REAL REVIEWS Long-term reviews of budget photo & video gear. KIT PLAN RECOMMENDATION: [INDOOR ONLY] Panasonic GH4 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 Yes Portable? POCKET No CAMERA BAG Yes BACKPACK Yes Affordable? AVERAGE NEW PRICE $ 799.00 *Indicates SALE price. Amazon AFFILIATE LINK AVERAGE USED PRICE $ 305.00** **Indicates BUY NOW price. Ebay AFFILIATE LINK Common? ON AMAZON No 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 .

The final settings here work pretty good, but this lens-sensor combination still has some issues...These include maybe the strangest Highlight Shadow settings I've ever used...and it still has too much contrast. When I started this test, I was surprised, as I had heard so many people say good things about this lens, but when compared with a lot of the vintage lenses I've been testing, this thing isn't very good...so let me explain. When I started this test (at -0-0-0-0 using the Natural profile) what immediately jumped out at me were the outlines on the edges of objects, which I'm pretty sure is due to over-sharpening...yet at the same time, the image was soft and needed sharpening! This is a problem, because to remove the outlines on the edges of things, you have to REDUCE the SHARPENING...but doing that will mean the image needs even MORE sharpening during post production, so I may have to see how far I can take the sharpening in post production (using Davinci Resolve). Any links below are affiliate links. FILTER: None Panasonic 12-60 3.5-5.6 ADAPTER: None (Native Mount) Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -1 SHARPNESS -5 NOISE +1 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 A 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: The final settings here work pretty good, but this lens-sensor combination still has some issues...These include maybe the strangest Highlight Shadow settings I've ever used...and it still has too much contrast. When I started this test, I was surprised, as I had heard so many people say good things about this lens, but when compared with a lot of the vintage lenses I've been testing, this thing isn't very good...so let me explain. When I started this test (at -0-0-0-0 using the Natural profile) what immediately jumped out at me were the outlines on the edges of objects, which I'm pretty sure is due to over-sharpening...yet at the same time, the image was soft and needed sharpening! This is a problem, because to remove the outlines on the edges of things, you have to REDUCE the SHARPENING...but doing that will mean the image needs even MORE sharpening during post production, so I may have to see how far I can take the sharpening in post production (using Davinci Resolve). 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 70-300 4-5.6 ED ADAPTER: Nikon F/G-M43 Panasonic GX85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -3 SHARPNESS -3 NOISE +4 SATURATION -1 HIGHLIGHT SHADOW Standard 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: [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.

REAL ANSWERS Answers from REAL people with REAL experience (not from A.I.) How many audio recorders do you need for video production? Good audio recorders are so inexpensive, we normally use 1 audio recorder per microphone, and now these recorders are so small they are often mounted close to each mic. < Back to ANSWERS We Use Individual Audio Recorders Utilizing individual audio recorders per microphone can significantly enhance the quality and efficiency of audio recording projects. Good audio recorders have become quite affordable, allowing for more to be used in each recording setup. Enhanced Audio Quality: Each microphone can capture sound independently, resulting in clearer and more focused audio. Flexibility in Placement: Small recorders can be mounted close to each mic, minimizing cable clutter and reducing the risk of interference. Simplified Post-Production: Having separate audio tracks for each microphone allows for easier editing and mixing in post-production. Redundancy: In case one recorder fails, the others can still capture audio, providing a backup. Improved Mobility: Lightweight and compact recorders enable more dynamic recording setups, especially in field situations. Considerations for Setup When implementing this setup, consider the following: Synchronization: Ensure that all recorders are synchronized to avoid issues in post-production. Battery Life: Monitor the battery levels of each recorder to ensure uninterrupted recording. Storage Capacity: Use recorders with sufficient storage to accommodate longer recordings.

