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INTRO: This article will cover the KIT PLANS I use for budget filmmaking AUDIO . I'll go over what I use for each of my kit levels (Minimal, Basic, Advanced). The short version is, if I only need to record audio of one person, I use my Minimal Kit (a Zoom F2 32-bit float recorder #ad + LAV mic + Comica CVM-MF1 #ad (furry windscreen). If I need to capture audio from 2 sources, I use my Basic Kit and if I need to capture audio from 3, 4 or more sources, it's my Advanced Kit . Each kit uses a simple system I call the "Proximity" method, which uses custom (mic-specific) settings that are based on the distance from the sound source, to choose my settings. So, in this article I'll go over my KIT PLANS and then I plan to cover my METHODS in the future. ABOVE:  The Zoom F2 32-bit float recorder is at the center of my kit for dialog recording. Not only can it be used with LAV mics, but it can also be used with mini (3.5mm) shotgun mics. IS BUDGET FILMMAKING AUDIO GEAR ANY GOOD? There are some budget microphones and audio recorders that are good. Some have limitations though, and that's why I created an AUDIO SETTINGS database (to save my custom settings after finding the "sweet spot" of each microphone/audio recorder combo). Budget was the first consideration, but getting good quality from the budget gear has always been my main objective. At the same time, I always try to make everything as easy as possible, so I can maintain the quality, even when I'm stressed or running low on energy. My AUDIO Kit: MINIMAL KIT: 1 LAV BASIC KIT: LAV, SHOTGUN ADVANCED KIT: LAVS, SHOTGUNS, X/Y RECORDER MINIMAL KIT 1 LAV I think the easiest way to get good audio for just one person, is to just use a Zoom F2 32-bit float recorder #ad + LAV mic + Comica CVM-MF1 #ad furry windscreen. Using this 32-bit float recorder means you don't have to set your levels. Then, adding that FURRY windscreen (otherwise known as a "deadcat") you can record either INDOORS or OUTDOORS with no worries about wind. The only thing you'll need to do is make sure you place the microphone at the correct recording distance (or proximity ) from the person's mouth. (To do this, I simply use the "hang loose" hand sign to measure the distance from the mic to the persons mouth, which is about 7 inches or 17.78 cm.) MINIMAL KIT: LAV Zoom F2 #ad (or F2-BT Bluetooth) Zoom LMF-2 Lavalier (included) Comica CVM-MF1 (Furry) #ad Eneloop Pro (AAA ) #ad SanDisk Extreme PRO® #ad BASIC KIT LAV, SHOTGUN Then, for my Basic Kit I add a mini (3.5mm) shotgun mic, and another Zoom F2, but this time the Bluetooth version. This gives me the option of using either a LAV or a mini shotgun with the Zoom F2 32-bit float recorder (which works really well in my tests). It can be used on top of the camera, but I don't generally recommend doing that (even when vlogging) as using the LAV in that scenario is much more predictable. I use the shotgun mic (at my "CLOSE" proximity) for podcasting, as well as using it in the standard "BOOM" position (and sometimes even for recording ambient audio from "AFAR"). BASIC KIT: LAV Zoom F2    #ad   (w/LMF-2 Lavalier) Zoom F2-BT    #ad   (w/LMF-2) Comica CVM-MF1 (Furry) #ad (x2) Eneloop Pro (AAA ) #ad (x2) SanDisk Extreme PRO®  #ad BASIC KIT: SHOTGUN Comica VM20 #ad (Shotgun Mic) ADVANCED KIT LAVS, SHOTGUNS, X/Y RECORDER So, this is where the kit gets a little bit more complicated (though some items are just duplicated) yet when we talk about the METHOD, that's where there's going to be a lot more information to cover. I add another shotgun mic, but this time I go for the wireless version of the Comica (the VM30). I don't usually NEED the wireless option for the second shotgun mic, and I'd actually prefer to use it wired (plugged into a 32-bit float Zoom F2) but I'm open to testing the wireless version (especially since it can be a good tool for INDOOR shoots, etc.). When it comes to my "Advanced" recording method, I also like to add an X/Y (2-channel stereo or 4-channel surround) recorder to the mix, and that's why I've tested a number of budget X/Y audio recorder options as well. This allows me to add another layer of real, ambient audio to the scene. ADVANCED KIT: LAVS Zoom F2 #ad (w/LMF-2 Lavalier) Zoom F2-BT #ad (w/LMF-2) Comica CVM-MF1 #ad (Furry) (x3) Eneloop Pro (AAA ) #ad (x3) SanDisk Extreme PRO® #ad ADVANCED KIT: SHOTGUNS Comica CVM-20 #ad Comica CVM-30    #ad   (Wireless) ADVANCED KIT: X/Y RECORDER Zoom H1essential #ad ChromLives (Windscreens)  #ad   Movo SMM2 (Shock Mount) #ad  SUMMARY: So, we will get into each METHOD with additional articles (one for each kit level, etc.) but the audio KIT isn't too complicated in a lot of ways. It starts super simple, with a single 32-bit float LAV (for the Minimal Kit ) and then adds a mini shotgun mic (and additional audio recorder) in the Basic Kit and then for the Advanced Kit you simply add another shotgun mic, then a stereo (X/Y) recorder. The following ads help fund THIS BLOG  (Click one to send me money for  100% free ) I know, sometimes these ads look the same... ...But I figure if I'm trying to make money, so why not post 3  of them eh?

