We surplus items after doing REVIEWS if they didn't pass our Q.P.A.C.E. checklist (Quality, Portable, Affordable, Common, Easy-to-Use). So, all the gear works (we tested it) but it just didn't work for our workflows. SURPLUS PHOTO & VIDEO GEAR GET GREAT DEALS ON CAMERA GEAR WE'VE REVIEWED! We surplus items after doing REVIEWS if they didn't pass our Q.P.A.C.E . checklist (Quality, Portable, Affordable, Common, Easy-to-Use). So, all the gear works (we tested it) but it just didn't work for our workflows. Sort by CATEGORY CAMERAS SURPLUS Is the Quantaray 50 2.8 MACRO the Same as the Sigma? A lot of online reviewers say this lens is the same as the Sigma EX of the same specifications, and people are saying it's pretty good. However, on the camera sensor I tested it on (the Panasonic LUMIX S9) this lens isn't faring very well, for a number of reasons. 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 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) with the hope there would be a relationship similar to what the GX85 and G85 have (those two are excellent for video, and their output is identical). However, as I tested the GX9 and G95, I was super disappointed by the low video quality. 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) The Panasonic LUMIX G85 is a Great B Camera So, I sold this camera to save money to buy a full frame camera (the LUMIX S9) but I miss it and I may buy another 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).

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

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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? One thing to keep in mind, is that in-camera settings are applied in REAL-TIME, before the recording is saved. That means file compression has not been applied yet, so any adjustments are ESSENTIALLY being made to the RAW data. Isn't in-camera SHARPENING bad? The primary reason I adjust the in-camera SHARPNESS is to turn the sharpness down, because that's one of the main things that makes an image look like it's digital (instead of being organic). However, there are times when I actually turn it up, when adding in-camera sharpness brings the image to a better starting point (you'll figure this out through a lot of testing, because if the image doesn't start with enough sharpness, sometimes even post-production sharpening can't bring it to a realistic point. Isn't in-camera NOISE REDUCTION bad? Most times when I read about NR, people say "If it needs NR, I will fix it in post" and if we were talking about using noise reduction in the NORMAL way, I may agree. However, if we're talking about using NR in a different way, I disagree. Here's why: When you apply noise reduction, it attacks (or does the opposite of) what "sharpening" does, and it ends up smoothing the highlight rolloff, which is super important as sensors get sharper and sharper, etc. The other thing noise reduction obviously does is reduce digital artifacts, which can make the footage look more "real" (which I would take over sharpness any day) but remember, the amount needs to be customized to every lens. You use in-camera settings AND LUTs? Yes, and for real-time LUTs, we still add custom settings on top of the in-camera settings, because it provides more control over the image. When using cameras that don't have real-time LUT features, it will still be a two-step process (but, it's pretty easy to add the LUT using the LUMIX Lab app on a phone, or tablet). 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)

I love to help people (from beginners to "old" photographers alike) discover that photography and video can be easy...and affordable! BEHIND-THE-SCENES SELECT YOUR FOCUS: SHOTS SCENES SEQUENCES SELECT A CITY If image is black & white, final photos & videos are in post-production phase (please check back, and refresh). SeaTac Canadian Geese at Angle Lake Park SHOT #1 80mm SHOT #2 592mm SHOT #3 135mm SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor.

