A Viltrox speed booster killed another one of my cameras (my Panasonic G85). I published a YouTube video about how the “Canon-mount” version (the EF-M2ii) killed my Panasonic GX85 and how I switched to using the all-manual, Nikon-mount version (the NF-43x). Bad news is: this “Nikon version” now killed my G85 (scratched the sensor) and it was the last “REAL” working camera I had. (All I have now is a Panasonic FZ1000 bridge camera!)

My CUSTOM SETTINGS are way more important than my LUTs, but would you use my LUTs at all if they aren’t that important? Well, the reason is I’m focused on perfecting my custom, in-camera (SOOC) settings so you don’t need a LUT!

If full frame camera prices come down (to an "affordable" level) you might ask "Do we even NEED Micro Four Thirds any more?" In this episode I'll cover the reasons I think it's good to keep BOTH systems (if you have full frame already, the cost of adding Micro Four Thirds isn't a barrier, and if you have Micro Four Thirds, full frame is getting close!) P.S. I mentioned current pricing of the Sony A7rii, but said A7ii…but I DO NOT RECOMMEND the A7ii for video purposes (but the A7rii might be a possibility, as long as you’re good with shooting in the cropped Super 35 mode, because the 4K is good in that mode, but not in full frame mode). Also, after some testing, I no longer recommend DSLRs (such as the Canon 6d which I mentioned) because they don’t work well LIVE with HDMI switchers, such as the ATEM Mini, etc.

AI for AUDIO is here, and so far I don't like it. If you've ever taken pictures with a "smart" phone that uses AI to (automatically) processes the image, and you don't have any control over how much SHARPNESS, CONTRAST, COLOR it adds, then you can start to imagine how bad AI for AUDIO can be. SETTINGS: This podcast was recorded using a Rode VideoMicro + Comica Dual Lav going into a Zoom F2-BT, at the "CLOSE" proximity.

The way I'm using this mic is a bit different than it was designed. I'm plugging it into the Comica CVM-D03 Dual Lavalier booster pack (which was designed to provide plug-in power for 2 Comica lavalier mics) and it actually works to power AND boost the Rode VideoMicro, which improves the audio quality a lot compared to just plugging this mic into the Zoom F2. I did try that as well, and while it does sort of work (because you can raise the level of the 32-bit float file in post-production) it sounds way, way better when using the Comica CVM-D03 as an AUX. amplifier. MORE CUSTOM SETTINGS: www.silverlightphotoco.com/audio

It is really interesting how this mic works with the Zoom F2 32-bit float recorder, at this "CLOSE" proximity: It doesn't need much MIC. GAIN (a setting of "1") and what's amazing about this 32-bit float file (from the Zoom F2) is that it actually comes out pretty clean after boosting the level in post-production. I like doing this, because it means you're using very little of the mic's pre-amp (which tends to "color" the signal). This is very different from how you would have to work if using a non-32-bit float recorder. MORE CUSTOM SETTINGS: www.silverlightphotoco.com/audio

Wow...I'm really learning that you can't pre-judge any microphone-audio recorder combination (similar to how I learned that about lenses and sensors). For instance, when testing this mic on OTHER audio recorders, using the MIC. LOWCUT (either the 75Hz or 150Hz setting) sounded really bad (not natural at all). However, when using THIS MIC with both the FOAM + FURRY (included with it) using the MIC. LOWCUT setting of 150Hz sounds pretty good (it sounds accurate, natural and "REAL" as I like to say). My Custom Settings: Comica CVM-VM20 FOAM FURRY Zoom F1 CLOSE (silverlightphotoco.com) MORE CUSTOM SETTINGS: www.silverlightphotoco.com/audio

The most important discovery about this microphone-audio recorder combination (specific to this "CLOSE" proximity) is that it sounds much better with the audio recorder's LOW CUT filter ON (set to 160Hz)! This is one of those things I wouldn't have guessed, but at this ("CLOSE") proximity, there is way too much BASS (sounds "boomy") without these LOW CUT settings. I also tried using the MIC. LOWCUT (both of the settings) and they didn't sound good at all, but the 160Hz filter on the Zoom H1n audio recorder is making the audio sound pretty natural and "REAL" (which is my goal for the "starting point"). MORE CUSTOM SETTINGS: www.silverlightphotoco.com/audio

The first thing I always mention when giving settings recommendations for the Zoom H1, is the BEST REC. LEVEL you can be at is 37 (not less...36 sounds WAY worse). Then, if you need to go up from there, it sounds pretty good up to 50, and then the absolute highest I go is 63. There are a couple of other settings configurations that worked pretty well, but 37 really works the best on this audio recorder. So, with the REC. LEVEL of 37, the MIC. BOOST (gain dial) sounds good at 3.5. MORE CUSTOM SETTINGS: www.silverlightphotoco.com/audio

If you've tried my "Lens-sensor specific" CAMERA settings, you know how easy getting a good-looking cinematic image can be, yet getting good AUDIO has been a chore, until I recently created a database (along with a system I call my "5 Proximities") that has been making it so EASY to get good audio (most of the time, LOL!) The new AUDIO section on my website is here: https://www.silverlightphotoco.com/audio

This is an introduction to the kit I use for capturing "REAL" on-location "synchronous" audio for budget filmmaking (or YouTube, other low-budget video production). The new AUDIO section on my website is here: https://www.silverlightphotoco.com/audio

Could recording natural sound on location be easy? We talk about an idea that not only makes it WAY easier to capture “REAL” location audio, but that serves as a backup for "talking head" (and even as a podcast) audio! The new AUDIO section on my website is here: https://www.silverlightphotoco.com/audio

I'm shifting my focus (from lens testing, pun intended) to working on a budget filmmaking audio method that includes both microphone-specific EQ files, plus settings which are based on my super easy "5 proximities" technique...see my website for more details (there's additional articles on my BLOG page as well).

I'm revisiting the question of how being organized can affect creativity, but this time I have a new solution: a portable, affordable and common kit list. (When I tried to get organized before, it failed...but this time it's working.

I think of all of the things I've learned about (budget) filmmaking production, my #1 tip is to shoot with multiple cameras (simultaneously). So, I'm going to go into detail about a few ways I currently do this.

My lens-sensor specific camera settings are now available on my website (in addition to my LUTs). The goal of my settings is to create a more realistic (and cinematic) look from every lens-sensor combination I have (including the Panasonic GH4, G7, G85 and GX85) and a growing collection of lenses!!!

There aren't any shift (i.e. "perspective control") lenses available for Micro Four Thirds (at this time) but I've been using a shift ADAPTER (which means I can use almost any Nikon mount lens (including the Tokina 11-16 zoom lens) and I've been loving it! Here's a couple of options for either an affordable tilt/shift lens or a Micro Four Thirds adapter (affiliate links) TILT/SHIFT LENS (24mm) https://amzn.to/3n1lCgo TILT/SHIFT ADAPTER (Nikon) https://amzn.to/3tOtvcM

Will having a camera with more dynamic range create an image that is more realistic (with Ansel Adams type details in the highlights and shadows)? Not if a lens delivers even greater contrast and/or sharpness than the sensor can handle! We start to talk about how I think a better solution is to simply match how light is delivered to a sensor (i.e. the contrast, etc.) and to keep it within the dynamic range it can handle.

While there are a lot of good Canon EF lenses out there, I'm having second thoughts about recommending them for use with Micro Four Thirds (especially for my "budget" filmmaking method).

The #1 thing to understand about all of my kit recommendations is that they're focused on helping the budget-conscious, but there are actually 5 things I make sure each item of my kit conforms to, and I call them "Q-P-A-C-E"...