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Test is done (but may need to use Highlight Shadow compensation instead of reducing CONTRAST, for a better image). LUT is needed either way. Any links below are affiliate links. [UNFILTERED] Panasonic 14-42 ii No Lens Adapter (Native Mount) Panasonic GH4 CineLike D "PHOTO STYLE" -5 CONTRAST -5 SHARPNESS +5 NOISE -0 COLOR 0 / 0 HIGHLIGHT SHADOW OFF iDYNAMIC OFF iRESOLUTION 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: Test is done (but may need to use Highlight Shadow compensation instead of reducing CONTRAST, for a better image). LUT is needed either way. 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.

Initial tests good. Starting to test filters... Any links below are affiliate links. [UNFILTERED] Panasonic 45-150 4-5.6 No Lens Adapter (Native Mount) Panasonic GH4 Natural "PHOTO STYLE" -4 CONTRAST -3 SHARPNESS +5 NOISE -1 COLOR 0 / 0 HIGHLIGHT SHADOW OFF iDYNAMIC OFF iRESOLUTION 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: Initial tests good. Starting to test filters... 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.

ABOUT: At this "VLOG" proximity, it's going to need a custom EQ, because it really needs the 150 Hz MIC. LOWCUT (to remove handling and background noise) but it strips way too much BASS out, so that will need to be added back with the custom EQ. I think these settings create a much better starting point than leaving the LOWCUT off, but it really doesn't sound good (without the EQ). UPDATE: Nice! I have super good news...I figured out how to remove the RFI from this combo. All you have to do is TURN OFF the wireless RECEIVER! That's right, if it's off there's no problem with RFI, but if it's ON, there is constant static from RFI, especially when it's closer than 3 feet. I'm going to test this some more, but for now this is a quick and easy fix, if you don't need to use the wireless receiver, that is. There is a TINY amount of RFI noise when I turn the MIC. BOOST all of the way down (to "0") on the dial, but when you have it at a normal level, this noise is not noticeable. PREVIOUS NOTE: I'm just starting this test, and I'm not sure if the RFI (Radio Frequency Interference) will render this microphone/audio recorder combination useless or not. The reason I don't know yet, is that I have identified that if the wireless RECEIVER is too close to the cable that attaches the microphone to the TRANSMITTER/Recorder, there is a ton of RFI. However, when I move the RECEIVER further away, it lessens considerably...and when I turn it OFF, the RFI MIGHT BE LOW ENOUGH to not cause a problem...so I'm still testing... As noted before, 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). "VLOG" Proximity [22 inches / 55.5 cm] 7RYMS iRAY DW30 (Recorder) (NO AUX. Amplifier) Comica CVM-VM20 (Shotgun) 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 150 Hz MIC. LOWCUT N/A MIC. HIGH PASS @5 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 2:56:20 AM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: ABOUT: At this "VLOG" proximity, it's going to need a custom EQ, because it really needs the 150 Hz MIC. LOWCUT (to remove handling and background noise) but it strips way too much BASS out, so that will need to be added back with the custom EQ. I think these settings create a much better starting point than leaving the LOWCUT off, but it really doesn't sound good (without the EQ). UPDATE: Nice! I have super good news...I figured out how to remove the RFI from this combo. All you have to do is TURN OFF the wireless RECEIVER! That's right, if it's off there's no problem with RFI, but if it's ON, there is constant static from RFI, especially when it's closer than 3 feet. I'm going to test this some more, but for now this is a quick and easy fix, if you don't need to use the wireless receiver, that is. There is a TINY amount of RFI noise when I turn the MIC. BOOST all of the way down (to "0") on the dial, but when you have it at a normal level, this noise is not noticeable. PREVIOUS NOTE: I'm just starting this test, and I'm not sure if the RFI (Radio Frequency Interference) will render this microphone/audio recorder combination useless or not. The reason I don't know yet, is that I have identified that if the wireless RECEIVER is too close to the cable that attaches the microphone to the TRANSMITTER/Recorder, there is a ton of RFI. However, when I move the RECEIVER further away, it lessens considerably...and when I turn it OFF, the RFI MIGHT BE LOW ENOUGH to not cause a problem...so I'm still testing... As noted before, 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). Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

