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Testing at "BOOM" proximity (with the stock FOAM windscreen) with the Saramonic SR-VM4 microphone with MIC. BOOST at +20 and MIC. LOWCUT set to ON, plus adding an AUX. Amp. (Neotek) at LOW, FULL DIAL, before sending VIA AUX. cable to a Zoom F1 audio recorder at REC. GAIN of HIGH-. "BOOM" Proximity [35 inches / 88.8 cm] Zoom F1 AUX: Neoteck NTK059 Saramonic SR-VM4 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER "HI-" REC. LEVEL AUX. SETTINGS OFF AUX. BASS LOW AUX. HIGH-LOW @FULL AUX. OUTPUT MIC. SETTINGS ON MIC. LOWCUT N/A MIC. HIGH PASS +20 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: May 3, 2022 at 6:09:30 PM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: Testing at "BOOM" proximity (with the stock FOAM windscreen) with the Saramonic SR-VM4 microphone with MIC. BOOST at +20 and MIC. LOWCUT set to ON, plus adding an AUX. Amp. (Neotek) at LOW, FULL DIAL, before sending VIA AUX. cable to a Zoom F1 audio recorder at REC. GAIN of HIGH-. Remember to always monitor your audio while you're recording (using accurate headphones) because good settings can't fix bad audio. Also, these settings will not establish the exact level you'll need for every scene, but the goal is to provide a good starting point that will become clean, after adjusting in post. Additionally, these "custom settings" are used to make the Microphone-Specific EQ files work (as they won't work as intended if any of they aren't used). The EQ files were created to correct any imperfections of the microphone and/or wind protection (FOAM and/or FURRY) and were made in Audacity (the free audio editor) to make them as affordable & universal as possible.

Test looks GOOD! May need LUT... Any links below are affiliate links. FILTER: None Nikon 55-200 VR ADAPTER: Nikon F/G-M43 Panasonic GH4 CineLike D "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -4 SHARPNESS -1 NOISE +5 SATURATION -3 HIGHLIGHT SHADOW 0 / 0 iDYNAMIC OFF LUMINANCE LEVEL Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT RADIUS THRESHOLD Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST ? IS THE CONTRAST "REAL"? SHARPNESS IS THE SHARPNESS "REAL"? NOISE IS THE NOISE "REAL"? COLOR IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: Test looks GOOD! May need LUT... The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

(This combo will need an EQ, but it's got potential.) There isn't much to say in terms of SETTINGS (because this recorder is a 32-bit float recorder, and you can't set any settings) so instead I'll focus on one of the most important things that affect quality: wind protection. There's a really good story here, and that is that after a number of tests, I discovered I like to use this lavalier microphone with a Comica CVM-MF1 furry windscreen (better than with the stock FOAM windscreen) because it sounds more "REAL". It sounds more natural and balanced in terms of levels of lows/bass, mids and treble/highs with the FURRY, but too "tinny" (too much treble) and "thin" with the stock FOAM windscreen. It also helps reduce echo and reverb indoors. "LAV" Proximity [7 inches / 17.78 cm] Zoom F2 [NO AUX. BOOST] Comica CVM-M-O1 (Lavalier) WINDSCREEN: Comica CVM-MF1 (Furry) 32-Bit Float REC. SETTINGS OFF REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS N/A MIC. LOWCUT N/A MIC. HIGH PASS N/A MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: December 24, 2022 at 4:04:45 PM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS C DO THE "LOWS" SOUND REAL? MIDS B DO THE "MIDS" SOUND REAL? HIGHS/TREBLE B DO THE "HIGHS" SOUND REAL? NOTES: (This combo will need an EQ, but it's got potential.) There isn't much to say in terms of SETTINGS (because this recorder is a 32-bit float recorder, and you can't set any settings) so instead I'll focus on one of the most important things that affect quality: wind protection. There's a really good story here, and that is that after a number of tests, I discovered I like to use this lavalier microphone with a Comica CVM-MF1 furry windscreen (better than with the stock FOAM windscreen) because it sounds more "REAL". It sounds more natural and balanced in terms of levels of lows/bass, mids and treble/highs with the FURRY, but too "tinny" (too much treble) and "thin" with the stock FOAM windscreen. It also helps reduce echo and reverb indoors. Remember to always monitor your audio while you're recording (using accurate headphones) because good settings can't fix bad audio. Also, these settings will not establish the exact level you'll need for every scene, but the goal is to provide a good starting point that will become clean, after adjusting in post. Additionally, these "custom settings" are used to make the Microphone-Specific EQ files work (as they won't work as intended if any of they aren't used). The EQ files were created to correct any imperfections of the microphone and/or wind protection (FOAM and/or FURRY) and were made in Audacity (the free audio editor) to make them as affordable & universal as possible.

