[NOTE: The settings with the +BOOST (Viltrox NF-M43x) added are a LOT different (you might expect it to be predictable, but every optical situation is different) and needs custom settings.] This is a really amazing vintage lens! It is very vulnerable to lens flare (so if you want to control it, use lens shade, etc.) but it matches this sensor pretty well and it needed very few changes. The adjustments were important though, as it really helped adding a little CONTRAST, SHARPNESS and NOISE REDUCTION (each of them for controlling the micro-contrast and reducing the digital look of the image, etc.) While the final result is not perfectly "REAL" (especially the inaccurate color) I think it looks very "cinematic" and that a lot of people (who like the "film look") will really, REALLY like the image this lens-sensor combo creates. Any links below are affiliate links. FILTER: None Kiron 28-85 2.8-3.8 ADAPTER: Viltrox NF-M43x (.71x) Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST +2 SHARPNESS +1 NOISE -1 SATURATION -0 HIGHLIGHT SHADOW -1+2 iDYNAMIC OFF LUMINANCE LEVEL 16-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT RADIUS THRESHOLD Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE DEFAULT Kiron 28-85 2.8-3.8 VILTROX Panasonic G85 NATURAL -0-0-0-0 HS -0-0 CUSTOM Kiron 28-85 2.8-3.8 VILTROX Panasonic G85 NATURAL +2+1-1-0 HS -1+2 REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST B IS THE CONTRAST "REAL"? SHARPNESS B IS THE SHARPNESS "REAL"? NOISE C IS THE NOISE "REAL"? COLOR C IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: [NOTE: The settings with the +BOOST (Viltrox NF-M43x) added are a LOT different (you might expect it to be predictable, but every optical situation is different) and needs custom settings.] This is a really amazing vintage lens! It is very vulnerable to lens flare (so if you want to control it, use lens shade, etc.) but it matches this sensor pretty well and it needed very few changes. The adjustments were important though, as it really helped adding a little CONTRAST, SHARPNESS and NOISE REDUCTION (each of them for controlling the micro-contrast and reducing the digital look of the image, etc.) While the final result is not perfectly "REAL" (especially the inaccurate color) I think it looks very "cinematic" and that a lot of people (who like the "film look") will really, REALLY like the image this lens-sensor combo creates. 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 lens is pretty amazing, because it's one of the few lens-sensor combos out there that actually looks really good at 0-0-0-0 (using the NATURAL photo style). I did do some minor adjustments, but they're not essential. This lens does have some issues with glowing purples (i.e. chromatic aberration) which can be distracting. Also, be aware that it's a really heavy lens (for its size) and I think it needs to be supported by the sort of adapter that has an integrated tripod mount on it (so it doesn't strain the lens mount on the camera). I didn't have a tripod mount on the adapter I used on my initial tests, and it wasn't very ergonomic, but then I found one on Ebay (Minolta MD mount) and it works much better! Any links below are affiliate links. FILTER: None Vivitar Series 1 70-210 3.5 ADAPTER: Nikon F/G-M43 Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -0 SHARPNESS -1 NOISE +1 SATURATION -0 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 A IS THE CONTRAST "REAL"? SHARPNESS B IS THE SHARPNESS "REAL"? NOISE B IS THE NOISE "REAL"? COLOR B IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: This lens is pretty amazing, because it's one of the few lens-sensor combos out there that actually looks really good at 0-0-0-0 (using the NATURAL photo style). I did do some minor adjustments, but they're not essential. This lens does have some issues with glowing purples (i.e. chromatic aberration) which can be distracting. Also, be aware that it's a really heavy lens (for its size) and I think it needs to be supported by the sort of adapter that has an integrated tripod mount on it (so it doesn't strain the lens mount on the camera). I didn't have a tripod mount on the adapter I used on my initial tests, and it wasn't very ergonomic, but then I found one on Ebay (Minolta MD mount) and it works much better! The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