There is not much SHARPNESS in this lens to start with, so on this sensor I have to add some in the settings, and it will certainly need some post-production SHARPNESS added as well. It will also need more COLOR, but after working with this a bit I think it is at what I consider a good place for footage you are capturing to start (though I prefer settings be so good they can be used SOOC, of course). I started out with custom settings that had a little bit too much COLOR, but I had to tone it down as it is a strange lens to find a good place to set the COLOR settings to, as the COLOR is not very accurate (which makes even the white balance hard to figure out). Any links below are affiliate links. [UNFILTERED] Tamron 10-24 3.5-4.5 LD ADAPTER: Nikon F to M43 (No Optic) Panasonic G85 Natural "PHOTO STYLE" -1 CONTRAST +3 SHARPNESS +5 NOISE +1 COLOR -3+3 HIGHLIGHT SHADOW OFF iDYNAMIC OFF iRESOLUTION 16-255 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 C IS THE CONTRAST "REAL"? SHARPNESS C IS THE SHARPNESS "REAL"? NOISE B 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: There is not much SHARPNESS in this lens to start with, so on this sensor I have to add some in the settings, and it will certainly need some post-production SHARPNESS added as well. It will also need more COLOR, but after working with this a bit I think it is at what I consider a good place for footage you are capturing to start (though I prefer settings be so good they can be used SOOC, of course). I started out with custom settings that had a little bit too much COLOR, but I had to tone it down as it is a strange lens to find a good place to set the COLOR settings to, as the COLOR is not very accurate (which makes even the white balance hard to figure out). 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.

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 5, 2023 at 1:21:25 AM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS 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). Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

[TESTING] This test was at CLOSE (3.5 inches) proximity with the MIC. BOOST at +10, the REC. GAIN at 5.5. P.S. This microphone-recorder combination did not work at the VLOG proximity (because it only has a +10 MIC. BOOST, not +20 which would be needed at the VLOG proximity). "CLOSE" Proximity [ 3.5 inches / 8.89 cm] Zoom H1n (NO AUX. Amplifier) Takstar SGC-598 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 5.5 REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW 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 11:56:26 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: [TESTING] This test was at CLOSE (3.5 inches) proximity with the MIC. BOOST at +10, the REC. GAIN at 5.5. P.S. This microphone-recorder combination did not work at the VLOG proximity (because it only has a +10 MIC. BOOST, not +20 which would be needed at the VLOG proximity). Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

I wanted the Sigma 18-35 1.8 for quite a long time, but after testing it (this time with a speed booster, instead using the shift adapter). Even with the .71x speed booster/focal reducer, it isn't wide enough for a lot of situations, and because it doesn't need the 1.8 max. aperture OUTDOORS, I'm not sure I recommend this. It's also too big and heavy for my DUAL-CAMERA RIGS. Any links below are affiliate links. [UNFILTERED] Sigma 18-35 1.8 +BOOST (Viltrox NF-M43x .71x) Panasonic G85 Natural "PHOTO STYLE" - 2 CONTRAST - 3 SHARPNESS +3 NOISE +1 COLOR -0+3 HIGHLIGHT SHADOW OFF iDYNAMIC OFF iRESOLUTION 16-255 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 DEFAULT Sigma 18-35 1.8 VILTROX Panasonic G85 NATURAL -0-0-0-0 HS -0-0 CUSTOM Sigma 18-35 1.8 VILTROX Panasonic G85 NATURAL -2-3+3+1 HS -0+3 CLICK FOR ADDITIONAL SHOTS 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 B IS THE SHARPNESS "REAL"? NOISE C IS THE NOISE "REAL"? COLOR C IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: I wanted the Sigma 18-35 1.8 for quite a long time, but after testing it (this time with a speed booster, instead using the shift adapter). Even with the .71x speed booster/focal reducer, it isn't wide enough for a lot of situations, and because it doesn't need the 1.8 max. aperture OUTDOORS, I'm not sure I recommend this. It's also too big and heavy for my DUAL-CAMERA RIGS. 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 final settings actually have a little bit more SHARPNESS than you many want if you normally add that in post-production, but when I reduced the SHARPNESS, it lifted the shadows too much (reduces the CONTRAST, etc.) Then, I put the SHARPNESS back (where it was) and tried to add a bit of NOISE REDUCTION (to reduce the sharpness, and the NOISE) in a more subtle way...but it messed up the image (reduced the CONTRAST and COLOR too much, making it look less realistic). So, It's always fun to see how little changes can sometimes do big things. I'm pretty happy with these final custom settings now. Any links below are affiliate links. [UNFILTERED] Panasonic 45-200 4-5.6 ADAPTER: None (Native Mount) Panasonic G85 Natural "PHOTO STYLE" -2 CONTRAST -2 SHARPNESS +4 NOISE +2 COLOR -4+3 HIGHLIGHT SHADOW OFF iDYNAMIC OFF iRESOLUTION 16-255 LUMINANCE LEVEL 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 B IS THE CONTRAST "REAL"? SHARPNESS A 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: These final settings actually have a little bit more SHARPNESS than you many want if you normally add that in post-production, but when I reduced the SHARPNESS, it lifted the shadows too much (reduces the CONTRAST, etc.) Then, I put the SHARPNESS back (where it was) and tried to add a bit of NOISE REDUCTION (to reduce the sharpness, and the NOISE) in a more subtle way...but it messed up the image (reduced the CONTRAST and COLOR too much, making it look less realistic). So, It's always fun to see how little changes can sometimes do big things. I'm pretty happy with these final custom settings now. 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. [UNFILTERED] Sigma 18-35 1.8 + BOOST (Viltrox NF-M43x .71x) Panasonic GH4 Natural "PHOTO STYLE" -5 CONTRAST -4 SHARPNESS +5 NOISE -0 COLOR OFF HIGHLIGHT SHADOW OFF iDYNAMIC OFF iRESOLUTION 16-255 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.

