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Putting an action camera (like a GoPro) on top of your "real" camera is a really easy way to get a #2 shot. I think the HERO 4 Silver is a good deal if you don't need stabilization (which you don't need as much when it's mounted to the top of your camera). The 8 might be the best overall #2 budget filmmaking camera. CAMERAS Action Cameras Putting a GoPro on top of your "real" camera is a really easy way to get a #2 shot. I think the HERO 4 Silver is a good deal if you don't need stabilization (which you don't need as much when it's mounted to the top of your camera). The 8 might be the best overall #2 budget filmmaking camera. GoPro HERO4 GoPro HERO5 GoPro HERO6 GoPro HERO7 GoPro HERO8 GoPro HERO9 GoPro HERO10 OTHER HERO4 GoPro HERO4 SETTINGS GoPro HERO4 Silver +HOUSING GoPro HERO4 Black (No Screen) HERO5 GoPro HERO5 GoPro HERO5 Silver GoPro HERO5 Black HERO6 GoPro HERO6 GoPro HERO6 Silver GoPro HERO6 Black HERO7 GoPro HERO7 GoPro HERO7 Silver SETTINGS GoPro HERO7 Black HERO8 GoPro HERO8 GoPro HERO8 Silver GoPro HERO8 Black HERO9 GoPro HERO9 GoPro HERO9 Silver GoPro HERO9 Black HERO10 GoPro HERO10 GoPro HERO10 Silver GoPro HERO10 Black OTHER Other Other Action Cameras *To preserve a reality-based look, I shoot with the "Linear" FOV (Field of View) but these settings work in other FOV modes as well. REMEMBER TO "REFRESH" PAGE TO SEE NEW DATA

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.

This recorder has the perfect form factor for mounting to the top of a camera cage (or just on your camera) to allow me to do my #1 tip for audio recording: "Always back up your audio (using a passthrough)." While I would prefer a more detailed numerical gain steps (0-100 vs. LOW, HIGH, etc.) It also has the advantage that it can take Zoom's add-on modules (yet it does not come with built-in stereo mics, so the modular mics are the only way to add them). AUDIO Zoom F1 (Remember, these settings are specific to this audio recorder, paired to each microphone listed below.) This recorder has the perfect form factor for mounting to the top of a camera cage, so I can use my #1 tip for audio recording: "Always back up your audio (using a passthrough)." I would prefer more numerical gain steps (0-100) vs. the LOW, MID, HIGH increments. It doesn't include built-in stereo mics (like the H1, H1n) but Zoom does offer a variety of add-on mics. (ADD-ON MICS) COMICA RODE SARAMONIC SENNHEISER SHURE ZOOM OTHER (ADD-ON MICS) (A dd-On Mics) Zoom XYH-5 (XY Mic) Zoom XYH-6 (XY Mic) Zoom MSH-6 (Mid-Side Mic) Zoom SGH-6 (Shotgun Mic) Zoom SSH-6 (Stereo Shotgun Mic) COMICA Comica CLOS E VLOG BOOM C o m ica VM2 0 Comica VM30 (Wireless Shotgun) Comica VM40 ( Wireless Shotgun) Comica CVM-M-O1 (Lavalier) RODE Rode Rode Lavalier ii Rode Lavalier Go (Not Reco mmended) Rode VideoMic (Not Recommended) Rode VideoMic Pro (Not Recommended) CLOSE VLOG BOOM Rode VideoMic Pro R Rode VideoMic Pro+ Rode VideoMicro (Not Recommended) SARAMONIC Saramonic LAV Saramonic SR-M1W (for Blin k 500) CL OSE VLOG BOOM Saramonic SR-VM4 Saramonic VMIC SENNHEISER Sennheiser Sennheiser Professional MKE 400 SHURE Shure CL OSE VLOG BOOM Shure VP83 LensHopper ZOOM Zoom Zoom LMF-1 (Lavalier) Zoom LMF-2 (Lavalier) OTHER Other LAV 7RYMS Lavalier (for iRAY DW30) LAV JK MIC-J 017 (Lavalier) CLOSE VLOG BOOM Takstar SGC-598 CLOS E VLOG BOOM Takstar SGC-600 Xvive LV1 (Lavalier) Xvive LV2 (Lavalier) GAFFER TAPE SUPPLIED BY REMEMBER TO "REFRESH" PAGE TO SEE NEW DATA

