With all of the A.I. development going on, there is certainly enough "FAKE" content being put out there. So not only did we decide to never use (generative) A.I. when creating images, but also to use realistic-looking LENS-SENSOR SPECIFIC CAMERA SETTINGS (& LUTs) that help make it easier for the cameras to render scenes accurately (with very little post-processing). REAL PEOPLE Cinematic-Style Environmental Portraits. 5 Photo/Video Portraits (OUTDOORS) Cinematic environmental portraits pulled from video footage filmed outdoors (at one location). Read More 1 hr 255 US dollars $255 SCHEDULE 5 Photo/Video Portraits (INDOORS) Cinematic environmental portraits pulled from video footage filmed indoors (uses movie lights). Read More 1 hr 275 US dollars $275 SCHEDULE

We've figured out a really good way to get more ("perceived") dynamic range from certain budget hybrid cameras. The key is to use lens-sensor specific picture profile settings. The reason this works is these settings are being applied in REAL-TIME (before the image data is compressed and saved) and therefore it's sort of like adjusting the RAW video. TOP SECRET: WE USE LENS-SENSOR RECIPES (& LUTs) WHY WE'RE USING "LENS-SENSOR" RECIPES (& LUTs ) We've figured out a really good way to get more ("perceived") dynamic range from certain budget hybrid cameras . The key is to use lens-sensor specific picture profile settings. The reason this works is these settings are being applied in REAL-TIME (before the image data is compressed and saved) and therefore it's sort of like adjusting the RAW video. I learned this as I was testing a bunch of low-budget ($600 or less) cameras with every lens I could afford, while hunting for the film look. I started taking notes of film look settings for every lens and camera, and I ended up documenting so many lens-sensor combinations I had to create this website. Now, I use these settings almost every time I shoot (and it makes files a lot easier to work with in post)! STEP 1 CHOOSE YOUR CAMERA START BY GOING TO THE CAMERAS PAGE (FROM THE TOP NAVIGATION BAR) The first step is to find the camera you use. To do this, click on "CAMERAS " (from the top navigation bar on this website). There's also a link from the ABOUT page (just click the "SEE SETTINGS" button). THEN, CLICK ON YOUR CAMERA (OR CLICK THE "SEE SETTINGS" BUTTON) Once you're on the CAMERAS page, you can click on either the picture of your camera (at the top) or scroll down to the notes about each camera, and then click the "SEE SETTINGS" button. OR ENTER THE CAMERA NAME IN THE SEARCH BAR (AT TOP OF WEBSITE) Another way to see the settings for a specific lens-sensor combo is to enter the CAMERA & LENS name into the "SEARCH" bar (the orange oval at top right of the website). STEP 2 FIND YOUR LENS WHEN YOU'RE ON YOUR CAMERA'S PAGE, SCROLL DOWN TO FIND YOUR LENS Once you get to your camera's page, the lenses are listed by brand (and you can click on the brand name to go to that section). Find your lens in the list and then click on the “SETTINGS” button. NOTE: Some of the lenses have optional settings for using FILTERS. These are marked differently (so see the filter key, at the bottom of each camera's page). OR ENTER THE LENS NAME IN THE SEARCH BAR (AT TOP OF WEBSITE) Another way to find a specific lens-sensor combo is to search for the LENS name (by typing in the brand name and focal length) using the "SEARCH" bar or the SEARCH page. It can also be good to enter the name of the camera in the search (makes it faster). STEP 3 USE "LENS-SENSOR" SETTINGS (WHILE RECORDING) ENTER THE CUSTOM "LENS-SENSOR" SETTINGS (IN THE