AUX. SETTINGS: 1. I'm using the Comica CVM-D03 Dual Lavalier as an AUX. AMP 2. The mic is plugged into the AUX. AMP (into Mic 1 or 2) 3. The AUX. AMP is set to MONO ("M") 4. The AUX. AMP is set to FULL (on the dial) 5. The AUX. AMP sends (VIA 3.5 AUX. cable) from OUTPUT port to Zoom F2 (audio recorder) INPUT "PROXIMITY" SPECIFIC: This is a 32-bit float recorder (the Zoom F2) so you really don't have to change settings when moving from one "proximity" (recording distance) to another (even the "AFAR" proximity). The only thing you COULD change is turning the REC. LOWCUT on/off. When using the "CLOSE" proximity INDOORS, you don't really need the LOWCUT to reduce bumps and/or wind noise from being in an outdoor environment, but I'm leaving it ON because I sometimes use "CLOSE" outdoors as well (either for narration or nat. sound capture) it works best for me to have the same settings for both. It does lack a little bit of BASS with the REC. LOWCUT on however, so I will need to create a custom EQ for each proximity. Note that REC. LOWCUT can only be activated in Zoom app (and only on the Bluetooth version of the F2). The way I'm using this mic is a bit different than it was designed. I'm plugging it into the Comica CVM-D03 Dual Lavalier booster pack (which was designed to provide plug-in power for 2 Comica lavalier mics) and it actually works to power AND boost the Rode VideoMicro, which improves the audio quality a lot compared to just plugging this mic into the Zoom F2. I did try that as well, and while it does sort of work, because you can raise the level of the 32-bit float file in post-production, but it sounds way, way better (at ALL proximities) when using the Comica CVM-D03 as an AUX. amplifier (see my settings above). BACKGROUND: This was the first mini (camera-top) shotgun mic I purchased, and I almost got rid of it for a number of reasons. The first reason I didn't like this mic was that it does not have its own power (it takes power from the device it's plugged into). The second reason I didn't like it, was that I also like to plug mics into headphone amplifiers (sometimes) to boost the level when needed, this mic couldn't do that because it requires that plug-in power (and the headphone amplifier isn't supplying that). Other mics have a similar problem (the Diety D3 Pro) but for a different reason. They have "smart" power, which means they only turn on when they sense it's plugged into a camera! IN THE FUTURE: I have another strange idea that might be fun, and that's to get another one of these, and run 2 of them into that booster TO CREATE A STEREO PAIR OF MICS (yet the Zoom F2 doesn't capture stereo, so it would already be mixed to MONO, but it would still gather audio from 2 mics, and could sound really good. "AFAR" Zoom F2 AUX. AMP: Comica CVM-D03 Dual Lavalier Rode VideoMicro (Shotgun) Windscreen: FURRY (Stock) 32-Bit Float REC. SETTINGS ON REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW FULL 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: February 6, 2023 at 4:21:57 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: AUX. SETTINGS: 1. I'm using the Comica CVM-D03 Dual Lavalier as an AUX. AMP 2. The mic is plugged into the AUX. AMP (into Mic 1 or 2) 3. The AUX. AMP is set to MONO ("M") 4. The AUX. AMP is set to FULL (on the dial) 5. The AUX. AMP sends (VIA 3.5 AUX. cable) from OUTPUT port to Zoom F2 (audio recorder) INPUT "PROXIMITY" SPECIFIC: This is a 32-bit float recorder (the Zoom F2) so you really don't have to change settings when moving from one "proximity" (recording distance) to another (even the "AFAR" proximity). The only thing you COULD change is turning the REC. LOWCUT on/off. When using the "CLOSE" proximity INDOORS, you don't really need the LOWCUT to reduce bumps and/or wind noise from being in an outdoor environment, but I'm leaving it ON because I sometimes use "CLOSE" outdoors as well (either for narration or nat. sound capture) it works best for me to have the same settings for both. It does lack a little bit of BASS with the REC. LOWCUT on however, so I will need to create a custom EQ for each proximity. Note that REC. LOWCUT can only be activated in Zoom app (and only on the Bluetooth version of the F2). The way I'm using this mic is a bit different than it was designed. I'm plugging it into the Comica CVM-D03 Dual Lavalier booster pack (which was designed to provide plug-in power for 2 Comica lavalier mics) and it actually works to power AND boost the Rode VideoMicro, which improves the audio quality a lot compared to just plugging this mic into the Zoom F2. I did try that as well, and while it does sort of work, because you can raise the level of the 32-bit float file in post-production, but it sounds way, way better (at ALL proximities) when using the Comica CVM-D03 as an AUX. amplifier (see my settings above). BACKGROUND: This was the first mini (camera-top) shotgun mic I purchased, and I almost got rid of it for a number of reasons. The first reason I didn't like this mic was that it does not have its own power (it takes power from the device it's plugged into). The second reason I didn't like it, was that I also like to plug mics into headphone amplifiers (sometimes) to boost the level when needed, this mic couldn't do that because it requires that plug-in power (and the headphone amplifier isn't supplying that). Other mics have a similar problem (the Diety D3 Pro) but for a different reason. They have "smart" power, which means they only turn on when they sense it's plugged into a camera! IN THE FUTURE: I have another strange idea that might be fun, and that's to get another one of these, and run 2 of them into that booster TO CREATE A STEREO PAIR OF MICS (yet the Zoom F2 doesn't capture stereo, so it would already be mixed to MONO, but it would still gather audio from 2 mics, and could sound really good. 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.

