REAL REVIEWS Long-term reviews of budget photo & video gear. KIT PLAN RECOMMENDATION: [NOT IN KIT] Gerber Gear Suspension 12-in-1 EDC Multi-Plier Multitool This image is 100% REAL, and no A.I. (or Photoshop compositing) were used to make it, and I know because I took it myself. Quality? LIGHT USE OK Yes MEDIUM USE OK Yes HEAVY USE OK ? Portable? POCKET Yes CAMERA BAG Yes BACKPACK Yes Affordable? AVERAGE NEW PRICE $ 58 *Indicates SALE price. Amazon AFFILIATE LINK AVERAGE USED PRICE ? **Indicates BUY NOW price. Ebay AFFILIATE LINK Common? ON AMAZON Yes ON EBAY ? Easy To Use? SKILL LEVEL MEDIUM These reviews are just my opinion and are focused on my Q.P.A.C.E. packing method, so they're not comprehensive. I wrote these mostly to help me remember what items worked for my KIT PLANS (and which didn't). If I said anything negative I apologize, as these products still may work well for you in your situation, but they were not Q.P.A.C.E (Quality, Portable, Affordable, Common, Easy-to-Use) enough for my budget filmmaking KIT PLANS .

REAL ANSWERS Answers from REAL people with REAL experience (not from A.I.) Is the Panasonic LUMIX FZ1000 Good for Video? < Back to ANSWERS

This microphone-audio recorder combination is getting pretty close to sounding "REAL" without the need for any EQ (post production audio editing). I've used this microphone for almost all of my PODCAST episodes (so far) but it wasn't with the Zoom F2, but this test is making me think about doing so. The Zoom F2 allowed me to record at +0 MIC. BOOST (instead of the +20 I was using for other audio recorders) because the 32-bit float file (from the Zoom F2) sounded clean after boosting the audio in Audacity! The +20 MIC. BOOST on this microphone is better than a lot of the other mic (in this class) but it sounds even better when you don't have to turn it on. I still may add an EQ to perfect this mic-recorder combination, but I'm glad it doesn't need much. "CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom F2 (NO AUX. Amplifier) Shure VP83 LensHopper WINDSCREEN: Foam (Stock) 32-Bit Float REC. SETTINGS N/A 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 OFF 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: December 26, 2022 at 12:51:32 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 A DO THE "LOWS" SOUND REAL? MIDS A DO THE "MIDS" SOUND REAL? HIGHS/TREBLE A DO THE "HIGHS" SOUND REAL? NOTES: This microphone-audio recorder combination is getting pretty close to sounding "REAL" without the need for any EQ (post production audio editing). I've used this microphone for almost all of my PODCAST episodes (so far) but it wasn't with the Zoom F2, but this test is making me think about doing so. The Zoom F2 allowed me to record at +0 MIC. BOOST (instead of the +20 I was using for other audio recorders) because the 32-bit float file (from the Zoom F2) sounded clean after boosting the audio in Audacity! The +20 MIC. BOOST on this microphone is better than a lot of the other mic (in this class) but it sounds even better when you don't have to turn it on. I still may add an EQ to perfect this mic-recorder combination, but I'm glad it doesn't need much. 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.