This is my preferred #2 camera (the G85 being my primary). The image from this camera matches the Panasonic G85 perfectly, and so the settings I use are almost always the same. The screen is one of the most accurate I have ever used (and is good enough to make focus, exposure and even color judgements). CAMERAS Panasonic GX85 (Keep in mind, the settings below are specific to this camera, paired with each lens listed below.) This is my preferred #2 camera (the G85 being my primary). The image from this camera matches the Panasonic G85 perfectly, and so the settings I use are almost always the same. The screen is one of the most accurate I have ever used (and is good enough to make focus, exposure and even color judgements). See YouTube Playlist CANON NIKON OLYMPUS PANASONIC SIGMA TAMRON TOKINA MISC. & M42 CANON Canon [FD] DB Canon FD 50 1.4 S.S.C. DB Canon FD 50 1.4 S.S.C. ii DB SETTING S Canon FDn 50 1.4 SETTINGS Canon FD n 50 1.8 + B OOST Canon [EF] DB Canon 50 1.8 DB SETTINGS Canon 50 1.8 ii + BOOST DB Canon 50 1.8 STM DB SETTINGS Canon 70-200 2.8 + BOOST DB Canon 75-300 DB Canon 75-300 ii DB Canon 75-300 iii DB Canon 75-300 iii USM NIKON Nikon [F] DB SETTINGS Nikon 18-55 D B SETTINGS Nikon 18-55 ii DB Nikon 18-55 VR +BOOST DB Nikon 18-55 VR ii DB SETTINGS Nikon 18-70 DB Nikon 18-105 3.5-5.6 DB Nikon 18-140 3.5-5.6 DB Nikon 18-300 3.5-6.3 DB Nikon 35 1.8 G DX DB SETTINGS Nikon 50 1.8 AIS +BOOST DB SETTINGS Nikon 50 1.4 D DB SETTINGS Nikon 50 1.8 D DB SETTINGS Nikon 50 1.8 G +BOOST DB Nikon 55-200 DB SETTINGS Nikon 55-200 VR DB Nikon 55-200 VR ii DB Nikon 70-210 4 E DB Nikon 80-200 4 AIS Nikon 70-300 D DB SETTINGS Nikon 70-300 ED Nikon 70-300 G Nikon 70-300 P DB SETTINGS Nikon 80-200 2.8 E D +BOOST DB Nikon 80-2 00 2.8D ED (opt ics same as v1) DB Nikon 80-200 2.8D IF-ED (optics same as v1) OLYMPUS Olympus Olympus 12-50 3.5-6.3 Olympus 14-42 EZ Olympus 14-42 ii R Olympus 25 1.8 Olympus 40-150 4-5.6 Olympus 40-150 4-5.6 R Olympus 60 2.8 MACRO PANASONIC Panasonic SETTINGS Panas onic 12-32 3.5-5.6 (No MF) SETTINGS LUTs Panasonic 12-60 3.5-5.6 Panasonic 14-42 PZ Panasonic 14-42 SETT INGS Panasonic 14-42 ii Panasonic 14-42 iii Panasonic 25 1.4 Panasonic 25 1.4 ii SETTINGS Panasonic 25 1.7 Panasonic 30 2.8 MACRO SETTINGS LUT Panasonic 45-150 4-5.6 Panasonic 45-200 4-5.6 Panasonic 100-300 4-5.6 SIGMA Sigma DB SETTING S Sigma 17-50 2.8 + BOOST SETTINGS Sigma 18-50 2.8 EX DB SETTINGS LUT Sigma 18-35 1.8 DB Sigma 70-300 D +BOOST Sigma 70-300 DG Sigma 70-300 APO DG SETTINGS Sigma 75-300 4.5-5.6 SETTINGS Sigma 75-300 4-5.6 DL TAMRON Tamron DB Tamron 17-50 2.8 DB SETTIN GS Tamron 17-50 2.8 VC DB SETTINGS Tamron 70-300 LD Di DB SETTINGS Tamron 75-300 LD TOKINA Tokina DB Tokina 11-16 2.8 (optics same as v2) DB SETTING S Tokina 11-16 2.8 ii D B Tokina 12-24 4 DB Tokina 12-24 4 ii (optics same as v1) MISC. & M42 Misc. & M42 D B Asahi Super-Takumar 50 1.4 DB SETTIN GS Asahi Super-Takumar 50 1.4 ii DB Asahi Super-Multi-Coated Takumar 50 1.4 DB Asahi SMC Takumar 50 1.4 SETTINGS Kiron 28-85 2.8-3.8 DB Konica Hexanon AR 40 1.8 DB Konica Hexanon AR 50 1.4 DB Konica Hexanon AR 50 1.4 ii DB Konica Hexanon AR 50 1.7 DB Konica Hexanon AR 50 1.7 ii DB Konica Hexanon AR 50 1.8 SETTINGS Minolta AF 50 1.7 SETTINGS Minolta AF 50 1.7 ii SETTINGS No vo f le x 1 05 4 B E LLOW S + BOOST SETTINGS Promaster 70-300 Qu antaray 70-300 4-5.6 LD Qu antaray 70-300 4-5.6 LDO Sakar 70-300 5.6 +BOOST SETTINGS Pentax Bellows-Takumar 100 