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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 SORT: By SHOT By SCENE By SEQUENCE FILTER by 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) ACCESS SHOT 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) ACCESS SHOT 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) ACCESS SHOT 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) ACCESS SHOT 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) ACCESS SHOT 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) ACCESS SHOT 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) ACCESS SHOT 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) ACCESS SHOT 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) ACCESS SHOT 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) ACCESS SHOT 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) ACCESS SHOT 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) ACCESS SHOT 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) ACCESS SHOT 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) ACCESS SHOT 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) ACCESS SHOT 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) ACCESS SHOT 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) ACCESS SHOT 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! BEHIND-THE-SCENES SELECT YOUR SORT: By SHOT By SCENE By SEQUENCE FILTER by CITY To access episodes with behind-the-scenes content, log in and then click a WATCH SEQUENCE button below.

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 SORT: By SHOT By SCENE By SEQUENCE FILTER by 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 ACCESS SCENE DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor.

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 CREATE 100% REAL PHOTOS & VIDEO WITH "REAL RECIPES" THESE LUMIX CAMERAS LOOK BETTER WITH OUR LENS-SENSOR RECIPES (& LUTS ) LENS-SENSOR RECIPES & LUTS FOR HYBRID 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

WOW! So far, -0-0-0-0 is working GREAT! Take a little color out with LUT. Any links below are affiliate links. FILTER: None Nikon 18-55 VR ADAPTER: Nikon F/G to M43 (SHIFT) Panasonic GH4 CineLike D "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -0 SHARPNESS -0 NOISE -0 SATURATION -0 HIGHLIGHT SHADOW 0 / 0 iDYNAMIC OFF 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: WOW! So far, -0-0-0-0 is working GREAT! Take a little color out with LUT. The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

Okay, 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.

NOTE: In CineLike D, THIS LENS IS A PERFECT MATCH at -0-0-0-0. I am testing now in NATURAL because I need to be able to test still photo modes... Any links below are affiliate links. FILTER: None Nikon 18-55 ADAPTER: Nikon F/G to M43 (SHIFT) Panasonic GH4 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -5 SHARPNESS -1 NOISE +5 SATURATION +2 HIGHLIGHT SHADOW -4+3 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 C IS THE CONTRAST "REAL"? SHARPNESS B 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: NOTE: In CineLike D, THIS LENS IS A PERFECT MATCH at -0-0-0-0. I am testing now in NATURAL because I need to be able to test still photo modes... 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. FILTER: UV (Tiffen) Nikon 18-55 ii ADAPTER: Nikon F/G to M43 (SHIFT) Panasonic GX85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -2 SHARPNESS -3 NOISE -0 SATURATION -4 HIGHLIGHT SHADOW -0-0 iDYNAMIC OFF LUMINANCE LEVEL 16-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT 44 RADIUS 5.5 THRESHOLD 49 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.

-2 HUE Needing to make a LUT (there is a few things wrong with the SOOC image) but it is worth it, because now I have a Nikon F mount lens (with the manual aperture control) I can use on my Kipon SHIFT adapter (which has no aperture control for newer Nikon G lenses that don't have a manual aperture control ring)...The only bad thing about this shift adapter is it doesn't allow this lens to focus to infinity, so I can only use it at f/16 when I want everything to be in focus, such as for outdoor work (landscapes, etc.) Any links below are affiliate links. FILTER: None Sigma 17-35 2.8-4 EX ADAPTER: Nikon F/G to M43 (SHIFT) Panasonic GH5 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -3 SHARPNESS -2 NOISE +3 SATURATION -1 HIGHLIGHT SHADOW -4+3 iDYNAMIC OFF LUMINANCE LEVEL 0-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT 33 RADIUS 2.2 THRESHOLD 1 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 D IS THE SHARPNESS "REAL"? NOISE B 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: -2 HUE Needing to make a LUT (there is a few things wrong with the SOOC image) but it is worth it, because now I have a Nikon F mount lens (with the manual aperture control) I can use on my Kipon SHIFT adapter (which has no aperture control for newer Nikon G lenses that don't have a manual aperture control ring)...The only bad thing about this shift adapter is it doesn't allow this lens to focus to infinity, so I can only use it at f/16 when I want everything to be in focus, such as for outdoor work (landscapes, etc.) 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.

Adjusted settings are much better than -0-0-0-0. Any links below are affiliate links. FILTER: None Tokina 11-16 2.8 ii ADAPTER: Nikon F/G to M43 (SHIFT) Panasonic GX85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -5 SHARPNESS -3 NOISE +5 SATURATION -1 HIGHLIGHT SHADOW -0-0 iDYNAMIC OFF 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 B IS THE CONTRAST "REAL"? SHARPNESS B 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: Adjusted settings are much better than -0-0-0-0. 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.