INTRO: When the plastic battery door latch on my Zoom F1 broke, I was almost ready to stop recommending this budget field recorder on my website (where I have a database of CUSTOM SETTINGS for budget filmmaking AUDIO gear). My first response was to grab a strip of my trusty Gaffer Power #ad gaff tape to get it working (it won't power on if the door is open). I put off dealing with it for a bit (as all good creative procrastinators do) until I remembered I had purchased the Zoom F1 at Sweetwater.com and their service department is pretty good. So, I gave them a call, they called Zoom (directly, I guess) and within the week, a little padded envelope arrived. When I looked inside, I was stoked. Inside the envelope was 2 new battery doors (yes, 2) with re-designed METAL LATCHES! I was impressed that Zoom actually recognized the weakness of the product, and re-manufactured the battery doors. My faith in Zoom was restored...and then I tried to install the new battery door, myself. ABOVE:  Zoom fixed the battery cover issue of the Zoom F1    #ad ! They actually changed the design from being a plastic battery latch TO A METAL ONE (see picture above)! I called Sweetwater.com  (where I bought it) after my original plastic battery door latch broke (after very little use) and they contacted Zoom, who mailed a replacement part in a few days! IS A BROKEN BATTERY COVER A BIG DEAL? If the battery cover on your Zoom F1 breaks you're out of luck, because it won't power on without the door closing. I do recommend doing a quick fix with black Gaffer Power gaff tape but this isn't a very convenient long-term solution. The good news is, Zoom has re-designed the battery door with a metal latch , and they will send you a new one for free. Even better, if you bought it through Sweetwater they'll contact Zoom for you, and you'll get a replacement part in a few days (depending on where you live). However, before you decide to install this yourself, let me just say that my first recommendation is you send the unit in to Zoom (so they can do it). It's not easy, and I am quite surprised I was able to do it (I'm not very good with things like this). If you want to give it a try, expect it to take 2 or 3 hours...and then get ready to get something wrong, and have to do it all over (several times). How To Replace the Battery Cover: CONTACT ZOOM (OR SWEETWATER*) ZOOM WILL MAIL YOU THE PART(S) REMOVE THE OLD DOOR (TWO SCREWS) TAKE APART THE NEW ONE (EASY) PUT IT BACK TOGETHER (NOT EASY) STEP 1 CONTACT ZOOM (OR SWEETWATER*) If you purchased your Zoom F1 at Sweetwater.com the first step would be to call their customer service line at (800) 222-4700 or you can contact Zoom directly, either using their " Contact " page (depending where you live) or by emailing them at: info@zoom-na.com ABOVE: Go to zoomcorp.com/en/us/contact/ to contact Zoom directly, or you could contact Sweetwater if you purchased it there (but I'm not sure if they can help if you didn't, etc.) STEP 2 ZOOM WILL MAIL YOU THE PART(S) The great thing about buying this through Sweetwater was that when I called them about the problem, they contacted Zoom, explained the problem, gave them my mailing address, had the part shipped to me within the week. I can't say how fast you'll get a response if you contact Zoom directly, but either way I think the best way to fix this issue is by getting the new (metal latch) version of the battery cover from Zoom. ABOVE: Zoom Corp. sent me the new (metal latch) battery door cover for free (actually two) which I received in a matter of days after talking to Sweetwater's service department. STEP 3 REMOVE THE OLD DOOR (TWO SCREWS) This is the easiest part of the whole process (of course) and as soon as you see all the pieces inside the battery door, you know how difficult the rest of the process is going to be. ABOVE: You can see where the old (plastic version) of the battery door latch broke off and is missing (to right of screwdriver head). This first step was easy (getting the old door off) but the next number of steps almost made me send it in to Zoom (which is what I recommend). STEP 4 TAKE APART THE NEW ONE (EASY) Before we take this next step, let me repeat that my first recommendation is that you send the unit in to Zoom so they can do the service on it. Like I said before, it's not easy, and I am quite surprised I was able to do it. However, if you still want to give it a try, I would budget about 2 or 3 hours for the process...and prepare to get things wrong and have to do the whole thing over, about 2 or 3 times. This first step is the easiest, but there's no going back after you start (unless you send it to Zoom after you get tired of working on it). ABOVE: Here are all of the included parts, and the new metal latch is shown at right. STEP 5 PUT IT BACK TOGETHER (NOT EASY) So, here's where the REAL fun begins. I warn you that these pictures make it look easier than it actually is, so don't expect to be able to get this right the first time (it took me about 3 times, with 30-minute breaks in-between...to keep from getting discouraged). ABOVE: The first step is to set up that little springy thingy exactly as you see it here (the left arm of the spring goes in a slot between some plastic tabs, and the right side of the spring needs to be partially tensioned (cocked) as it sits against a slot on the right. ABOVE: This next step is very tricky (not that the last one wasn't). You have to pull that metal tether thing out of the battery bay, over the metal bar (the belt slot of the recorder) and onto a little tab inside the door (it's very difficult)! It takes a very delicate touch, and multiple tries. ABOVE: Now comes the part that you won't get right the first time, and will realize that you have to do it all over again. Without moving that delicate metal tether thing off the little slot, take the black plastic plate, and place it on top of the whole thing (the trick is, you have to maintain pressure on it the whole time [with a tool or your finger] or the metal tether will move off the slot). Okay, once you've got it, don't move. ABOVE: This is the last difficult step (and maybe the most important). It's where you insert the new metal latch (shown by red arrow) into a slot, and make sure it pushes against that little springy thing we set up at the beginning. This step is very difficult to explain...what you're doing is making one side of the latch push against that spring, so it becomes "spring loaded". Again, you probably won't get this right the first time you try, and you'll find out if it worked after you finish the next step. ABOVE: Once the new metal latch has been added, you can put the two screws back in (but make sure to KEEP APPLYING PRESSURE to the top of it, until the screws are back in...or that springy thing inside (and/or the metal tether) may move...and you'll have to start all over. ABOVE: Here is what it looks like when you're all done! Make sure the metal latch works (and can be pushed either right or left to lock or unlock the battery door). Again, don't get discouraged if you don't get this right the first time. I had to completely start over (at least) three times before it worked.  SUMMARY: I must say that dealing with this battery door was quite a ride. First, there was the disappointment of the (original plastic) latch breaking and me wondering if Zoom would even have a fix for it. Then, there was the joy of remembering that I had purchased it from Sweetwater (who has a 2-year guarantee) and the interesting feelings I had when they told me Zoom was sending me replacement parts (I had anticipated a full replacement but didn't know what to expect with replacement parts). Then the exhilaration of seeing that they had re-designed the door with A METAL LATCH...but then the pain of installing it myself. If you're still reading this...I should say again: just send it in to Zoom if you can...it is not any fun to install it yourself. The following ads help fund THIS BLOG  (Click one to send me money for  100% free ) I know, sometimes these ads look the same... ...But I figure if I'm trying to make money, so why not post 3  of them eh?