4.0 SMC Pentax Bellows-Takumar 100 4.0 SETTINGS Vivitar Series 1 70-210 3.5 Vivitar Series 1 70-210 2.8-4 INFO KEY: DB = More lens data at lens-db.com LENS FILTER KEY: SETTINGS or BARE = Unfiltered UV = UV Filter ND8 = Neutral Density (and #) VND = Variable Neutral Density CPL = Circular Polarizer BPM = Tiffen Black Pro-Mist® GG = Tiffen Glimmerglass® LENS ADAPTER KEY: + ADAPTER = Standard adapter (no optics, etc.) +BELLOWS = Macro bellows (plus adapter) +BOOST = Speed booster (i.e. focal reducer) +HELICOID = Macro helicoid (expands in/out) +SHIFT = Perspective control adapter (i.e. shift) +TILT = Tilt adapter (angles focus plane) +TILT/SHIFT = Focus plane, perspective control Read: " How I Adapt Old Lenses (for Micro Four Thirds) " REMEMBER TO "REFRESH" PAGE TO SEE NEW DATA

I love to help people (from beginners to "old" photographers alike) discover that photography and video can be easy...and affordable! TOP 10 TIPS Our Top Photo & Video Production Tips! Video Production ALWAYS SHOOT WITH (AT LEAST) TWO CAMERAS TIP #001 PRO ACCESS Good cameras are not very expensive these days, so one thing you can do to be more productive is to always roll with at least 2. Video Production USE 2 OF THE SAME CAMERA (OR LENS-SENSOR SETTINGS) TIP #002 PRO ACCESS Using two of the same camera (or two with the same color science) is the easiest way to make the colors match between cameras (less work in post-production.) Video Production START WITH A MINIMAL KIT (THEN GO BASIC & ADVANCED) TIP #003 PRO ACCESS Here's the way I would go about building up a kit if you aren't rich, but want to follow the "Always shoot with 2 cameras" method. Get a 2nd camera going, even if it's just a GoPro, at first. Video Production ALWAYS BACK UP YOUR AUDIO (USING A PASSTHROUGH) TIP #004 PRO ACCESS We all know that good audio is almost as important as good video, so make sure to stay backed up (an easy way is using a Zoom H1e as a passthrough.) Video Production ALWAYS BACK UP YOUR VIDEO (2 CAMERAS, ATOMOS, ETC.) TIP #005 PRO ACCESS There’s no greater disaster then being in the right place, at the right time, but not getting the shot! One great backup is using an HDMI recorder! Video Production USE "T-LIGHTING" (NOT 3-POINT LIGHTING) TIP #006 PRO ACCESS I use T-Lighting because it’s faster to set up and less expensive than 3-point lighting (and yields similar results!) T-Lighting is much more versatile because it can be used in spaces with low ceilings. Photography & Video Production MAKE IT EASY ENOUGH TO DO WHEN YOU'RE STRESSED TIP #007 PRO ACCESS I take this tip seriously, because I've been through the "burnout" stuff. Yet, if you make your production methods simple, you always have them to fall back on when you’re too stressed to think. Photography & Video Production SMALLER GEAR MEANS A SMALLER PACK TIP #008 PRO ACCESS Portability is the main reason I prefer compact gear, but there are cost and speed reasons as well, especially if you're setting up and tearing down all by yourself. Photography & Video Production MAKE ONLY ONE TRIP TO THE CAR (AND 1 BACK) TIP #009 PRO ACCESS This tip is all about security and avoiding getting robbed when you put gear in your vehicle...but it also really speeds up setup and teardown! Photography & Video Production USE P-A-C GEAR (PORTABLE, AFFORDABLE, COMMON) TIP #010 PRO ACCESS If you do lose everything for some reason (theft, financial reasons, etc.) this tip makes it much easier to rebuild a budget filmmaking kit.

