It is really strange how these settings are similar to the settings for the native mount Panasonic 45-150. Any links below are affiliate links. FILTER: None Promaster 70-300 4-5.6 ADAPTER: Viltrox NF-M43x (.71x) Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -4 SHARPNESS -5 NOISE +3 SATURATION -0 HIGHLIGHT SHADOW -0-0 iDYNAMIC OFF LUMINANCE LEVEL 16-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT RADIUS THRESHOLD Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST ? IS THE CONTRAST "REAL"? SHARPNESS ? IS THE SHARPNESS "REAL"? NOISE ? IS THE NOISE "REAL"? COLOR ? IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: It is really strange how these settings are similar to the settings for the native mount Panasonic 45-150. The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

MICROPHONE SPECIFIC: So, there are a lot of little problems with this microphone/audio recorder combination, though I still think it's good enough to use for vlogging, etc. The first thing is, there were a few times during my tests where you can hear a strange sort of liquidy-sounding RF interference (like the sound of squishing something with a tiny amount of liquid in it) and while it's not noticeable when you're talking, it shows up when there's a quiet spot in the recording. I have noticed this when using other microphones with this transmitter/recorder, and I think it has something to do with the fact that it's a wireless TRANSMITTER, and it constantly looks for the RECEIVER while it's on. The second thing that is really interesting about this device, is that when you open the file that's created with this microphone/audio recorder combination (in an audio editing application) the level starts out really, REALLY low. However, it's kind of amazing how much you can boost the level in post and not introduce a lot of self-noise (I talk more about this in the general description of this transmitter/audio recorder below). If you can ignore this faint "squishy" RFI sound, this microphone sounds really good and natural with this recorder, yet it does with almost every recorder I've tested it with...so I just really love this mic. Another interesting thing is that this Zoom LMF-2 (Lavalier) mic plugs in fairly securely, even though it has a locking plug that doesn't lock onto this device. AUDIO RECORDER SPECIFIC: As you might already know, this system is more than just a wireless audio system; each transmitter also has onboard recording. This is the feature I'm focusing on here, and so there are a number of quirks to be aware of when it comes to using this system as an audio recorder. The first is that I don't see a way to change the REC. LEVEL on the transmitter/recorder. There is a way to change the OUTPUT LEVEL on the receiver (RX) but no way to change the REC. LEVEL. What this might mean is that, if this thing isn't a 32-bit float recorder (and I'll talk about why I say IF in a second) it would seem like it's kind of limited in terms of being able to make sure the audio doesn't "clip". However, as I started testing, I realized a couple of things: 1. The record level is pretty low (so it has lots of headroom) and 2. The level indicator on the display of each transmitter says the level is higher than it really is (based on looking at the file in an audio editor). This is good, because I'm less concerned that the recording (on the transmitter) will clip, even though it doesn't seem to be adjustable. The last thing I'll say is that when I amplify the level using an audio editor such as Audacity, I'm super surprised at how clean the audio sounds...it's almost like working with a 32-bit float file on my Zoom F2 (but I haven't pushed it very far in testing yet, so I'll update this after more testing). UPDATE: I was baffled regarding how clean the audio sounds after boosting it in post-production...and then I remembered I read that it is applying some kind of noise reduction WHILE RECORDING! I looked up the specifications, and they call it "intelligent denoise". So, while I still don't know for sure if there isn't a way to change the REC. LEVEL while recording (to the internal memory of the transmitter) I am really liking what the audio sounds like after boosting the low audio levels it seems to record at. "LAV" Proximity [7 inches /17.78 cm] 7RYMS iRAY DW30 (Recorder) [NO AUX. BOOST] Zoom LMF-2 (Lavalier) WINDSCREEN: FURRY (Comica) 48k 24-bit REC. SETTINGS ? REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS N/A MIC. LOWCUT N/A MIC. HIGH PASS N/A MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE ? LESS THAN 1.1ft / 0.34m ? BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m ? BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: March 13, 2023 at 2:51:09 PM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS ? DO THE "LOWS" SOUND REAL? MIDS ? DO THE "MIDS" SOUND REAL? HIGHS/TREBLE ? DO THE "HIGHS" SOUND REAL? NOTES: MICROPHONE SPECIFIC: So, there are a lot of little problems with this microphone/audio recorder combination, though I still think it's good enough to use for vlogging, etc. The first thing is, there were a few times during my tests where you can hear a strange sort of liquidy-sounding RF interference (like the sound of squishing something with a tiny amount of liquid in it) and while it's not noticeable when you're talking, it shows up when there's a quiet spot in the recording. I have noticed this when using other microphones with this transmitter/recorder, and I think it has something to do with the fact that it's a wireless TRANSMITTER, and it constantly looks for the RECEIVER while it's on. The second thing that is really interesting about this device, is that when you open the file that's created with this microphone/audio recorder combination (in an audio editing application) the level starts out really, REALLY low. However, it's kind of amazing how much you can boost the level in post and not introduce a lot of self-noise (I talk more about this in the general description of this transmitter/audio recorder below). If you can ignore this faint "squishy" RFI sound, this microphone sounds really good and natural with this recorder, yet it does with almost every recorder I've tested it with...so I just really love this mic. Another interesting thing is that this Zoom LMF-2 (Lavalier) mic plugs in fairly securely, even though it has a locking plug that doesn't lock onto this device. AUDIO RECORDER SPECIFIC: As you might already know, this system is more than just a wireless audio system; each transmitter also has onboard recording. This is the feature I'm focusing on here, and so there are a number of quirks to be aware of when it comes to using this system as an audio recorder. The first is that I don't see a way to change the REC. LEVEL on the transmitter/recorder. There is a way to change the OUTPUT LEVEL on the receiver (RX) but no way to change the REC. LEVEL. What this might mean is that, if this thing isn't a 32-bit float recorder (and I'll talk about why I say IF in a second) it would seem like it's kind of limited in terms of being able to make sure the audio doesn't "clip". However, as I started testing, I realized a couple of things: 1. The record level is pretty low (so it has lots of headroom) and 2. The level indicator on the display of each transmitter says the level is higher than it really is (based on looking at the file in an audio editor). This is good, because I'm less concerned that the recording (on the transmitter) will clip, even though it doesn't seem to be adjustable. The last thing I'll say is that when I amplify the level using an audio editor such as Audacity, I'm super surprised at how clean the audio sounds...it's almost like working with a 32-bit float file on my Zoom F2 (but I haven't pushed it very far in testing yet, so I'll update this after more testing). UPDATE: I was baffled regarding how clean the audio sounds after boosting it in post-production...and then I remembered I read that it is applying some kind of noise reduction WHILE RECORDING! I looked up the specifications, and they call it "intelligent denoise". So, while I still don't know for sure if there isn't a way to change the REC. LEVEL while recording (to the internal memory of the transmitter) I am really liking what the audio sounds like after boosting the low audio levels it seems to record at. Remember to always monitor your audio while you're recording (using accurate headphones) because good settings can't fix bad audio. Also, these settings will not establish the exact level you'll need for every scene, but the goal is to provide a good starting point that will become clean, after adjusting in post. Additionally, these "custom settings" are used to make the Microphone-Specific EQ files work (as they won't work as intended if any of they aren't used). The EQ files were created to correct any imperfections of the microphone and/or wind protection (FOAM and/or FURRY) and were made in Audacity (the free audio editor) to make them as affordable & universal as possible.