REAL ANSWERS Answers from REAL people with REAL experience (not from A.I.) What are good lights for ARCHITECTURAL videos? Lighting shots for architectural VIDEO isn't too much different from lighting for stills, IF you don't use flash for your stills anymore (we don't). The reason they're similar, is the for architecture, you the lights stay in the same place (because usually you don't have to follow people in a scene). < Back to ANSWERS Good Lights for Architectural Video When creating architectural videos, lighting plays a crucial role in showcasing the design and details of a building. Here are some recommended types of lights and equipment to consider: 1. LED Panels Soft Light: LED panels provide soft, even lighting that minimizes harsh shadows. Adjustable Color Temperature: Many LED panels allow you to adjust the color temperature, which can help match ambient light conditions. 2. Spotlights Focus on Details: Spotlights are great for highlighting specific architectural features. Directional Control: They provide control over the direction of light, allowing you to create dramatic effects. 3. Flood Lights Wide Coverage: Flood lights are useful for illuminating larger areas, such as the exterior of a building. High Intensity: They can provide a strong light source for outdoor shoots during low-light conditions. 4. Softboxes Diffused Light: Softboxes help diffuse light, reducing harsh shadows and creating a more flattering look. Portable Options: Many softboxes are lightweight and easy to transport, making them suitable for on-site shoots. 5. Natural Light Golden Hour Shooting: Utilize natural sunlight during the golden hour for a warm and inviting look. Window Reflections: Use windows to reflect natural light, enhancing the ambiance of your shots. 6. Gels and Filters Color Correction: Use gels to correct color temperature or create mood lighting. Softening Effects: Filters can help soften harsh light and enhance the overall aesthetic of the video. 7. Light Meters Exposure Control: A light meter can help you measure light levels and ensure proper exposure for your shots. Consistent Results: Using a light meter can lead to more consistent lighting across different scenes.

waterfront pier at sunset with dark blue water and yellow sky ©2022 SilverLight Photo Co. The above content is 100% REAL (and no A.I. or Photoshop tricks were used to make it). Waterfront Pier with Yellow Sunset < All Scenes Behind-the-Scenes SUPPORT US TO GET FULL BEHIND-THE-SCENES ACCESS (& PRODUCTION DETAILS) GET ACCESS GENERAL NOTES (Parking, etc.) This shot was taken from the (at the time) newly-constructed overlook park that replaced a little house that was on top of the hill...I'm so glad the city made the decision to share this awesome view with everyone! If you haven't visited this spot, it's made of beautiful artificial wood-look deck material and it's big enough for the kids to run around (and still leave space for the photographers to stay out of the way, and still get some good shots)! This lens-sensor combination (see info above) was barely able to capture this high-contrast scene. The lens was a Panasonic 12-60 3.5-5.6, and the camera was a Panasonic LUMIX GX85. I say it was "barely" able to capture this scene because this lens starts out both too sharp and too contrasty (using DEFAULT -0-0-0-0 settings)...so I used my custom settings (see link above) to tone things down, then created a custom, lens-sensor specific LUT to perfect it. *As A.I. (artificial intelligence) started sneaking into the photo & video production industries, I decided to go for 100% realism in my work. What this means for me, is to shoot for realistic-looking photos and video content. My approach includes using custom, lens-sensor specific CAMERA SETTINGS (and sometimes lens-sensor LUTs when needed). I never use A.I. to generate images, and I don't do tricks using Photoshop. There are adjustments I make to produce more accurate PRINTS but my goal is to limit editing as much as possible.

