4. Lens choices
      1m 31s
    5. Mounting the camera
      2m 11s
    6. Remote operation
      4m 24s
    7. Evaluating the results
      7m 5s
  54. 11m 37s
    1. Follow focus overview
      2m 25s
    2. What is a follow focus?
      2m 38s
    3. Setting the marks
      1m 56s
    4. Operating follow focus
      1m 4s
    5. Evaluating the results
      3m 34s
  55. 13m 56s
    1. Achieving critical focus
      2m 36s
    2. Punching in on LiveView
      2m 5s
    3. Using a loupe
      2m 13s
    4. Using auto focus before the shot
      2m 20s
    5. Using a monitor
      2m 30s
    6. Change the aperture
      2m 12s
  56. 23m 0s
    1. Exposure
      2m 21s
    2. The impact of sensor size
      2m 25s
    3. ND filter
      2m 51s
    4. Variable ND filter
      3m 4s
    5. Matte box
      3m 39s
    6. Evaluating the results
      8m 40s
  57. 10m 28s
    1. Backlit subjects in production
      2m 20s
    2. Shooting "in the middle"
      2m 23s
    3. Overpowering the backlight
      1m 29s
    4. Evaluating the result
      4m 16s
  58. 31m 21s
    1. Backlit subjects in post-production
      1m 54s
    2. Look at scopes
      5m 20s
    3. Enhancing the shots
      4m 50s
    4. Enhancing with Speedgrade
      9m 31s
    5. Enhancing with plugins
      9m 46s
  59. 7m 3s
    1. Audio for interviews
      2m 1s
    2. Placing the mic
      1m 29s
    3. Interview techniques
      1m 36s
    4. Interviewee placement
      1m 57s
  60. 11m 57s
    1. Shooting a product shot
      1m 30s
    2. Building the backdrop
      1m 25s
    3. Compact lighting
      2m 59s
    4. Cleaning the object
      1m 16s
    5. Using a macro lens
      2m 25s
    6. Using a turntable
      2m 22s
  61. 9m 7s
    1. Using a field monitor
      1m 44s
    2. Connecting the monitor
      1m 18s
    3. Using peaking and using focus in red
      1m 36s
    4. Using color assist
      2m 34s
    5. Looping the monitor
      1m 55s
  62. 13m 25s
    1. Scopes
      3m 37s
    2. Reading the histogram
      2m 11s
    3. Reading a waveform monitor
      2m 38s
    4. Reading a vectorscope
      4m 59s
  63. 30m 59s
    1. What is a GoPro?
      2m 35s
    2. The GoPro bodies
      3m 53s
    3. Essential GoPro gear
      9m 0s
    4. Powering the GoPro
      6m 13s
    5. Accessing GoPro menus
      3m 34s
    6. Essential menu commands
      5m 44s
  64. 9m 2s
    1. Exposure
      1m 1s
    2. The exposure triangle
      2m 40s
    3. Evaluating the settings
      5m 21s
  65. 15m 47s
    1. What is aperture?
      3m 29s
    2. A DP's perspective on aperture
    3. Adjusting aperture
      2m 13s
    4. Evaluating the shots
      9m 20s
  66. 14m 4s
    1. What is shutter speed?
      3m 58s
    2. A DP's perspective on shutter speed
      1m 37s
    3. Adjusting shutter speed
      2m 54s
    4. Evaluating the shots
      5m 35s
  67. 18m 12s
    1. What is ISO?
      5m 12s
    2. A DP's perspective on ISO
      1m 52s
    3. Adjusting ISO
      2m 49s
    4. Evaluating the shots
      8m 19s
  68. 7m 41s
    1. Controlling exposure beyond camera settings
      2m 44s
    2. Adding light
      2m 54s
    3. Adding filtration
      2m 3s
  69. 19m 26s
    1. Getting the camera higher
      2m 26s
    2. Using a monopod to extend your reach
      2m 46s
    3. What is a jib?
      3m 33s
    4. Operating a jib
      6m 21s
    5. Evaluating the shots
      4m 20s
  70. 18m 14s
    1. The Blackmagic Pocket Cinema Camera
      4m 38s
    2. What to look out for
      5m 3s
    3. Pocket Cinema Camera workflow
      3m 51s
    4. Evaluating the shots
      4m 42s
  71. 17m 15s
    1. Shooting with a GoPro mount
      5m 14s
    2. Connecting a GoPro remote
      2m 46s
    3. Viewing with a remote app
      3m 48s
    4. Recording with a remote app
      3m 11s
    5. Evaluating the shots
      2m 16s
  72. 14m 15s
    1. Using a click track
      1m 28s
    2. Creating a click track
      5m 10s
    3. Playing a click track in the field
    4. Recording with a click track
    5. Syncing in post
      6m 8s
  73. 7m 5s
    1. Preparing for a shoot with multiple DSLR cameras
      2m 10s
    2. Scouting the location
      1m 16s
    3. Lighting for multiple cameras
    4. A DP's perspective on multicamera lighting
      1m 56s
    5. Matching cameras
  74. 5m 21s
    1. Doing a shoot with multiple DSLR cameras
      2m 21s
    2. Positioning the cameras
      1m 2s
    3. Syncing the cameras
      1m 2s