PICTURE PROFILE) This is the most important step, and it's easy (as long as you pick the right settings for your camera/lens combo). Most of the settings are accessed through the picture profile, but some are in other places. START SHOOTING, ENJOY HOW EASY IT IS TO GET THE EXPOSURE RIGHT! This part is kind of difficult to explain unless you've tried it. The short story is, it's easier to judge the exposure when using custom (lens-sensor specific) settings because what you're looking at is WYSIWYG . IF YOU SWITCH LENSES, SWITCH SETTINGS (AND SAVE CUSTOM SETTINGS) This is probably the most difficult part of my whole process (because you have to change settings every time you change lenses) but it's actually pretty easy and fast to do (especially if you save the custom settings as presets to the camera, one for each lens). STEP 4 DOWNLOAD & APPLY THE LUT (*UNLESS IT'S GOOD SOOC ) BUY AND DOWNLOAD THE "LENS-SENSOR" LUT (FROM THE LUTS PAGE) You can download the lens-sensor LUT from the LUTs page but just remember, you'll need to use the custom "lens-sensor" CAMERA SETTINGS (while you're shooting) to make them work. APPLY THE "LENS-SENSOR" LUT (USING YOUR VIDEO EDITOR OF CHOICE) Apply the LUT to your clips using whatever video editor you use (as long as it supports LUTs). If you're editing shots from multiple cameras make sure to use the right LUT (specific to that lens & camera). *SOMETIMES THE SOOC SHOT IS GOOD ENOUGH (AND NO LUT IS NEEDED!) My goal is to make "lens-sensor specific" camera settings that are good enough to work WITHOUT a LUT (the SOOC workflow) yet sometimes I do create a lens-sensor LUT if the image needs work. STEP 5 SHARE THIS (IF YOU LIKE IT) Facebook X (Twitter) LinkedIn Pinterest Copy link MY GOAL IS TO MAKE BUDGET FILMMAKING CAMERAS LOOK BETTER! When I started this website, my goal was to make it easier for me to get the "film look" with the budget filmmaking cameras I was using (the Panasonic GH4 , G7 , FZ1000 , GX85 and G85 ). I soon realized the "secret sauce" was to use custom (lens-sensor specific) settings, and sometimes to add a LUT . I now use these settings every time I shoot, and I feel good about how easy these files are to work with in post...yet it's even better when I can go SOOC (and not have to spend any time color grading).

My #1 AUDIO tip for budget filmmaking AUDIO is to "always back up your audio (passthrough)" one of the most important things is to have an audio recorder that is small and light enough to sit on top of the camera (or cage). So, while there are other good audio recorders out there, these are my favorite (budget) options for backing up your audio, with this system. Budget Filmmaking WIRELESS AUDIO MY CUSTOM SETTINGS Wireless Audio (Recorders) I had high hopes for this section of my website (and I was looking forward to using a lot of my mics wirelessly) and while it is turning out to be a good idea, it's only because it lists all of the mics that have problems (with RFI) when connected to these devices. Budget Filmmaking WIRELESS AUDIO 7RYMS iRAY DW30 I now only recommend wireless systems that offer on-board recording (like this one) because of the unreliable nature of some frequencies. This is one of the few wireless systems that does this, and yet it may be one of the least talked about (but it's becoming popular). I'm still testing but so far it's working pretty good (and it's a lot less expensive than the DJI and Rode options.) MY SETTINGS AMAZON* #ad EBAY* #ad OFFER UP* *Most of these are product-specific affiliate links, but EBAY and OFFER UP simply initiate a "search". ALWAYS CHECK THE "USED" MARKET!