This is a test of the Takstar SGC-600 with a +10 MIC. BOOST, MIC. LOWCUT set to ON, using a headphone amplifier (Neotek) at LOW, FULL DIAL. The level is pretty good, but at this proximity this microphone does not reject the background noise too well (and after trying some quick Noise Reduction using Audacity, I don't think it's good enough). "BOOM" Proximity [35 inches / 88.8 cm] Zoom F1 AUX: Neoteck NTK059 Takstar SGC-600 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER ? REC. LEVEL AUX. SETTINGS OFF AUX. BASS LOW AUX. HIGH-LOW @FULL AUX. OUTPUT MIC. SETTINGS ON MIC. LOWCUT N/A MIC. HIGH PASS +10 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: May 3, 2022 at 5:54:11 PM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: This is a test of the Takstar SGC-600 with a +10 MIC. BOOST, MIC. LOWCUT set to ON, using a headphone amplifier (Neotek) at LOW, FULL DIAL. The level is pretty good, but at this proximity this microphone does not reject the background noise too well (and after trying some quick Noise Reduction using Audacity, I don't think it's good enough). Remember to always monitor your audio while you're recording (using accurate headphones) because good settings can't fix bad audio. Also, these settings will not establish the exact level you'll need for every scene, but the goal is to provide a good starting point that will become clean, after adjusting in post. Additionally, these "custom settings" are used to make the Microphone-Specific EQ files work (as they won't work as intended if any of they aren't used). The EQ files were created to correct any imperfections of the microphone and/or wind protection (FOAM and/or FURRY) and were made in Audacity (the free audio editor) to make them as affordable & universal as possible.

I’ve been working on getting my FZ1000 to look realistic, using SOOC (Straight Out of Camera) settings, and I’m pretty happy with what these settings now (and it’s REALLY EASY TO REMEMBER). These settings are mostly for 4K PHOTO mode use, so I'm also doing this so I can either use 4K PHOTO mode to grab stills, or to shoot video and be able to use it without doing color grading (though it may need a little sharpness adding in Davinci Resolve, my video editing software of choice…also super good for color grading). Note that the smaller sensor on this camera produces a little bit more NOISE than I would consider perfect, but it's not bad if you look at it as kind of an organic "film look". IMPORTANT NOTE: One setting that you have to be careful to not forget, is to set the "Luminance Level" to 0-255 (not the default setting of 16-255). The easy way to set it to 0-255, is simply to switch to 4K PHOTO mode (which will default to 0-255). You can set it without doing that, but it's a lot more difficult (I don't remember the exact sequence). I should also say, I've found ISO 200 to create the most real-looking image on this camera (maybe it's the "native ISO"?) So, if you can use ISO 200, I do recommend it even over 125 and 160, even though they're lower. The image degrades noticeably above ISO 400, and I sometimes go up to ISO 800 when needed, but be aware that it's going to look like it has more "film grain" (which isn't always bad, but it won't match your other footage, if the other footage was shot at a lower ISO). Another thing to note, is this camera doesn't work with a VND (variable ND) and so if you need to use a ND filter outdoors (to follow the 180-degree shutter rule, which I sometimes do not) the only option is using a straight ND filter (ND8 has been the best strength in my experience). This is both interesting and somewhat distressing, and the inclusion of internal ND filters in the FZ2500 seems like an admission of this issue. What happens is, at the longer telephoto focal lengths, using a VND filter makes the image look really bad; so bad, you would have to try it yourself to believe it! It's interesting that a similar thing happens with a lot of the 70-300 lenses I've tested (also at and near the long end of the zoom range). My theory is it has something to do with the enormous amount of space between the optics when the lens is in the extended telephoto position. Any links below are affiliate links. FILTER: UV (B+W F-PRO) Leica 25-400 2.8-4.0 ADAPTER: None (Integrated Lens) Panasonic FZ1000 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -3 SHARPNESS -3 NOISE +3 SATURATION -3 HIGHLIGHT SHADOW OFF iDYNAMIC OFF LUMINANCE LEVEL 16-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT 33 RADIUS 2.0 THRESHOLD 1 Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE .47 LENS @MID-ZOOM .46 LENS @FULL TELE .43 REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST A IS THE CONTRAST "REAL"? SHARPNESS B IS THE SHARPNESS "REAL"? NOISE C IS THE NOISE "REAL"? COLOR B IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: I’ve been working on getting my FZ1000 to look realistic, using SOOC (Straight Out of Camera) settings, and I’m pretty happy with what these settings now (and it’s REALLY EASY TO REMEMBER). These settings are mostly for 4K PHOTO mode use, so I'm also doing this so I can either use 4K PHOTO mode to grab stills, or to shoot video and be able to use it without doing color grading (though it may need a little sharpness adding in Davinci Resolve, my video editing software of choice…also super good for color grading). Note that the smaller sensor on this camera produces a little bit more NOISE than I would consider perfect, but it's not bad if you look at it as kind of an organic "film look". IMPORTANT NOTE: One setting that you have to be careful to not forget, is to set the "Luminance Level" to 0-255 (not the default setting of 16-255). The easy way to set it to 0-255, is simply to switch to 4K PHOTO mode (which will default to 0-255). You can set it without doing that, but it's a lot more difficult (I don't remember the exact sequence). I should also say, I've found ISO 200 to create the most real-looking image on this camera (maybe it's the "native ISO"?) So, if you can use ISO 200, I do recommend it even over 125 and 160, even though they're lower. The image degrades noticeably above ISO 400, and I sometimes go up to ISO 800 when needed, but be aware that it's going to look like it has more "film grain" (which isn't always bad, but it won't match your other footage, if the other footage was shot at a lower ISO). Another thing to note, is this camera doesn't work with a VND (variable ND) and so if you need to use a ND filter outdoors (to follow the 180-degree shutter rule, which I sometimes do not) the only option is using a straight ND filter (ND8 has been the best strength in my experience). This is both interesting and somewhat distressing, and the inclusion of internal ND filters in the FZ2500 seems like an admission of this issue. What happens is, at the longer telephoto focal lengths, using a VND filter makes the image look really bad; so bad, you would have to try it yourself to believe it! It's interesting that a similar thing happens with a lot of the 70-300 lenses I've tested (also at and near the long end of the zoom range). My theory is it has something to do with the enormous amount of space between the optics when the lens is in the extended telephoto position. The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

