REAL ANSWERS Answers from REAL people with REAL experience (not from A.I.) What cameras and lenses are good for product photos & video? Food and products typically look best at around 50 to 100mm focal length. So, you can use either a full-frame with the 100mm or a cropped sensor at around 50mm or so...and yes, you will need a macro-focusing lens. < Back to ANSWERS

These in-camera settings get the image really close to being looking good straight out of camera (SOOC) but there is a LUT available (to reduce the CONTRAST more and add a little COLOR). Without these CUSTOM SETTINGS it's difficult to not overexpose the images (on a sunny day, etc.) Any links below are affiliate links. FILTER: None Panasonic 45-150 4-5.6 ADAPTER: None (Native Mount) Panasonic G7 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -5 SHARPNESS -1 NOISE +2 SATURATION -0 HIGHLIGHT SHADOW -0-0 iDYNAMIC OFF LUMINANCE LEVEL 16-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT 33 RADIUS 3.0 THRESHOLD 3 Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE CUSTOM SETTINGS LUMIX G7 Panasonic 45-150 4-5.6 with CUSTOM SETTINGS (SOOC, no LUT). CUSTOM + LUT LUMIX G7 Panasonic 45-150 4-5.6 with CUSTOM SETTINGS + LUT (click "Go to link" for LUT). 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 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: These in-camera settings get the image really close to being looking good straight out of camera (SOOC) but there is a LUT available (to reduce the CONTRAST more and add a little COLOR). Without these CUSTOM SETTINGS it's difficult to not overexpose the images (on a sunny day, etc.) 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.

You may have noticed I didn't test any other proximity (than the "CLOSE" one) for this mic and recorder combination (I did the same for the H1, F1). The reason is that this mic doesn't output a high enough signal to be useable (without an AUX. AMP) at proximities that are further away (VLOG, BOOM, AFAR). I did have a workaround when using this on the Zoom F2, and that was to add a Comica CVM-D03 AUX. AMP to boost the level...but it isn't really practical to add this amplifier AND the recorder to the top of your camera (while vlogging). Then, as far as the "BOOM" and "AFAR" proximities, I may follow up and do a test later, but I would prioritize using other mics if that is your intended use. Regarding this combo, I need to create a custom EQ for this microphone/audio recorder combination, because it needs the 160Hz REC. LOWCUT (80, 120Hz sounded unrealistic) and the LOWCUT helps to reduce background (and handling) noise as well, though the main use of this "CLOSE" proximity is for recording INDOORS, in a semi-controlled environment (for narration, voiceovers, podcasts). I'm again reminded of how different the audio from this recorder (the H1n) is from the older version (the Zoom H1). However, the REC. LEVEL is almost the same between those two recorders, and the only reason why I'm using 6.5 on the H1n (vs. 63 on the H1) is the H1n uses a DIAL to set the level, and it's less stressful to set it halfway between 6 and 7 (on the dial) whereas the H1 uses buttons to set a specific number between 0-100. "CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom H1n AUX. AMP: None Rode VideoMicro (Shotgun) Windscreen: FURRY (Stock) 96k 24-bit REC. SETTINGS 160 Hz REC. LOWCUT OFF REC. LIMITER 6.5 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: February 7, 2023 at 2:01:39 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 D DO THE "LOWS" SOUND REAL? MIDS B DO THE "MIDS" SOUND REAL? HIGHS/TREBLE A DO THE "HIGHS" SOUND REAL? NOTES: You may have noticed I didn't test any other proximity (than the "CLOSE" one) for this mic and recorder combination (I did the same for the H1, F1). The reason is that this mic doesn't output a high enough signal to be useable (without an AUX. AMP) at proximities that are further away (VLOG, BOOM, AFAR). I did have a workaround when using this on the Zoom F2, and that was to add a Comica CVM-D03 AUX. AMP to boost the level...but it isn't really practical to add this amplifier AND the recorder to the top of your camera (while vlogging). Then, as far as the "BOOM" and "AFAR" proximities, I may follow up and do a test later, but I would prioritize using other mics if that is your intended use. Regarding this combo, I need to create a custom EQ for this microphone/audio recorder combination, because it needs the 160Hz REC. LOWCUT (80, 120Hz sounded unrealistic) and the LOWCUT helps to reduce background (and handling) noise as well, though the main use of this "CLOSE" proximity is for recording INDOORS, in a semi-controlled environment (for narration, voiceovers, podcasts). I'm again reminded of how different the audio from this recorder (the H1n) is from the older version (the Zoom H1). However, the REC. LEVEL is almost the same between those two recorders, and the only reason why I'm using 6.5 on the H1n (vs. 63 on the H1) is the H1n uses a DIAL to set the level, and it's less stressful to set it halfway between 6 and 7 (on the dial) whereas the H1 uses buttons to set a specific number between 0-100. 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.