I'm making "microphone-specific" EQs because there're a lot of affordable mics out there that COULD sound really good, with a little EQ. If you're interested in a way to improve your audio for filmmaking on a budget, check it out on my podcast. HOW TO USE "MIC-SPECIFIC" EQs STEP 1 VISIT THE EQs PAGE NAVIGATE TO THE "EQs" PAGE (FROM TOP BAR) To get started using lens-sensor LUTS, go to the "LUTS" page (as seen on the top bar of my website). (OR) CLICK THIS LINK: silverlightphotoco.com/eqs You can also just type in the URL shown above to get there... STEP 2 SEARCH FOR YOUR MICROPHONE (& AUDIO RECORDER) FIRST, SEARCH FOR YOUR MICROPHONE... The easiest way to find a specific microphone is to enter its name into the "SEARCH" bar (at top of this website). ...THEN SELECT THE EQ FOR YOUR RECORDER. After finding the right microphone, make sure to select the EQ file that mentions your audio recorder (it will be in big WHITE LETTERS on the EQ picture). STEP 3 USE MY "BEST AUDIO SETTINGS" (WHILE RECORDING) START BY PICKING YOUR "PROXIMITY" (DISTANCE) This is the most difficult part of the process to standardize, but I've created 3 EQ files for each microphone-recorder combination: "CLOSE", "VLOG" and "BOOM" (there's also different EQs for lav. mics). NEXT, APPLY MY "BEST AUDIO SETTINGS" (ON MIC) The microphone-specific settings often include a +10 or +20 boost, a low cut filter option (and sometimes a treble boost option, also know as a low bypass filter). ...THEN APPLY THE AUDIO RECORDER SETTINGS. This refers to the settings on the audio recorder itself, and they often include the file type, bit depth, filters (such as low pass, etc.) and then the input gain and output (headphone) settings (I use for passthrough). ALSO APPLY ANY SETTINGS FOR "ADD-ONS" The settings for "add-ons" include such things as patch cable specs, gain for portable headphone amplifier, and wireless TX/RX gain settings. STEP 4 SET THE GAIN (RECORD LEVEL) AND MONITOR THE AUDIO WHILE RECORDING, MAKE SURE TO SET THE GAIN. The gain (also called "Input Level") is a function of the audio recorder. Some audio recorders don't have a gain adjustment, but what's most important is that the audio doesn't "clip" while recording. ALSO, ALWAYS MONITOR WHILE RECORDING. It's always good to monitor your audio, even if you have a level indicator on the recorder (because there are some things you can't SEE on the meter, but you CAN hear with decent headphones). STEP 5 DOWNLOAD & APPLY THE EQ FILE (WHILE EDITING) APPLY THE EQ FILES (USING AUDACITY*) I wanted to create the EQ files in a format that everyone can access, so they're only compatible with Audacity (the FREE audio editor). To apply, simply go to "Effect/Graphic EQ/Import" and load the EQ file.

I actually came up with this system as I was creating my comic strip (and was looking for a better way to do it). It includes BOTH a PowerPoint template PLUS a PhotoShop template! Q Q UALITY Professional quality is the goal, so the KIT must be capable P P ORTABLE When the KIT is portable, it's faster for traveling (& setting up) A A FFORDABLE If you can't get the KIT none of these other things are important! C C OMMON The KIT needs to be easy to find (new or used) to replace if lost/stolen E E ASY-TO-USE If the KIT is easy to use (even under stress) you can survive! IF IT'S NOT Q-P-A-C-E IT'S NOT IN THE KIT PLANS MINIMAL KIT BASIC KIT ADVANCED KIT ABOVE: I love to help people (from beginners to "old" photographers alike) discover that filmmaking can be easy, and my 1 tip "Always shoot with (at least) two cameras" is the most important thing that makes video production