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). 100% REAL 100% real content, less post-production & no A.I. (ever). With all of the A.I. slop being produced, there's certainly enough "FAKE" content out there, so we created a system to make realistic PHOTOS & VIDEOS using CUSTOM CAMERA SETTINGS & LUTs (to make it easier to capture photos & video almost SOOC). REAL PEOPLE (WE DO ENVIRONMENTAL PORTRAITS, OF REAL PEOPLE) No fancy retouching here, just a raw and real look (but still artsy and beautiful). REAL PLACES (PLACES SO REAL YOU'LL WANT TO GO THERE) We love capturing beautiful but realistic architecture & scenes in our local area. REAL THINGS (WE ONLY SHOOT FOOD & PRODUCTS, TO LOOK REAL) We do make stuff look good but the truth is nobody likes fake photos anymore.

Our goal is to make budget filmmaking cameras create a more film-like image by using custom, Lens-Sensor SETTINGS & LUTs for each of the lenses we test. We mainly do affordable lenses, because this is the main "focus" of SilverLight Photo Company (making good stuff on a budget). RECIPES EVERY LENS NEEDS "LENS-SENSOR" RECIPES & LUTS *THESE LUMIX CAMERAS WORK MUCH BETTER WHEN USING LENS-SENSOR RECIPES (& LUTS ) WE MAKE LENS-SENSOR RECIPES & LUTS FOR LUMIX CAMERAS We make RECIPES & LUTs that turn hybrid LUMIX cameras into professional workhorses. Check out our database of Lens-Sensor Recipes & LUTs ABOUT What Are Lens-Sensor Recipes (& LUTs)? The main reason to use custom "Lens-Sensor Recipes" (& LUTs ) is that every lens sends light to a sensor differently. Some sensors like sharp lenses (especially those with an optical low-pass filter) and some don't like a lot of sharpness. Some sensors love lots of color saturation, yet some can only take a little. Before I knew this, I was searching (for years) to find the perfect lens-sensor combo...until I realized that they need CUSTOM SETTINGS (now called Recipes ). LEARN MORE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link CAMERAS Lens-Sensor Recipes I've been testing some super low budget hybrid cameras like the Panasonic G7, GX85, G85, GX9, G95, GH4 and GH5 and I've discovered they all can produce great video, as long as you use the CUSTOM SETTINGS . After testing, I started taking notes of the settings that worked for each combo, and then made this website, to be able to access all the info, fast. SEE RECIPES Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link LUTS Lens-Sensor LUTs Thank you for trying these LUTs! It's important to know these LUTs are the #2 step of this method (the CUSTOM SETTINGS are the 1st) and without those...these LUTs don't do much). So remember, use the lens-sensor camera settings while your're shooting and add the appropriate LUT during your post-production. SHOP LUTS Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link

If you've ever searched for a camera and lens duo that produces a beautiful image, without post-processing, you know how hard that can be to find. For me, the "perfect camera" is one that can produce photos (& video) that looks 100% REAL straight out of camera (SOOC). Yet, lots of people doubt that SOOC settings can provide sufficient dynamic range, for professional work...but I think I've figured out a solution: The settings need to be customized to each lens (not just to the sensor). ABOUT WHAT ARE "LENS-SENSOR RECIPES"? If you've ever searched for a camera and lens duo that produces a beautiful image, without post-processing, you know how hard that can be to find. For me, the "perfect camera" is one that can produce photos (& video) that looks 100% REAL straight out of camera (SOOC ). Yet, lots of people doubt that SOOC settings can provide sufficient dynamic range, for professional work...but I think I've figured out a solution: The settings need to be customized to each lens (not just to the sensor). I figured this out while I was testing a bunch of lenses, on a bunch of cameras. What happened, was each combination told a different story, as each lens would send light to each sensor in a unique way. I tested so many lenses that I started having to take notes (on 3x5 cards)...and I finally realized I needed a database to be able to access all of the settings quickly...So, I created this website. VIEW LENS-SENSOR RECIPES PART 1 WHY USE "LENS-SENSOR" RECIPES & LUTS ? This is your About section. Every website has a story and users want to hear yours. This is a great opportunity to give a full background on who you are and what your site has to offer. Double click on the text box to edit the content and add all the information you want to share. You may like to talk about how you got started and share your professional journey. Explain your core values, your commitment to customers and how you stand out from the crowd. You can also add a photo, gallery or video for even more engagement. F.A.Q. Don't you shoot in LOG? Sometimes we do shoot using log formats, but even if we do, we're still using custom, lens-sensor specific LUTs (and sharpness settings customized to each lens). However, because our goal is to create an image that looks realistic, we often find the in-camera settings create a file with a better starting point (for all variables) than shooting in log. Aren't in-camera settings BAD? Isn't in-camera SHARPENING bad? Isn't in-camera NOISE REDUCTION bad? You use in-camera settings AND LUTs? PART 2 HOW TO USE LENS-SENSOR RECIPES & LUTS 1 CHOOSE YOUR CAMERA 2 FIND YOUR LENS 3 USE "LENS-SENSOR" SETTINGS 4 DOWNLOAD & APPLY THE LUT (UNLESS SOOC ) 5 SHARE THIS (IF YOU LIKE IT)