RFI WARNING: The Zoom H1 (v1) has noticeable RFI (Radio Frequency Interference) when used at less than 5 FEET from an iPhone 13 Pro max. This is a major limitation, especially for LAV use, because if the recorder is in the pocket of a groom, and they have an iPhone somewhere in their coat, this is going to cause RFI. PREFACE: I came up with 2 versions of my settings, but the 2nd set is not easy, so I would say start out with the 1st. (The 1st set is what you see above, and the 2nd set will only be in these notes below). OVERVIEW: For the 1st settings recommendation, I chose the easy approach (that still sounds pretty good) of switching the MIC. LOWCUT to ON and the MIC. BOOST to +20. This is easiest, because these are 3-position switches, and because they're so little, it can be difficult to set them to a "center" position (instead of to the left or right). The good news is that it works pretty well (though it still needs a custom EQ)! ALTERNATE VERSION: I created a 2nd set of settings because this mic has way too much BASS/LOWS (because of the excessively think foam windscreen). This 2nd set of settings includes doing everything I could figure out how to reduce the level of BASS, while recording. This combination will still need a custom EQ to make it sound realistic though, as this mic simply has too much BASS. I also did this to try and make this work (at this "CLOSE" proximity) with both the FOAM + FURRY windscreens on, so I wouldn't have to remove the FURRY when switching recording distances (or going INDOORS vs. OUTDOORS). This ended up being quite a workaround and so it's not my first choice for this mic (at this proximity) but here is settings: ALTERNATE SETTINGS: 1. ADD the FURRY windscreen (Official Rode) 2. ADD the AUX. Amplifier (Neoteck NTK-059) 3. Set the MIC. BOOST to -10 4. Set the AUX. Amplifier GAIN to "HIGH" 5. Set the AUX. Amplifier VOLUME to "10" (FULL dial) "CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom H1 AUX. Amplifier: NONE Rode VideoMic Pro R Windscreen: FOAM (Stock) 96k 24-bit REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER 19 REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS ON MIC. LOWCUT N/A MIC. HIGH PASS +20 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE - LESS THAN 1.1ft / 0.34m - BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m - BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: May 4, 2022 at 2:18:11 PM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS B DO THE "LOWS" SOUND REAL? MIDS B DO THE "MIDS" SOUND REAL? HIGHS/TREBLE B DO THE "HIGHS" SOUND REAL? NOTES: RFI WARNING: The Zoom H1 (v1) has noticeable RFI (Radio Frequency Interference) when used at less than 5 FEET from an iPhone 13 Pro max. This is a major limitation, especially for LAV use, because if the recorder is in the pocket of a groom, and they have an iPhone somewhere in their coat, this is going to cause RFI. PREFACE: I came up with 2 versions of my settings, but the 2nd set is not easy, so I would say start out with the 1st. (The 1st set is what you see above, and the 2nd set will only be in these notes below). OVERVIEW: For the 1st settings recommendation, I chose the easy approach (that still sounds pretty good) of switching the MIC. LOWCUT to ON and the MIC. BOOST to +20. This is easiest, because these are 3-position switches, and because they're so little, it can be difficult to set them to a "center" position (instead of to the left or right). The good news is that it works pretty well (though it still needs a custom EQ)! ALTERNATE VERSION: I created a 2nd set of settings because this mic has way too much BASS/LOWS (because of the excessively think foam windscreen). This 2nd set of settings includes doing everything I could figure out how to reduce the level of BASS, while recording. This combination will still need a custom EQ to make it sound realistic though, as this mic simply has too much BASS. I also did this to try and make this work (at this "CLOSE" proximity) with both the FOAM + FURRY windscreens on, so I wouldn't have to remove the FURRY when switching recording distances (or going INDOORS vs. OUTDOORS). This ended up being quite a workaround and so it's not my first choice for this mic (at this proximity) but here is settings: ALTERNATE SETTINGS: 1. ADD the FURRY windscreen (Official Rode) 2. ADD the AUX. Amplifier (Neoteck NTK-059) 3. Set the MIC. BOOST to -10 4. Set the AUX. Amplifier GAIN to "HIGH" 5. Set the AUX. Amplifier VOLUME to "10" (FULL dial) Remember to always monitor your audio while you're recording (using accurate headphones) because good settings can't fix bad audio. Also, these settings will not establish the exact level you'll need for every scene, but the goal is to provide a good starting point that will become clean, after adjusting in post. Additionally, these "custom settings" are used to make the Microphone-Specific EQ files work (as they won't work as intended if any of they aren't used). The EQ files were created to correct any imperfections of the microphone and/or wind protection (FOAM and/or FURRY) and were made in Audacity (the free audio editor) to make them as affordable & universal as possible.