easier... QUALITY THE GEAR MUST BE CAPABLE OF PRODUCING PRO CONTENT I never want the term "low-budget" to mean the quality is going to be bad. So, getting good quality is a non-negotiable aspect of my KIT PLANS . If the gear can't produce professional quality, there isn't a reason to brag about producing on a low budget! PORTABLE THE KIT SHOULD BE COMPACT (TO TRAVEL OR MOVE QUICKLY) What do I consider portable? To me, it means I can travel with the KIT by airplane. This means it will fit in 3 pieces of luggage: 1 LARGE piece (checked luggage) 1 MEDIUM piece (overhead carry-on) and 1 SMALL backpack (stored under seat on the airplane). AFFORDABLE NOTHING ELSE MATTERS, IF YOU CAN'T BUY THE GEAR If you can't get the gear, you can't do much else. So, it's important to be able to afford the KIT PLANS . With all of the good budget filmmaking LIGHTS, CAMERAS and AUDIO gear out there nowadays, I do think it's possible (it just requires good SETTINGS). COMMON GEAR NEEDS TO BE EASY TO SOURCE (NEW OR USED) If you ever need to replace items that are lost or stolen, you not only need to have enough money to buy the KIT but the products also need to be commonly available (easy to find in your local new or used market). EASY-TO-USE IT MUST BE EASY TO USE, EVEN UNDER STRESS! There are several reasons I think this is important. The first is simply that it makes it much more fun. The second, is that if you make your methods (HOW-TOs) simple enough to do under stressful conditions, they will be super easy to do when you're NOT under stress. Additionally, simple processes are much easier to teach your team. QUALITY PORTABLE AFFORDABLE COMMON EASY-TO- USE

REAL REWARDS Earn REAL Points. Get REAL Rewards. START EARNING REWARDS 01 Sign Up Sign up as a member to start enjoying the loyalty program 02 Earn Points Earn with a Purchase Get 1 point for every $1 spent 03 Redeem Rewards Spend on FULL Lifetime Access (BTS, LUTS & More) 100 Points = $10 off a specific plan Spend on LUT Access (Lifetime) 100 Points = $10 off a specific plan Spend on BTS Access (Lifetime) 50 Points = $5 off a specific plan

CAMERAS Panasonic S9 After using Micro Four Thirds cameras for years (since I started this website) I'm interested to see how some of my older (full-frame) lenses are going to work with this sensor... 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 Canon FD 50 1.4 Canon FD 50 1.8 Canon [EF] Canon 50 1.8 Canon 50 1.8 ii Canon 50 1.8 STM Canon 70-200 2.8 Canon 75-300 Canon 75-300 ii Canon 75-300 iii Canon 75-300 iii USM NIKON Nikon [F,G] Nikon 17-35 2.8 Nikon 50 1.4 D Nikon 50 1.8 D +2X MACRO Nikon 60 2.8 MACRO N ikon 60 2.8 D MACRO N ikon 60 2.8 ED MACRO Nikon 70-210 4 E Nikon 70-300 D Nikon 70-300 ED Nikon 70-300 G Nikon 70-300 P Nikon 80-200 4 AIS Nikon 80-200 2.8 E D 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 [OM] Olympus OM 24 2.8 Olympus OM 28-48 4 Olympus OM 35 2.8 Olympus OM 35-70 3.5 Olympus OM 35-105 3.5-4.5 Olympus OM 50 1.4 Olympus OM 50 1.8 Olympus OM 50 3.5 MACRO Olympus OM 75-150 4 Olympus OM 100 2.8 PANASONIC Panasonic [L] SETTINGS LUT LUMIX S 18-40 4.5-6.3 LUMIX S 20-60 LUMIX S 28-200 LUMIX S 35 1.8 LUMIX S 40 2 LUMIX S 50 1.8 LUMIX S 85 1.8 SIGMA Sigma Sigma 14-24 2.8 Art Sigma 20-200 3.5-6.3 Sigma 24-70 2.8 Art ii Sigma 28-70 2.8 Sigma 35 2 Sigma 50 1.4 Art Sigma 65 2 Sigma 85 1.4 Art Sigma 90 2.8 Sigma 100-400 5-6.3 TAMRON Tamron [Adapted] Tamron SP 17 3.5 Tamron 28 2.5 Tamron SP 35-80 2.8-3.8 Tamron SP 60-300 3.8-5.4 Tamron SP 80-200 2.8 LD Tamron SP 90 2.5 MACRO Tamron 135 2.5 (03B) Tamron 70-300 1:2 MACRO TOKINA Tokina [FX] Tokina AT-X 16-28 2.8 