THE SHORT STORY: I'm super happy with the results coming from these settings (the lens-sensor combo, including the Pixco speed booster)! What was super surprising was that these settings not only look good on the final files, but they also look good on the Panasonic GH4 flip-out screen (while you're shooting) and that doesn't always happen (it's a really good thing!) THE LONG STORY: I just tested this lens-sensor combination on a Panasonic GX85, so I had some expectations for this test...but I must say that it turned out a lot better than I expected! Not only does this turn the very affordable Canon FDn 50 1.8 into a great low light tool (a 35mm 1.2) but it renders quite a filmic look on this GH4 (a super affordable camera nowadays)! I say it looks a lot like film because it's doing a really good job controlling the highlight rolloff, midtones and shadow detail, and it even renders a sort of film grain look by having a bit of digital noise (but it's not too much that it's distracting). The NOISE REDUCTION settings are what I'm using to control how the "film grain" look is rendering, and the final settings I'm using are a result of a lot of back-and-forth trial and error, so I'll have to say that it's important to use these specific settings (try it and I think you'll like it). In regard to the optical quality of this speed booster, it has flaws and imperfections, but I think what's really important is how the image it renders looks, etc. It has issues with lens flare which some people actually like, and has other issues that could normally be considered a negative (such as sharpness reduction, etc.) that are working well with this lens-sensor combination. In the end, I think using this Pixco speed booster with this Canon FDn 50 1.8 is a very cost-effective way to turn this 50 1.8 into a 35mm F/1.2 low light tool. The aperture control is stepless (i.e. de-clicked) though it does have a couple places it seems to catch slightly. GH4 NOTE: One problem with the GH4 is that the sensor seems to render too much BLUE. So, the workaround I use is to shoot in "Cloudy" white balance when it's sunny outside. My "REAL" ratings rate "COLOR" as being pretty accurate, but it's when using this workaround. Any links below are affiliate links. FILTER: None Canon FDn 50 1.8 ADAPTER: Pixco Focal Reducer Panasonic GH4 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -0 SHARPNESS -3 NOISE +4 SATURATION -0 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 A IS THE CONTRAST "REAL"? SHARPNESS B IS THE SHARPNESS "REAL"? NOISE B IS THE NOISE "REAL"? COLOR A 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 SHORT STORY: I'm super happy with the results coming from these settings (the lens-sensor combo, including the Pixco speed booster)! What was super surprising was that these settings not only look good on the final files, but they also look good on the Panasonic GH4 flip-out screen (while you're shooting) and that doesn't always happen (it's a really good thing!) THE LONG STORY: I just tested this lens-sensor combination on a Panasonic GX85, so I had some expectations for this test...but I must say that it turned out a lot better than I expected! Not only does this turn the very affordable Canon FDn 50 1.8 into a great low light tool (a 35mm 1.2) but it renders quite a filmic look on this GH4 (a super affordable camera nowadays)! I say it looks a lot like film because it's doing a really good job controlling the highlight rolloff, midtones and shadow detail, and it even renders a sort of film grain look by having a bit of digital noise (but it's not too much that it's distracting). The NOISE REDUCTION settings are what I'm using to control how the "film grain" look is rendering, and the final settings I'm using are a result of a lot of back-and-forth trial and error, so I'll have to say that it's important to use these specific settings (try it and I think you'll like it). In regard to the optical quality of this speed booster, it has flaws and imperfections, but I think what's really important is how the image it renders looks, etc. It has issues with lens flare which some people actually like, and has other issues that could normally be considered a negative (such as sharpness reduction, etc.) that are working well with this lens-sensor combination. In the end, I think using this Pixco speed booster with this Canon FDn 50 1.8 is a very cost-effective way to turn this 50 1.8 into a 35mm F/1.2 low light tool. The aperture control is stepless (i.e. de-clicked) though it does have a couple places it seems to catch slightly. GH4 NOTE: One problem with the GH4 is that the sensor seems to render too much BLUE. So, the workaround I use is to shoot in "Cloudy" white balance when it's sunny outside. My "REAL" ratings rate "COLOR" as being pretty accurate, but it's when using this workaround. 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.