While these settings may be a good starting point if I add a LUT, they are not good SOOC (not enough CONTRAST, SHARPNESS, COLOR). I used to shoot this way a lot (because it's pretty easy to color grade) but now that I'm shooting for SOOC, these settings aren't good enough anymore (though they do help to avoid overexposure, etc.) Any links below are affiliate links. FILTER: None Nikon 70-210 4 Series E ADAPTER: Nikon F/G-M43 Panasonic GH4 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -5 SHARPNESS +1 NOISE +2 SATURATION -2 HIGHLIGHT SHADOW -0-0 iDYNAMIC OFF LUMINANCE LEVEL 16-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT RADIUS THRESHOLD Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE DEFAULT Nikon 70-210 4 Series E Panasonic GH4 NATURAL -0-0-0-0 HS -0-0 CUSTOM Nikon 70-210 4 Series E Panasonic GH4 NATURAL -5+1+2-2 HS -0-0 UNDEREX REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST C IS THE CONTRAST "REAL"? SHARPNESS C IS THE SHARPNESS "REAL"? NOISE B IS THE NOISE "REAL"? COLOR B IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: While these settings may be a good starting point if I add a LUT, they are not good SOOC (not enough CONTRAST, SHARPNESS, COLOR). I used to shoot this way a lot (because it's pretty easy to color grade) but now that I'm shooting for SOOC, these settings aren't good enough anymore (though they do help to avoid overexposure, etc.) The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

[TESTING...] Any links below are affiliate links. FILTER: None Nikon 50 1.8 AIS ADAPTER: Viltrox NF-M43x (.71x) Panasonic GX85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -5 SHARPNESS -1 NOISE +4 SATURATION -2 HIGHLIGHT SHADOW OFF iDYNAMIC OFF LUMINANCE LEVEL 16-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT RADIUS THRESHOLD Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST - IS THE CONTRAST "REAL"? SHARPNESS - IS THE SHARPNESS "REAL"? NOISE - IS THE NOISE "REAL"? COLOR - IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: [TESTING...] The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.