One thing I noticed about using this mic/recorder combo (at this "VLOG" proximity) is that it sounds (natural and "REAL") when walking around OUTDOORS, but when I'm INDOORS or even near the walls of the house when outdoors, the reverberation (reflections off walls, etc.) aren't very well controlled. (With some other microphones, the furry windscreen helps with that, but this is with the furry windscreen ON, and it struggles with it). UPDATE: After more testing, I figured out that INDOORS it sounds better with the MIC. LOWCUT OFF, and better with it ON when OUTDOORS. However, most vlogging scenarios take place OUTDOORS, so I'm going to leave the MIC. LOWCUT ON for this "VLOG" proximity. Also note, you still cannot use this combination with the wireless RECEIVER turned on (there is way too much RFI). "VLOG" Proximity [22 inches / 55.5 cm] 7RYMS iRAY DW30 (Recorder) (NO AUX. Amplifier) Rode VideoMic Pro R Windscreen: FOAM + FURRY (Stock) 48k 24-bit REC. SETTINGS N/A 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 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: February 23, 2023 at 7:19:33 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: One thing I noticed about using this mic/recorder combo (at this "VLOG" proximity) is that it sounds (natural and "REAL") when walking around OUTDOORS, but when I'm INDOORS or even near the walls of the house when outdoors, the reverberation (reflections off walls, etc.) aren't very well controlled. (With some other microphones, the furry windscreen helps with that, but this is with the furry windscreen ON, and it struggles with it). UPDATE: After more testing, I figured out that INDOORS it sounds better with the MIC. LOWCUT OFF, and better with it ON when OUTDOORS. However, most vlogging scenarios take place OUTDOORS, so I'm going to leave the MIC. LOWCUT ON for this "VLOG" proximity. Also note, you still cannot use this combination with the wireless RECEIVER turned on (there is way too much RFI). 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.

"CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom H1n Rode VideoMic Pro R WINDSCREEN: FOAM (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 4.3 REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW 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 2:25:10 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: 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 got quite a few notes about this mic (and most of them apply to any audio recorder). The first thing I'm noting, is that this mic does NOT sound good with the FURRY windscreen I've been testing recently (the Comica CVM-MF1). It does sound good (natural and "REAL") with the included stock FOAM windscreen. So, until I find a furry windscreen that matches this mic well, I cannot recommend this for OUTDOOR use (I'm looking into the white versions of the Ursa and Movo furry windscreens because the copy I have of this mic is white). Next, this microphone does NOT do a good job of reducing background noise. I know, it's an omnidirectional mic, but in comparison to a lot of the other lavaliers I've tested, it doesn't do well here. This can be used to your advantage in certain situations, however. One example might be if you're recording somebody like a comedian (or anyone speaking in front of a large crowd) as it may do a good job capturing a bit of the audience's reaction, etc. This can be helpful if you want to avoid combining multiple audio sources in post (i.e. one for the crowd noise, one for presenter). "LAV" Proximity [7 inches / 17.78 cm] Zoom F2 [NO AUX. BOOST] Saramonic SR-M1W (for Blink 500) WINDSCREEN: Stock (Foam) 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 GOOD LESS THAN 1.1ft / 0.34m JUST OKAY 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: January 4, 2023 at 4:23:22 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: I've got quite a few notes about this mic (and most of them apply to any audio recorder). The first thing I'm noting, is that this mic does NOT sound good with the FURRY windscreen I've been testing recently (the Comica CVM-MF1). It does sound good (natural and "REAL") with the included stock FOAM windscreen. So, until I find a furry windscreen that matches this mic well, I cannot recommend this for OUTDOOR use (I'm looking into the white versions of the Ursa and Movo furry windscreens because the copy I have of this mic is white). Next, this microphone does NOT do a good job of reducing background noise. I know, it's an omnidirectional mic, but in comparison to a lot of the other lavaliers I've tested, it doesn't do well here. This can be used to your advantage in certain situations, however. One example might be if you're recording somebody like a comedian (or anyone speaking in front of a large crowd) as it may do a good job capturing a bit of the audience's reaction, etc. This can be helpful if you want to avoid combining multiple audio sources in post (i.e. one for the crowd noise, one for presenter). 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 started this test using the settings from the Panasonic G85 + BOOST (Viltrox NF-M43x) and all I have had to change so far was to add 1 positive point to the CONTRAST (because the Viltrox focal reducer lowers the contrast a bit). Any links below are affiliate links. FILTER: UV (B+W F-PRO) Promaster 70-300 4-5.6 ADAPTER: Nikon F/G-M43 Panasonic GX85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -5 SHARPNESS -5 NOISE +3 SATURATION -0 HIGHLIGHT SHADOW 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: I started this test using the settings from the Panasonic G85 + BOOST (Viltrox NF-M43x) and all I have had to change so far was to add 1 positive point to the CONTRAST (because the Viltrox focal reducer lowers the contrast a bit). 