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You can't afford to get dirt (or even dust) on a camera's sensor...because even a single speck (in the wrong place) can create a black spot on every frame...and it's not always easy "fix it in post" (it's much easier to fix still photos, but is time (and computer processor) intensive fix it for VIDEO! So, what I do is use a special cloth from Norwex to wipe the barrel of each lens before putting them into my bag or backpack. CAMERA SENSOR WARNING: KEEP IT CLEAN DIRT CAN RUIN AN ENTIRE PHOTO SHOOT... You can't afford to get dirt (or even dust) on a camera's sensor...because even a single speck (in the wrong place) can create a black spot on every frame...and it's not always easy "fix it in post". It's much easier to fix still photos, but is time (and computer processor) intensive to fix VIDEO! So, what I do is use a special cloth from Norwex to wipe down camera gear, before putting it back into the backpack. The reason a Norwex cloth is a good thing, is it has SILVER in it which fights mold and bacteria growth (but that's another story ). Sort by CATEGORY CLEANING CLOTHS LEARN MORE KEEP IT CLEAN Plush version of Norwex cloth (better if cameras got wet) This is the cloth we use to wipe down cameras after being outdoors in the rain, because this thicker material can absorb more moisture. We use a different one (that is thinner) when the weather is dry. Both of them have BacLock in the fabric. BacLock is an antimicrobial agent "solely intended to protect and self-clean the cloth by inhibiting growth of odor-causing bacteria, mold and mildew. BacLock does not protect people from disease-causing pathogens". Also, we use a different cloth for the lens glass/optics. CLEANING CLOTHS LEARN MORE KEEP IT CLEAN The cloth we use to dust/wipe down cameras (dry weather) We use these to wipe down camera gear after it's been used outdoors...in dry weather (and you can use the plush ones too but they take up more space in the camera bag). These have BacLock too "which is an antimicrobial agent solely intended to protect and self-clean the cloth by inhibiting growth of odor-causing bacteria, mold and mildew. BacLock does not protect people from disease-causing pathogens" (sorry for the disclaimers). Keep in mind, we use a different cloth for the lens glass/optics.

These days, you can certainly get good quality from budget gear...as long as you' have the right KIT, the right METHODS and the right SETTINGS. These 3 plans all follow my #1 tip that makes budget filmmaking easier ("Always Shoot with 2 Cameras"). The kits are focused on making sure you can capture "3 Simple Shots" and use custom settings (for CAMERAS and AUDIO) to keep the quality up (so you shoot and edit fast). MINIMAL KIT BASIC KIT ADVANCED KIT These days, you can certainly get good quality from budget gear...as long as you' have the right KIT, the right METHODS and the right SETTINGS. These 3 plans all follow my #1 tip that makes budget filmmaking easier ("Always Shoot with 2 Cameras" ). The kits are focused on making sure you can capture "3 Simple Shots " and use custom settings (for CAMERAS and AUDIO ) to keep the quality up (so you shoot and edit fast). My "Minimal Kit " is the easiest (and least expensive) the "Basic Kit " is more expensive (and takes more practice) and the "Advanced Kit " is a few steps above those.