All items are in working condition because we tested & reviewed each one. We get rid of items if we can't use them for our KIT PLANS, or they don't pass our QPACE checklist (Quality, Portable, Affordable, Common, Easy-to-Use). See the REVIEWS page (on our website) for more on what we did & didn't like about each product, because they still could work well for you (but just didn't work for us). SURPLUS GOOD GEAR & GOOD DEALS! REALLY GOOD DEALS ON THINGS WE NO LONGER NEED All items are in working condition because we tested & reviewed each one. We get rid of items if we can't use them for our KIT PLANS , or they don't pass our QPACE checklist (Quality, Portable, Affordable, Common, Easy-to-Use). See the REVIEWS page (on our website) for more on what we did & didn't like about each product, because they still could work well for you (but just didn't work for us). Sort by CATEGORY CAMERAS SURPLUS SOLD: Panasonic G95 + Sony DT 16-50 2.8 + Minolta 50 1.7 + Extras Wow, so disappointing...the G95 is not working well when using my in-camera custom settings method (which I rely on for some of my workflows). The first lens I tested turned out great (that 70-300 1:2 MACRO I really like) but then a couple of the most important lenses (which tested really well on the older G85) were just not a good match. [NO REVIEW] VIEW ON EBAY* *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you). CAMERAS, [NOT IN KIT] SURPLUS SOLD: The Panasonic LUMIX GX9 is Not Good for VIDEO I recently purchased a LUMIX GX9 (and a G95) because I was hoping there would be a similar relationship like the GX85 and G85 had (the output from those two is identical). However, as I tested this newer pair, I was super disappointed by the low video quality of the GX9 (especially in open gate 4K PHOTO modes). I need cameras that work as both photo & video cameras (hybrid) so I'm selling this GX9. LISTEN TO REVIEW VIEW ON EBAY* *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you). CAMERAS SURPLUS SOLD: Another Panasonic LUMIX G85 (Which I Miss) So, I sold this camera to save money to buy a full frame camera again, but I miss it and may buy another one in the future. There are just so many good things about this camera (click READ THE REVIEW for the details). If nothing else, it's great if you need a 2nd or 3rd camera, for concurrent camera angles. READ THE REVIEW VIEW ON EBAY* *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you). CAMERAS, [NOT IN KIT] SURPLUS SOLD: Panasonic PV-DV953 Mini DV Camera (Hybrid) I waited over 20 years to buy this hybrid camera. It was introduced in 2003, and I wanted it back then, but I'm glad I waited. It was one of the first HYBRID cameras from Panasonic...and it was way ahead of its time (but the image quality just isn't cutting it, LOL) [NO REVIEW YET] VIEW ON EBAY* *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you). CAMERAS, [NOT IN KIT] SURPLUS SOLD: The Nikon Z5 (v1) is NOT Good for Video I really wanted this to work because it is one of the few full-frame cameras, with IBIS, that were under $600...but even after adding custom, Nikon Picture Control files, this camera is horrible for video recording purposes. I was going to just keep it for doing stills only, but I really do need a hybrid photo & video camera if I'm going to spend this money. LISTEN TO REVIEW VIEW ON EBAY* *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you). CAMERAS, [NOT IN KIT] SURPLUS SOLD: The GoPro HERO4 Black is Impossible to Use (There is No Screen!) The HERO4 Black was supposed to be the top-of-the-line action camera of that time period, but it does not have a rear screen...but the HERO4 Silver does, so I recommend buying that instead. To me, the lack of a screen (on the HERO4 Black) makes it impossible to use on a professional shoot. READ THE REVIEW VIEW ON EBAY* *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you).

