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In December 2025, a rainstorm caused us to lose power for almost the whole day. Yet, we had purchased a couple of big camping batteries (from Black Friday sales) as well as phone chargers and a some LED video lights (for the video production kits) as well. Two of the camping batteries had the UPS function, and we were able to keep both computers and internet, plus phones, and ourselves going most of the day...without all that backup power stuff, it would have been a very unproductive day. UV BEWARE (& BE AWARE) WHAT IS UV LIGHT AND WHY DOES IT MATTER? Every photographer probably has some exposure (no pun intended) to UV light. For example, the cheapest lens filters are the UV filters, and they've been purchased as "protection" for years. The thing is, most pro photographers don't even use UV filters! So, is there anything we really should learn about UV? Sort by CATEGORY TEST, TEST 2, TEST 3 LEARN MORE UV Can UV clean your phone (and credit cards)? What can we say about what's in this paragraph? Well, we can say a lot, but don't say too much, or they won't read it!

We think we discovered a way to get more perceived dynamic range from certain budget filmmaking cameras. The key is to use lens-sensor specific picture profile settings. The reason this works is these settings are being applied in REAL-TIME (before the image data is compressed and saved) and therefore it's sort of like adjusting RAW VIDEO files. Our Method: HOW TO USE LENS-SENSOR SETTINGS (& LUTs) WHY WE LOVE "LENS-SENSOR" SETTINGS (& LUTs ) We believe we've discovered a way to get more "perceived" dynamic range from certain budget hybrid cameras . The key is to use lens-sensor specific picture profile settings. The reason this works is these settings are being applied in REAL-TIME (before the image data is compressed and saved) and therefore it's sort of like adjusting the RAW video. I learned this as I was testing a bunch of low-budget ($600 or less) cameras (with every lens I could afford) while hunting for the film look. I started taking notes of film look settings for every lens and camera. I ended up documenting so many lens-sensor combinations, that I had to create this website (to be able to look up the settings quickly). Now, I use these settings almost every time I shoot (it makes files a lot easier to work with in post)! STEP 1 CHOOSE YOUR CAMERA START BY GOING TO THE CAMERAS PAGE (FROM THE TOP NAVIGATION BAR) The first step is to find the camera you use. To do this, click on "CAMERAS " (from the top navigation bar on this website). There's also a link from the ABOUT page (just click the "SEE SETTINGS" button). THEN, CLICK ON YOUR CAMERA (OR CLICK THE "SEE SETTINGS" BUTTON) Once you're on the CAMERAS page, you can click on either the picture of your camera (at the top) or scroll down to the notes about each camera, and then click the "SEE SETTINGS" button. OR ENTER THE CAMERA NAME IN THE SEARCH BAR (AT TOP OF WEBSITE) Another way to see the settings for a specific lens-sensor combo is to enter the CAMERA & LENS name into the "SEARCH" bar (the orange oval at top right of the website). STEP 2 FIND YOUR LENS WHEN YOU'RE ON YOUR CAMERA'S PAGE, SCROLL DOWN TO FIND YOUR LENS Once you get to your camera's page, the lenses are listed by brand (and you can click on the brand name to go to that section). Find your lens in the list and then click on the “SETTINGS” button. NOTE: Some of the lenses have optional settings for using FILTERS. These are marked differently (so see the filter key, at the bottom of each camera's page). OR ENTER THE LENS NAME IN THE SEARCH BAR (AT TOP OF WEBSITE) Another way to find a specific lens-sensor combo is to search for the LENS name (by typing in the brand name and focal length) using the "SEARCH" bar or the SEARCH page. It can also be good to enter the name of the camera in the search (makes it faster). STEP 3 USE "LENS-SENSOR" SETTINGS (WHILE RECORDING) ENTER THE CUSTOM "LENS-SENSOR" SETTINGS (IN THE PICTURE PROFILE) This is the most important step, and it's easy (as long as you pick the right settings for your camera/lens combo). Most of the settings are accessed through the picture profile, but some are in other places. START SHOOTING, ENJOY HOW EASY IT IS TO GET THE EXPOSURE RIGHT! This part is kind of difficult to explain unless you've tried it. The short story is, it's easier to judge the exposure when using custom (lens-sensor specific) settings because what you're looking at is WYSIWYG . IF YOU SWITCH LENSES, SWITCH SETTINGS (AND SAVE CUSTOM SETTINGS) This is probably the most difficult part of my whole process (because you have to change settings every time you change lenses) but it's actually pretty easy and fast to do. The other option is to save custom settings in your camera. STEP 4 DOWNLOAD & APPLY THE LUT (*UNLESS IT'S GOOD SOOC ) BUY AND DOWNLOAD THE "LENS-SENSOR" LUT (FROM THE LUTS PAGE) You can download the lens-sensor LUT from the LUTs page but just remember, you'll need to use the custom "lens-sensor" CAMERA SETTINGS (while you're shooting) to make them work. APPLY THE "LENS-SENSOR" LUT (USING YOUR VIDEO EDITOR OF CHOICE) Apply the LUT to your clips using whatever video editor you use (as long as it supports LUTs). If you're editing shots from multiple cameras make sure to use the right LUT (specific to that lens & camera). *SOMETIMES THE SOOC SHOT IS GOOD ENOUGH (AND NO LUT IS NEEDED!) My goal is to make "lens-sensor specific" camera settings that are good enough to work WITHOUT a LUT (the SOOC workflow) yet sometimes I do create a lens-sensor LUT if the image needs work. STEP 5 SHARE THIS (IF YOU LIKE IT) Facebook X (Twitter) LinkedIn Pinterest Copy link MY GOAL IS TO MAKE BUDGET FILMMAKING CAMERAS LOOK BETTER! When I started this website, my goal was to make it easier for me to get the "film look" with the budget filmmaking cameras I was using (the Panasonic GH4 , G7 , FZ1000 , GX85 and G85 ). I soon realized the "secret sauce" was to use custom (lens-sensor specific) settings, and sometimes to add a LUT . I now use these settings every time I shoot, and I feel good about how easy these files are to work with in post...yet it's even better when I can go SOOC (and not have to spend any time color grading).

For years, I searched for the perfect lens-sensor combination; a lens and camera duo that would produce a beautiful image with few adjustments and little post processing. It would look "100% REAL" straight out of camera, and be everything I needed and wanted in a camera system. However as I tested each pair, they all told a different story and would deliver light to the sensor differently. ABOUT THE STORY OF "LENS-SENSOR RECIPES" For years, I had searched for the perfect lens-sensor combination; a lens and camera duo that would produce a beautiful image with few adjustments and little post-processing. It would look 100% REAL straight out of camera (SOOC ) and therefore be everything I needed and wanted in a camera system. However, as I tested each pair, they all told a different story and would deliver light to the sensor differently. So, I began tweaking settings, jotting down notes (on index cards) for each lens-sensor combination I tried. As I continued to test more and more lenses, I realized I needed a database to access my settings quickly (each time I changed lenses). Finally, I created this website... LENS-SENSOR SETTINGS PART 1 WHY USE "LENS-SENSOR" RECIPES & LUTS ? This is your About section. Every website has a story and users want to hear yours. This is a great opportunity to give a full background