Using same settings for FILTER version (as BARE version) with a Tiffen BPM18 (Black Pro Mist 1/8). Any links below are affiliate links. FILTER: Tiffen Black Pro Mist 1/8 Panasonic 12-60 3.5-5.6 ADAPTER: None (Native Mount) Panasonic GH5 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -3 SHARPNESS -5 NOISE +5 SATURATION -0 HIGHLIGHT SHADOW -3+3 iDYNAMIC OFF LUMINANCE LEVEL 0-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT 12 RADIUS 2.0 THRESHOLD 3 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: Using same settings for FILTER version (as BARE version) with a Tiffen BPM18 (Black Pro Mist 1/8). 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 lens-sensor combo is a little bit contrasty when used in the middle apertures, but because this speed booster looks pretty good with this lens wide open (and at 1/2 click down) I chose to err on the side of too much contrast, so it can be more accurate when used wide open. Also, adding a filter (or not using a lens hood) can also reduce contrast... Any links below are affiliate links. FILTER: None Nikon 50 1.8 AIS ADAPTER: Viltrox NF-M43x (.71x) Panasonic G7 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -1 SHARPNESS -3 NOISE +4 SATURATION -0 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 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 A IS THE CONTRAST "REAL"? SHARPNESS B IS THE SHARPNESS "REAL"? NOISE B IS THE NOISE "REAL"? COLOR A 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 lens-sensor combo is a little bit contrasty when used in the middle apertures, but because this speed booster looks pretty good with this lens wide open (and at 1/2 click down) I chose to err on the side of too much contrast, so it can be more accurate when used wide open. Also, adding a filter (or not using a lens hood) can also reduce contrast... 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 will be doing 2 different tests here: One for sports action (stills) for printing to an 8x10 printer, and the second is my normal test for video purposes...starting to test now.) PHOTO Settings: (More SHARPNESS is needed the printing process reduces the apparent sharpness due to the substrate, inks, etc.) TEST #1 = NATURAL -0+2+3-1 HS -2+2 (Needs more SHARPNESS, more NR, more COLOR) TEST #2 = NATURAL -0+4+5-0 HS -2+2 (Not sure yet) TEST #3 = NATURAL +4+5+4+1 HS -2+3 TEST #4 = NATURAL +4+4+4-1 HS -2+3 (FINAL) VIDEO Settings: Any links below are affiliate links. FILTER: None Quantaray 70-300 4-5.6 LD ADAPTER: Nikon F/G-M43 Panasonic G85 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: (I will be doing 2 different tests here: One for sports action (stills) for printing to an 8x10 printer, and the second is my normal test for video purposes...starting to test now.) PHOTO Settings: (More SHARPNESS is needed the printing process reduces the apparent sharpness due to the substrate, inks, etc.) TEST #1 = NATURAL -0+2+3-1 HS -2+2 (Needs more SHARPNESS, more NR, more COLOR) TEST #2 = NATURAL -0+4+5-0 HS -2+2 (Not sure yet) TEST #3 = NATURAL +4+5+4+1 HS -2+3 TEST #4 = NATURAL +4+4+4-1 HS -2+3 (FINAL) VIDEO 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.