    4. Directing the shoot
  75. 16m 59s
    1. Achieving a film look
      2m 36s
    2. Post-processing to achieve a film look: Part one
      7m 20s
    3. Post-processing to achieve a film look: Part two
      7m 3s
  76. 28m 46s
    1. Black Magic Cinema Camera
      3m 44s
    2. Things to Look Out For
      9m 41s
    3. Recording with the Blackmagic Cinema Camera
      2m 15s
    4. Focusing
      3m 17s
    5. Evaluating the Shots
      5m 11s
    6. RAW Workflow
      4m 38s
  77. 15m 50s
    1. Achieving a film look
      2m 28s
    2. Post-processing to achieve a film look: Part 1
      8m 45s
    3. Post-processing to achieve a film look: Part 2
      4m 37s
  78. 18m 58s
    1. Shooting time lapses with a GoPro
      2m 25s
    2. Setting up the GoPro
      4m 30s
    3. Accessing the footage
      4m 52s
    4. Processing the footage
      7m 11s
  79. 21m 21s
    1. Why assemble a time lapse?
      1m 59s
    2. Assembling a time lapse in Photoshop
      6m 36s
    3. Assembling a time lapse in Premiere Pro
      7m 43s
    4. Assembling a time lapse in After Effects
      5m 3s
  80. 22m 40s
    1. Processing multiple-camera footage
      1m 42s
    2. Organizing the media for Adobe Premiere Pro
      5m 36s
    3. Syncing in Adobe Premiere Pro
      6m 20s
    4. Editing in Adobe Premiere Pro
      9m 2s
  81. 15m 1s
    1. Processing multiple-camera footage
      1m 8s
    2. Organizing and syncing media for Final Cut Pro X
      5m 13s
    3. Editing in Final Cut Pro X
      8m 40s
  82. 21m 55s
    1. How do I get a GoPro in the air?
      2m 1s
    2. Attaching a GoPro to a quadcopter
      2m 23s
    3. Calibrating the quadcopter
      2m 12s
    4. Flying with the GoPro on the quadcopter
      3m 48s
    5. Evaluating the quadcopter footage
      5m 49s
    6. Getting more control with the quadcopter
      5m 42s
  83. 15m 57s
    1. Sliding the camera
      3m 1s
    2. Tabletop dolly
      3m 8s
    3. What is a slider?
      3m 55s
    4. Using a slider
      3m 32s
    5. Slider versatility
      2m 21s
  84. 13m 14s
    1. Shooting with an iPhone 5S
      2m 58s
    2. Shooting slow motion
      3m 11s
    3. Accessing footage
      3m 17s
    4. Assembling footage
      3m 48s
  85. 16m 9s
    1. Benefits of mirrorless cameras
      2m 48s
    2. Mirrorless workflow
      2m 41s
    3. Things to look out for
      6m 10s
    4. Evaluating the footage
      4m 30s
  86. 26m 6s
    1. What is Log?
      2m 40s
    2. Why should you shoot Log?
      6m 7s
    3. Using a LUT with Dynamic Link
      8m 11s
    4. Creating a LUT in Adobe Speedgrade
      9m 8s
  87. 30m 34s
    1. Matching cameras
      1m 58s
    2. Variables
      4m 22s
    3. Calibration
      8m 42s
    4. Evaluating the shots
      3m 5s
    5. Matching Log footage
      6m 30s
    6. Matching ProRes
      5m 57s
  88. 11m 39s
    1. Achieving a film look
      3m 7s
    2. Using Resolve presets
      4m 29s
    3. Color grading from scratch
      4m 3s
  89. 19m 1s
    1. Achieving a filmic look
      3m 58s
    2. Using Speedgrade presets
      7m 34s
    3. Color grading from scratch
      7m 29s
  90. 11m 48s
    1. Remotely controlling a camera
      1m 34s
    2. Attaching a CamRanger
      2m 38s
    3. Creating a network
      4m 50s
    4. Controlling with an iPad
      2m 46s
  91. 10m 49s
    1. Taking a look at shaky footage
      1m 45s
    2. Fixing shaky footage in Final Cut Pro X
      3m 18s
    3. Fixing shaky footage in Adobe Premiere Pro
      5m 46s
  92. 12m 17s
    1. A quick overview of site surveys
      1m 25s
    2. Anticipating the weather
      3m 11s
    3. Taking panoramic site photos with Occipital 360
      1m 17s
    4. Collecting location information with PanaScout
      2m 48s
    5. Portable and mobile pro audio to go
      3m 36s
  93. 24m 54s
    1. Taking a look at third-party plugins
      3m 21s
    2. Exploring Tiffen Dfx Filter plugins
      6m 59s
    3. Boosting creativity with Tiffen Dfx Looks
      4m 3s
    4. Exploring the Magic Bullet Suite
      5m 45s
    5. Taking your footage further with Magic Bullet Looks
      4m 46s
  94. 9m 1s
    1. Scouting the lighting situation out on location
      1m 10s
    2. Using Lighttrac to determine sun or moon position
      2m 12s
    3. Using Sun Seeker to track sun or moon position
      3m 2s
    4. Determining the position of the sun or moon with Focalware
      2m 37s
  95. 2m 30s
    1. Goodbye
      2m 30s