on who you are and what your site has to offer. Double click on the text box to edit the content and add all the information you want to share. You may like to talk about how you got started and share your professional journey. Explain your core values, your commitment to customers and how you stand out from the crowd. You can also add a photo, gallery or video for even more engagement. F.A.Q. General1 General5 General7 General9 General11 General15 General17 General20 General23 General25 EXTREME WIDE LIGHTS STOCK (NON-REMOVABLE LENS) [XLS] Extreme Long Shot (EXTREME WIDE) [XLS] Extreme Long Shot (EXTREME WIDE) WIDE SHOT [LS] Long Shot (WIDE) WIDE CUSTOM (STUDIO) CAMERAS [LS] Long Shot (WIDE) (FULL BODY) [FS] Full Shot (FULL BODY) AUDIO [FS] Full Shot (FULL BODY) (WAIST UP) [MS] Medium Shot (WAIST UP) PROPS [MS] Medium Shot (WAIST UP) UNCATEGORIZED [MCU] Medium Close-Up (SHOULDERS UP) [MCU] Medium Close-Up (SHOULDERS UP) (SHOULDERS UP) [CU] Close-Up (FACE & NECK) [CU] Close-Up (FACE & NECK) (FACE & NECK) [ECU] Extreme Close-Up (MACRO) [ECU] Extreme Close-Up (MACRO) MACRO Why? The main reason I always shoot with 2 cameras is it provides 2 simultaneous shots (wide & tight) to the editor (so they can switch from the wide to the tight shot at ANY time during editing). Another reason is, it keeps you from having to do several takes (one for wide, one for tight, etc.) which saves time, and is abosolutely essential if you are covering a real-life situation. How do I shoot with 2 cameras all of the time? HOW TO: 1. (MINIMAL) Attach a cell phone (using a hot-shoe mount)(https://amzn.to/2ZWyB8a) to the top of my camera. 2. (BASIC) Mount 2 cameras on one camera cage (such as this one here)(https://amzn.to/2RqXUKH) and use a prime lens for the tight/medium shot and a lightweight kit lens for the wide shot. 3. (ADVANCED) If you want to get really tricky, you can even use an HDMI switcher with your monitor or HDMI recorder (Atomos, etc.) and capture to either camera. How do I compose both cameras when they are on the same camera cage? HOW TO: 1. I use a ball head to mount the top camera, which is typically the tight shot. 2. Then, I mount the main camera (typically the wide shot) on the bottom (in the normal mounting position of the camera cage). 3. Then, compose for the camera on the bottom, and adjust the ball head to compose the camera on top (after you get the first camera set). • NOTE: I find that composing the wide shot first is easier, then follow up with the tight (or medium) shot. My cameras are really big, so how do I mount 2 of them on a camera cage?" If you have 2 RED cameras or something else really big, I'm sorry; you won't be able to apply this tip. In your situation, you'll probably need 2 tripods (really big ones) and 2 operators. Be encouraged though, as good cameras are getting smaller, and you might be able to "lighten your load" some day soon! PART 2 HOW TO USE LENS-SENSOR RECIPES & LUTS 1 CHOOSE YOUR CAMERA 2 FIND YOUR LENS 3 USE "LENS-SENSOR" SETTINGS 4 DOWNLOAD & APPLY THE LUT (UNLESS SOOC ) 5 SHARE THIS (IF YOU LIKE IT)

I'm making "microphone-specific" EQs because there're a lot of affordable mics out there that COULD sound really good, with a little EQ. If you're interested in a way to improve your audio for filmmaking on a budget, check it out on my podcast. HOW TO USE "MIC-SPECIFIC" EQs STEP 1 VISIT THE EQs PAGE NAVIGATE TO THE "EQs" PAGE (FROM TOP BAR) To get started using lens-sensor LUTS, go to the "LUTS" page (as seen on the top bar of my website). (OR) CLICK THIS LINK: silverlightphotoco.com/eqs You can also just type in the URL shown above to get there... STEP 2 SEARCH FOR YOUR MICROPHONE (& AUDIO RECORDER) FIRST, SEARCH FOR YOUR MICROPHONE... The easiest way to find a specific microphone is to enter its name into the "SEARCH" bar (at top of this website). ...THEN SELECT THE EQ FOR YOUR RECORDER. After finding the right microphone, make sure to select the EQ file that mentions your audio recorder (it will be in big WHITE LETTERS on the EQ picture). STEP 3 USE MY "BEST AUDIO SETTINGS" (WHILE RECORDING) START BY PICKING YOUR "PROXIMITY" (DISTANCE) This is the most difficult part of the process to standardize, but I've created 3 EQ files for each microphone-recorder combination: "CLOSE", "VLOG" and "BOOM" (there's also different EQs for lav. mics). NEXT, APPLY MY "BEST AUDIO SETTINGS" (ON MIC) The microphone-specific settings often include a +10 or +20 boost, a low cut filter option (and sometimes a treble boost option, also know as a low bypass filter). ...THEN APPLY THE AUDIO RECORDER SETTINGS. This refers to the settings on the audio recorder itself, and they often include the file type, bit depth, filters (such as low pass, etc.) and then the input gain and output (headphone) settings (I use for passthrough). ALSO APPLY ANY SETTINGS FOR "ADD-ONS" The settings for "add-ons" include such things as patch cable specs, gain for portable headphone amplifier, and wireless TX/RX gain settings. STEP 4 SET THE GAIN (RECORD LEVEL) AND MONITOR THE AUDIO WHILE RECORDING, MAKE SURE TO SET THE GAIN. The gain (also called "Input Level") is a function of the audio recorder. Some audio recorders don't have a gain adjustment, but what's most important is that the audio doesn't "clip" while recording. ALSO, ALWAYS MONITOR WHILE RECORDING. It's always good to monitor your audio, even if you have a level indicator on the recorder (because there are some things you can't SEE on the meter, but you CAN hear with decent headphones). STEP 5 DOWNLOAD & APPLY THE EQ FILE (WHILE EDITING) APPLY THE EQ FILES (USING AUDACITY*) I wanted to create the EQ files in a format that everyone can access, so they're only compatible with Audacity (the FREE audio editor). To apply, simply go to "Effect/Graphic EQ/Import" and load the EQ file.

For the money, I don't currently recommend this camera if you're just getting into budget filmmaking. I've been testing this in addition to the G7, GX85 and G85, and I would spend my money on a G85, GX85 (or even a G7) before buying a GH4. The GH4 screen is so inaccurate, you need an external monitor to use it (the GX85 and G85 are better, the G7 screen okay). You can get decent results from the GH4 (especially with my custom settings) but the lack of IBIS makes it a no-go for me. CAMERAS Panasonic FZ1000 You can't change the lens on the FZ1000, so it gets a whole page! I'm now convinced the FZ1000 is a decent (budget) filmmaking tool. After over 2 years of testing, I figured out how to make it produce a "non-digital" image (using custom camera settings) which are on my website. It's a great tool to buy before buying an expensive TELE lens, especially if you're mostly using it OUTDOORS. The small 1" sensor is okay in LOW LIGHT, but it's not the best. SETTINGS GEAR BLOG TIPS TEST FOOTAGE TEST #1 TEST #2 TEST #3 SETTINGS Settings BARE Panasonic FZ1000 #ad ND8 (GOBE) Panasonic FZ1000 #ad RAYNOX DCR-150 Panasonic FZ1000 #ad GEAR Gear ND8 Filter (Gobe) #ad Raynox DCR-150 (MACRO) #ad Leather Camera Case #ad Camera Rig (Option 1) #ad Camera Rig (Option 2) #ad Camera Rig (Option 3) #ad BLOG Blog Is the FZ1000 Good for (Budget) Filmmaking? Food Photography with the FZ1000 (& App) TIPS Tips Buy It Used (In Good Condition) Don't Use In Low Light (ISO 800 max.) Use an ND8 Filter (OUTDOORS) Use My Custom Settings (without a filter) Use My Custom Settings (with a filter) Use a Camera Cage (for VIDEO) Use a Heavy Monopod (to "fly") The Panasonic Image App Is Fun (INDOORS) The Built-In Lens Is Great (Leica) It's NOT Good for Macro (Get a Raynox DCR-150 ) #ad REMEMBER TO "REFRESH" PAGE TO SEE NEW DATA