Something most people don't tell you about camera settings is they need to be specific to each sensor-lens combination... FILTER LENS SENSOR MODE NOTES LENS: LUMIX S 18-40 4.5-6.3 Panasonic S9 Natural I'm very impressed with this camera so far, but it's the first LUMIX full-frame camera I've been able to test, so it's been pretty interesting (after testing so many Micro Four Thirds bodies, which I still like). If you've used the LUTs and CUSTOM SETTINGS for the other cameras we've tested, you will feel right at home with our process...but this has the option to use REAL-TIME LUTs (so we are going to have to create some new procedures to make sure these settings can work, with or without REAL-TIME LUT)...more information to come! Minolta AF 28-85 3.5-4.5 Panasonic G85 Natural Still testing, but so far not a good lens for this sensor... LENS: Rokinon 24 3.5 Tilt Shift Panasonic S9 Cinelike D2 This was my second test of this lens-sensor combination, and last time I was using the NATURAL profile, but I found that the characteristics of this lens (color rendering, etc.) are working better with CINELIKE D2 (so that's what I use now). My use case for this lens is focused on architectural content. I'll need to create a Lightroom preset (for processing bracketed still photos) as well, because that is the traditional workflow...but I'm kind of interested in seeing if I can be a little bit innovative, and try out the real-time LUT option as well :-) Sony DT 16–50 2.8 Panasonic G95 I am starting to think that this camera (sensor and image processing) is no where near as flexible as the older G85, which I was able to customize for a lot of lenses...this camera has only worked well with one so far (the 70-300 1:2 MACRO from Tamron, Promaster, Quantaray). Sony DT 16–50 2.8 Panasonic G95 LENS: Quantaray 35-70 3.5-4.5 Panasonic S9 Natural 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. LENS: Samyang 18-28 4-4.5 Panasonic S9 Natural Stills were taken from video at: 6K, 30p, 4:2:0, 10-bit, LongGOP, LPCM, 200Mbps This was my first lens test with the Panasonic LUMIX S9, and so I'm still trying to figure out the best way to do these tests (this was done WITHOUT the real-time LUT function, so I may do another test starting with the RAW still image, then make the LUT, then figure out the remainder of the settings...not sure what the workflow is going to be, yet). I think I should test again, with -1 SHARPNESS. Promaster 70-300 4-5.6 LD Panasonic G95 Natural Ok, so I'm getting used to doing tests on the G95...and this was only my 3rd test, but I'm already seeing the potential of this sensor. First of all (and I say this a lot) I have to say that image this sensor produces is MUCH different than the G85 (and GX85) and I'm getting close to saying it really is better...but the approach to the custom settings is a lot different (will explain more in later, in a BLOG post). So then, the CUSTOM SETTINGS specifically for this lens are working pretty well, and creates an image that is not perfect SOOC, but it is a really good starting point, to add a mild finishing LUT later. I've been noticing that G95 lets you push the HIGHLIGHT SHADOW curve a lot farther than the G85, without it looking wierd (the G85 goes into that fake HDR look a lot of the time, when you push it beyond -3+3 in the curves). Nikon 50 1.8 D + Vivitar 2x MACRO Panasonic G95 Natural These are initial settings for use in my product studio (it's for eBay products on a white background) and so I'm not going to say these settings are good for everything, yet. Also, note that these settings are specific to using a very old Vivitar 2X MACRO teleconverter (Nikon F, AI vintage). STUDIO FLASH NOTES: To trigger the studio flash, we're firing a little flash from the hot shoe (pointing to the side) and using 1/160 shutter speed (to sync with flash) and using ISO 200 and an aperture value of f/8 (and the aperture is manually controlled on the lens barrel). Minolta MD 28-70 3.5-4.8 Panasonic G85 Natural These CUSTOM SETTINGS actually produce an image that is good almost SOOC (Straight Out of Camera) and yet with a bit more CONTRAST than is REAL...but it might actually work well when uploading to YouTube (which seems to change things a little). One thing that is interesting, is this lens has so much CONTRAST it's pretty impressive but not realistic...These settings correct for that, and the result is a pretty good image, but the lens is not very sharp, and so I added SHARPNESS to make it look more realistic (and did other things too). It also has an interesting HIGHLIGHT SHADOW curve applied, and it was difficult to figure it out to start with. In the end, I may not keep this lens, but it's not because of the image quality, but because I've been figuring out that, if I'm buying full frame lenses (like this one) to potentially be used both on full frame AND Micro Four Thirds, then it really needs to start at around 24mm (or wider) to be good tool for me. Rokinon Tilt-Shift 24 3.5 Panasonic G85 Natural Wow. I'll write more about this later, but this is the second Rokinon prime lens that turned out super good when using the Panasonic G85 sensor (the other was the Rokinon Cine 85 T1.5). For some reason, they just have enough, but not too much SHARPNESS, and the CONTRAST is very manageable. I'll have to say, I just tested the same lens on a full-frame Nikon Z5 v1, and that camera cannot handle the level of contrast this lens has...but I am really starting to appreciate the custom settings of these LUMIX cameras, even these older ones that don't have real-time LUT capability. Sigma 17-35 2.8-4 EX Panasonic G85 Natural

This lens-sensor combo is too contrasty (and may need a filter). Any links below are affiliate links. FILTER: None Tokina 11-16 2.8 ii ADAPTER: Nikon F/G to M43 (SHIFT) Panasonic GH4 CineLike D "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -5 SHARPNESS - 5 NOISE +5 SATURATION -0 HIGHLIGHT SHADOW Standard iDYNAMIC OFF 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: This lens-sensor combo is too contrasty (and may need a filter). 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.