REAL ANSWERS Answers from REAL people with REAL experience (not from A.I.) How do you set up microphones for video production? Microphone placement and proximity (to the sound source) is probably the most important thing to control, since 32-bit float audio recorders do a good job without a lot of things to change. < Back to ANSWERS Microphone Placement and Proximity Microphone placement and proximity to the sound source are critical factors in achieving high-quality audio recordings. This is particularly true when using 32-bit float audio recorders, which are designed to handle a wide dynamic range without significant distortion. Below are some key considerations regarding microphone placement: Key Considerations Distance from the Sound Source: The closer the microphone is to the sound source, the clearer and more direct the audio will be. This helps to minimize background noise and captures the nuances of the sound. Angle and Orientation: The angle at which the microphone is positioned can affect the tonal quality of the recording. Experimenting with different orientations can help achieve the desired sound. Room Acoustics: The environment in which the recording takes place can significantly impact audio quality. Hard surfaces may create reflections, while soft surfaces can absorb sound. Consider the acoustics of the space when placing the microphone. Microphone Type: Different microphones have varying pickup patterns (e.g., cardioid, omnidirectional, bidirectional) that influence how they capture sound from different angles. Choose a microphone that suits the recording context. Conclusion In summary, while 32-bit float audio recorders provide flexibility and high-quality results, careful attention to microphone placement and proximity remains essential for optimal audio capture. Experimentation and adjustment can lead to significantly improved recordings.

I'm very impressed with this camera so far, but it's the first LUMIX full-frame camera I've been able to test, so it's been pretty interesting (after testing so many Micro Four Thirds bodies, which I still like). If you've used the LUTs and CUSTOM SETTINGS for the other cameras we've tested, you will feel right at home with our process...but this has the option to use REAL-TIME LUTs (so we are going to have to create some new procedures to make sure these settings can work, with or without REAL-TIME LUT)...more information to come! For the CINEPEER Weebill 3E 1. Make sure to open lens before calibrating gimbal 2. Make sure to flip out the screen (on S9) before calibrating 3. I mounted the S9 ALL THE WAY BACK on camera plate 4. The plate is positioned at 1.5 (on plate rail, for THIS LENS) 5. There are other adjustments (had to mark with a pen, for this lens) Any links below are affiliate links. FILTER: None LUMIX S 18-40 4.5-6.3 ADAPTER: None (Native Mount) Panasonic S9 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -2.5 SHARPNESS -2.5 NOISE +1 SATURATION +1 HIGHLIGHT SHADOW -2.5+3.5 iDYNAMIC OFF LUMINANCE LEVEL 0-1023 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 A IS THE SHARPNESS "REAL"? NOISE A 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: I'm very impressed with this camera so far, but it's the first LUMIX full-frame camera I've been able to test, so it's been pretty interesting (after testing so many Micro Four Thirds bodies, which I still like). If you've used the LUTs and CUSTOM SETTINGS for the other cameras we've tested, you will feel right at home with our process...but this has the option to use REAL-TIME LUTs (so we are going to have to create some new procedures to make sure these settings can work, with or without REAL-TIME LUT)...more information to come! For the CINEPEER Weebill 3E 1. Make sure to open lens before calibrating gimbal 2. Make sure to flip out the screen (on S9) before calibrating 3. I mounted the S9 ALL THE WAY BACK on camera plate 4. The plate is positioned at 1.5 (on plate rail, for THIS LENS) 5. There are other adjustments (had to mark with a pen, for this lens) 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 like this lens-sensor combination. I am using the Viltrox NF-M43x (Nikon mount) speed booster for this test (and that is part of it) but this booster looks really good on other lenses, so I wouldn't blame it on that. It just always comes down to the combination of all the things put together, kind of a synergy if you will...and this combo looks BAD (not good). So, while I think my custom settings do help create a file that is an okay starting point, the image it produces is very un-inspiring, and I hope to make the images into something better with a custom LUT (but I really don't even want to work with this lens!)... Any links below are affiliate links. FILTER: None Nikon 35 1.8 G DX ADAPTER: Viltrox NF-M43x (.71x) Panasonic GH4 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -1 SHARPNESS -5 NOISE +4 SATURATION -0 HIGHLIGHT SHADOW -3+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 - 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 don't like this lens-sensor combination. I am using the Viltrox NF-M43x (Nikon mount) speed booster for this test (and that is part of it) but this booster looks really good on other lenses, so I wouldn't blame it on that. It just always comes down to the combination of all the things put together, kind of a synergy if you will...and this combo looks BAD (not good). So, while I think my custom settings do help create a file that is an okay starting point, the image it produces is very un-inspiring, and I hope to make the images into something better with a custom LUT (but I really don't even want to work with this lens!)... 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.