This test was the Takstar SGC-600 microphone plugged directly into the Zoom F1 audio recorder with the REC. GAIN set to MID+. The MIC. BOOST is at +0, and the MIC. LOWCUT is ON. "CLOSE" Proximity [ 3.5 inches / 8.89 cm] Zoom F1 (NO AUX. Amplifier) Takstar SGC-600 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER "MID+" REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW AUX. OUTPUT MIC. SETTINGS ON MIC. LOWCUT N/A MIC. HIGH PASS +0 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: May 3, 2022 at 5:51:36 PM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: This test was the Takstar SGC-600 microphone plugged directly into the Zoom F1 audio recorder with the REC. GAIN set to MID+. The MIC. BOOST is at +0, and the MIC. LOWCUT is ON. Remember to always monitor your audio while you're recording (using accurate headphones) because good settings can't fix bad audio. Also, these settings will not establish the exact level you'll need for every scene, but the goal is to provide a good starting point that will become clean, after adjusting in post. Additionally, these "custom settings" are used to make the Microphone-Specific EQ files work (as they won't work as intended if any of they aren't used). The EQ files were created to correct any imperfections of the microphone and/or wind protection (FOAM and/or FURRY) and were made in Audacity (the free audio editor) to make them as affordable & universal as possible.

Ok, so I'm getting used to doing tests on the G95...and this was only my 3rd test, but I'm already seeing the potential of this sensor. First of all (and I say this a lot) I have to say that image this sensor produces is MUCH different than the G85 (and GX85) and I'm getting close to saying it really is better...but the approach to the custom settings is a lot different (will explain more in later, in a BLOG post). So then, the CUSTOM SETTINGS specifically for this lens are working pretty well, and creates an image that is not perfect SOOC, but it is a really good starting point, to add a mild finishing LUT later. I've been noticing that G95 lets you push the HIGHLIGHT SHADOW curve a lot farther than the G85, without it looking wierd (the G85 goes into that fake HDR look a lot of the time, when you push it beyond -3+3 in the curves). Any links below are affiliate links. FILTER: None Promaster 70-300 4-5.6 LD ADAPTER: Nikon F/G-M43 Panasonic G95 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -2 SHARPNESS +2 NOISE +2 SATURATION +2 HIGHLIGHT SHADOW -3+4 iDYNAMIC OFF LUMINANCE LEVEL 0-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT ? RADIUS ? THRESHOLD ? Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST C IS THE CONTRAST "REAL"? SHARPNESS B IS THE SHARPNESS "REAL"? NOISE C IS THE NOISE "REAL"? COLOR B IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: Ok, so I'm getting used to doing tests on the G95...and this was only my 3rd test, but I'm already seeing the potential of this sensor. First of all (and I say this a lot) I have to say that image this sensor produces is MUCH different than the G85 (and GX85) and I'm getting close to saying it really is better...but the approach to the custom settings is a lot different (will explain more in later, in a BLOG post). So then, the CUSTOM SETTINGS specifically for this lens are working pretty well, and creates an image that is not perfect SOOC, but it is a really good starting point, to add a mild finishing LUT later. I've been noticing that G95 lets you push the HIGHLIGHT SHADOW curve a lot farther than the G85, without it looking wierd (the G85 goes into that fake HDR look a lot of the time, when you push it beyond -3+3 in the curves). The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

Difficult lens to get to render a scene accurately (my goal) but with these CUSTOM SETTINGS it looks decent enough. You'll have to increase the SHARPNESS in post-production though, and I will try to get those settings figured out as soon as I have time. Any links below are affiliate links. FILTER: None 7artisans 35 1.4 ii ADAPTER: None (Native Mount) Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -1 SHARPNESS -3 NOISE +5 SATURATION -0 HIGHLIGHT SHADOW -3+3 iDYNAMIC OFF LUMINANCE LEVEL 16-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT RADIUS THRESHOLD Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST C IS THE CONTRAST "REAL"? SHARPNESS D IS THE SHARPNESS "REAL"? NOISE D IS THE NOISE "REAL"? COLOR C IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: Difficult lens to get to render a scene accurately (my goal) but with these CUSTOM SETTINGS it looks decent enough. You'll have to increase the SHARPNESS in post-production though, and I will try to get those settings figured out as soon as I have time. The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

FINAL NOTE: I don't recommend this lens for professional work. At first, I was guessing the f/1/.4 maximum aperture and the fact that it's a prime lens would make this lens a good option (at the low price it comes in at). However, after testing it and working with custom settings for a few days, I can say I do NOT recommend this lens, as it has a number of different optical problems that make it very difficult to capture a realistic, professional-looking image. I could go into more detail, but of the 50+ lenses I've tested, it is one of the top 5 worst (and I would never take it on a professional shoot...which is the requirement for each of the lens-sensor settings recommendations on this website). Any links below are affiliate links. FILTER: None TTArtisan 35 1.4 ADAPTER: None (Native Mount) Panasonic G7 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST - SHARPNESS - NOISE - SATURATION - HIGHLIGHT SHADOW - iDYNAMIC OFF LUMINANCE LEVEL 16-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT RADIUS THRESHOLD Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST - IS THE CONTRAST "REAL"? SHARPNESS - IS THE SHARPNESS "REAL"? NOISE - IS THE NOISE "REAL"? COLOR - IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: FINAL NOTE: I don't recommend this lens for professional work. At first, I was guessing the f/1/.4 maximum aperture and the fact that it's a prime lens would make this lens a good option (at the low price it comes in at). However, after testing it and working with custom settings for a few days, I can say I do NOT recommend this lens, as it has a number of different optical problems that make it very difficult to capture a realistic, professional-looking image. I could go into more detail, but of the 50+ lenses I've tested, it is one of the top 5 worst (and I would never take it on a professional shoot...which is the requirement for each of the lens-sensor settings recommendations on this website). The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