Tokina AT-X 20-35 2.8 Tokina AT-X 28-70 2.8 Tokina AT-X 28-70 2.6-2.8 Tokina AT-X 28-80 2.8 Tokina AT-X 100 2.8 MACRO MISC. & M42 Misc. & M42 Pentax Super-Takumar 50 1.4 Pentax Super-Takumar 50 1.4 ii Asahi Super-Multi-Coated Takumar 50 1.4 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 SETTINGS Quantaray 35-70 3.5-4.5 SETTINGS Quantaray 50 2.8 MACRO Qu antaray 70-300 4-5.6 LD Qu antaray 70-300 4-5.6 LDO CPL Rokinon 24 3.5 Tilt Shift Rokinon Cine 24 T1.5 Rokinon Cine 35 T1.5 Rokinon Cine 50 T1.5 Rokinon Cine 85 T1.5 CPL Samyang 18-28 4-4.5 Vivitar Series 1 70-210 3.5 Vivitar Series 1 70-210 2.8-4 Vivitar Series 1 70-300 4.5-5.6 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) REMEMBER TO "REFRESH" PAGE TO SEE NEW DATA

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 budget photo & video gear. REAL REVIEWS AUDIO Neoteck NTK 059 Amplifier ADVANCED KIT VIEW COMICA VM20 Shotgun Microphone BASIC KIT VIEW Movo SMM2 Microphone Shock Mount BASIC KIT VIEW 7RYMS iRAY DW30 [NOT IN KIT] VIEW Zoom F2-BT BASIC KIT VIEW Zoom H1n [NOT IN KIT] VIEW Yamaha Steinberg UR22MKII [NOT IN KIT] VIEW IEM Case (for Zoom F2) MINIMAL KIT VIEW Zoom F2 MINIMAL KIT VIEW THE PERFECT PART [NOT IN KIT] VIEW Zoom H1essential ADVANCED KIT VIEW ULANZI MT-44 BASIC KIT VIEW Zoom H1 [NOT IN KIT] VIEW Deity V-Mic D3 Pro [NOT IN KIT] VIEW Zoom H2n ADVANCED KIT VIEW Zoom F1 [NOT IN KIT] VIEW Aiworth E-36 [NOT IN KIT] VIEW Tascam DR-60d mkII [NOT IN KIT] VIEW Saramonic Blink500 B1W [NOT IN KIT] VIEW GAFFER TAPE SUPPLIED BY

I now only recommend wireless systems that offer on-board recording (like this one) because of the unreliable nature of some frequencies. This is one of the few wireless systems that does this, and yet it may be one of the least talked about (but it's becoming popular). I'm still testing but so far it's working pretty good (and it's a lot less expensive than the DJI and Rode options.) WIRELESS AUDIO 7RYMS iRAY DW30 I now only recommend wireless systems that offer on-board recording (like this one) because of the unreliable nature of some frequencies. This is one of the few wireless systems that does this, and yet it may be one of the least talked about (but it's becoming popular). I'm still testing but so far it's working pretty good (and it's a lot less expensive than the DJI and Rode options.) (BUILT-IN MIC) COMICA RODE SARAMONIC SENNHEISER SHURE ZOOM OTHER (BUILT-IN MIC) (Built-In Mic) LA V 7RYMS iRAY DW30 (Built-In Mic) COMICA Comica CLOSE VLOG BOO M Comica CVM-VM20 Comica VM30 (Wireless Shotgun) LAV Comica CVM-M- O1 (Not Recommended) RODE Rode Rode Lavalier ii Rode Lavalier Go (Not Reco mmended) Rode VideoMic (Not Recommended) Rode VideoMic Pro (Not Recommended) CLOSE VLOG BOOM Rode VideoMic Pro R Rode VideoMic Pro+ CL O SE Ro de Vi deoMicro ( Not Recommended) SARAMONIC Saramonic LAV Saramonic SR-M 1W (N ot Recommended) Saramonic SR-VM4 Saramonic VMIC SENNHEISER Sennheiser Sennheiser Professional MKE 400 SHURE Shure CLOSE VLOG Shure VP83 LensHopper ZOOM Zoom Zoom LMF-1 (Lavalier) LAV Zoom LMF-2 (Lavalier) OTHER Other LAV 7R YMS Lavalie r (for iRAY DW30) LAV JK M I C-J 01 7 (Not Recommended) LAV JK MI C-J 055 (Lavalier) Takstar SGC-598 (Shotgun) CLOSE VLOG Tak star SGC -60 0 Takstar TCM-400 (Lavalier) LAV X v ive LV1 (Not Recommended) Xvive LV1 (Lavalier) GAFFER TAPE SUPPLIED BY REMEMBER TO "REFRESH" PAGE TO SEE NEW DATA