INTRO: If you want quality, but don't want to spend a lot of money on cameras for budget filmmaking ($300-$600/each) these are the cameras I recommend. These don't have good AF (autofocus) so you'll have to get used to manually focusing, but they can adapt almost ANY vintage lens (ever made) and they have good IBIS, which means you'll get stabilized footage even with manual focus lenses. Oh, because 2 of these are Micro Four Thirds cameras, there's a number of tricks you'll be able to do, that you can't with full frame (the GX85 can even take a TILT/SHIFT adapter #ad ...something very few cameras can do). ABOVE:  The Panasonic G85    #ad    and GX85    #ad    are great budget filmmaking cameras  because they have great IBIS, and can adapt almost any vintage lens available. The FZ1000 is also a good deal because it has a built-in Leica telephoto lens! WHY BUY A SINGLE CAMERA? The first thing I say when people ask which camera they should buy is "Don't buy a single camera; buy 2". The #1 thing I teach about budget filmmaking is " Always shoot with (at least) 2 cameras ". The reason is, I'd rather shoot with 2 cameras and have 2 angles to choose from (when it comes to editing). The question is "How can I possibly afford 2 cameras, when I'm struggling to find a deal on just one?" You might be excited to find out, you can probably buy all 3 of these cameras, for the same price you'd pay for JUST ONE of those most YouTubers recommend! MY CAMERAS: CAMERA #1: Panasonic G85 CAMERA #2: Panasonic GX85 CAMERA #3: Panasonic FZ1000 CAMERA 1 PANASONIC G85 ($300-$500 used) If I could only buy one camera (for budget filmmaking) and didn't have much money, this might be the one I'd buy. The only reason it might not be my favorite camera EVER, is that I like using a TILT/SHIFT adapter #ad and you need the Panasonic GX85 for that (the adapter can't move up and down on the G85). WHY I LIKE THE PANASONIC G85: The low price ($300-$500 used ) It has excellent IBIS (In-Body Image Stabilization) It produces a good image (with most lenses ) It shoots in 4K (with no record limit) It has weather sealing (on the body, but not every lens) It matches the GX85 perfectly (same color science, sensor) It has a flip-out screen (but I actually like a flip-up at times) It has a microphone input (but I use an external audio recorder ) WHAT'S NOT TO LIKE? The AF (autofocus) is not good (I manual focus with vintage lenses anyway) You can't use TILT/SHIFT adapters on it (it hits the popup flash ledge) No headphone output (I monitor with an external audio recorder ) *I always shoot with 2 cameras, and my 2nd favorite budget filmmaking camera is the GX85. ABOVE:  My "Minimal Kit" consists of a Panasonic G85 + a GoPro (HERO4 Silver or newer). This captures two shots in one take (makes things much easier during editing). ABOVE:  The Panasonic G85 is the first camera I would buy, but because the price is so low, I'd actually add a GX85 as well to use the TILT/SHIFT adapter I love    #ad   . CAMERA 2 PANASONIC GX85 ($300-$500 used) As I mentioned, this is probably my favorite camera for budget filmmaking (but I always shoot with 2, so I'm using a G85 with it). The main reason I like this camera, is that I can turn almost any (Nikon-mount) lens into a TILT/SHIFT lens with a special (~$125 US) adapter #ad . I had always wanted a TILT/SHIFT lens, and I actually rented one at times, but they have been SO expensive, I never thought I'd own one, until now. Now, I shoot all of my WIDE shots with this camera and this TILT/SHIFT adapter #ad and I just can't imagine not shooting without one (it adds so much realism to each shot). WHY I LIKE THE PANASONIC GX85: It's also very affordable ($300-$500 used) It also has excellent IBIS (even better than the G85) It also produces a good image (almost identical to G85) It shoots in 4K (and has no record limit, same as G85) It matches G85* perfectly (same color science, sensor) It allows the use of TILT/SHIFT adapters (G85 does NOT) WHAT'S NOT TO LIKE? It doesn't have a microphone input (but you only need it on 1 camera) The battery life isn't very good (I use a dummy battery + power bank) *I always shoot with 2 cameras, and my 2nd favorite budget filmmaking camera is the GX85. ABOVE:  My favorite thing about the Lumix GX85 is that you can use a TILT/SHIFT adapter (the rangefinder style design means there is no pop-up flash to block the up/down travel). This turns this camera into a really good tool (I don't like shooting buildings without it!) ABOVE:  Here is an example of using a TILT/SHIFT adapter    #ad   with the Panasonic GX85 (I have tried a few brands, and so far the one I like is this one    #ad   on Ebay). CAMERA 3 PANASONIC FZ1000 ($300-$500 used) I have a dedicated post about the Panasonic FZ1000 , which I recommend reviewing if you're thinking about this camera, but I'll try to give the shorter, condensed version here. Overall, the FZ1000 is a really good tool, with a (built-in) 25-400mm equivalent lens (which you can control using the Image App) and a pretty good 4K image (in sufficient light, i.e. OUTDOORS) it's a super-convenient #3 camera to be able to pull out of your bag and set up quickly. It needs a camera cage to be sufficiently stable (even though it has OIS/Optical Image Stabilization in the lens) and it's not good in low light (INDOORS) but other than that, it's a camera that I really like having for adding a 3rd, close-up (or wide angle) shot, without a lot of fuss. It does have a 30-minute record limit, so it will be the camera that you have to "babysit" for longer events, but I've done it, and it's not too much of a problem (especially since the other 2 cameras, the G85 and GX85 will just keep on going after you press record). WHY I LIKE THE PANASONIC FZ1000: It's also a really good deal ($300-$600 used) It has a great (built-in) telephoto lens (25-400mm 2.8-4.0)* Focus AND ZOOM can be controlled with the app It shoots in 4K (and looks good with custom settings ) It takes the same battery as the G85 #ad (and G7) WHAT'S NOT TO LIKE? It's not good in low light (I use only OUTDOORS) It needs ND OUTDOORS (I use a good ND8 filter #ad not a variable ND) It has a 30-minute record limit (you'll need to hit record again) *If you were to purchase an equivalent telephoto lens, it would be more than this camera! ABOVE:  The Panasonic FZ1000 is a great tool for the price. You can check out my blog post about it here: Is the Panasonic FZ1000 Good for Budget Filmmaking?    SUMMARY: So, if you want to buy a 2 or 3 camera system FOR LESS THAN $1000, I highly recommend these three cameras. There are certainly limitations to using the smaller Micro Four Thirds (G85 and GX85) sensors, and even more limitations when using the 1-inch sensor on the FZ1000, but I think they can do the job in most situations, and having 2 or 3 camera angles is a great way to create a professional look...way better than having a single camera angle, and using "jump cuts" throughout your production. Anyway hope this helps, and make sure to use my custom settings for CAMERAS and AUDIO to get "REAL" looking footage from of your cameras, and "GOOD" audio from your mics. The following ads help fund THIS BLOG  (Click one to send me money for  100% free ) I know, sometimes these ads look the same... ...But I figure if I'm trying to make money, so why not post 3  of them eh?