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DSLR Video Tips for Final Cut Pro on
24h 5m Appropriate for all Jul 06, 2012 Updated May 16, 2014

Viewers: in countries Watching now:

This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.

Topics include:
  • Mixing frame rates
  • Dealing with color and detail loss from compression
  • Comparing sensor sizes
  • Understanding how DSLR viewfinders react when recording video
  • What is aspect ratio?
  • Getting the right speed of memory card
  • Avoiding rolling shutter
Final Cut Pro Premiere Pro
Richard Harrington Robbie Carman

Menu options of the Canon 6D

Rich Harrington: One of the ways that people often judge their cameras is the menu system, because it makes it really clear what are the core features. Now I normally shoot Nikon, but I must say that I do think Canon has a better approach to menus, not scrolling up, scrolling left and right, it's just like when you hit the bottom of the page, you've ended that menu, you go to the next. Robbie Carman: Yeah, and you know, I think that Canon in particular has really, over the past few years as the popularity of their DSLRs has soared with non-photo people, they've really got into a simplified approach for the menus.

Rich: Yeah. Robbie: That makes it pretty easy to navigate and find the options. Now Rich, I know you're a Nikon guy, and we'll talk about a new Nikon camera in another set of movies, but Nikon menus kind of drive me crazy. Rich: Yeah, they take some getting used to. You definitely end up using the custom menu feature where you put all of the things you want on your own page. Robbie: Yeah. Rich: But let's take a look here at some of the major features of this Canon. Now the first couple of pages you are looking at are basically going to be the mode for photo shooting, so we're not going to talk too long about it, but I do want to review one here that I think is useful, that is the fact that you could turn off the beep.

There a lot of times that people are shooting stills on a set with a video set, turn that dang thing off, you don't want to hear the beeping, you don't want to hear that audio feedback. It gets recorded on the video set. Robbie: Absolutely. Rich: So turn that off and then you might want to even consider turning Image review off to cut down your battery usage to get the longer life. Robbie: Yep. Rich: Now, over here we've got some ability here for Mirror lockup, that's going to come in handy if you want to actually clean the sensor. Robbie: Yep. Rich: And then our next area here is really more shooting things, but notice you do have the ability to adjust the White balance here, and this is still important when shooting video, getting the right setting there or taking advantage of the custom setting which we'll cover more in future episodes, how you do a custom white balance.

But I think that's incredibly important, and I do like this, the ability to exactly dial in when using something like a light meter. Robbie: I love this. If you are working with a gaffer on set and they are gelling lights or they're adjusting the color temperature of the scene to a specific value, getting your camera tweaked to that specific value, piece of cake to them. Rich: Yeah, I mean and keep in mind Rob makes a good chunk of his living as a professional colorist. You would think, oh good, more work for me. No, you are the same belief, now could you please just get the right balance white at time of acquisition. Robbie: Just white balance the camera, it really helps, yeah. Rich: Yeah, it does make a big difference.