This camera is good for leaving in the studio, but I don't like using it in the field. The lack of IBIS (In-Body Image Stabilization) means you need a larger, heavier tripod (or gimbal) to use it effectively. Also, the inaccurate screen isn't a good tool for beginners who need to make exposure and other image judgements using it (instead of an external monitor). CAMERAS Panasonic G7 (Keep in mind, the settings below are specific to this camera, paired with each lens listed below.) This camera is good for leaving in the studio, but I don't like using it in the field. The lack of IBIS (In-Body Image Stabilization) means you need a larger, heavier tripod (or gimbal) to use it effectively. Also, the inaccurate screen isn't a good tool for beginners who need to make exposure and other image judgements using it (instead of an external monitor). See YouTube Playlist CANON NIKON OLYMPUS PANASONIC SIGMA TAMRON TOKINA MISC. & M42 CANON Canon [FD] DB Canon FD 50 1.4 S.S.C. DB Canon FD 50 1.4 S.S.C. ii D B SETTINGS Canon FD 50 1.4 Canon [EF] DB Canon 50 1.8 DB SETTINGS Canon 50 1.8 ii +BOOST DB Canon 50 1.8 STM DB SETTINGS Canon 70-200 2.8 +BOOST DB Canon 75-300 DB Canon 75-300 ii DB Canon 75-300 iii DB Canon 75-300 iii USM NIKON Nikon [F] DB SETTING S Nikon 18-55 DB Nikon 18-55 ii DB Nikon 18-55 VR DB Nikon 18-55 VR ii DB SETTINGS Nikon 18-70 DB Nikon 18-105 3.5-5.6 DB Nikon 18-140 3.5-5.6 DB Nikon 18-300 3.5-6.3 DB Nikon 35 1.8 G DX DB SETTINGS Nikon 50 1.8 AIS + BOOST DB SETTINGS Nikon 50 1.4 D DB SETTINGS Nikon 50 1.8 D + BOOST DB SETTINGS Nikon 50 1.8 D +HELICOID DB SETTINGS Nikon 50 1.8 G + BOOST DB SETTINGS Nikon 55-200 VR DB Nikon 55-200 VR ii DB Nikon 70-210 4 E DB SETTINGS Nikon 80-200 4 AIS +BOOST Nikon 70-300 D DB SETTINGS Nikon 70-300 ED Nikon 70-300 G Nikon 70-30 0 P DB SETTINGS Nikon 80-200 2.8 ED + BOOST DB Nikon 80-2 00 2.8D ED (opt ics same as v1) DB Nikon 80-200 2.8D IF-ED (optics same as v1) OLYMPUS Olympus Olympus 12-50 3.5-6.3 Olympus 14-42 EZ Olympus 14-42 ii R Olympus 25 1.8 Olympus 40-150 4-5.6 R Olympus 60 2.8 MACRO PANASONIC Panasonic Panasonic 12-32 3.5-5.6 (No Manual Focus) Panasonic 12-60 3.5-5.6 Panasonic 14-42 PZ Panasonic 14-42 SETTING S Panasonic 14-42 ii Panasonic 14-42 iii Panasonic 25 1.4 Panasonic 25 1.4 ii SETTINGS LUT Panasonic 25 1.7 Panasonic 30 2.8 MACRO SETTINGS LUT Panasonic 45-150 4-5.6 Panasonic 45-200 4-5.6 Panasonic 100-300 4-5.6 SIGMA Sigma D B SETTING S Sigma 17-50 2.8 + BOOST Sigma 18-50 2.8 EX DB SETTINGS Sigma 18-35 1.8 DB SETTINGS Sigma 18-35 1.8 + BOOST Sigma 50 2.8 MACRO DB Sigma 70-300 D + BOOST Sigma 70-300 DL Sigma 70-300 DG Sigma 70-300 APO DG TAMRON Tamron DB Tamron 17-50 2.8 DB Tamron 17-50 2.8 VC DB SETTIN GS LUT Tamron 70-300 LD Di DB Tamron 75-300 LD TOKINA Tokina DB Tokina 11-16 2.8 (optics same as v2) DB SETTINGS T okina 11-16 2.8 ii D B Tokina 12-24 4 DB Tokina 12-24 4 ii (optics same as v1) MISC. & M42 Misc. & M42 DB Pentax Super-Takumar 50 1.4 DB SETTINGS Pentax Super-Takumar 50 1.4 ii DB Asahi Super-Multi-Coated Takumar 50 1.4 DB Asahi SMC Takumar 50 1.4 Kiron 28-85 2.8-3.8 DB Konica Hexanon AR 40 1.8 DB Konica Hexanon AR 50 1.4 DB Konica Hexanon AR 50 1.4 ii DB Konica Hexanon AR 50 1.7 DB Konica Hexanon AR 50 1.7 ii DB Konica Hexanon AR 50 1.8 SETTINGS Minolta AF 50 1.7 SETTINGS Min ol ta A F 50 1.7 ii SETT INGS Mi no lt a M D 50 1.7 SETTINGS Promaster 70-300 Sakar 70-300 5.6 + BOOST Pentax Bellows-Takumar 100 4.0 SMC Pentax Bellows -Takumar 100 4.0 SETTINGS Qu antaray 70-300 4-5.6 LD Qu antaray 70-300 4-5.6 LDO Vivitar Series 1 70-210 3.5 Vivitar Series 1 70-210 2.8-4 INFO KEY: DB = More lens data at lens-db.com LENS FILTER KEY: SETTINGS or BARE = Unfiltered UV = UV Filter ND8 = Neutral Density (and #) VND = Variable Neutral Density CPL = Circular Polarizer BPM = Tiffen Black Pro-Mist® GG = Tiffen Glimmerglass® LENS ADAPTER KEY: + ADAPTER = Standard adapter (no optics, etc.) +BELLOWS = Macro bellows (plus adapter) +BOOST = Speed booster (i.e. focal reducer) +HELICOID = Macro helicoid (expands in/out) +SHIFT = Perspective control adapter (i.e. shift) +TILT = Tilt adapter (angles focus plane) +TILT/SHIFT = Focus plane, perspective control Read: " How I Adapt Old Lenses (for Micro Four Thirds) " REMEMBER TO "REFRESH" PAGE TO SEE NEW DATA