AUDIO RECORDER SPECIFIC: I can't really recommend this microphone/audio recorder combination as a good solution for a lavalier mic like this, because the recorder DOES NOT HAVE A LOCK/HOLD function (and the REC. LEVEL dial can get bumped if you put it in somebody's pocket). This microphone only records a MONO signal and not a stereo one like when used with the Zoom H1. Like the Zoom H1 too, this mic doesn't sound as good as the Zoom F1 (it's not as full). I don't know if this has to do with the differences between how much gain was applied to each test in post-production or what, but I've learned I can't push the Zoom H1 or H1n beyond 63 or 6.3 on the dial respectively, because the pre-amps become too noisy above that. So, maybe it's just because this microphone comes in as MONO and not in stereo as it does on the Zoom F1, or perhaps the Zoom F1 has a better pre-amp? GENERAL (MIC-SPECIFIC): 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 H1n [NO AUX. BOOST] Saramonic SR-M1W (for Blink 500) WINDSCREEN: Stock (Foam) 32-Bit Float REC. SETTINGS OFF REC. LOWCUT N/A REC. LIMITER 6.3 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 5:21:25 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 C DO THE "HIGHS" SOUND REAL? NOTES: AUDIO RECORDER SPECIFIC: I can't really recommend this microphone/audio recorder combination as a good solution for a lavalier mic like this, because the recorder DOES NOT HAVE A LOCK/HOLD function (and the REC. LEVEL dial can get bumped if you put it in somebody's pocket). This microphone only records a MONO signal and not a stereo one like when used with the Zoom H1. Like the Zoom H1 too, this mic doesn't sound as good as the Zoom F1 (it's not as full). I don't know if this has to do with the differences between how much gain was applied to each test in post-production or what, but I've learned I can't push the Zoom H1 or H1n beyond 63 or 6.3 on the dial respectively, because the pre-amps become too noisy above that. So, maybe it's just because this microphone comes in as MONO and not in stereo as it does on the Zoom F1, or perhaps the Zoom F1 has a better pre-amp? GENERAL (MIC-SPECIFIC): 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.

REAL ANSWERS Answers from REAL people with REAL experience (not from A.I.) Is the Panasonic LUMIX GH2 Good for Video? < Back to ANSWERS

REAL ANSWERS Answers from REAL people with REAL experience (not from A.I.) How many microphones do you use for video production? How many microphones you will need will vary based on how many things you need to record. You will need 1 LAV mic for each person being recorded, sometimes 1 BOOM mic (to cover them all) and at least 1 STEREO microphone (for ambient audio). < Back to ANSWERS Microphone Requirements for Recording The quantity of microphones required depends on the specifics of the recording session. Below is an outline of the types of microphones you might need: LAV Mic: One per person being recorded. BOOM Mic: One to cover all participants (and an operator). STEREO Microphone: A minimum of one for capturing ambient sound.

[TESTING...] Any links below are affiliate links. FILTER: None Nikon 55-200 ADAPTER: Viltrox NF-M43x (.71x) Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -1 SHARPNESS -0 NOISE +2 SATURATION -4 HIGHLIGHT SHADOW Standard 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: [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.

This was my second test of this lens (the first was on the GH4) and while I was not impressed with this on the GH4, on the G7 I am starting to see why some people like this lens (and I suspect they're using it on sensors with a lot more sharpness, such as Sony full-frame sensors). It is still an inconsistent and difficult lens to work with though (as the optical properties change so much when varying the aperture). Any links below are affiliate links. FILTER: None Canon FD 50 1.4 ADAPTER: Canon FD-M43 (Non-Optical) Panasonic G7 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -3 SHARPNESS +1 NOISE +3 SATURATION -2 HIGHLIGHT SHADOW -2 +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 C IS THE CONTRAST "REAL"? SHARPNESS D IS THE SHARPNESS "REAL"? NOISE 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: This was my second test of this lens (the first was on the GH4) and while I was not impressed with this on the GH4, on the G7 I am starting to see why some people like this lens (and I suspect they're using it on sensors with a lot more sharpness, such as Sony full-frame sensors). It is still an inconsistent and difficult lens to work with though (as the optical properties change so much when varying the aperture). 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: BASIC KIT YOREPEK Travel Backpack Extra Large 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 ? Portable? POCKET NA CAMERA BAG NA BACKPACK NA Affordable? AVERAGE NEW PRICE $ 29.99 *Indicates SALE price. Amazon AFFILIATE LINK AVERAGE USED PRICE NA **Indicates BUY NOW price. Ebay AFFILIATE LINK Common? ON AMAZON Yes ON EBAY ? 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 .

REAL ANSWERS Answers from REAL people with REAL experience (not from A.I.) Is the Panasonic LUMIX S9 Good for Video? < Back to ANSWERS