INTRO: As a budget photo & video geek, I’ve always been drawn to the idea of using a speed booster on my Micro Four Thirds cameras. The concept is to take a relatively inexpensive lens (like the Nikon AF 50mm f/1.8 D) and transform it into a 35mm f/1.2 with the help of a (.71x) speed booster. The idea is cool, but the high price tag of (some) of these adapters in the past (not saying names) has made it kind of unattainable for me. Then along came the Viltrox brand; a lower budget option that seemed like the perfect solution. I bought one, then 2 more, and I was happy... until they ruined 2 of my favorite cameras (a LUMIX GX85 and then my G85). Let's talk about what happened, and try to figure out if there is any safe ways to use these things. BTW, this post may contain affiliate links, which means we receive a commission (at no cost to you) if you make a purchase through a link. You probably already know that I don't recommend the Canon to Micro Four Thirds Viltrox EF-M2ii speed booster. It fried the electronics of my Panasonic GX85. if you haven't heard the story, you can read my conversations and notes on my YouTube short  regarding it. The Story: WHY WE LIKE SPEED BOOSTERS ISSUES WITH THE CANON-MOUNT (EF-M2II) ABOUT THE NIKON-MOUNT (NF-M43X) WHAT ABOUT METABONES? PERHAPS PIXCO THEN? THE AFTERMATH: A HOLE IN MY KIT LOW-LIGHT ALTERNATIVES ? WHY WE LIKE SPEED BOOSTERS Speed boosters can significantly enhance the capabilities of Micro 4/3 cameras. For instance, the Nikon mount version allows you to use older, budget-friendly lenses while achieving a wider aperture. The Canon mount version, which I previously recommended, is pricier at around $220, but it also offers similar benefits. Unfortunately, I had to stop recommending it after experiencing electronic issues with my Canon mount speed booster, which ultimately led to problems with my Panasonic GX85. ISSUES WITH THE CANON-MOUNT (EF-M2II) The Canon mount Viltrox EF-M2ii speed booster/focal reducer caused significant electronic issues with my GX85. I was using an old Sigma 17-50mm f/2.8 EX lens, and the combination resulted in glitches, corrupted files, and erratic behavior with the shutter speed dial. Despite attempts to factory reset the camera, the problems persisted, leading me to conclude that the speed booster was the culprit. I'm not the only one who has had problems with this speed booster...After this damaged the electronics of my Panasonic GX85, I cringed watching the guy in this video attaching the adapter to a bunch of his cameras! ABOUT THE NIKON-MOUNT (NF-M43X) My troubles didn’t end with the Canon mount Viltrox EF-M2ii. I initially believed that the Nikon mount Viltrox focal reducer (the NF-M43x) would be a safer bet since it has no electronic contacts. I recommended it to others, especially for those who don’t need autofocus. However, disaster struck when I dropped my Panasonic G85 while I was out shooting sports. The camera fell onto a hard surface, and upon reviewing my photos, I discovered a scratch in the upper left corner of every image. Upon inspection, I found that the scratch was on the lower right corner of the lens, which is the opposite of where it appeared in the photos. It seems the impact of the drop caused the stabilized sensor to move, causing it to impact and scratch the sensor of my G85. My theory is that the design of the Viltrox focal reducer places the glass element closer to the sensor than any OEM Panasonic lens, which is dangerous when using it on a camera with a stabilized sensor. This experience made me wary of Viltrox speed boosters, and actually of speed boosters overall (because of the risk of damaging your camera if it's dropped). I thought the Nikon-mount version of the Viltrox speed booster (the NF-M43x) would be safe because there are no electronic contacts on it so I started recommending it...until I dropped my G85 and it scratched the sensor. WHAT ABOUT METABONES? All of this brings up questions about the Metabones speed boosters (which are really good in a lot of ways) and if they could also scratch an IBIS sensor if dropped). I don't really know if they would even solve this problem (of potential damage with IBIS sensors) because ANY speed booster/focal reducer optic has an inner element that is closer to the sensor than OEM lenses...so they could potentially scratch a sensor too. There is a compatibility chart that does warn about some of these things, and I could guess and say that because the Metabones .64x works on the GX85 (per their chart ) that maybe the same pattern would be true for the Viltrox, but it's a .71x (so it's not an apples to apples comparison). Plus, that Metabones is NOT recommended for the G85, so it really gets sticky and I don't really want to guess with the Viltrox and ruin my camera (as I don't want anybody else to go through what I went through...losing two of their cameras). PERHAPS PIXCO THEN? I tested a third brand called Pixco, which offers focal reducers at even lower prices than Viltrox. However, I’ve found that some of their products, like the Canon FD focal reducer, do not always focus to infinity (depends on the lens) let alone the fact it might have the same problem as the Viltrox (with how close the optic gets to a stabilized sensor). So, this inconsistency can be an issue for users who may not realize that certain lenses are incompatible with their adapters. It’s super essential to test each lens with each adapter to avoid disappointment. THE AFTERMATH: A HOLE IN MY KIT As a result of these experiences, I can no longer recommend either the Canon or Nikon mount speed boosters from Viltrox. This leaves a significant gap in my camera kit, as I relied heavily on the Viltrox 0.71 focal reducer for low-light shooting and achieving a wider aperture. Now, I’m left with a scratched G85 sensor and a GX85 with electronic issues, which is incredibly frustrating. Also, I wish I still could use the focal reducer for protection (to keep the sensor from getting dust on it every time I change lenses). Yet, that's not as much of a problem as is replacing the low-light capability of a 50mm f1 .8 that turns into a 35mm f1 .2 (with the .71x focal reducer). LOW-LIGHT ALTERNATIVES? With my current situation of not being able to use speed boosters on sensors with IBIS , I’m exploring alternatives to fill the low-light void. The reason is that my tests show that a number of the budget filmmaking cameras I've used need at least an f/1.4 in some low-light situations. There are a number of good f/1.4 options from Panasonic/Leica ( @ NigelBarros has a lot of good videos on these on both of his YouTube channels ) yet due to budget, I’m considering trying some third-party 35mm f/1.4 lenses from brands like Mieke  and 7artisans . My goal is to figure out a super budget-friendly camera system that can handle almost any situation, ideally with two cameras that are under $600 each. This is becoming difficult when using only Micro Four Thirds cameras , especially now that this speed booster option has been removed. The Panasonic GX85 and G85 have served me well (when using speed boosters) but without speed boosters, they really need an f/1.4 lens in low-light situations. So, I’m contemplating upgrading to models like the Panasonic G9 or GH5, which do better in low light, and are certainly becoming more affordable and maybe adding a full-frame camera .  SUMMARY: So, while speed boosters can enhance the capabilities of Micro 4/3 cameras, my experiences have taught me to approach them with caution. The risks of damaging your camera or encountering electronic issues are significant, and I hope my story helps others make informed decisions about their gear. So, I no longer recommend either the Canon nor the (all-manual) Nikon mount version of the Viltrox speed booster. The reason is that the risk of ruining your camera (especially if you drop it) is just too great. Here's the  PODCAST   that inspired this blog post. The following ads help fund THIS BLOG (Click one to send me money for 100% free ) I know, sometimes these ads look the same... ...But I figure if I'm trying to make money, so why not post 3 of them eh???

INTRO: Once you experience using a perspective control (shift) lens, you probably won't be able to shoot architecture without one (and you'll probably find other shots that can benefit from the perspective control too). However, those of us who aren't terribly rich probably gave up on the dream of tilt/shift lens ownership long ago because of the high price tag (a new Nikon or Canon version is around $1,500). The good news is, for Micro Four Thirds users, there is a less expensive (and more flexible) option: An inexpensive ($123 US) tilt/shift adapter #ad that can turn almost any (Nikon F mount) lens into a tilt/shift lens (yes, you read that right)! Keep in mind it only works with specific Micro Four Thirds cameras but this is still pretty great for the price. Let's talk about how to do it. UPDATE: The tilt/shift adapter I was recommending became loose, and then I tried to take it apart to fix it, and now I feel like I understand the Humpty Dumpty situation better...and so now I've been testing some other options (including a "real" tilt/shift lens) but for now, I still recommend this same adapter but just with the notice that it may only last for a few months, or maybe longer depending on how heavy the lens you're using with it is...I hope to update with any new recommendations. ABOVE: There's a number of tricks you can do with Micro Four Thirds that you can't with full frame cameras, including buying an inexpensive TILT/SHIFT adapter to turn almost any (Nikon F mount) lens into a perspective control lens. WHY IS THIS SO AMAZING? Well, not only does this mean you can turn almost any (Nikon F mount) lens into a TILT/SHIFT lens, but it ALSO means you can do this with variable focal length lenses (zoom lenses). The reason this is so important, is that having a zoom lens with TILT/SHIFT capability means you have a ton of compositional control over the image. Not only can you zoom in or out a little bit to change composition, but you can SHIFT up or down to frame the shot as well. This is something that you have to experience to understand (at least I did) but we'll go into exactly how to do this in a little bit. DOES THIS ONLY WORK ON M43? So, this is also works on 1.5/1.6x crop sensors, but not as well. It also sorta works on full frame, but let's talk about why that doesn't work very well (hint: you'll need medium format lenses). The biggest reason why the smaller Micro Four Thirds sensor works with TILT/SHIFT adapters, is because of the principle of these adapters: they use a lens from a larger sensor format to create a larger image circle, and then it will move ("shift") within that larger image circle. So, on M43 (MIcro Four Thirds) you can do this with either full frame or DX/cropped sensor lens, but If you use a DX/cropped sensor lens on a cropped sensor camera, there's nowhere to go (the image circle is used up). The reason is that the “image circle” of the lens has to be larger than your sensor. That's why if you try doing this with a full frame camera, you’d have to adapt a MEDIUM FORMAT LENS to make it work. There are full frame TILT/SHIFT adapters available (for medium format lenses) but the problem is it's difficult to find a lens that's WIDE enough from the medium format lineup (because what's considered a wide on medium format is not the same on full frame). So, on an APS-C/Super 35 sensor (such as the Sony A6500, etc.) the problem is much less of an issue, but you still can only use full frame lenses and that makes it harder to get a good wide lens (for a low price). ABOVE: An example of an image taken with a wide-angle lens, WITHOUT a perspective control adapter. The camera had to be angled upward toward the building, which causes distortion. (Taken with the overly sharp Sigma 18-35 1.8.) ABOVE: This image was taken WITH a shift adapter (this time using a cheap Nikon 18-55 v1). The camera is level, and the lens was "shifted" up. How To Use TILT/SHIFT (on Micro Four Thirds): STEP 1: BUY A (COMPATIBLE) M43 CAMERA STEP 2: BUY A TILT/SHIFT ADAPTER STEP 3: BUY A NIKON F-MOUNT LENS STEP 4: PRACTICE USING SHIFT (NO TILT) STEP 5: PRACTICE USING TILT (NO SHIFT) STEP 