Have you ever wondered if any of those inexpensive 1536kbps audio recorders on Amazon (and Ebay) are any good? Good news: a few of them are hidden jewels. The only reason these are on a separate page, is they are not straightforward to use, but these recorders can become great tools, with a few workarounds. Budget Filmmaking GENERIC AUDIO MY CUSTOM SETTINGS Generic Audio (Recorders) Are there inexpensive audio recorders that are good? I've found a few. The first thing I look for (besides 1536kbps) is a good audio meter that shows "-12" to see the level even though these don't often have gain controls. Then, I make sure they can take a memory card, as some don't connect to computers well (to transfer files). Also, some are not straightforward and must use the "Line-In" mode (not "Microphone" mode) to get a clean signal as plugging in an input DOES NOT mute the built-in mics. Budget Filmmaking GENERIC AUDIO Aiworth E-36 This recorder has a couple of major quirks, but it can be a pretty good recorder with a few workarounds. The first quirk is that it has is the "microphone" input mode DOES NOT MUTE the built-in mics! This means that when you plug in an external mic, you'll still be recording using the built-in mics at the same time! This not only means you won't get the isolation you were looking for (by using an external mic) but also that you'll get handling noise while recording. The workaround is to use the LINE-IN mode. I know, this is strange, but this problem exists on every one of these units I've tested (except for the Evistr, but I still don't use the microphone input mode because the amplification isn't clean). TESTING... AMAZON* #ad EBAY* #ad OFFER UP* *Most of these are product-specific affiliate links, but EBAY and OFFER UP simply initiate a "search". Budget Filmmaking GENERIC AUDIO THE PERFECT PART (1536Kbps ATJ2129) This recorder is probably one of my favorite budget AUDIO tools out there, and the good news is it's quite popular on Ebay (and can even be found on Amazon, without Prime shipping, in my region at least). This recorder records at 1536Kbps using the ATJ2129 pen chip, and is really small (compared to most Zoom recorders) but it's the biggest of those listed on this page. The good thing about this being bigger, is that it has a bigger screen, though still I find the screen a little bit difficult to see (viewing angle issues) but it has the standard audio level indicator with a -12 designation, so I'm happy. TESTING... AMAZON* #ad EBAY* #ad OFFER UP* *Most of these are product-specific affiliate links, but EBAY and OFFER UP simply initiate a "search". Budget Filmmaking GENERIC AUDIO Yulass (My favorite, but out of stock!) This was the first audio recorder of this kind I tested, and it's my favorite. Unfortunately, they're out of stock on Amazon, and I can't find it anywhere else. The what like is that it has amazing battery life (I ran it for 16 hours, and it was not even half drained) and the record level is higher in "Line-In" mode than most of these other recorders. It has the same problem with the "microphone" mode not muting the built-in mics when and external microphone is plugged in, but the level on the line-in mode is pretty good. Additionally, the audio quality from this one seems better than others of this type. TESTING... AMAZON* #ad EBAY* #ad OFFER UP* *Most of these are product-specific affiliate links, but EBAY and OFFER UP simply initiate a "search". ALWAYS CHECK THE "USED" MARKET!