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 has so much SHARPNESS and CONTRAST and it creates shadows that are so deep, it is difficult to get this to look realistic (with this sensor)! In some ways this is amazing, but in other ways it makes it a challenge to work with. To get the image to look realistic I am using the maximum HIGHLIGHT SHADOW compensation you can (bringing the HIGHLIGHTS down to -5 and the SHADOWS up to +5) and then I'm having to leave the CONTRAST at -0 (which I normally bring down a bit). I do think there is another good thing about the amount of SHARPNESS and CONTRAST this lens has, and that is it should work well with the Vivitar 2x MACRO teleconverter which will reduce those attributes a bit. Any links below are affiliate links. FILTER: None Minolta MD 50 1.7 ADAPTER: Minolta MD-M43 Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -0 SHARPNESS -3 NOISE +4 SATURATION +2 HIGHLIGHT SHADOW -5+5 iDYNAMIC OFF LUMINANCE LEVEL 16-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT NONE RADIUS NONE THRESHOLD NONE 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 C IS THE CONTRAST "REAL"? SHARPNESS A 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: This lens has so much SHARPNESS and CONTRAST and it creates shadows that are so deep, it is difficult to get this to look realistic (with this sensor)! In some ways this is amazing, but in other ways it makes it a challenge to work with. To get the image to look realistic I am using the maximum HIGHLIGHT SHADOW compensation you can (bringing the HIGHLIGHTS down to -5 and the SHADOWS up to +5) and then I'm having to leave the CONTRAST at -0 (which I normally bring down a bit). I do think there is another good thing about the amount of SHARPNESS and CONTRAST this lens has, and that is it should work well with the Vivitar 2x MACRO teleconverter which will reduce those attributes a bit. 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.

Wow...I'm really learning that you can't pre-judge any microphone-audio recorder combination (similar to how I learned that about lenses and sensors). For instance, when testing this mic on another audio recorder, using the MIC. LOWCUT (either setting) sounded really bad (not natural at all). However, when using both the FOAM + FURRY (that are included with the mic) the MIC. LOWCUT setting of 150Hz sounds good (it sounds natural and "REAL" as I say). Another wierd thing is that the REC. LOWCUT (the one on the audio recorder) didn't sound good with this mic/audio recorder combination (but it sounded better than the MIC. LOWCUT on a different recorder). Anyways, it is really good this higher lowcut setting (150 vs 75) sounds natural, as the shock mount that comes with this mic isn't very effective, and the extra lowcut really helps (which is the main reason why lowcut filters are included on mics anyway). Also, the fact that it sounds more natural with the FOAM + FURRY is great, because this means you can just leave the FURRY on all of the time (INDOORS & OUTDOORS!) As noted above, the shock mount that is included with this mic doesn't do a very good job of protecting it from the sound of bumps and/or wiggles, so you'll have to hold it steady in that case. (If I can find an affordable, aftermarket shock mount, I will update this review). An important note specific to this audio recorder, is that the "HI-" REC. LEVEL setting sounds "cleaner" to me (less self-noise) than the next lower setting "MID+". It doesn't seem like it should, because it's a higher gain setting, but that is how it's sounding to me (it's kind of like how the self-noise on the Zoom H1 v1 is lower at a REC. LEVEL of 37 than it is at 36!). Also, because the Zoom F1 doesn't have a lot of options for REC. LEVEL steps (not "numerical" as the Zoom H1) I suggest keeping the REC. LEVEL set to "HI-" on the audio recorder, and then just tweaking the gain (when needed) by adjusting gain dial on the microphone (which is pretty nice because you can set it anywhere between 0-10 with stepless adjustments). "CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom F1 (NO AUX. Amplifier) Comica CVM-VM20 (Shotgun) Windscreen: FOAM + FURRY (Stock) 96k 24-bit REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER "HI-" REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS 150 Hz MIC. LOWCUT N/A MIC. HIGH PASS 4 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE BAD LESS THAN 1.1ft / 0.34m BAD 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: January 26, 2023 at 4:28:47 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: Wow...I'm really learning that you can't pre-judge any microphone-audio recorder combination (similar to how I learned that about lenses and sensors). For instance, when testing this mic on another audio recorder, using the MIC. LOWCUT (either setting) sounded really bad (not natural at all). However, when using both the FOAM + FURRY (that are included with the mic) the MIC. LOWCUT setting of 150Hz sounds good (it sounds natural and "REAL" as I say). Another wierd thing is that the REC. LOWCUT (the one on the audio recorder) didn't sound good with this mic/audio recorder combination (but it sounded better than the MIC. LOWCUT on a different recorder). Anyways, it is really good this higher lowcut setting (150 vs 75) sounds natural, as the shock mount that comes with this mic isn't very effective, and the extra