1 BUY A (COMPATIBLE) M43 CAMERA I need to quickly point out that not all Micro Four Thirds cameras work with TILT/SHIFT adapters. The reason is silly, and it's not because of any differences between Micro Four Thirds sensors (they're all the same size, I would guess). Rather, it's the design of the exterior of the camera that matters. The rangefinder-style cameras work, but some of the smaller SLR-style cameras usually don't (see the M43 compatibility list below). The actual reason is that the part of the camera that is just above the lens mount CANNOT BE OBSTRUCTED (for the lens to "shift" up). The non-rangefinder style cameras often have either a pop-up flash or just an un-necessarily large awning that extends over the lens mount. I jokingly call it an "awning" but the bad news is that it renders a lot of otherwise great M43 cameras useless for using with TILT/SHIFT adapters. So, below is the compatibility list (as far as I know at time of writing): (M43) CAMERAS THAT WORK*: Panasonic GH2 #ad Panasonic GH3 (?) Panasonic GH4 #ad Panasonic GH5 #ad Panasonic GX85 #ad Panasonic GX9 #ad Panasonic G9 #ad (M43) CAMERAS THAT DON'T* Panasonic G7 Panasonic G85 Panasonic G95 *I'm working on testing this TILT/SHIFT adapter #ad on as many camera bodies as I can, so I'm sure I'm missing some. if you know of any that don't work, leave a comment below. The main reason certain cameras won't work (with TILT/SHIFT adapters) is they have sort of an "awning" that obstructs the upward "shift" movement of the adapter. STEP 2 BUY A TILT/SHIFT ADAPTER As I mentioned, the Panasonic GX85 #ad is probably my favorite camera for using a TILT/SHIFT adapter, because of the "rangefinder" design of the body. I shoot all of my WIDE shots with this camera and the TILT/SHIFT adapter #ad I use is only $125 US on Ebay! I just can't imagine not shooting without one now (it adds so much realism to each shot). I have used a few of these adapters, but this one is the best I've found (the others have problems such as being loose, only taking Nikon F, not G lenses, or having a metallic, blue coating THAT COMES OFF, AND COULD GET ON THE SENSOR). The only thing about the one I like is it is only available on Ebay (not on Amazon). STEP 3 BUY A NIKON F-MOUNT LENS Let's talk about buying a lens to use with a SHIFT or TILT/SHIFT adapter. My main point is to get a Nikon F-mount lens, but the reason isn't that the adapters aren't available in other lens mounts (they are) but that most of the LENSES I like are either made by Nikon or are available (cheaper) in the Nikon mount, for some reason. Here's a short list of lenses I've tested on the TILT/SHIFT adapters I've had. Most of the time people use SHIFT or TILT/SHIFT with WIDE lenses, so that's what this list is, but you could pretty much use any Nikon F or Nikon G mount lens on this adapter (I even use telephoto lenses on it once in a while, LOL). MY FAVORITE LENSES (FOR TILT/SHIFT): Tokina 11-16 2.8 #ad Nikon 17-35 2.8 #ad Sigma 17-50 2.8 EX #ad Sigma 18-50 2.8 EX #ad Sigma 18-35 1.8 ART #ad *The Sigma 18-35 1.8 is a bit too heavy for most of the TILT/SHIFT adapters I have. ABOVE: Another example of using a TILT/SHIFT adapter #ad with the Panasonic GX85. This might be my favorite camera EVER, as it can use a TILT/SHIFT adapter due to the rangefinder-style design and 2x crop sensor (the GX9 works too but has more crop in 4K). STEP 4 PRACTICE USING SHIFT (NO TILT) Let me first take a shot at simplifying the definition of "shift". I think by telling you how the shift function works in practice (which is super simple) you'll feel less worried about whether or not you can do this. To use a shift lens, all you have to do is make sure the camera is level (I use a bubble level on the hot shoe) and then shift up or down to compose the image. That's it. Yes, you can rotate the shift mechanism to allow for left and right shift (for use as panoramic tool) but we're focused on using this for video, so we're not going to go there. We'll keep it simple, and just repeat that using a shift lens is as easy as keeping the camera level and then composing your shot by shifting up or down (instead of pointing the camera up or down, which would introduce linear distortion in architectural lines). ABOVE: Using a SHIFT lens (or adapter) is a lot easier than you might think. All you have to do is level the camera, then compose the shot using the shift movement (seriously)! STEP 5 PRACTICE USING TILT (NO SHIFT) Describing lens "tilt" in a practical way, is a bit more difficult than describing "shift" but let's give it a try. TILT refers to the ability to control the focus plane, by changing the angle of the lens to the film (or sensor) plane. Most often, you'll see people using the tilt function to create a "miniature effect" but it can also be used in the opposite way (to increase how much is in focus). This can really help for macro purposes, and also helps when you want to shoot wide open (usually in low light) and need more of the foreground in focus. ABOVE: Using a TILT lens (or an adapter with TILT) is all about changing the angle of the focus plane. The benefit is that you'll be able to get more in focus with a shallower depth of field, meaning you can keep more of the foreground in focus, but still blur the background. SUMMARY: I can't help being excited about this topic, because TILT/SHIFT adapters for Micro Four Thirds made my dream of owning a tilt/shift lens a reality. I mean it when I say I can hardly use a "normal" lens for WIDE shots anymore, because I just can't ignore the angular distortion (in architecture) that happens when you have to angle upward (on a non-shift lens) to compose the shot. If you're worried about the added complexity, I will tell you that using TILT/SHIFT is a lot easier than you might think, and all you're giving up (compared to a native lens) is autofocus and electronic aperture control, which to me is totally worth it, in most cases. The following ads help fund THIS BLOG (Click one to send me money for 100% free ) I know, sometimes these ads look the same... ...But I figure if I'm trying to make money, so why not post 3 of them eh?