Alright, so our next category here, one of the things that is nice is the ability to adjust the Color space if needed and there are some third-party spaces we're seeing. Picture Styles, now you can load third-party Picture Styles, more controls here for Picture Styles, a lot of User Defined ones which I think are helpful. Robbie: Yeah, I always use the User Defined menu options to sort of create that flat shooting situation that you hear a lot of people talking about, a little lower contrast, a little lower saturation, so I have a little more flexibility.

I've found that the built-in camera Picture Styles are pretty good, but I often go in and adjust all of my settings, save it as a predefined user setting, so that way I can be sure that I am getting the settings that I want. Rich: Yeah. And other things in here, notice that we do have noise reduction for shooting at high ISO, that's more for still shooting. But I do like this here, Dust Delete Data. So this is where you could take a reference thing, it helps clean up the sensor a bit. Auto Focus method, now notice we actually have a Live mode, and if you turn this on, this will actually function in video and it's much better than past ones.

Now true focusing is still true focusing and usually and I shoot manual. But if you are run-and-gun, you're all by yourself, this is a little bit more sensitive. I wouldn't use it with a lockdown interview, because you don't want the focus changing there. But for something like shooting a live event or maybe sports, this could come in handy. Robbie: Yeah, it's one of those things that me personally, I am a big fan of doing it manually. I don't know, you know, I've gotten over the past couple of years with DSLRs to not really trust their auto focus systems. Yes, they are getting better now, should give you a point in your category here, I think Nikon is doing auto focus for DSLR video potentially a little bit better than Canon is, the Sony stuff is also pretty good.

But you know it's one of those things, play with it. Of course if you find it works well for you, by all means try it, but know that you know going back to the manual approach is always a good way to go as well. Rich: And in the menu here, a couple of other things to look at, this is important what sort of overlay you get. I am going to change that to the 3x3 grid, so I have the rule of thirds for classic composition. Robbie: Yep. Rich: And let's take a look at the movie record sizes, we've got more options here, some important ones. Robbie: Yeah, and now Rich, one of the big things that Canon did with this camera as well as the Canon 5D Mark III, you'll see in the menus here that you actually have IPB and ALL-I, right? What this means is the compression that you're actually recording.

So ALL-I means all I frame. So where every frame of video is a real frame of video and this makes it much easier for editorial packages and stuff, to sort of navigate the video. It helps a little bit better with sort of things like accuracy and compression and all kind of stuff. Rich: Much better system performance, you don't actually have to have as much real-time decoding going on by your computer, because the video file is less compressed. Of course, less compressed means more disk space. Robbie: Right, so the other option is to go to the IPB method of recording and that is traditionally what cameras like the 7D and the Rebels and stuff like that have in the past shot and what this does is it interpolates frames between I frames, so not every frame is a real frame.

Obviously, this gives you a smaller file, but it gives you a more complex file that's often harder to decode by editorial packages. Rich: And notice as we change through here, it does tell me the record times for the card I have loaded. that if I'm shooting 1920 at 30 frames per second in this ALL-I, I am going to get about 19 record minutes versus almost 30 minutes using those more compressed formats. So it's important that you know the difference, I would say at this point buy bigger memory cards and shoot the higher-quality method. Robbie: That's my attitude as well. Rich: Now Auto here, we do have audio record levels, and notice finally we have some great controls here where we can go in and get out of Auto and go to total Manual.

Now the Manual here is not as manual as you might like, but I can go through and it's not just solid increment. So while those ticks might look like you only have a few, I'm adjusting the volume here so we're not going too much above the -12 value there. Robbie: Yeah, and then, Rich, I've said in a previous movie that one of the limitations of this camera was not having a built-in headphone jack, which is still true, I think that's a limitation. But, finally now on these Canon bodies we have this ability for true audio meters and the ability to just record levels.

So if you're piping in audio from a different source, you can at least visually check and see where your levels are, because after all one of the biggest problems that people have of audio on these cameras is that when you get back to post, you go, oh, my audio is over-modulated or it's too low, so by having a visual representation here, you can get in the ball park of getting good auto levels. Rich: And if you have the ability here to also deal with things like wind or other noise coming in, so it's nice. And as we go through you'll see continuous additional controls, actually I went past one there that people like. Robbie: Yeah, big one.