I actually came up with this system as I was creating my comic strip (and was looking for a better way to do it). It includes BOTH a PowerPoint template PLUS a PhotoShop template! Q Q UALITY Professional quality is the goal, so the KIT must be capable P P ORTABLE When the KIT is portable, it's faster for traveling (& setting up) A A FFORDABLE If you can't get the KIT none of these other things are important! C C OMMON The KIT needs to be easy to find (new or used) to replace if lost/stolen E E ASY-TO-USE If the KIT is easy to use (even under stress) you can survive! IF IT'S NOT Q-P-A-C-E IT'S NOT IN THE KIT PLANS MINIMAL KIT BASIC KIT ADVANCED KIT ABOVE: I love to help people (from beginners to "old" photographers alike) discover that filmmaking can be easy, and my 1 tip "Always shoot with (at least) two cameras" is the most important thing that makes video production easier... QUALITY THE GEAR MUST BE CAPABLE OF PRODUCING PRO CONTENT I never want the term "low-budget" to mean the quality is going to be bad. So, getting good quality is a non-negotiable aspect of my KIT PLANS . If the gear can't produce professional quality, there isn't a reason to brag about producing on a low budget! PORTABLE THE KIT SHOULD BE COMPACT (TO TRAVEL OR MOVE QUICKLY) What do I consider portable? To me, it means I can travel with the KIT by airplane. This means it will fit in 3 pieces of luggage: 1 LARGE piece (checked luggage) 1 MEDIUM piece (overhead carry-on) and 1 SMALL backpack (stored under seat on the airplane). AFFORDABLE NOTHING ELSE MATTERS, IF YOU CAN'T BUY THE GEAR If you can't get the gear, you can't do much else. So, it's important to be able to afford the KIT PLANS . With all of the good budget filmmaking LIGHTS, CAMERAS and AUDIO gear out there nowadays, I do think it's possible (it just requires good SETTINGS). COMMON GEAR NEEDS TO BE EASY TO SOURCE (NEW OR USED) If you ever need to replace items that are lost or stolen, you not only need to have enough money to buy the KIT but the products also need to be commonly available (easy to find in your local new or used market). EASY-TO-USE IT MUST BE EASY TO USE, EVEN UNDER STRESS! There are several reasons I think this is important. The first is simply that it makes it much more fun. The second, is that if you make your methods (HOW-TOs) simple enough to do under stressful conditions, they will be super easy to do when you're NOT under stress. Additionally, simple processes are much easier to teach your team. QUALITY PORTABLE AFFORDABLE COMMON EASY-TO- USE GAFFER TAPE SUPPLIED BY

My #1 AUDIO tip for budget filmmaking AUDIO is to "always back up your audio (passthrough)" one of the most important things is to have an audio recorder that is small and light enough to sit on top of the camera (or cage). So, while there are other good audio recorders out there, these are my favorite (budget) options for backing up your audio, with this system. Budget Filmmaking WIRELESS AUDIO MY CUSTOM SETTINGS Wireless Audio (Recorders) I had high hopes for this section of my website (and I was looking forward to using a lot of my mics wirelessly) and while it is turning out to be a good idea, it's only because it lists all of the mics that have problems (with RFI) when connected to these devices. Budget Filmmaking WIRELESS AUDIO 7RYMS iRAY DW30 I now only recommend wireless systems that offer on-board recording (like this one) because of the unreliable nature of some frequencies. This is one of the few wireless systems that does this, and yet it may be one of the least talked about (but it's becoming popular). I'm still testing but so far it's working pretty good (and it's a lot less expensive than the DJI and Rode options.) MY SETTINGS 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!