lowcut really helps (which is the main reason why lowcut filters are included on mics anyway). Also, the fact that it sounds more natural with the FOAM + FURRY is great, because this means you can just leave the FURRY on all of the time (INDOORS & OUTDOORS!) As noted above, the shock mount that is included with this mic doesn't do a very good job of protecting it from the sound of bumps and/or wiggles, so you'll have to hold it steady in that case. (If I can find an affordable, aftermarket shock mount, I will update this review). An important note specific to this audio recorder, is that the "HI-" REC. LEVEL setting sounds "cleaner" to me (less self-noise) than the next lower setting "MID+". It doesn't seem like it should, because it's a higher gain setting, but that is how it's sounding to me (it's kind of like how the self-noise on the Zoom H1 v1 is lower at a REC. LEVEL of 37 than it is at 36!). Also, because the Zoom F1 doesn't have a lot of options for REC. LEVEL steps (not "numerical" as the Zoom H1) I suggest keeping the REC. LEVEL set to "HI-" on the audio recorder, and then just tweaking the gain (when needed) by adjusting gain dial on the microphone (which is pretty nice because you can set it anywhere between 0-10 with stepless adjustments). 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.

This microphone-recorder combination doesn't work at the "VLOG" proximity without adding my AUX. amplifier (Neotek NTK059 at HIGH, FULL DIAL) so it may not be practical for vlogging (because adding an AUX. amp. adds weight). I think the reason it does not work is because it only has a +10 MIC. BOOST, and +20 is needed at "VLOG" proximity with this microphone-audio recorder combo. "VLOG" Proximity [ 22 inches / 55.5 cm] Zoom H1n AUX: Neoteck NTK059 Takstar SGC-598 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 5.5 REC. LEVEL AUX. SETTINGS OFF AUX. BASS HIGH AUX. HIGH-LOW @FULL AUX. OUTPUT MIC. SETTINGS Off 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: April 16, 2022 at 4:56:34 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 microphone-recorder combination doesn't work at the "VLOG" proximity without adding my AUX. amplifier (Neotek NTK059 at HIGH, FULL DIAL) so it may not be practical for vlogging (because adding an AUX. amp. adds weight). I think the reason it does not work is because it only has a +10 MIC. BOOST, and +20 is needed at "VLOG" proximity with this microphone-audio recorder combo. 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.

WOW. I did not expect to get results that were as good as this (because this lens WITHOUT the Tiffen BPM14 did not work very well with this camera sensor). So, the custom settings I ended up using include a really strange HIGHLIGHT SHADOW curve (see settings) in conjunction with just a few small adjustments to the picture profile settings (see settings also). What I am really liking is how the combination of this filter and these settings is not only producing a pretty REAL looking image, but is also a little bit filmic too (with a little bit more SATURATION than one might want). Plus, it works pretty well in both INDOOR and OUTDOOR situations (with both low and high amounts of light...from shade to sun, etc.) P.S. I tried testing this combo with the BPM18 (1/8th strength Black Pro Mist) and it did not work as well (for a number of reasons)... Any links below are affiliate links. FILTER: Tiffen Black Pro Mist 1/4 Sigma 30 1.4 ADAPTER: None (Native Mount) Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -0 SHARPNESS -2 NOISE +2 SATURATION -1 HIGHLIGHT SHADOW -3+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 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 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: WOW. I did not expect to get results that were as good as this (because this lens WITHOUT the Tiffen BPM14 did not work very well with this camera sensor). So, the custom settings I ended up using include a really strange HIGHLIGHT SHADOW curve (see settings) in conjunction with just a few small adjustments to the picture profile settings (see settings also). What I am really liking is how the combination of this filter and these settings is not only producing a pretty REAL looking image, but is also a little bit filmic too (with a little bit more SATURATION than one might want). Plus, it works pretty well in both INDOOR and OUTDOOR situations (with both low and high amounts of light...from shade to sun, etc.) P.S. I tried testing this combo with the BPM18 (1/8th strength Black Pro Mist) and it did not work as well (for a number of reasons)... 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 legendary, and I have been wanting to test it for a while. I did rent it many, many years ago (when using a Panasonic G5) but I did not know about custom (lens-sensor specific) camera settings. This combination is going to need a LUT to finalize, for sure. Any links below are affiliate links. FILTER: None Nikon 17-35 2.8 D ADAPTER: Nikon F/G-M43 Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -0 SHARPNESS +2 NOISE +5 SATURATION +1 HIGHLIGHT SHADOW -4+3 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 C IS THE SHARPNESS "REAL"? NOISE B IS THE NOISE "REAL"? COLOR D 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 legendary, and I have been wanting to test it for a while. I did rent it many, many years ago (when using a Panasonic G5) but I did not know about custom (lens-sensor specific) camera settings. This combination is going to need a LUT to finalize, for sure. 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.