View of angle lake waterfront with picnic bench and bbq ©2025 SilverLight Photo Co. If image is black & white, final photos or videos are in post-production (check back). Angle Lake Park 2 < All Scenes Behind-the-Scenes SUPPORT US TO GET FULL BEHIND-THE-SCENES ACCESS (& PRODUCTION DETAILS) GET ACCESS GENERAL NOTES (Parking, etc.) The location is Angle Lake Park, and it's easy to find (and get to) if you're traveling North on 99/International Boulevard, about two to 3 blocks past the light rail transit station, on 200th. Parking for the lake is immediately off the street, and while there isn't much, there were lots of spots available (in the middle of the day). All of the camera angles on this shoot were captured using the Panasonic FZ1000, which is amazing, but also somewhat inconvenient. I'm certainly learning how much faster it can be to "always shoot with (at least) two cameras" like I say maybe too much. There were also a few shots, especially the one with the tall pine trees, that could have benefitted from using a perspective control (tilt/shift) lens/adapter to keep the vertical lines straight and looking real (but they ended up appearing to bow, as a result of having to aim the camera upward to include them in the frame...so the trees turned out looking kind of angled). *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.

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. I tested this combo with and without the MIC. LOWCUT on, and at this "VLOG" proximity, it not only sounds a lot better with it off, the shock mount is so good on this mic that it doesn't really need the MIC. LOWCUT to reduce sounds from vibrations, etc. If you choose to use the MIC. LOWCUT, just remember it will need a different EQ (the one I create will be specific to these settings). "VLOG" Proximity [ 22 inches / 55.5 cm] Zoom H1 (NO AUX. Amplifier) Shure VP83 LensHopper + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 21 REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW AUX. OUTPUT MIC. SETTINGS OFF 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 5, 2022 at 7:28:46 AM 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: 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. I tested this combo with and without the MIC. LOWCUT on, and at this "VLOG" proximity, it not only sounds a lot better with it off, the shock mount is so good on this mic that it doesn't really need the MIC. LOWCUT to reduce sounds from vibrations, etc. If you choose to use the MIC. LOWCUT, just remember it will need a different EQ (the one I create will be specific to these settings). 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 FOOD videos? < Back to ANSWERS Effective Lighting for Food Videos 1. Softbox Lights Softbox lights are perfect for food videos because they diffuse light, minimizing harsh shadows and providing soft, even brightness. They can be adjusted and positioned to highlight specific parts of the food. 2. LED Panel Lights LED panel lights are versatile and energy-efficient. They offer adjustable brightness and color temperature, enabling you to customize the lighting to suit different food types and settings. 3. Natural Light Natural light can enhance the visual appeal of food. Shooting near windows during daylight can give a soft and attractive look. It's crucial to manage direct sunlight to avoid harsh contrasts. 4. Light Reflectors Though not a direct light source, reflectors can bounce light onto the food, filling in shadows and enhancing the overall look. They are a valuable addition to any lighting setup.

Canadian Geese Foraging in Grass at Angle Lake Park ©2026 SilverLight Photo Co. The above content is 100% REAL (and no A.I. or Photoshop tricks were used to make it). Canadian Geese at Angle Lake Park #3 < All Scenes Behind-the-Scenes SUPPORT US TO GET FULL BEHIND-THE-SCENES ACCESS (& PRODUCTION DETAILS) GET ACCESS GENERAL NOTES (Parking, etc.) As mentioned before, this location is easy to get to (it's right off HWY 99) and there's usually lots of free parking, unless the weather is really hot, but that doesn't happen too often here! This was my first time using a compact, carbon fiber video tripod (from SmallRig). I really like it so far, because it has a leveling head which is super easy to use, and also the head has smooth pan and tilt motion. With the Panasonic FZ1000 bridge camera, I had to add a top handle to increase the weight of the camera rig to help smooth out the shot, when panning, or moving. *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.

+3 SHADOWS (Highlight Shadow) Any links below are affiliate links. FILTER: None Sigma 18-35 1.8 ADAPTER: Nikon F/G-M43 Panasonic GH4 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -5 SHARPNESS - 2 NOISE +5 SATURATION -0 HIGHLIGHT SHADOW +3 Shadows 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: +3 SHADOWS (Highlight Shadow) 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.