I love to help people (from beginners to "old" photographers alike) discover that photography and video can be easy...and affordable! TOP 10 TIPS Our Top Photo & Video Production Tips. Video Production ALWAYS SHOOT WITH (AT LEAST) TWO CAMERAS TIP #001 GET ACCESS Good cameras are not very expensive these days, so one thing you can do to be more productive is to always record with at least 2. Video Production USE 2 OF THE SAME CAMERA (OR LENS-SENSOR SETTINGS) TIP #002 GET ACCESS Using two of the same camera (or two with the same color science) is the easiest way to make the colors match between cameras (less work in post-production.) Video Production START WITH THE MINIMAL KIT (THEN GO BASIC, ADVANCED) TIP #003 GET ACCESS Here's the way I would go about building up a kit if you aren't rich, but want to follow the "Always shoot with 2 cameras" method: Get a 2nd camera going, even if it's just a GoPro at first. Video Production ALWAYS BACK UP YOUR AUDIO (USING A PASSTHROUGH) TIP #004 GET ACCESS We all know that good audio is almost as important as good video, so make sure to stay backed up (an easy way is using a Zoom H1e as a passthrough.) Video Production ALWAYS BACK UP YOUR VIDEO (2 CAMERAS, ATOMOS, ETC.) TIP #005 GET ACCESS There’s no greater disaster then being in the right place, at the right time, but not getting the shot! One great backup is using an HDMI recorder! Video Production USE "T-LIGHTING" (NOT 3-POINT LIGHTING) TIP #006 GET ACCESS I use T-Lighting because it’s faster to set up and less expensive than 3-point lighting (and yields similar results!) T-Lighting is much more versatile because it can be used in spaces with low ceilings. Photography & Video Production MAKE IT EASY ENOUGH TO DO WHEN YOU'RE STRESSED TIP #007 GET ACCESS I take this tip seriously, because I've been through the "burnout" stuff. Yet, if you make your production methods simple, you always have them to fall back on when you’re too stressed to think. Photography & Video Production SMALLER GEAR MEANS A SMALLER PACK TIP #008 GET ACCESS Portability is the main reason I prefer compact gear, but there are cost and speed reasons as well, especially if you're setting up and tearing down all by yourself. Photography & Video Production MAKE ONLY ONE TRIP TO THE CAR (AND 1 BACK) TIP #009 GET ACCESS This tip is all about security and avoiding getting robbed when you put gear in your vehicle...but it also really speeds up setup and teardown! Photography & Video Production USE P-A-C GEAR (PORTABLE, AFFORDABLE, COMMON) TIP #010 GET ACCESS If you do lose everything for some reason (theft, financial reasons, etc.) this tip makes it much easier to rebuild a budget filmmaking kit.

I love to help people (from beginners to "old" photographers alike) discover that photography and video can be easy...and affordable! BEHIND-THE-SCENES SELECT YOUR FOCUS: SHOTS SCENES SEQUENCES SELECT A CITY If an image is black & white, final photos or videos are in post-production (check back & refresh page). Also, as an Amazon Associate, I receive a commission from qualifying purchases if you buy after you click on one of our links (and there's no additional cost to you). 80mm SeaTac Canadian Geese at Angle Lake Park #1 FILTER: None LENS: Leica 25-400 2.8-4.0 ADAPTER: None (Integrated Lens) SENSOR: 1" (Panasonic FZ1000) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 592mm SeaTac Canadian Geese at Angle Lake Park #2 FILTER: None LENS: Leica 25-400 2.8-4.0 ADAPTER: None (Integrated Lens) SENSOR: 1" (Panasonic FZ1000) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 135mm SeaTac Canadian Geese at Angle Lake Park #3 FILTER: None LENS: Leica 25-400 2.8-4.0 ADAPTER: None (Integrated Lens) SENSOR: 1" (Panasonic FZ1000) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 485mm Tacoma Research Boat by Browns Point FILTER: None LENS: Leica 25-400 2.8-4.0 ADAPTER: None (Integrated Lens) SENSOR: 1" (Panasonic FZ1000) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 37mm SeaTac Angle Lake Park 1 FILTER: None LENS: Leica 25-400 2.8-4.0 ADAPTER: None (Integrated Lens) SENSOR: 1" (Panasonic FZ1000) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 37mm SeaTac Angle Lake Park 2 FILTER: None LENS: Leica 25-400 2.8-4.0 ADAPTER: None (Integrated Lens) SENSOR: 1" (Panasonic FZ1000) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 412mm Des Moines Waterfront Pier Yellow Sunset FILTER: None LENS: Leica 25-400 2.8-4.0 ADAPTER: None (Integrated Lens) SENSOR: 1" (Panasonic FZ1000) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 592mm Renton Coulon Pier from Right of Stairs FILTER: None LENS: Leica 25-400 2.8-4.0 ADAPTER: None (Integrated Lens) SENSOR: 1" (Panasonic FZ1000) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Des Moines #1 Coin-Operated Binocular at Marina FILTER: None LENS: Sigma 17-35 2.8-4 EX ADAPTER: Nikon F/G to M43 SENSOR: 2x (Panasonic GH5) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Seattle I-5 Overpass on Holgate to N (MID) FILTER: None LENS: Panasonic 12-60 3.5-5.6 ADAPTER: None (Native Mount) SENSOR: 2x (Panasonic GH5) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 300mm Tukwila River by Interurban with Blue Heron FILTER: None LENS: Quantaray 70-300 4-5.6 LD ADAPTER: Nikon F/G to M43 SENSOR: 2x (Panasonic GH5) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 35mm Des Moines Waterfront Walk & Orange Sunset FILTER: None LENS: Nikon 18-55 ii ADAPTER: Nikon F/G to M43 SENSOR: 2x (Panasonic GX85) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 24mm Des Moines Waterfront Walk by the Big Tree FILTER: None LENS: Panasonic 12-60 3.5-5.6 ADAPTER: None (Native Mount) SENSOR: 2x (Panasonic GX85) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 50mm Des Moines Waterfront Pier with Orange Sunset FILTER: None LENS: Sigma 18-50 2.8 EX ADAPTER: Nikon F/G to M43 SENSOR: 2x (Panasonic GX85) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 24mm Des Moines Waterfront Pier with Yellow Sunset FILTER: None LENS: Panasonic 12-60 3.5-5.6 ADAPTER: None (Native Mount) SENSOR: 2x (Panasonic GX85) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 12mm Des Moines Waterfront Boat Dock at Sunset FILTER: None Panasonic 12-60 3.5-5.6 ADAPTER: None (Native Mount) SENSOR: 2x (Panasonic GX85) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 18mm Des Moines Sitting on Bench at the Beach Park FILTER: None Sigma 18-35 1.8 ART ADAPTER: Nikon F/G to M43 SENSOR: 2x (Panasonic GX85) SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor.