These SETTINGS are for using the BUILT-IN (XY) MICS at the "CLOSE" proximity...possibly for voiceovers, narration, podcasting (I think the mics are too sensitive for this though, and if they get bumped (if you're not using a shock mount) it will be really loud). A few random notes are: 1. The BUILT-IN mics cannot be used without a windscreen (not sure if FOAM or FURRY is best, but when they're used BARE, the mics are way too sensitive, and they can't even handle normal speech without clipping from certain plosives). 2. A shock mount is necessary when using the BUILT-IN MICS (I will test Movo shock mounts...) "CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom H1n (NO AUX. Amplifier) (BUILT-IN) FOAM OR FURRY? WAV 24-bit/96kHz REC. SETTINGS ? REC. LOWCUT ? REC. LIMITER ? REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW 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: January 23, 2023 at 7:15:16 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: These SETTINGS are for using the BUILT-IN (XY) MICS at the "CLOSE" proximity...possibly for voiceovers, narration, podcasting (I think the mics are too sensitive for this though, and if they get bumped (if you're not using a shock mount) it will be really loud). A few random notes are: 1. The BUILT-IN mics cannot be used without a windscreen (not sure if FOAM or FURRY is best, but when they're used BARE, the mics are way too sensitive, and they can't even handle normal speech without clipping from certain plosives). 2. A shock mount is necessary when using the BUILT-IN MICS (I will test Movo shock mounts...) 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.

Overall, this microphone sounds pretty good (i.e. it sounds natural and "REAL") and this is with the included (stock) FOAM windscreen. However, what is really interesting is that this microphone does not sound good with the Comica...(furry lavalier windscreen). That's interesting because most of the lav microphones I've tested sound BETTER with that furry windscreen. (This microphone doesn't seem to benefit from a reduction of reverb when used INDOORS, as a lot of the other microphones seemed to. This means both that this microphone is not a good choice for me to use OUTDOORS (with the Comica furry). Also, it means, even if I did find another lavalier furry windscreen, this one will be slower to use because I can't just leave a furry windscreen on all the time (I prefer to use lav mics that sound better with a furry windscreen (both indoors and out). The good news is that they did a really good job making this microphone sound natural with the included (stock) FOAM windscreen, which I can't say is the case for a lot of other lavalier mics (the ones I've tested of course). "LAV" Proximity [7 inches / 17.78 cm] Zoom H1n [NO AUX. BOOST] 7RYMS Lavalier (for iRAY DW30) WINDSCREEN: Foam (Stock) 96k 24-bit 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: January 4, 2023 at 5:58:58 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: Overall, this microphone sounds pretty good (i.e. it sounds natural and "REAL") and this is with the included (stock) FOAM windscreen. However, what is really interesting is that this microphone does not sound good with the Comica...(furry lavalier windscreen). That's interesting because most of the lav microphones I've tested sound BETTER with that furry windscreen. (This microphone doesn't seem to benefit from a reduction of reverb when used INDOORS, as a lot of the other microphones seemed to. This means both that this microphone is not a good choice for me to use OUTDOORS (with the Comica furry). Also, it means, even if I did find another lavalier furry windscreen, this one will be slower to use because I can't just leave a furry windscreen on all the time (I prefer to use lav mics that sound better with a furry windscreen (both indoors and out). The good news is that they did a really good job making this microphone sound natural with the included (stock) FOAM windscreen, which I can't say is the case for a lot of other lavalier mics (the ones I've tested of course). 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.