(NOTE: Test turning OFF Highlight Shadow for HDR still photos.) (Also, these settings are for WITH the Neewer CP Circular Polarizer filter, and WITH the filter I think NOISE REDUCTION should be set to +4, but WITHOUT, I'd put the settings at +5 because there is too much SHARPNESS without the filter). I had never heard of this lens until recently when I saw it at a local camera store (for a good deal). I've tested the Sigma 17-50 2.8 EX and the Sigma 18-35 1.8 ART, but I didn't know this one even existed! It isn't as "good" as the 18-35 1.8 ART (in a technical sense) but WITH THE CUSTOM SETTINGS I think it's doing a good job (and that's WITH a CPL/circular polarizer attached!!) Any links below are affiliate links. FILTER: CPL (Neewer MRC 30-Layer) Sigma 18-50 2.8 EX ADAPTER: Viltrox NF-M43x (.71x) Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -0 SHARPNESS +1 NOISE +4 SATURATION -0 HIGHLIGHT SHADOW -3+4 iDYNAMIC OFF LUMINANCE LEVEL 16-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT RADIUS THRESHOLD Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST B IS THE CONTRAST "REAL"? SHARPNESS A IS THE SHARPNESS "REAL"? NOISE B IS THE NOISE "REAL"? COLOR C IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: (NOTE: Test turning OFF Highlight Shadow for HDR still photos.) (Also, these settings are for WITH the Neewer CP Circular Polarizer filter, and WITH the filter I think NOISE REDUCTION should be set to +4, but WITHOUT, I'd put the settings at +5 because there is too much SHARPNESS without the filter). I had never heard of this lens until recently when I saw it at a local camera store (for a good deal). I've tested the Sigma 17-50 2.8 EX and the Sigma 18-35 1.8 ART, but I didn't know this one even existed! It isn't as "good" as the 18-35 1.8 ART (in a technical sense) but WITH THE CUSTOM SETTINGS I think it's doing a good job (and that's WITH a CPL/circular polarizer attached!!) 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.

REAL REVIEWS Long-term reviews of budget photo & video gear. KIT PLAN RECOMMENDATION: [NOT IN KIT] Panasonic G7 This image is 100% REAL, and no A.I. (or Photoshop compositing) were used to make it, and I know because I took it myself. Quality? LIGHT USE OK Yes MEDIUM USE OK Yes HEAVY USE OK No Portable? POCKET No CAMERA BAG No BACKPACK Yes Affordable? AVERAGE NEW PRICE $ 547.99* *Indicates SALE price. Amazon AFFILIATE LINK AVERAGE USED PRICE $ 317.32** **Indicates BUY NOW price. Ebay AFFILIATE LINK Common? ON AMAZON Yes ON EBAY Yes Easy To Use? SKILL LEVEL MEDIUM These reviews are just my opinion and are focused on my Q.P.A.C.E. packing method, so they're not comprehensive. I wrote these mostly to help me remember what items worked for my KIT PLANS (and which didn't). If I said anything negative I apologize, as these products still may work well for you in your situation, but they were not Q.P.A.C.E (Quality, Portable, Affordable, Common, Easy-to-Use) enough for my budget filmmaking KIT PLANS .

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

(NOTE: Color should be reduced -1 if not uploading to YouTube...as I'm learning YouTube sucks the color, out of images. I'm planning on making LUTs that compensate for this, but this will work in the interim). Overall, I am liking the Tokina 11-16 2.8 a lot more, but this one is workable OUTDOORS if needed. INDOORS, you really need an F/2.8 + BOOST (speed booster) for it to gather enough light FOR THIS CAMERA. Any links below are affiliate links. FILTER: None Tokina 12-24 4 ADAPTER: Viltrox NF-M43x (.71x) Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -1 SHARPNESS -0 NOISE +4 SATURATION -1 HIGHLIGHT SHADOW -3+2 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: (NOTE: Color should be reduced -1 if not uploading to YouTube...as I'm learning YouTube sucks the color, out of images. I'm planning on making LUTs that compensate for this, but this will work in the interim). Overall, I am liking the Tokina 11-16 2.8 a lot more, but this one is workable OUTDOORS if needed. INDOORS, you really need an F/2.8 + BOOST (speed booster) for it to gather enough light FOR THIS CAMERA. 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.