Since this website is all about saving money by getting the film look with cheap cameras these memes mostly focus on the low budget photo & video culture...as well as a few other jokes. REAL MEMES Here are some REAL interesting takes... Go to link Go to link 1/1 GAFFER TAPE SUPPLIED BY

Since this website is all about saving money by getting the film look with cheap filmmaking cameras (even though I "always shoot with 2 cameras") my memes mostly focus on the low budget filmmaking culture...as well as a few "former photographer" jokes. REAL VIDEOS A few of our 100% REAL (no-A.I.) videos! COLOR (LUTs & Settings) COLOR (LUTs & Settings) Play Video Share Whole Channel This Video Facebook Twitter Pinterest Tumblr Copy Link Link Copied Now Playing Nikon 70-300 4-5.6 D ED (Panasonic GH4) CINELIKE D -1+5+5-2 02:03 Play Video Now Playing Promaster 70-300 4-5.6 (Panasonic GH4) NATURAL -4+1+4-1 PARFOCAL TEST 01:45 Play Video Now Playing Panasonic GX85 with Nikon 70-300 4-5.6 AF-S (ED) NATURAL -3-3+4-1 01:24 Play Video Now Playing Minolta AF 50 1.7 (Panasonic GX85) NATURAL -0-0-0-0 vs. -2-2+5-0 + LUT 01:40 Play Video Now Playing Promaster 70-300 4-5.6 (Panasonic GH4) NATURAL -0-0-0-0 vs. -4+1+4-1 + LUT (THINGS) 4K 01:01 Play Video Now Playing Promaster 70-300 4-5.6 (Panasonic GH4) NATURAL -0-0-0-0 vs. -4+1+4-1 + LUT (PLACES) 01:03 Play Video Now Playing Canon FDn 50 1.4 (Panasonic G7) NATURAL -0-0-0-0 vs. -3+2+4-2 01:02 Play Video Now Playing Pentax Bellows-Takumar 100 4.0 (Panasonic GX85) 01:27 Play Video Now Playing LUMIX Lens-Sensor Settings 00:43 Play Video Now Playing Lens-Sensor Specific SETTINGS 06:34 Play Video Now Playing Pentax Super-Takumar 50 1.4 ii (Panasonic GH4) THINGS White Hydrangea 01:51 Play Video Now Playing Pentax Super-Takumar 50 1.4 ii (Panasonic GH4) Lens-Sensor SETTINGS (PLACES) 01:49 Play Video Now Playing Sigma 18-35 1.8 (Panasonic G7) CINELIKE D -0-0-0-0 vs. -2-3+3+1 REMASTERED 01:54 Play Video Now Playing Nikon 70-300 4-5.6 D ED (Panasonic GH4) CINELIKE D -0-0-0-0 vs. -1+5+5-2 + LUT 01:35 Play Video Now Playing Tilt Shift Lens for Micro Four Thirds? Adapter for Nikon 18-55 (Panasonic GX85) 01:34 Play Video Now Playing Panasonic G7 with Nikon 80-200 4 AIS 00:33 Play Video GAFFER TAPE SUPPLIED BY