I don't know what to say about this lens yet. On this M43 camera (the Panasonic G85) the focal length has enough reach to pretty much take care of any TELE shots you would ever want to get (with a few exceptions) but the combination of the low optical quality of this lens and the sort of lower pixel count of this sensor (16MP) produces an image that is probably not good enough for professional use. The obvious yet expensive alternative is the (native mount) Leica 100-400...but that's about $1000 US used, and this lens was $30 US. So, for the price I'm not saying this isn't a good tool to have around (though it's much bigger than a 70-300 as far as portability goes). It does really make me appreciate how much better the similarly-priced 70-300 lenses (also from the 1990s) are than this 100-400. Many of the 70-300 lenses I've tested produce professional results (see the lens notes) and they're just much better optically (probably because of the shorter zoom range) and certainly easier to fit into a camera bag. So, I probably will not recommend this inexpensive 100-400mm lens, unless you really need that extra telephoto reach. My custom, lens-sensor settings do improve the SOOC image (Straight Out Of Camera) but the final result is still not too good. Again, this really makes me go towards those 70-300 lenses I've tested, especially the ones with 1:2 MACRO. Any links below are affiliate links. FILTER: None Promaster 100-400 4.5-6.7 ADAPTER: Nikon F/G-M43 Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST +1 SHARPNESS +5 NOISE -0 SATURATION +1 HIGHLIGHT SHADOW -2+2 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 B IS THE CONTRAST "REAL"? SHARPNESS F IS THE SHARPNESS "REAL"? NOISE F IS THE NOISE "REAL"? COLOR D 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 don't know what to say about this lens yet. On this M43 camera (the Panasonic G85) the focal length has enough reach to pretty much take care of any TELE shots you would ever want to get (with a few exceptions) but the combination of the low optical quality of this lens and the sort of lower pixel count of this sensor (16MP) produces an image that is probably not good enough for professional use. The obvious yet expensive alternative is the (native mount) Leica 100-400...but that's about $1000 US used, and this lens was $30 US. So, for the price I'm not saying this isn't a good tool to have around (though it's much bigger than a 70-300 as far as portability goes). It does really make me appreciate how much better the similarly-priced 70-300 lenses (also from the 1990s) are than this 100-400. Many of the 70-300 lenses I've tested produce professional results (see the lens notes) and they're just much better optically (probably because of the shorter zoom range) and certainly easier to fit into a camera bag. So, I probably will not recommend this inexpensive 100-400mm lens, unless you really need that extra telephoto reach. My custom, lens-sensor settings do improve the SOOC image (Straight Out Of Camera) but the final result is still not too good. Again, this really makes me go towards those 70-300 lenses I've tested, especially the ones with 1:2 MACRO. 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.

With all of the A.I. development going on, there is certainly enough "FAKE" content being put out there. So not only did we decide to never use (generative) A.I. when creating images, but also to use realistic-looking LENS-SENSOR SPECIFIC CAMERA SETTINGS (& LUTs) that help make it easier for the cameras to render scenes accurately (with very little post-processing). REAL PLACES Cinematic Real Estate, Travel & Architecture. Architectural Photos & Video (INDOORS & OUT) Includes interior & exterior photos & video, recorded with PC lenses (a more realistic perspective). Read More 3 hr 30 min 849 US dollars $849 SCHEDULE Architectural Photos (INDOORS & OUT) Includes interior & exterior photos, recorded with PC lenses (a more realistic perspective). Read More 2 hr 30 min 439 US dollars $439 SCHEDULE Real Estate Photos (INDOORS & OUT) Includes interior & exterior photos, professionally processed from HDR, available in 24 hours. Read More 1 hr 30 min 229 US dollars $229 SCHEDULE

I normally don't like to use the MIC. LOWCUT filter on this microphone (because it usually sounds better with it off, and it doesn't need it because the shock mount is so good) but I am using it for this proximity to cut down on the ambient (background) noise for cleaner dialog. (If you're trying to just capture nat. sound, you may want to turn it off). "BOOM" Proximity [35 inches / 88.8 cm] Zoom H1n (NO AUX. Amplifier) Shure VP83 LensHopper + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 5.5 REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW AUX. OUTPUT MIC. SETTINGS ON MIC. LOWCUT N/A MIC. HIGH PASS +20 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 5, 2022 at 7:29:32 AM 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: I normally don't like to use the MIC. LOWCUT filter on this microphone (because it usually sounds better with it off, and it doesn't need it because the shock mount is so good) but I am using it for this proximity to cut down on the ambient (background) noise for cleaner dialog. (If you're trying to just capture nat. sound, you may want to turn it off). 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 lens is AMAZING...it delivers so much contrast and color that I had to tone those down (to get a "REAL" image) and the SHARPNESS is almost a perfect match for this sensor (not to sharp, etc.) though I had to use some NOISE REDUCTION to keep things looking real. Any links below are affiliate links. FILTER: None Sigma 75-300 4.5-5.6 ADAPTER: Nikon F/G-M43 Panasonic GH4 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST SHARPNESS NOISE SATURATION HIGHLIGHT SHADOW OFF iDYNAMIC OFF LUMINANCE LEVEL 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 B 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 lens is AMAZING...it delivers so much contrast and color that I had to tone those down (to get a "REAL" image) and the SHARPNESS is almost a perfect match for this sensor (not to sharp, etc.) though I had to use some NOISE REDUCTION to keep things looking real. 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.

-1 HUE Any links below are affiliate links. FILTER: None Sigma 18-50 2.8 EX ADAPTER: Nikon F/G-M43 Panasonic GH5 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -2 SHARPNESS -5 NOISE +2 SATURATION -0 HIGHLIGHT SHADOW -3+3 iDYNAMIC OFF LUMINANCE LEVEL 0-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT 50 RADIUS 5.0 THRESHOLD 3 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: -1 HUE 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.