REAL ANSWERS Answers from REAL people with REAL experience (not from A.I.) What cameras and lenses are good for street photos & video? The goal of street photography is to not attract too much attention, so in this case the smaller the better. This doesn't always mean a smaller sensor will work though, as there are going to be low-light situations. < Back to ANSWERS Camera Gear for Street Photography The goal of camera gear for street photography is to avoid attracting too much attention. Therefore, the general principle is that smaller is better. However, there are several factors to consider when selecting the right equipment: Size and Portability Choose smaller cameras that are lightweight and easy to carry. Consider prime lenses that are smaller (and less obtrusive) than big zoom lenses. Sensor Size and Performance While smaller cameras are preferred for discretion, sensor size plays a crucial role in image quality. In low-light situations, larger sensors (like APS-C or full-frame) can perform better due to their ability to capture more light. Low-Light Capability Look for cameras with good high ISO performance to handle varying lighting conditions. Fast lenses (wide apertures) also help in low-light scenarios (allow for better performance without increasing ISO too much). Consider cameras with minimalistic designs that blend into the environment.

NOTE: This test was using a Tiffen CP (Circular Polarizer). Also note that this filter is prone to flare (so use lens shade when possible). Any links below are affiliate links. FILTER: CPL (Tiffen) Nikon 18-55 ADAPTER: Nikon F/G to M43 (SHIFT) Panasonic GH4 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -4 SHARPNESS -1 NOISE +4 SATURATION +1 HIGHLIGHT SHADOW -4+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 B IS THE CONTRAST "REAL"? SHARPNESS B 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: NOTE: This test was using a Tiffen CP (Circular Polarizer). Also note that this filter is prone to flare (so use lens shade when possible). 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.

After getting these settings figured out, the lens is rendering a pretty realistic image, yet I will need a LUT to increase the contrast a bit. This lens has a pretty decent close focus distance. The manual focusing ring is very thin, and while it's easy for me to use by hand, it may be too narrow for focus gears to be added. Any links below are affiliate links. FILTER: None Canon 50 1.8 ii ADAPTER: Metabones XL (.64x) Panasonic GH4 CineLike D "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -4 SHARPNESS -4 NOISE +5 SATURATION +1 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 B IS THE CONTRAST "REAL"? SHARPNESS B IS THE SHARPNESS "REAL"? NOISE 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: After getting these settings figured out, the lens is rendering a pretty realistic image, yet I will need a LUT to increase the contrast a bit. This lens has a pretty decent close focus distance. The manual focusing ring is very thin, and while it's easy for me to use by hand, it may be too narrow for focus gears to be added. 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.

REAL ANSWERS Answers from REAL people with REAL experience (not from A.I.) How do I set up lights for ARCHITECTURAL photos? It's not easy to summarize how to set up lights, because it's going to be based on each space. The main rule we follow is to simulate natural light as much as possible... < Back to ANSWERS Setting Up Lights for Architectural Photography 1. Understand the Environment Before setting up your lights, assess the location. Take note of the natural light sources, the time of day, and how they interact with the architecture. 2. Choose the Right Lighting Equipment Strobe Lights: Ideal for adding controlled light to specific areas. Continuous Lights: Useful for seeing how the light affects the scene in real-time. LED Panels: Great for soft, even lighting and can be adjusted easily. Light Modifiers: Use softboxes, umbrellas, or reflectors to diffuse and soften the light. 3. Position the Lights Key Light: Position the main light source to highlight the architectural features. Fill Light: Use a secondary light to reduce shadows and balance the exposure. Backlighting: Consider placing lights behind the structure for dramatic effects or to illuminate the outline. 4. Control the Light Adjust Intensity: Use dimmers or distance to control the light intensity. Color Temperature: Ensure your lights have a similar color temperature to maintain consistency. Lighting Angles: Experiment with different angles to find the most flattering light for the architecture. 5. Take Test Shots Before finalizing your setup, take test shots to evaluate how the lighting interacts with the architecture. Adjust as necessary based on the results. 6. Post-Processing Considerations Be prepared to make adjustments in post-processing. Correct exposure, contrast, and color balance to achieve the desired look. 7. Experiment and Adapt Every architectural shoot is different. Be open to experimenting with your lighting setup to find the best approach for each unique environment.

NOTE: For use with ATEM Mini, I'm adjusting the settings slightly (as shown below): CONTRAST: -3 SHARPNESS: -1 NOISE: +4 COLOR: -0 HIGHLIGHT SHADOW: OFF Any links below are affiliate links. FILTER: None Nikon 50 1.8 AIS ADAPTER: Viltrox NF-M43x (.71x) Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -5 SHARPNESS -1 NOISE +4 SATURATION -2 HIGHLIGHT SHADOW OFF 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: NOTE: For use with ATEM Mini, I'm adjusting the settings slightly (as shown below): CONTRAST: -3 SHARPNESS: -1 NOISE: +4 COLOR: -0 HIGHLIGHT SHADOW: OFF 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.