Long-term reviews of things I actually use. These are just my opinion and are not supposed to be comprehensive or the final say about these products. These are mostly to help me remember what items worked for me, and what didn't. So, the product may work for you and your scenario, but just wasn't "Portable, Affordable & Common" enough for me. LENS #1 THE LOWLY KIT LENS This is the lens that was designed to disappoint (to force upgrades). Nobody wants one, but everybody has one. THE CHALLENGE: Can You Survive? PROVE YOU DON'T NEED EXPENSIVE LENSES, OR THE PERFECT CAMERA TO CREATE PROFESSIONAL CONTENT! The Kit Lens You could say kit lenses were designed to encourage upgrades (because, how could we NOT love a 3.5-5.6 variable aperture lens?) Yet, let's see if we can make 'em work! They can do WIDE shots, can sort of do medium shots...but lets pass that job on to our NEXT budget lens, the Nifty Fifty . The Nifty 50 When camera companies cared about quality (and didn't force upgrades) every camera included one of these. I don't think anyone would say these aren't good, but are they good enough to produce pro work ? They are (and I've tested many). PLus, if you add a Vivitar 2x MACRO TELECONVERTER (#ad) you'll score a decent macro too! The 1990s TELE I remember the time when nobody liked these (it was when they were included in camera kits, sometime in the 1990s). What makes these great is combining them with a (2x crop sensor) Micro Four Thirds camera and you'll get all the telephoto you'll ever need , unless you shoot birds (but that's not very nice). *The goal is to survive, with only the THRIFTY 3 lenses, for 3 months. To join us, just tag your YouTube videos with #Thrifty3 Budget CAMERAS Budget CAMERAS Play Video Share Whole Channel This Video Facebook Twitter Pinterest Tumblr Copy Link Link Copied Now Playing Micro Four Thirds: The Impossible is Possible 11:22 Play Video Now Playing EXACTLY how I find camera bargains 14:12 Play Video Now Playing My Favorite Micro Four Thirds Lens: A Must-have! 17:08 Play Video Now Playing Don't feel bad 05:14 Play Video Now Playing Panasonic GH5 Review For Video Shooters 09:44 Play Video Now Playing My favorite lenses for micro 4/3 in 2025 06:04 Play Video Now Playing The Legendary Vintage Lens I Found In Tokyo (vintage shopping & street photography) 09:47 Play Video Now Playing Are filmmakers moving on from these cameras? My thoughts 08:09 Play Video Now Playing Lumix G85, a $300 camera that still crushes video 09:22 Play Video Now Playing 5 Reasons Why The Panasonic GH5 Is Still A Great Camera In 2025! 03:31 Play Video Now Playing It All Must Go 08:11 Play Video Now Playing Should you buy a MFT Camera in 2025? ft @MicroFourNerds 14:02 Play Video Now Playing You Only Need One Lens For Your Lumix GX85 And It's This One! 04:29 Play Video Now Playing Why I took the Lumix GX85 to Japan: Advantages of a Minimal Photography Setup 08:43 Play Video Now Playing Shooting Open Gate on the Panasonic GH5 | How to Shoot 6K Full Sensor on the Panasonic Lumix GH5 06:37 Play Video Now Playing Micro Four Thirds: The Professional's Guide to Adapting Lenses 11:55 Play Video Can one survive, with only the THRIFTY 3 lenses, and "affordable cameras " for 3 months?

Okay, the Zoom H1essential is now my #1 budget recommendation for an audio recorder. I used to recommend the original H1 (even when the H1n became available) but the 32-bit float feature of the H1e made it an easy decision. One underrated thing I like about the H1essential is the NUMERICAL headphone out level (perfect for a passthrough!) AUDIO Zoom H1e (Remember, these settings are specific to this audio recorder, paired to each microphone listed below.) The Zoom H1essential is now my #1 budget recommendation for an audio recorder. I used to recommend the original H1 (even when the H1n became available) but the 32-bit float feature of the H1e made it an easy decision. One underrated thing I like about the H1essential is the NUMERICAL headphone out level (perfect for a passthrough!) (BUILT-IN MIC) COMICA RODE SARAMONIC SENNHEISER SHURE ZOOM OTHER (BUILT-IN MIC) (Built-In Mic) Zoom H1n (XY Mics) COMICA Comica C omi ca VM20 (Shotgun) 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) Rode VideoMic Pro R (Not Recommended) Rode VideoMic Pro+ Rode VideoMicro (Not Recommended) SARAMONIC Saramonic S aramonic SR-M1W (for Blin k 500) Saramonic SR-VM4 Saramonic VMIC SENNHEISER Sennheiser Sennheiser Professional MKE 400 SHURE Shure Shure VP83 LensHopper ZOOM Zoom Zoom LMF-1 (Lavalier) Zoom LMF-2 (Lavalier) OTHER Other 7RYMS Lavalier (for iRAY DW30) JK MIC-J 017 (Lavalier) JK MIC-J 055 (Lavalier) Takstar SGC-598 (Shotgun) Takstar SGC-600 (Not Recommended) Xvive LV1 (Lavalier) Xvive LV2 (Lavalier) GAFFER TAPE SUPPLIED BY REMEMBER TO "REFRESH" PAGE TO SEE NEW DATA