So far, this lens is not able to render a "REAL" looking image, because it has too much contrast, the color is weird, and when compensating for these things, the image becomes too soft...and is STILL too contrasty. In the future I may test this again with some sort of a filter (maybe a Tiffen GlimmerGlass?) but for now, this lens is going to look a bit off, but it's interesting if you don't mind that. Any links below are affiliate links. FILTER: None Sigma 28-90 MACRO ADAPTER: Viltrox NF-M43x (.71x) Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -4 SHARPNESS -2 NOISE +5 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 F IS THE CONTRAST "REAL"? SHARPNESS C IS THE SHARPNESS "REAL"? NOISE C IS THE NOISE "REAL"? COLOR F 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: So far, this lens is not able to render a "REAL" looking image, because it has too much contrast, the color is weird, and when compensating for these things, the image becomes too soft...and is STILL too contrasty. In the future I may test this again with some sort of a filter (maybe a Tiffen GlimmerGlass?) but for now, this lens is going to look a bit off, but it's interesting if you don't mind that. 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.) Are DSLRs good for video production? At one point, DSLRs were better (for video) than similarly-priced video cameras, but as cameras have improved, especially since mirrorless cameras have taken over, that time has passed. Now, we recommend MIRRORLESS cameras for video production. THE PODCAST < Back to ANSWERS

Test at "CLOSE" proximity of the Saramonic SR-VM4 microphone at +20 MIC. BOOST, plugged directly into a Zoom F1 audio recorder at MID REC. GAIN. "CLOSE" Proximity [ 3.5 inches / 8.89 cm] Zoom F1 (NO AUX. Amplifier) Saramonic SR-VM4 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER "MID" 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 3, 2022 at 5:53:15 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: Test at "CLOSE" proximity of the Saramonic SR-VM4 microphone at +20 MIC. BOOST, plugged directly into a Zoom F1 audio recorder at MID REC. GAIN. 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.