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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. This newer, and smaller mic from Takstar is outputting a higher signal level than the older SGC-598. The only negatives are that this newer unit needs the LOW CUT filter turned on for this proximity, and no FURRY windscreen is available for this model (the older SGC-598 has a very affordable FURRY windscreen option, which is sometimes necessary for OUTDOOR vlogging). "BOOM" Proximity [35 inches / 88.8 cm] Zoom H1 (NO AUX. Amplifier) Takstar SGC-600 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 50 REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW AUX. OUTPUT MIC. SETTINGS On 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 30, 2022 at 12:04:24 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. This newer, and smaller mic from Takstar is outputting a higher signal level than the older SGC-598. The only negatives are that this newer unit needs the LOW CUT filter turned on for this proximity, and no FURRY windscreen is available for this model (the older SGC-598 has a very affordable FURRY windscreen option, which is sometimes necessary for OUTDOOR vlogging). 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

Okay, I like this. Starting out, this was a lot different than figuring out the settings for this same combination with the BPM18 (Tiffen Black Pro Mist 1/8) but after a few hours of work, I am liking the results. This will need a LUT for sure, but I think the settings are a good starting point. Any links below are affiliate links. FILTER: Tiffen Black Pro Mist 1/4 Panasonic 25 1.7 ADAPTER: None (Native Mount) Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -1 SHARPNESS +2 NOISE +5 SATURATION +1 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 B IS THE SHARPNESS "REAL"? NOISE A 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: Okay, I like this. Starting out, this was a lot different than figuring out the settings for this same combination with the BPM18 (Tiffen Black Pro Mist 1/8) but after a few hours of work, I am liking the results. This will need a LUT for sure, but I think the settings are a good starting point. 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.

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). "CLOSE" Proximity [3.5 inches / 8.89 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 ? REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS 75 Hz MIC. LOWCUT N/A MIC. HIGH PASS @3 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 22, 2023 at 4:10:19 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: 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

I am pretty sure this is a Sigma lens (based on the identical physical design, with minor differences in the rubber grip design...and the bright green lens identification lettering). This is only my second test with the LUMIX S9, and I must say these results are really good, especially for a lens that is not well spoken of, thanks to people judging the lens by the reviews people wrote a long time ago, when the lens was used mostly on film cameras. Any links below are affiliate links. FILTER: None LENS: Quantaray 35-70 3.5-4.5 ADAPTER: Minolta AF (Sony A) to L Panasonic S9 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -1 SHARPNESS -1 NOISE +0.5 SATURATION +2 HIGHLIGHT SHADOW -4+1 iDYNAMIC OFF LUMINANCE LEVEL 0-1023 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 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: I am pretty sure this is a Sigma lens (based on the identical physical design, with minor differences in the rubber grip design...and the bright green lens identification lettering). This is only my second test with the LUMIX S9, and I must say these results are really good, especially for a lens that is not well spoken of, thanks to people judging the lens by the reviews people wrote a long time ago, when the lens was used mostly on film cameras. 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.