In the old days, "multimedia" was just a fancy term that meant you could work with art, audio and video on a computer, which was quite a new thing back then. This page showcases my multimedia content creation portfolio to show how to simultaneously create content in multiple formats. HOW TO EASILY CONVERT ALMOST ANY MICROSCOPE... ...TO MICRO FOUR THIRDS. I was amazed how easy it was to convert an old microscope to use with my (Micro Four Thirds) camera. After I figured this out, I purchased several more microscopes to try, and I hope to post additional information soon (with sample pictures) of how to do it. I found many used microscopes online, and have purchased several for the test. The first requirement is that the microscope be monocular (single eyepiece). Some of my samples have pretty good optics included, and some are just average, so we'll see how that affects quality. One of the microscopes I purchased appears to be from the 1950s (or pretty close). I will need to test the image output to understand what magnification I'm really getting (due to crop factor of sensor, etc.) HOW TO (INSTRUCTIONS COMING SOON!) Plant-with-rain-drops-1 Plant-with-rain-drops-1 1/1 GAFFER TAPE SUPPLIED BY WE DO AFFILIATE PROGRAMS WE PARTICIPATE IN, AND HIGHLY RECOMMEND, AFFILIATE PROGRAMS (INCLUDING THE AMAZON ASSOCIATES PROGRAM) WHICH PROVIDE A SMALL COMMISSION TO ME (AT NO ADDITIONAL COST TO YOU) WHEN YOU MAKE A PURCHASE THROUGH ONE OF THE LINKS ON THIS WEBSITE.

I know I say this a lot (when I test lenses on a second camera) but I was really surprised by how different the results are on this camera (GH5) compared to the last camera I had tested (the Panasonic G85). The main thing is while the SHARPNESS of this lens so great that it was difficult to get the Panasonic G85 to look good with it without using a diffusion filter (the Tiffen BPM14 worked the best on the G85) I was able to get this image to look good on the Panasonic GH5 without the diffusion filter! The reason I am surprised is the GH5 sensor renders more SHARPNESS than the G85, but what it came down to was the fact that the GH5 could handle turning the SHARPNESS all of the way down to -5 and still hold up. In fact, it still had so much SHARPNESS left I had to turn up the NOISE reduction to +5, to reduce the SHARPNESS even more. Any links below are affiliate links. FILTER: None Sigma 30 1.4 ADAPTER: None (Native Mount) Panasonic GH5 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -2 SHARPNESS -5 NOISE +5 SATURATION -0 HIGHLIGHT SHADOW -3+3 iDYNAMIC OFF LUMINANCE LEVEL 0-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT NONE RADIUS NONE THRESHOLD NONE Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST B IS THE CONTRAST "REAL"? SHARPNESS A IS THE SHARPNESS "REAL"? NOISE B IS THE NOISE "REAL"? COLOR C IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: I know I say this a lot (when I test lenses on a second camera) but I was really surprised by how different the results are on this camera (GH5) compared to the last camera I had tested (the Panasonic G85). The main thing is while the SHARPNESS of this lens so great that it was difficult to get the Panasonic G85 to look good with it without using a diffusion filter (the Tiffen BPM14 worked the best on the G85) I was able to get this image to look good on the Panasonic GH5 without the diffusion filter! The reason I am surprised is the GH5 sensor renders more SHARPNESS than the G85, but what it came down to was the fact that the GH5 could handle turning the SHARPNESS all of the way down to -5 and still hold up. In fact, it still had so much SHARPNESS left I had to turn up the NOISE reduction to +5, to reduce the SHARPNESS even more. The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