REAL ANSWERS Answers from REAL people with REAL experience (not from A.I.) What audio recorders do you use for video production? We use mostly 32-bit float audio recorders for all of the microphones including the LAV, BOOM, and STEREO microphones (hey, why not?) < Back to ANSWERS Audio Recording Formats We predominantly utilize 32-bit float audio recorders with all our microphones, including: LAV microphones BOOM microphones STEREO microphones This enhances flexibility and dynamic range in our recordings, thereby boosting the overall audio quality.

REAL REVIEWS Long-term reviews of budget photo & video gear. KIT PLAN RECOMMENDATION: BASIC KIT Zoom F2-BT 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 ? HEAVY USE OK ? Portable? POCKET Yes CAMERA BAG Yes BACKPACK Yes Affordable? AVERAGE NEW PRICE $ 229.99 *Indicates SALE price. Amazon AFFILIATE LINK AVERAGE USED PRICE $ 195.77** **Indicates BUY NOW price. Ebay AFFILIATE LINK Common? ON AMAZON Yes ON EBAY Yes Easy To Use? SKILL LEVEL EASY These reviews are just my opinion and are focused on my Q.P.A.C.E. packing method, so they're not comprehensive. I wrote these mostly to help me remember what items worked for my KIT PLANS (and which didn't). If I said anything negative I apologize, as these products still may work well for you in your situation, but they were not Q.P.A.C.E (Quality, Portable, Affordable, Common, Easy-to-Use) enough for my budget filmmaking KIT PLANS .

REAL ANSWERS Answers from REAL people with REAL experience (not from A.I.) What cameras and lenses are good for food photos & video? For food and product photography, food and products actually look their best around 50 to 100mm (kind of like people). As far as the cameras, you can use either a full-frame camera (with a 100mm) or a cropped sensor camera (even a Micro Four Thirds) at around 50mm. < Back to ANSWERS Focal Length for Food and Products The best focal length for shooting food and products is between 50mm and 100mm. This versatility in camera selection allows photographers to choose gear based on their preferences and budget while still delivering high-quality images of food and products. This focal length range provides a flattering perspective which is similar to those found in portrait photography (interestingly). Camera Options Full-Frame Cameras: For full-frame cameras, a 100mm lens is suggested to capture detailed and aesthetically pleasing photos. Cropped Sensor Cameras: Cameras with cropped sensors, such as Micro Four Thirds, can achieve similar results with a 50mm lens.

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). 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.