WARNING: This adapter killed my camera (the Panasonic GX85). The way it happened was I was using the adapter with a Sigma 17-50 2.8 EX, and it first was showing lines on screen, and I completed the shot, and went inside and checked the footage, and the footage had problems too. Then I went out to shoot again, and it started having the problem showing the lines in the screen a couple more times, but a few times later, it did that AND the camera froze (so the power switch would not turn the camera off) so I then took out the battery. Now, the GX85 no longer responds to using the shutter dial, and the only workaround is for me to use the Panasonic Image App to set the shutter speed (and aperture if the lens is electronic). So, it's not working to well to use any more, and it's permanent. Oh, and I never took off the adapter while the camera was on (because I didn't want to get dust on the sensor) so that's not what caused damage. I’ve talked to a couple of other people who had the Viltrox EF-M2ii damage their camera too, so it’s good to be careful, but it might not happen right as soon as you buy it (it took 5 months for mine to have a problem). The lens I was testing at the time was a Sigma 17-50 2.8 EX, and it draws a lot of battery for the old-style autofocus, and that could be part of the issue, but the other people who reported problems with the Viltrox EF-M2ii were using different lenses, so I think the main problem is the adapter wasn’t designed in a partnership with Panasonic, so they didn’t know how to do it right. So, this indicates a problem with this specific combination (the Canon-mount Viltrox EF-M2ii, and Panasonic GX85, with Sigma 17-50 2.8 EX Canon-mount lens) The Panasonic GX85 was a great camera though, and I had used it for several years with no problems up until this point. The problem may be that the company that made this adapter...while they did design it for the Micro Four Thirds lens mount (so it does fit onto the camera) they were (and perhaps still aren’t) part of the Micro Four Thirds group which allows Panasonic (and OM System) to share the technical specifications they would need to design the electronics properly. So, they tried, but they didn’t work with Panasonic to make sure it would work…and the result is it ruined my camera (after a couple of years/hundreds of lens changes) so I’m just trying to warn people, so they don’t lose their camera too. REAL REVIEWS Long-term reviews of budget photo & video gear. KIT PLAN RECOMMENDATION: [NOT IN KIT] Viltrox EF-M2II 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 No Portable? POCKET No CAMERA BAG Yes BACKPACK Yes Affordable? AVERAGE NEW PRICE $ 196 *Indicates SALE price. Amazon AFFILIATE LINK AVERAGE USED PRICE $ 100 **Indicates BUY NOW price. Ebay AFFILIATE LINK Common? ON AMAZON Yes ON EBAY Yes Easy To Use? SKILL LEVEL MEDIUM WARNING: This adapter killed my camera (the Panasonic GX85). The way it happened was I was using the adapter with a Sigma 17-50 2.8 EX, and it first was showing lines on screen, and I completed the shot, and went inside and checked the footage, and the footage had problems too. Then I went out to shoot again, and it started having the problem showing the lines in the screen a couple more times, but a few times later, it did that AND the camera froze (so the power switch would not turn the camera off) so I then took out the battery. Now, the GX85 no longer responds to using the shutter dial, and the only workaround is for me to use the Panasonic Image App to set the shutter speed (and aperture if the lens is electronic). So, it's not working to well to use any more, and it's permanent. Oh, and I never took off the adapter while the camera was on (because I didn't want to get dust on the sensor) so that's not what caused damage. I’ve talked to a couple of other people who had the Viltrox EF-M2ii damage their camera too, so it’s good to be careful, but it might not happen right as soon as you buy it (it took 5 months for mine to have a problem). The lens I was testing at the time was a Sigma 17-50 2.8 EX, and it draws a lot of battery for the old-style autofocus, and that could be part of the issue, but the other people who reported problems with the Viltrox EF-M2ii were using different lenses, so I think the main problem is the adapter wasn’t designed in a partnership with Panasonic, so they didn’t know how to do it right. So, this indicates a problem with this specific combination (the Canon-mount Viltrox EF-M2ii, and Panasonic GX85, with Sigma 17-50 2.8 EX Canon-mount lens) The Panasonic GX85 was a great camera though, and I had used it for several years with no problems up until this point. The problem may be that the company that made this adapter...while they did design it for the Micro Four Thirds lens mount (so it does fit onto the camera) they were (and perhaps still aren’t) part of the Micro Four Thirds group which allows Panasonic (and OM System) to share the technical specifications they would need to design the electronics properly. So, they tried, but they didn’t work with Panasonic to make sure it would work…and the result is it ruined my camera (after a couple of years/hundreds of lens changes) so I’m just trying to warn people, so they don’t lose their camera too. 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 .