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 PEOPLE Cinematic-Style Environmental Portraits. 5 Video Portraits (OUTDOOR) Cinematic environmental portraits pulled from video footage filmed outdoors (at one location). Read More 1 hr 165 US dollars $165 SCHEDULE 5 Video Portraits (INDOOR) Cinematic environmental portraits pulled from video footage filmed indoors (uses movie lights). Read More 1 hr 175 US dollars $175 SCHEDULE 10 Video Portraits (OUTDOOR & INDOOR) Cinematic environmental portraits, pulled from video filmed both indoors & out (2 locations total). Read More 2 hr 285 US dollars $285 SCHEDULE

My #1 AUDIO tip for budget filmmaking AUDIO is to "always back up your audio (passthrough)" one of the most important things is to have an audio recorder that is small and light enough to sit on top of the camera (or cage). So, while there are other good audio recorders out there, these are my favorite (budget) options for backing up your audio, with this system. REAL AUDIO Mic-Specific Settings for Synchronous Audio. The Custom Settings Method Zoom H1essential Zoom H1n Zoom H1 Zoom F1 Zoom F2 Budget Filmmaking AUDIO Zoom H1essential Okay, the Zoom H1essential is now my #1 budget recommendation for an audio recorder. I used to recommend the original H1 (even when the H1n became available) but the 32-bit float feature of the H1e made it an easy decision. One underrated thing I like about the H1essential is the NUMERICAL headphone out level (perfect for a passthrough!) SEE SETTINGS AMAZON* #ad EBAY* #ad OFFER UP* *The Amazon, Ebay buttons are affiliate links (#ad) but the OFFER UP link just initiates a used item search. Budget Filmmaking AUDIO Zoom H1n I actually like the older H1 (because of the numerical gain and the "lock" switch) but this recorder is small and lightweight and can be a good tool as well. Most of the time I use this as a "passthrough" to back up audio coming from an external microphone (on the way to the camera) but its stereo mics can be good for capturing "ambient" nat. sound (just make sure to use a furry windscreen). This version doesn't have a "LOCK" feature (as version 1 does) so I would so don't leave the recorder in someone's pocket, where the REC. LEVEL dial could get moved. SEE SETTINGS AMAZON* #ad EBAY* #ad OFFER UP* *The Amazon, Ebay buttons are affiliate links (#ad) but the OFFER UP link just initiates a used item search. Budget Filmmaking AUDIO Zoom H1 This is the first audio recorder I would buy. Not only does it provide a good learning experience (as opposed to getting into a 32-bit float recorder right away) but it also has a lot of features that make it a great tool to keep on hand, even when you grow out of it. The features I really like are the numerical gain control (more precise than a turn dial) single button start and stop, as well as it being small and lightweight (good to mount on a camera cage without adding much weight). SEE SETTINGS AMAZON* #ad EBAY* #ad OFFER UP* *The Amazon, Ebay buttons are affiliate links (#ad) but the OFFER UP link just initiates a used item search. Budget Filmmaking AUDIO Zoom F1 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. P.S. The battery door is a pain. SEE SETTINGS AMAZON* #ad EBAY* #ad OFFER UP* *The Amazon, Ebay buttons are affiliate links (#ad) but the OFFER UP link just initiates a used item search. Budget Filmmaking AUDIO Zoom F2 Okay, so I just got this little audio recorder (and have big plans for it). The first thing I'll say about this recorder, is that even though it records a 32-bit float file, it does NOT use dual A/D converters to capture as high of a "dynamic range" as say the Zoom F3 or F6. Having said this, I've still got a few experiments to try because I believe this thing could have a real impact on my audio workflow. (More to come on this, but you can listen to my podcast about this for a teaser.) SEE SETTINGS AMAZON* #ad EBAY* #ad OFFER UP* *The Amazon, Ebay buttons are affiliate links (#ad) but the OFFER UP link just initiates a used item search.