Rich: Time code, why time code, Rob? Why does this matter? Robbie: Well time code is of course an important thing, it gives you an accurate representation of what frame is what frame and where it is in the overall piece of video. And of course at on a professional level, everybody uses time code to a certain degree, whether it's SMPTE time code, it's time of day time code, that kind of stuff. And the nice thing with this camera is that you can record true SMPTE time code, which gives you hours, minutes, seconds, and frames. And you can go in and you can start and customize your own starting time code.

So if Rich put in 1 hour and 5 minutes here, when we start our recording, the time code would start at 1 hour and 5 minutes and count upwards as you are going. Now of course, if you step back a little bit, Rich, if you see that Count up menu right there, there we go and click on there, we have Record run and Free run. And this is something that's interest to note. Record run is going to do exactly what it says, you hit record, the time code is running. Free run, what does that do, Rich? Rich: Well, the nice thing here with free run is that if you had multiple cameras you can all set them to the initial start time and then trigger your first recording by calling action.

Then, as people are starting and stopping cameras at different times, it's still running that counter throughout the day. Robbie: Yep. Rich: So as you go to sync up cameras off of time code, you stand a much better chance that time code on multiple cameras is actually going to line up. Or, if you just wanted to know in relationship to maybe an event, maybe you set it to like you're covering a soccer game and you set that timer to actually count down from 90 minutes, that's 90 minutes is a soccer game, right? I think so. Robbie: Sure, I think so. Rich: Probably, I'm sure other people will tell me I'm wrong. Robbie: I mean, we look like we're really in the sports zone. Rich: So I can at least see the time of day related to the event I was shooting, or I want to know where within that event it sort of falls based on the event time.

So the fact that you have some control even if you're not continuously shooting is going to give you greater control. Now a couple of other things here, this just really starts getting into a additional still things like ordering prints and rating or resizing, so you're probably going to bypass most of these menus. I do like the ability to adjust how quickly it powers off, like I am going to set that lower, so I am not running through a bunch of excess use of the live view and the ability to pull the brightness down if I was going to an external monitor. All of those comes in real handy, and notice here we can actually adjust the brightness level of the LCD and it shows us a nice setting here and I can actually see that.

Now, I'm sending a live feed, so it's not adjusting as much, but I like that you have a PLUGE there on the side, so you can register, can you see the gray or what's happening. Now as we go back here, a couple of other settings that matter. Of course we had this before, the ability to choose your Video system, and if you are going to use Wi-Fi or not, leave that off for most video. But I would take the time to actually load up your Copyright information, put to your Sensor cleaning when you need it, check your firmware. It's great how all of that stuff is easily visible, and if you go over my favorite page, My Menu settings.

Robbie: Right, you can find the things that you adjust the most often and store them here and then actually you know back on these other menus sort of here, that's worth mentioning, this is where you have custom function controls, and we're not going to bore you with all the details here, definitely consult the manual with some of these custom function things, because there is a lot of very deep technical information that adjust, you know, auto focus, and exposure and stuff like that. But you're right, Rich. On the last page here, My Menu settings, a great thing to have to be able to store custom settings. Now, I don't want anybody to think that this short video was sort of replacement for the manual.

Rich: Yes, yes. Robbie: There's a lot of things going. Rich: Read the manual. Robbie: Right, there is a lot of things going on with this camera, but I think through a quick tour you can see that there is a lot of really interesting things, from time code, to audio, to all the different photo things that you can do, I think we can sum it up it and say, Rich, that this a camera that we're becoming really big fans of, and I think that depending on what you're doing, this is a great way to get into a full-frame camera because it's a relatively affordable, it does shoot pretty good video, it does shoot great stills.

So I think it's something--especially if you have an investment in Canon Glass, non EF-S lenses of course--it's definitely a camera that you should kind of consider for your projects. Rich: Yeah, I think if you were looking at the 5D Mark III and had camera desire, you really wanted that camera but you couldn't justify the price, if you're willing to go to get SD cards and you are willing to give up a headphone jack, this camera has all the same major functionality for terms of a video shooter and at $1400 or less, that's going to free up a little bit of money to either give a second body some accessories or maybe additional lenses.

For, my name is Richard Harrington. Robbie: And I am Robbie Carman, thanks for joining us.

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