This is the first audio recorder I would buy. Not only does it provide a good learning experience (as opposed to getting into a 32-bit float recorder right away) but it also has a lot of features that make it a great tool to keep on hand, even when you grow out of it. The features I really like are the numerical gain control (more precise than a turn dial) single button start and stop, as well as it being small and lightweight (good to mount on a camera cage without adding much weight). AUDIO Zoom H1 (Remember, these settings are specific to this audio recorder, paired to each microphone listed below.) This is the first audio recorder I would buy. Not only does it provide a good learning experience (as opposed to getting into a 32-bit float recorder right away) but it also has a lot of features that make it a great tool to keep on hand, even when you grow out of it. The features I really like are the numerical gain control (more precise than a turn dial) single button start and stop, as well (BUILT-IN MIC) COMICA RODE SARAMONIC SENNHEISER SHURE ZOOM OTHER (BUILT-IN MIC) (Built-In Mic) Zoom H1n (XY Mics) COMICA Comica CLO SE VLOG C omi ca VM20 (Shotgun) Comica VM30 (Wireless Shotgun) Comica VM40 ( Wireless Shotgun) Comica CVM-M-O1 (Lavalier) RODE Rode Rode Lavalier ii Rode Lavalier Go (Not Reco mmended) Rode VideoMic (Not Recommended) Rode VideoMic Pro (Not Recommended) CLOSE V L OG BOOM Rode VideoMic Pro R Rode VideoMic Pro+ CLOSE Rode VideoMicro SARAMONIC Saramonic LAV S aramonic SR-M1W (for Blin k 500) CLOS E VLOG BOOM Saramonic SR-VM4 Saramonic VMIC SENNHEISER Sennheiser Sennheiser Professional MKE 400 SHURE Shure CLOSE VLOG BOOM Shure VP83 LensHopper ZOOM Zoom Zoom LMF-1 (Lavalier) Zoom LMF-2 (Lavalier) OTHER Other LAV 7RYMS Lavalier (for iRAY DW30) LAV JK MIC-J 017 (Lavalier) LAV JK MIC-J 055 (Lavalier) C LOSE VLOG BOOM Takstar SGC-598 CLOSE VLOG BOOM Takstar SGC-600 Xvive LV1 (Lavalier) Xvive LV2 (Lavalier) GAFFER TAPE SUPPLIED BY REMEMBER TO "REFRESH" PAGE TO SEE NEW DATA

I love to help people (from beginners to "old" photographers alike) discover that photography and video can be easy...and affordable! LEARN HOW TO CREATE 100% REAL MULTI-CAM VIDEOS... Get behind-the-scenes access & more with your LIFETIME MEMBERSHIP . THE "SHOOT43" METHOD MAKES CREATING CONTENT AS EASY AS 1, 2, 3. We think everyone should know how to produce professional, multi-camera video content on a budget...so now you can, with the SHOOT43 system. A summary of the method is below, and you can become a member and get more info. 1. "Record Real" (Audio) Record DIALOGUE & AMBIENT audio (on-location, with no foley). ABOVE: Okay, so we're going to be using different gear than what is pictured above, but the goal is still to capture authentic audio (in sync with the video) from REAL people, REAL places and REAL things...without adding anything fake in post. 2. "Shoot43" (Cameras) Record 3 shots, simultaneously (WIDE, TIGHT, & TELE). ABOVE: It might sound difficult to shoot with multiple cameras, but it actually makes things go a lot faster on-location...and you'll see why it makes the last step (editing/post-production) much easier too. 3. "Cut Like a Cake" (Edits) Edit with our "Wedding Cake Method" (SYNC, LUT, & CUT). ABOVE: We edit in 3 simple steps: First, we sync the audio & video together (it's much easier if you only record one clip per camera). Then, we add the custom Lens-Sensor LUTs (make sure you do this before moving on to the next step, or you'll have to apply the LUTs to many, many clips). Also, only do this if you use the same lenses and cameras we're using, because our camera recipes are very customized. Then, the fun part is, we cut everything "like a wedding cake" through all the layers. Sign up to get LIFETIME ACCESS to the BTS pages, to get the full story. GET BEHIND-THE-SCENES ACCESS GET ACCESS