NOTE: For use with ATEM Mini, I'm adjusting the settings slightly: CONTRAST: -5 SHARPNESS: -5 NOISE: +3 COLOR: -0 HIGHLIGHT SHADOW: OFF Any links below are affiliate links. FILTER: None Nikon 18-55 ADAPTER: Nikon F/G to M43 (SHIFT) Panasonic GX85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -3 SHARPNESS -5 NOISE +2 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 DEFAULT Nikon 18-55 Panasonic GX85 NATURAL -0-0-0-0 HS -0-0 CUSTOM Nikon 18-55 Panasonic GX85 NATURAL -3-5+2-2 HS -0-0 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 D 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: NOTE: For use with ATEM Mini, I'm adjusting the settings slightly: CONTRAST: -5 SHARPNESS: -5 NOISE: +3 COLOR: -0 HIGHLIGHT SHADOW: OFF 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.

SHORT VERSION: The short version is, you've got to use the mic at +20 MIC. BOOST or there's too much RFI (if you record at a lower MIC. BOOST setting and then boost in post-production). LONG VERSION: This transmitter/recorder doesn't have any way to set the REC. LEVEL (record level). That means the only way to change the level while recording is to use those MIC. BOOST settings, and the Rode VideoMic Pro R has only 3 options (-10, -0 and +20). So, I tested this mic/recorder combination at each of those 3 MIC. BOOST settings...and the results were interesting. You know from the "short version" above that the only setting that works is +20, but you may be asking "Why?" You may know that this little transmitter/recorder has a strange ability to be boosted in post-production, without increasing the noise floor too much (which I learned from other tests) but what I didn't know was that, with this microphone/recorder combination, the small amount of RFI present does get louder when the level is boosted (this RFI is presumably caused by the transmitter emitting a signal while searching for the receiver). The result sounded really bad at MIC. BOOST of -10, almost useable at -0, but pretty good at +20, as the level of the good audio (my voice) is loud enough that you can't hear the RFI in the background (when boosting to a proper level). P.S. You still cannot use this combination with the wireless RECEIVER turned on (there is way too much RFI). "CLOSE" Proximity [3.5 inches / 8.89 cm] 7RYMS iRAY DW30 (Recorder) (NO AUX. Amplifier) Rode VideoMic Pro R Windscreen: FOAM + FURRY (Stock) 48k 24-bit REC. SETTINGS N/A REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS ON MIC. LOWCUT N/A MIC. HIGH PASS +20 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: February 23, 2023 at 5:25:05 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: SHORT VERSION: The short version is, you've got to use the mic at +20 MIC. BOOST or there's too much RFI (if you record at a lower MIC. BOOST setting and then boost in post-production). LONG VERSION: This transmitter/recorder doesn't have any way to set the REC. LEVEL (record level). That means the only way to change the level while recording is to use those MIC. BOOST settings, and the Rode VideoMic Pro R has only 3 options (-10, -0 and +20). So, I tested this mic/recorder combination at each of those 3 MIC. BOOST settings...and the results were interesting. You know from the "short version" above that the only setting that works is +20, but you may be asking "Why?" You may know that this little transmitter/recorder has a strange ability to be boosted in post-production, without increasing the noise floor too much (which I learned from other tests) but what I didn't know was that, with this microphone/recorder combination, the small amount of RFI present does get louder when the level is boosted (this RFI is presumably caused by the transmitter emitting a signal while searching for the receiver). The result sounded really bad at MIC. BOOST of -10, almost useable at -0, but pretty good at +20, as the level of the good audio (my voice) is loud enough that you can't hear the RFI in the background (when boosting to a proper level). P.S. You still cannot use this combination with the wireless RECEIVER turned on (there is way too much 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