-1 HUE Wow. With these CUSTOM SETTINGS, the image gets one of the highest "Real Ratings" I've ever given to a lens-sensor combination! The ONLY thing that is off is that there is TOO MUCH RED in the image (but the GH5 is pretty consistently off in that area, so I'm fixing it with a LUT). Any links below are affiliate links. FILTER: None Minolta AF 50 1.7 ADAPTER: Minolta AF (Sony A) to M43 Panasonic GH5 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -5 SHARPNESS -4 NOISE -0 SATURATION -0 HIGHLIGHT SHADOW -3+2 iDYNAMIC OFF LUMINANCE LEVEL 0-255 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 A 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: -1 HUE Wow. With these CUSTOM SETTINGS, the image gets one of the highest "Real Ratings" I've ever given to a lens-sensor combination! The ONLY thing that is off is that there is TOO MUCH RED in the image (but the GH5 is pretty consistently off in that area, so I'm fixing it with a 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.

Okay, this test is with the Tiffen BPM18 (Black Pro Mist 1/8) and I am super excited about the results. It's WAY better than using either the BPM14 or the UNFILTERED (BARE) settings. This is still going to need a LUT (to add COLOR, CONTRAST and a HUE shift, which I prefer to in the LUT, not with in-camera settings) but these CUSTOM SETTINGS get this to a really good starting point. Why are the results so much better with the BMP18 (instead of the 1/4 or UNFILTERED)? The first things is the 1/8 strength Tiffen Black Pro Mist pre-treats and diffuses the light enough to be able to use a less dramatic HIGHLIGHT SHADOW (-3+3) which always is going to look more realistic than pushing them further (we had to go up to -5+4 on the UNFILTERED/BARE settings to control the dynamic range). Any links below are affiliate links. FILTER: Tiffen Black Pro Mist 1/8 Panasonic 25 1.7 ADAPTER: None (Native Mount) Panasonic GH5 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -5 SHARPNESS -5 NOISE +5 SATURATION +1 HIGHLIGHT SHADOW -3+3 iDYNAMIC OFF LUMINANCE LEVEL 0-255 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 A 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: Okay, this test is with the Tiffen BPM18 (Black Pro Mist 1/8) and I am super excited about the results. It's WAY better than using either the BPM14 or the UNFILTERED (BARE) settings. This is still going to need a LUT (to add COLOR, CONTRAST and a HUE shift, which I prefer to in the LUT, not with in-camera settings) but these CUSTOM SETTINGS get this to a really good starting point. Why are the results so much better with the BMP18 (instead of the 1/4 or UNFILTERED)? The first things is the 1/8 strength Tiffen Black Pro Mist pre-treats and diffuses the light enough to be able to use a less dramatic HIGHLIGHT SHADOW (-3+3) which always is going to look more realistic than pushing them further (we had to go up to -5+4 on the UNFILTERED/BARE settings to control the dynamic range). 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.

Since this website is all about saving money by getting the film look with cheap filmmaking cameras (even though I "always shoot with 2 cameras") my memes mostly focus on the low budget filmmaking culture...as well as a few "former photographer" jokes. REAL REVIEWS Long-term reviews of more budget gear. REAL REVIEWS & MORE Samsung U28E590D [NOT IN KIT] VIEW ALLPOWERS R600 [NOT IN KIT] VIEW Forbidden Road Camping Stool BASIC KIT VIEW Wisdompro Credit Card Holder (with Memory Card Slots) [NOT IN KIT] VIEW SAMSUNG Gear S3 Frontier Smartwatch ADVANCED KIT VIEW Logitech K480 Wireless Multi-Device Keyboard WORKSTATIONS VIEW RAINSMORE Camera Bag BASIC KIT VIEW YOREPEK Travel Backpack Extra Large BASIC KIT VIEW Gerber Gear Suspension 12-in-1 EDC Multi-Plier Multitool [NOT IN KIT] VIEW DJI Power 1000 (Version 1) [NOT IN KIT] VIEW GAFFER TAPE SUPPLIED BY