INTRO: The first thing to ask yourself is "Do I really need autofocus?" If you don't or you don't mind just experimenting with manual focus, read on. The good thing is, SOME old lenses can not only be very affordable, but very good...even better than some of the newer options, especially with newer (and sharper) camera sensors. So, lets get into exactly HOW I adapt old lenses (to Micro Four Thirds) and if you're wondering "Isn't adapting lenses as simple as buying an adapter, and putting it on the camera?" Well, it kind of is, but what I'll be talking about is the decision-making process that led me to coming up with the information you'll see in my notes below. It's about how I keep the image quality high, even when using smaller sensor (Micro Four Thirds) budget filmmaking cameras. WARNING: I no longer recommend focal reducers/speed boosters FOR CAMERAS WITH I.B.I.S. (In-Body Image Stabilization). The reason is, I dropped my camera (with a Viltrox NF-M43x on it) and the sensor got scratched (I'm pretty sure it was because the optic of the speed booster sticks into the lens mount more than an OEM Panasonic lens). There are a ton of options when it comes to adapting lenses to Micro Four Thirds, as you can adapt almost ANY lens mount (because of the small sensor size). WHY ADAPT OLD LENSES? Adapting vintage lenses can be a cost-effective way to enhance your image, especially if you're working with budget cameras (around $600 or less). I’ve found that many vintage lenses have characteristics that can help you produce great images (when paired with the right camera and CUSTOM, LENS-SENSOR SETTINGS). Adapting vintage lenses is one of the most rewarding things about using Micro Four Thirds, as you can unlock new looks with the unique image qualities of vintage lenses. Oh, and when I say "vintage" I include the late 80's and early 90's AF (autofocus) lenses, so keep that in mind. Why Some People Go Vintage: Character: Vintage lenses often have distinctive color profiles modern glass can’t replicate. Manual Control: A tactile, hands-on shooting experience with manual focus and aperture rings. Affordability: Many high-quality vintage lenses are available for a fraction of the price of new. Build Quality: All-metal construction and solid mechanics are common in older lenses. Flexibility: Adapted lenses can give you access to focal lengths and apertures not available natively on MFT. I actually consider AF lenses from the late 80s and early 90s to be "vintage". The Minolta AF mount (now called Sony A) has a number of super good lenses...and they're affordable too! HOW I ADAPT LENSES: INDOOR VS. OUTDOOR When adapting old lenses to Micro Four Thirds, the first thing I think about is what environment I'll be shooting in. I start by separating INDOOR vs. OUTDOOR situations, then I categorize the choices into my "3 Simple Shots" which are based on my Top 3 (Budget) Lenses for Filmmaking (WIDE, TIGHT and TELE). HOW I ADAPT TO M4/3 (INDOORS) WIDE = "BOOST" (unless "SHIFT" or AF follow) TIGHT = "BOOST" (almost always) TELE = "BOOST" (almost always) HOW I ADAPT TO M4/3 (OUTDOORS) WIDE = "SHIFT" (unless AF follow) TIGHT = "HELICOID" (macro adapter) TELE = "HELICOID" (or "BOOST"*) ABOVE: My most important tip regarding adapting lenses to Micro Four Thirds INDOORS is "Boost whenever you can". However, there are a few exceptions to this rule (see below). INDOORS WIDE = BOOST Indoors (or in low light situations) Micro Four Thirds sensors often need a +BOOST (i.e. a focal reducer). There are two reasons they need this: 1.) They need a wider max. aperture to expose the sensor to more light, and 2.) They may need a wider angle (a shorter focal length) to get everything in the shot. However, if there is enough light indoors, I would always prefer to use a SHIFT adapter #ad (for correcting architectural distortion) but that can only work if your lens is both wide enough, and it has a decent maximum aperture. (This is why I love using the Tokina AT-X 11-16 2.8 #ad ). The other reason I wouldn't use a +BOOST would be if I needed to "follow" using touchscreen AF (autofocus). ABOVE: When using Micro Four Thirds INDOORS I like using a speed booster, but not because of low light (you can add light indoors) but to create a background blur in smaller spaces. Bad news is, now I DO NOT RECOMMEND USING SPEED BOOSTERS WITH IBIS, so I only do it with my GH4, G7. INDOORS TIGHT = BOOST The first reason I use a +BOOST indoors is simply to increase the amount of light being sent to the sensor. This allows me to use a lower ISO (which is really important for Micro Four Thirds cameras). Also, the indoor "TIGHT" shot is usually used for a "talking head" people shot, so the speed booster helps to create shallower depth of field (i.e. more background blur). INDOORS TELE = BOOST Since there really isn't any (affordable) telephoto lens that is as fast as F/1.4, I almost always add a speed booster for telephoto shots (INDOORS). There aren't many BUDGET options for low-light telephoto lenses either, so that makes this situation even worse. There are expensive F/2.8 options (and even a 50-100 1.8 from Sigma) but I often need something in the range of 70-300 for telephoto, especially after applying the 0.71x focal reduction of the speed booster. So, in many cases, the 200mm at the long end of a 70/80-200 2.8 isn't enough, even on Micro Four Thirds with a 2x crop factor. So, what do I do? Well, this is one of those rare times when I push my ISO up (to 800 max.) and add a +BOOST (speed booster). With a BOOST, even an F/4.5-5.6 70-300 zoom can (often) work in low light. I rarely push my ISO up to 800 when using Micro Four Thirds (and never higher) because the smaller sensor and the higher ISO will create a grainy image and/or overly noise-reduced image. ABOVE: My When adapting lenses to Micro Four Thirds OUTDOORS, the first thing I do is add a "SHIFT" adapter to the WIDE shot, and then macro "HELICOID" adapters to the rest. OUTDOORS "WIDE" = SHIFT I love "SHIFT" adapters so much that I try to use them whenever possible (for "WIDE" shots). Also known as "perspective control" adapters (taken from "perspective control lenses") they can keep architectural lines of buildings straight, which ends up adding realism to the shot (in my opinion). There's more detail in my book on Amazon #ad (has a special section about using shift lenses for Micro Four Thirds) but I can quickly say that once you use a shift adapter or lens, you'll never want to go back, and you'll probably be able to see why I even try to use them in low-light situations where I would normally use a speed booster. ABOVE: I can't tell you how much I love using an inexpensive ($123 US) tilt/shift adapter #ad on Micro Four Thirds. What this means, is you can turn almost any (Nikon F/G mount) lens into a TILT/SHIFT lens, including variable focal length (zoom) lenses! OUTDOORS "TIGHT" = HELICOID (MACRO) If you haven't noticed from my lens test videos (on YouTube) I like to be able to shoot macro anytime I'm outdoors. There's a number of ways to do this, but the way I like to do it is to use a macro helicoid adapter #ad . The reason I like this approach (instead of buying a macro lens) is that it allows me to test almost ANY lens at a macro distance, even though they weren't designed for this. It also means I can use more low-light capable lenses, such as a 50mm 1.4, and be ready for both INDOOR and OUTDOOR situations (compared to most macro lenses being an F/2.8, F/3.5 or even an F/4.0). OUTDOORS "TELE" = HELICOID (MACRO) The reason I add a "BOOST" to a telephoto lens OUTDOORS, is that sometimes these tele lenses can be heavy, and my focal reducer ("speed booster") has a tripod mount on the adapter which bears the weight of the lens, instead of the camera's mount. Lighter lenses such as the 70/75-300 4.5-5.6 variety (from the early AF era in the 90's) don't need this special mount, so I use a macro "HELICOID". (If someone would design a macro helicoid adapter WITH an integrated tripod mount, THAT would be great!) ABOVE: When shooting OUTDOORS, there are so many moments you can miss if you don't have a MACRO lens! To be prepared for this, I like to always have a macro helicoid adapter #ad on hand. These are golden as they pretty much turn ANY lens into a MACRO! SO, WHAT LENS MOUNTS DO I PREFER? I’ve tested a variety of lens mounts, but I only want to discuss those I’ve personally used. I believe in sharing experiences rather than speculating about products I haven’t tried. This post will not cover every vintage lens mount but will focus on the ones I’ve tested and found noteworthy. CANON FD First of all, I will only quickly state here (because I have an entire podcast episode about it) that there are some nice Canon FD lenses I really liked (especially the FD 50 1.8, not the 1.4) and so I've purchased several of them. However, it seems like more than half of the Canon FD lenses I've had have problems with mold (which can contaminate other lenses, etc.) but if you find one that smells clean, it might be worth it trying. MINOLTA MD (& AF) One of my favorite lens brands to adapt are Minolta lenses (the company that Sony bought in 1995 to boost it's camera department). I especially like the older manual focus Minolta MD series, and I think they're certainly worth considering. The Minolta 50mm f/1.7 is an optical jewel, and the build quality is good. Also, the autofocus era Minolta lenses (from before they were purchased by Sony and called Sony A mount) are also really good, and what I really like is that most of the Micro Four Thirds adapters give you a de-clicked/stepless aperture (which is especially good for video production). NIKON F Nikon F mount is probably my top recommendation for adapting vintage lenses (if you only had one mount). The clickable aperture control on the Nikon F lenses makes them easy to adapt to other systems, including Canon EF. For Nikon F-mount lenses, I particularly recommend the first autofocus generation (and the D-series) such as the Nikon 50mm f/1.8 D, which is a fantastic bargain at around $50 to $60. The build quality of these lenses is pretty good (not as good as the manual focus era, though) but the main point is they have great optics. Optically, I think the 1st generation Nikon AF lenses are one of the most color-accurate lens lines ever (not so with the next generation of Nikon lenses from the 1990s). The older (manual focus) Nikkors do have better ergonomics with larger manual focus grip area, but the optics on a lot of those older lenses wasn't very accurate or complete (Nikon glass seemed like it didn't render the full spectrum of color, and had a warm bias). Also, another thing to note about Nikon lenses is they focus in the opposite direction of most other brands (filmmakers complain about this the most, because of their focus-pulling habits). OLYMPUS OM Olympus OM lenses were the first adapted lens I ever tried (and why did I ever sell it)! The 50mm f/1.8 is excellent optic. This lens is so good I had a DP from the Discovery Channel look at a shot I had set up with this and say "Wow!" So, the old manual focus Olympus OM lenses are well-known for their optics. Plus, I really like that they have the aperture control on the front end of the lens, which is not only easier to use, but it means they can be easily adapted to Micro 4/3 cameras with a cheap adapter (and they can also be adapted to Canon EF too, if you need to). PENTAX K So then, about Pentax. I've only tried the super-vintage Super Takumar lenses, so I should probably not say much more. The Super-Takumar that I tried had to be de-yellowed (because of the radioactive elements in the coatings) and so I didn't want to spend much time getting custom settings figured out for it, since the lens was probably going to change. Oh, I also tried tiny Pentax 110 lenses, and that was fun (but the edge sharpness isn't going to be there). So, maybe I'll come back to them later. ARE ANY AF LENSES CONSIDERED VINTAGE? If you don't mind stretching the definition of "old" (or "vintage") I think some of the best lenses (good quality, for not much money) were actually from the early AF era (when AF/autofocus was in the 1st generation). This would make the lenses be from around the 1980s, when I think Nikon and Canon produced some of their best lenses. The Nikon AF and AF-D lenses are probably some of the most color-accurate, realistic-looking lenses I have ever used! The second thing to be aware of, is some of the OLDER vintage lenses might have problems with fungus...and fungus is no fun (I almost lost a lens to it). IF THERE'S NO MULTI-COATING, I DON'T BOTHER So, buying (and hunting for) vintage lenses can be a lot of fun, but before you get too addicted, there are a few things to keep in mind. The first is that there was a time when vintage lenses weren't very good when they didn't have multi-coatings. As interesting as they may look, those kind have rarely (pun not intended) been worth my time. Therefore, the general rule I follow to stay within the multi-coated era is to not buy lenses from before World War 2. ABOVE: There are some really great old lenses out there, but before you get too excited, smell it (like Jared @Fro Knows Photo does) and inspect it for fungus. You don't want it spreading to other lenses. 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