So far, I cannot recommend this lens WITHOUT adding a Tiffen BPM14 (Black Pro Mist 1/4)... It is true that this lens has a lot of SHARPNESS and CONTRAST, but when used with this sensor (the Panasonic G85) it does not render a realistic scene. The corrections I am applying (to the NATURAL profile) include an interesting Highlight Shadow curve, but the shadows are still being rendered too dark, but it's the best I can do without making it obvious there was a curve applied. The result is still not as realistic as I would like, and this means it will be difficult to match the shots from this lens to a lot of the other lenses I use (and therefore the imperfect "Real Rating"). All of this makes me understand why people tend to use diffusion filters (such as the Tiffen Black Pro Mist series) on this lens...which explains why the person I bought it from INCLUDED one with it! I hope to test it with that filter, next. I will say that overall this lens is a very consistent performer as it was difficult to see the difference in quality at different aperture values (unlike like many vintage lenses). The downside of this is that it does lack what some call CHARACTER which is typical of Sigma lenses of this type, but adding the HIGHLIGHT SHADOW compensation does kind of add a bit more character to it (and if you've used the in-camera curves, you know what I mean). Also, a lot of people talk about how the skintones on this camera are too RED, and they certainly are with this lens too...but keep in mind it is the combo of BOTH the lens and sensor that render colors a certain way (I might actually go back to trying an old Minolta MD 50 1.7 with this sensor again, as that has a GREEN bias, which may compensate for this issue). Any links below are affiliate links. FILTER: None Sigma 30 1.4 ADAPTER: None (Native Mount) Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -1 SHARPNESS -5 NOISE +3 SATURATION -2 HIGHLIGHT SHADOW -5+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 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: So far, I cannot recommend this lens WITHOUT adding a Tiffen BPM14 (Black Pro Mist 1/4)... It is true that this lens has a lot of SHARPNESS and CONTRAST, but when used with this sensor (the Panasonic G85) it does not render a realistic scene. The corrections I am applying (to the NATURAL profile) include an interesting Highlight Shadow curve, but the shadows are still being rendered too dark, but it's the best I can do without making it obvious there was a curve applied. The result is still not as realistic as I would like, and this means it will be difficult to match the shots from this lens to a lot of the other lenses I use (and therefore the imperfect "Real Rating"). All of this makes me understand why people tend to use diffusion filters (such as the Tiffen Black Pro Mist series) on this lens...which explains why the person I bought it from INCLUDED one with it! I hope to test it with that filter, next. I will say that overall this lens is a very consistent performer as it was difficult to see the difference in quality at different aperture values (unlike like many vintage lenses). The downside of this is that it does lack what some call CHARACTER which is typical of Sigma lenses of this type, but adding the HIGHLIGHT SHADOW compensation does kind of add a bit more character to it (and if you've used the in-camera curves, you know what I mean). Also, a lot of people talk about how the skintones on this camera are too RED, and they certainly are with this lens too...but keep in mind it is the combo of BOTH the lens and sensor that render colors a certain way (I might actually go back to trying an old Minolta MD 50 1.7 with this sensor again, as that has a GREEN bias, which may compensate for this issue). 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.

POST-PRODUCTION NOTES: This lens-sensor combination will need some post-production work (these are my recommendations): 1. Add SHARPNESS (in Davinci Resolve) 2. Create/add a LUT (see notes above) 3. Add my "YouTube COLOR Bump" (if you're uploading to YouTube) Any links below are affiliate links. FILTER: None Nikon 35 1.8 G DX ADAPTER: Viltrox NF-M43x (.71x) 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: POST-PRODUCTION NOTES: This lens-sensor combination will need some post-production work (these are my recommendations): 1. Add SHARPNESS (in Davinci Resolve) 2. Create/add a LUT (see notes above) 3. Add my "YouTube COLOR Bump" (if you're uploading to YouTube) 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.

[TESTING...] Any links below are affiliate links. FILTER: None Panasonic 45-150 4-5.6 ADAPTER: None (Native Mount) Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -5 SHARPNESS -5 NOISE +3 SATURATION -0 HIGHLIGHT SHADOW Standard 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 ? 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: [TESTING...] 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.

BELOW IS REVIEW ON OTHER CAMERA This lens is pretty amazing, because it's one of the few lens-sensor combos out there that actually looks really good at 0-0-0-0 (using the NATURAL photo style). I did do some minor adjustments, but they're not essential. This lens does have some issues with glowing purples (i.e. chromatic aberration) which can be distracting. Also, be aware that it's a really heavy lens (for its size) and I think it needs to be supported by the sort of adapter that has an integrated tripod mount on it (so it doesn't strain the lens mount on the camera). I didn't have a tripod mount on the adapter I used on my initial tests, and it wasn't very ergonomic, but then I found one on Ebay (Minolta MD mount) and it works much better! Any links below are affiliate links. FILTER: None Vivitar Series 1 70-210 3.5 ADAPTER: Nikon F/G-M43 Panasonic GH4 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -1 SHARPNESS +1 NOISE +5 SATURATION -0 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 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: BELOW IS REVIEW ON OTHER CAMERA This lens is pretty amazing, because it's one of the few lens-sensor combos out there that actually looks really good at 0-0-0-0 (using the NATURAL photo style). I did do some minor adjustments, but they're not essential. This lens does have some issues with glowing purples (i.e. chromatic aberration) which can be distracting. Also, be aware that it's a really heavy lens (for its size) and I think it needs to be supported by the sort of adapter that has an integrated tripod mount on it (so it doesn't strain the lens mount on the camera). I didn't have a tripod mount on the adapter I used on my initial tests, and it wasn't very ergonomic, but then I found one on Ebay (Minolta MD mount) and it works much better! 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.