Since this website is all about saving money by getting the film look with cheap cameras these memes mostly focus on the low budget photo & video culture...as well as a few other jokes. REAL MEMES Here are some REAL interesting takes... Go to link Go to link 1/1

CAMERAS Nikon Z5 I've been wanting this camera for years...was waiting for the price to drop withing my professed $600 price range, and it finally did. I'm pretty sure this camera is going to become a classic, and I'm now testing as many lenses as I can afford (starting with low-budget ones). I still think vintage lenses provide the best quality for the price, but I may try some newer ones too. See YouTube Playlist NIKON SIGMA TAMRON TOKINA ROKINON VILTROX ZEISS MISC. & M42 NIKON Nikon DB Nikon 17-35 2.8 DB Nikon 18-55 DB Nikon 18-55 ii DB Nikon 18-55 VR DB Nikon 18-55 VR ii DB Nikon 35 1.8 G DX DB Nikon 50 1.4 D DB SETTINGS Nikon 50 1.8 D +2X MACRO Nikon 70-300 D DB Nikon 70-300 ED Nikon 70-300 G Nikon 70-300 P SIGMA Sigma Sigma 16 1.4 DC DN DB SETTINGS Sigma 17-35 2.8-4 EX Sigma 17-35 2.8-4 ii DB Sigma 17-50 2.8 DB Sigma 18-35 1.8 TAMRON Tamron DB Tamron 10-24 3.5-4.5 LD DB Tamron 17-50 2.8 +SHIFT (#ad) DB Tamron 17-50 2.8 VC +SHIFT (#ad) DB Tamron 70-300 LD Di DB Tamron 75-300 LD TOKINA Tokina DB Tokina 11-16 2.8 DB Tokina 11-16 2.8 ii DB Tokina 12-24 4 DB Tokina 12-24 4 ii DB Tokina 12-28 ROKINON Rokinon (Samyang) Tamron 17-50 2.8 VILTROX Viltrox Tamron 17-50 2.8 ZEISS Zeiss Tokina 11-16 2.8 MISC. & M42 Misc. & M42 DB Pentax Super-Takumar 50 1.4 DB Pentax Super-Takumar 50 1.4 ii DB Asahi Super-Multi-Coated Takumar 50 1.4 DB Asahi SMC Takumar 50 1.4 Minolta AF 50 1.7 Min olta A F 50 1.7 ii Min olta MD 50 1.7 Promaster 70-300 4-5.6 LD Qu antaray 70-300 4-5.6 LD Qu antaray 70-300 4-5.6 LDO Rokinon Cine 24 T1.5 Rokinon Cine 35 T1.5 Rokinon Cine 50 T1.5 Rokinon Cine 85 T1.5 Vivitar Series 1 70-210 3.5 Vivitar Series 1 70-210 2.8-4 Vivitar Series 1 70-300 4.5-5.6 INFO KEY: DB = More lens data at lens-db.com 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® 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

These settings are not as "REAL" as I would normally prefer, as the color is more saturated than normal, but I did this to capture the unique color this lens can render. It's also a bit light in the shadows, but this forces you to underexpose a little, which protects the highlights and just seems to bring out the magical properties of this lens. As I've said before about this lens, it has a lot of "character" and it can be inconsistent in terms of how it renders light (from aperture to aperture). Any links below are affiliate links. FILTER: None Pentax Super-Takumar 50 1.4 ii ADAPTER: M42-M43 (MACRO) Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -4 SHARPNESS +1 NOISE +4 SATURATION -0 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 A IS THE CONTRAST "REAL"? SHARPNESS A IS THE SHARPNESS "REAL"? NOISE A 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: These settings are not as "REAL" as I would normally prefer, as the color is more saturated than normal, but I did this to capture the unique color this lens can render. It's also a bit light in the shadows, but this forces you to underexpose a little, which protects the highlights and just seems to bring out the magical properties of this lens. As I've said before about this lens, it has a lot of "character" and it can be inconsistent in terms of how it renders light (from aperture to 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.