RFI WARNING: The Zoom H1 (v1) has noticeable RFI (Radio Frequency Interference) when used at less than 5 FEET from an iPhone 13 Pro max. This is a major limitation, especially for LAV use, because if the recorder is in the pocket of a groom, and they have an iPhone somewhere in their coat, this is going to cause RFI. "BOOM" Proximity [35 inches / 88.8 cm] Zoom H1 AUX: Neoteck NTK059 Saramonic SR-VM4 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER 37 REC. LEVEL AUX. SETTINGS OFF AUX. BASS LOW AUX. HIGH-LOW @FULL 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 6:59:50 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: RFI WARNING: The Zoom H1 (v1) has noticeable RFI (Radio Frequency Interference) when used at less than 5 FEET from an iPhone 13 Pro max. This is a major limitation, especially for LAV use, because if the recorder is in the pocket of a groom, and they have an iPhone somewhere in their coat, this is going to cause RFI. Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

This used to be a top-of-the-line telephoto zoom (it was the first AF 80-200 2.8 Nikon produced) and the build quality is excellent. However, it's heavy and slow to operate. It's slow because of the push-pull zoom, and because of the focus (there is a focus limiting feature that helps with that). Optically, it's a great lens, and though each lens-sensor combo usually needs some work to look its best (this one did) I think these settings are rendering a pretty nice image, one that is "REAL" in almost every respect. Any links below are affiliate links. [UNFILTERED] Nikon 80-200 2.8 D + BOOST (Viltrox NF-M43x .71x) Panasonic G85 Natural "PHOTO STYLE" -1 CONTRAST -3 SHARPNESS +4 NOISE -1 COLOR OFF HIGHLIGHT SHADOW OFF iDYNAMIC OFF iRESOLUTION 16-255 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 A IS THE CONTRAST "REAL"? SHARPNESS A 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: This used to be a top-of-the-line telephoto zoom (it was the first AF 80-200 2.8 Nikon produced) and the build quality is excellent. However, it's heavy and slow to operate. It's slow because of the push-pull zoom, and because of the focus (there is a focus limiting feature that helps with that). Optically, it's a great lens, and though each lens-sensor combo usually needs some work to look its best (this one did) I think these settings are rendering a pretty nice image, one that is "REAL" in almost every respect. 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.

I'm not really liking the results of these settings yet, but what's funny is I tried these settings (as of 2022-05-25) on the Panasonic G7 and they LOOK GREAT. On the GH4 there's still a little bit too much contrast, and it's difficult to maintain highlight detail in sunlit conditions. Any links below are affiliate links. FILTER: Promaster HGX UV Canon 70-200 2.8 + BOOST (Metabones XL .64x) Panasonic GH4 CineLike D "PHOTO STYLE" -0 CONTRAST -5 SHARPNESS +5 NOISE +1 COLOR -2, +2 HIGHLIGHT SHADOW OFF iDYNAMIC OFF iRESOLUTION 16-255 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'm not really liking the results of these settings yet, but what's funny is I tried these settings (as of 2022-05-25) on the Panasonic G7 and they LOOK GREAT. On the GH4 there's still a little bit too much contrast, and it's difficult to maintain highlight detail in sunlit conditions. 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.