AUDIO RECORDER SPECIFIC: This specific model of the microphone does NOT fully plug in (and you only get 1 channel of audio. I think it's the LEFT ear). I don't know if there is a non-locking version of this model, but there is of the more popular (and smaller) 044. I don't really like monitoring audio when it's just coming in through one ear, so I don't use this mic with this audio recorder. I did complete the test (in case I need to use the mic with this audio recorder for some reason) and the REC. LEVEL that's working well is 6.3 (I normally do not go above 6.3 on this recorder anyway, due to the self-noise). 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 H1n [NO AUX. BOOST] JK MIC-J 017 (Lavalier) WINDSCREEN: Comica CVM-MF1 (Furry) 96k 24bit REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER 6.3 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 9:41:11 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 A DO THE "LOWS" SOUND REAL? MIDS B DO THE "MIDS" SOUND REAL? HIGHS/TREBLE A DO THE "HIGHS" SOUND REAL? NOTES: AUDIO RECORDER SPECIFIC: This specific model of the microphone does NOT fully plug in (and you only get 1 channel of audio. I think it's the LEFT ear). I don't know if there is a non-locking version of this model, but there is of the more popular (and smaller) 044. I don't really like monitoring audio when it's just coming in through one ear, so I don't use this mic with this audio recorder. I did complete the test (in case I need to use the mic with this audio recorder for some reason) and the REC. LEVEL that's working well is 6.3 (I normally do not go above 6.3 on this recorder anyway, due to the self-noise). 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.

+ AUX. Amplifier (Neotek NTK059) at HIGH, FULL DIAL. This configuration produces a file that needs noise reduction, but with this audio recorder it comes out pretty clean. "BOOM" Proximity [35 inches / 88.8 cm] Zoom F1 AUX: Neoteck NTK059 Takstar SGC-598 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER "HI-" REC. LEVEL AUX. SETTINGS OFF AUX. BASS HIGH AUX. HIGH-LOW @FULL AUX. OUTPUT MIC. SETTINGS OFF MIC. LOWCUT N/A MIC. HIGH PASS +10 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: April 29, 2022 at 3:21:20 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: + AUX. Amplifier (Neotek NTK059) at HIGH, FULL DIAL. This configuration produces a file that needs noise reduction, but with this audio recorder it comes out pretty clean. 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.

Wow. These settings are working really well SOOC (Straight Out of Camera) but are not what I expected at all. I will still make a LUT, but the video from these settings alone looks great. On the first day of testing, I wasn't enjoying myself and didn't know if there was hope for this lens-sensor combo. So, I switched over to the tests using a diffusion filter (Tiffen Black Pro Mist 1/8) because things weren't working. Strange enough, the place where I left off was a GREAT place to start with the filter on (I used the same settings) and I got the test WITH the filter done first. Then, when I returned to finish these UNFILTERED tests, I finally got these to look good too, but the settings are way different than the ones for when you're using a Tiffen BPM18. The filtered and UNFILTERED versions will need different LUTs and SHARPENING settings for post-production for sure, but I'm pretty happy with how good of a "starting point" these two sets of settings are providing. Check my YouTube channel for some of the tests. Any links below are affiliate links. FILTER: None Panasonic 12-60 3.5-5.6 ADAPTER: None (Native Mount) Panasonic GH4 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -3 SHARPNESS -5 NOISE +5 SATURATION -0 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 A 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: Wow. These settings are working really well SOOC (Straight Out of Camera) but are not what I expected at all. I will still make a LUT, but the video from these settings alone looks great. On the first day of testing, I wasn't enjoying myself and didn't know if there was hope for this lens-sensor combo. So, I switched over to the tests using a diffusion filter (Tiffen Black Pro Mist 1/8) because things weren't working. Strange enough, the place where I left off was a GREAT place to start with the filter on (I used the same settings) and I got the test WITH the filter done first. Then, when I returned to finish these UNFILTERED tests, I finally got these to look good too, but the settings are way different than the ones for when you're using a Tiffen BPM18. The filtered and UNFILTERED versions will need different LUTs and SHARPENING settings for post-production for sure, but I'm pretty happy with how good of a "starting point" these two sets of settings are providing. Check my YouTube channel for some of the tests. 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.

Initial test done, but need more footage... Any links below are affiliate links. FILTER: None Promaster 70-300 4-5.6 ADAPTER: Viltrox NF-M43x (.71x) Panasonic GH4 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -4 SHARPNESS +1 NOISE +4 SATURATION -1 HIGHLIGHT SHADOW 0 / 0 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 ? 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: Initial test done, but need more footage... 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.