This test, with the Tiffen BPM18 (Black Pro Mist 1/8) has the best results (for this lens-sensor combination) and it's the only one I would use (if you have or can get this filter). Notice these custom settings have the SHARPNESS turned down all of the way, and it still has a good amount of SHARPNESS to it (enough to boost in post-production to the perfect level, which I hope to figure out, and publish with these settings). Any links below are affiliate links. FILTER: Tiffen Black Pro Mist 1/8 Panasonic 45-200 4-5.6 ADAPTER: None (Native Mount) Panasonic GH5 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -1 SHARPNESS -5 NOISE +5 SATURATION -1 HIGHLIGHT SHADOW -4+3 iDYNAMIC OFF LUMINANCE LEVEL 0-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT ? RADIUS ? THRESHOLD ? Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST B IS THE CONTRAST "REAL"? SHARPNESS A IS THE SHARPNESS "REAL"? NOISE A IS THE NOISE "REAL"? COLOR C IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: This test, with the Tiffen BPM18 (Black Pro Mist 1/8) has the best results (for this lens-sensor combination) and it's the only one I would use (if you have or can get this filter). Notice these custom settings have the SHARPNESS turned down all of the way, and it still has a good amount of SHARPNESS to it (enough to boost in post-production to the perfect level, which I hope to figure out, and publish with these settings). The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

This is going to need a LUT (does not look REAL SOOC) but these CUSTOM SETTINGS bring it to a good starting point (without these settings, this lens-sensor combination isn't rendering a realistic image). I just finished testing this lens on the LUMIX G85 (and the settings for SOOC were GREAT) so it is always interesting to realize it is the COMBINATION of BOTH the LENS AND SENSOR! Any links below are affiliate links. FILTER: None Vivitar Series 1 70-300 4.5-5.6 ADAPTER: Nikon F/G-M43 Panasonic GH5 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -3 SHARPNESS -5 NOISE +5 SATURATION +1 HIGHLIGHT SHADOW -2+2 iDYNAMIC OFF LUMINANCE LEVEL 0-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT 44 RADIUS 0.1 THRESHOLD 78 Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST B IS THE CONTRAST "REAL"? SHARPNESS B IS THE SHARPNESS "REAL"? NOISE B IS THE NOISE "REAL"? COLOR C IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: This is going to need a LUT (does not look REAL SOOC) but these CUSTOM SETTINGS bring it to a good starting point (without these settings, this lens-sensor combination isn't rendering a realistic image). I just finished testing this lens on the LUMIX G85 (and the settings for SOOC were GREAT) so it is always interesting to realize it is the COMBINATION of BOTH the LENS AND SENSOR! The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

I wanted the Sigma 18-35 1.8 for quite a long time, but after testing it (this time with a speed booster, instead using the shift adapter). Even with the .71x speed booster/focal reducer, it isn't wide enough for a lot of situations, and because it doesn't need the 1.8 max. aperture OUTDOORS, I'm not sure I recommend this. It's also too big and heavy for my DUAL-CAMERA RIGS. Any links below are affiliate links. FILTER: None Sigma 18-35 1.8 ADAPTER: Viltrox NF-M43x (.71x) Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST - 2 SHARPNESS - 3 NOISE +3 SATURATION +1 HIGHLIGHT SHADOW -0+3 iDYNAMIC OFF LUMINANCE LEVEL 16-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT ? RADIUS ? THRESHOLD ? Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE DEFAULT Sigma 18-35 1.8 VILTROX Panasonic G85 NATURAL -0-0-0-0 HS -0-0 CUSTOM Sigma 18-35 1.8 VILTROX Panasonic G85 NATURAL -2-3+3+1 HS -0+3 CLICK FOR ADDITIONAL SHOTS REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST C IS THE CONTRAST "REAL"? SHARPNESS B IS THE SHARPNESS "REAL"? NOISE C IS THE NOISE "REAL"? COLOR C IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: I wanted the Sigma 18-35 1.8 for quite a long time, but after testing it (this time with a speed booster, instead using the shift adapter). Even with the .71x speed booster/focal reducer, it isn't wide enough for a lot of situations, and because it doesn't need the 1.8 max. aperture OUTDOORS, I'm not sure I recommend this. It's also too big and heavy for my DUAL-CAMERA RIGS. The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.