NOTE: Use -1 HUE. So...you COULD use the same exact settings as the Koah 50 1.4 (same company/manufacturer, etc.) and it is almost perfect, and I would do that if you need to change lenses, and are in a hurry (I might actually make a LUT that can be used for BOTH). However, to get the very best SOOC settings, I am adding a little more NOISE REDUCTION to the in-camera settings for the 35 1.2 version. This lens is one of the best f/1.2 lenses I've tested by the way...though every lens I have tested has been a low-budget lens, so that's not saying much (the others were a Canon FL 58 1.2, and a Porst 50 1.2). Any links below are affiliate links. FILTER: None Koah 35 1.2 ADAPTER: None (Native Mount) Panasonic GH5 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -1 SHARPNESS +1 NOISE +5 SATURATION +2 HIGHLIGHT SHADOW -3+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 A 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: NOTE: Use -1 HUE. So...you COULD use the same exact settings as the Koah 50 1.4 (same company/manufacturer, etc.) and it is almost perfect, and I would do that if you need to change lenses, and are in a hurry (I might actually make a LUT that can be used for BOTH). However, to get the very best SOOC settings, I am adding a little more NOISE REDUCTION to the in-camera settings for the 35 1.2 version. This lens is one of the best f/1.2 lenses I've tested by the way...though every lens I have tested has been a low-budget lens, so that's not saying much (the others were a Canon FL 58 1.2, and a Porst 50 1.2). 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.

REAL ANSWERS Answers from REAL people with REAL experience (not from A.I.) What is SURROUND SOUND audio recording? SURROUND SOUND audio recording is very complex, and we don't do it...Maybe someday we will get into this, but not until the workflow is easier! < Back to ANSWERS Understanding Surround Sound Audio Recording Surround sound audio recording is indeed a complex process that involves capturing audio from multiple directions to create an immersive listening experience. While the current complexity may deter involvement, keeping an eye on advancements in the field could open up opportunities for exploring surround sound audio recording in the future. Challenges of Surround Sound Recording Technical Complexity: Requires specialized equipment and knowledge of audio engineering. Workflow Issues: Current workflows can be cumbersome and time-consuming. Post-Production Demands: Editing and mixing surround sound tracks can be more intricate than stereo. Future Considerations Advancements in Technology: As technology improves, the process may become more accessible. Interest in Immersive Audio: Growing demand for high-quality audio experiences could drive innovation. Potential for Simplification: Future developments may streamline the workflow, making it easier to adopt.

AUDIO RECORDER SPECIFIC: I'm testing this microphone on as many audio recorders as I can, and one difference I noticed about this mic (and most mics) on the Zoom F1 is that when the REC. LEVEL is set to a normal level (one that doesn't need to be amplified in post-production) it seems to have more BASS than the Zoom H1, H1n and F2. MIC-SPECIFIC: This is yet another test in which a mic sounds better with the Comica CVM-MF1 (Lavalier Furry). Also, this is one of the few mics that works (fairly well) WITHOUT a windscreen at all (I suspect it may have some built-in wind protection, because the top of the mic is bigger than any lavalier mic I've seen. To me, the fact that this sounds better with the FURRY is kind of a timesaver, because now I can leave the furry on for either INDOOR or OUTDOOR use (except for the fact that you need to wear it with dark clothing to hide it). "LAV" Proximity [7 inches / 17.78 cm] Zoom F1 [NO AUX. BOOST] JK MIC-J 017 (Lavalier) WINDSCREEN: Comica CVM-MF1 (Furry) 96k 24bit REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER "HI" 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: January 7, 2023 at 5:21:03 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 B DO THE "LOWS" SOUND REAL? MIDS C DO THE "MIDS" SOUND REAL? HIGHS/TREBLE A DO THE "HIGHS" SOUND REAL? NOTES: AUDIO RECORDER SPECIFIC: I'm testing this microphone on as many audio recorders as I can, and one difference I noticed about this mic (and most mics) on the Zoom F1 is that when the REC. LEVEL is set to a normal level (one that doesn't need to be amplified in post-production) it seems to have more BASS than the Zoom H1, H1n and F2. MIC-SPECIFIC: This is yet another test in which a mic sounds better with the Comica CVM-MF1 (Lavalier Furry). Also, this is one of the few mics that works (fairly well) WITHOUT a windscreen at all (I suspect it may have some built-in wind protection, because the top of the mic is bigger than any lavalier mic I've seen. To me, the fact that this sounds better with the FURRY is kind of a timesaver, because now I can leave the furry on for either INDOOR or OUTDOOR use (except for the fact that you need to wear it with dark clothing to hide it). 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.