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These settings are not as "REAL" as I would normally prefer, as the color is more saturated than normal, but I did this to capture the unique color this lens can render. It's also a bit light in the shadows, but this forces you to underexpose a little, which protects the highlights and just seems to bring out the magical properties of this lens. As I've said before about this lens, it has a lot of "character" and it can be inconsistent in terms of how it renders light (from aperture to aperture). [UNFILTERED] Panasonic G85 + HELICOID (Macro Helicoid Adapter) Pentax Super-Takumar 50 1.4 ii Natural "PHOTO STYLE" -4 CONTRAST +1 SHARPNESS +4 NOISE -0 COLOR -2+2 HIGHLIGHT SHADOW OFF iDYNAMIC OFF iRESOLUTION 16-255 LUMINANCE LEVEL Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT RADIUS THRESHOLD REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST A IS THE CONTRAST "REAL"? SHARPNESS A IS THE SHARPNESS "REAL"? NOISE 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). Published: June 30, 2022 at 10:46:24 PM These settings are not as "REAL" as I would normally prefer, as the color is more saturated than normal, but I did this to capture the unique color this lens can render. It's also a bit light in the shadows, but this forces you to underexpose a little, which protects the highlights and just seems to bring out the magical properties of this lens. As I've said before about this lens, it has a lot of "character" and it can be inconsistent in terms of how it renders light (from aperture to aperture). My goal for these camera settings is to improve the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color with the result that it produces an image that looks less "digital" and more "organic" (more like film, etc). The first step is to apply these settings while shooting (produces an image that looks pretty good straight out of camera) but keep in mind there may need to be slight color grading (or a LUT) applied to finalize each shot. SPECIAL THANKS TO

I feel like these settings are working okay for capturing what this lens is capable of, but as I mentioned in the GX85 review of this lens, the lens has optical imperfections (that give it an interesting character) but it's so inconsistent from one aperture value to the next (the contrast, sharpness and color intensity change quite a bit) that makes it difficult to come up with a single settings recommendation (as I can with most optics). [UNFILTERED] Panasonic G85 + ADAPTER (Non-Optical, NO BOOST) Canon FD 50 1.4 Natural "PHOTO STYLE" -4 CONTRAST +2 SHARPNESS +3 NOISE -2 COLOR OFF HIGHLIGHT SHADOW OFF iDYNAMIC OFF iRESOLUTION 16-255 LUMINANCE LEVEL Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT RADIUS THRESHOLD 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 NO IS THE CONTRAST "REAL"? SHARPNESS NO IS THE SHARPNESS "REAL"? NOISE IS THE NOISE "REAL"? COLOR NO 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). Published: June 10, 2022 at 1:13:44 AM I feel like these settings are working okay for capturing what this lens is capable of, but as I mentioned in the GX85 review of this lens, the lens has optical imperfections (that give it an interesting character) but it's so inconsistent from one aperture value to the next (the contrast, sharpness and color intensity change quite a bit) that makes it difficult to come up with a single settings recommendation (as I can with most optics). My goal for these camera settings is to improve the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color with the result that it produces an image that looks less "digital" and more "organic" (more like film, etc). The first step is to apply these settings while shooting (produces an image that looks pretty good straight out of camera) but keep in mind there may need to be slight color grading (or a LUT) applied to finalize each shot. SPECIAL THANKS TO

I think there's enough stuff in today's world that's fake, so I try to "keep it REAL". Even though I've call myself a "fake filmmaker" (because I shoot with budget gear) my goal is to provide realistic, high-quality coverage of PEOPLE, PLACES & THINGS. REAL PLACES Cinematic Real Estate, Travel & Architecture. © 2022 All Images by SilverLight Photo Co. 24 REAL ESTATE PHOTOS Includes interior & exterior photos, professionally processed to HDR & available within 24 hours. $224 PLUS TAX MORE INFO 3D ZILLOW 3D VIRTUAL TOUR Includes one 360° photo taken in each room of a house, uploaded directly to a Zillow 3D Home Tour. $160 PLUS TAX MORE INFO 36 REAL ESTATE PHOTOS Includes interior & exterior photos, professionally processed to HDR & available within 24 hours. $236 PLUS TAX MORE INFO 70 REAL ESTATE PHOTOS Includes interior & exterior photos, professionally processed to HDR & available within 24 hours. $370 PLUS TAX MORE INFO SIMPLE SHOOTS. FAST, EFFICIENT LOCATION COVERAGE We've spent years learning to shoot fast, but we're also picky, so we keep the quality high. FAST EDITING. MOST PROJECTS DELIVERED THE NEXT DAY! Applies to most HDR photo shoots and most 360 tours (floorplans are extra and take longer) NO EXTRA FEES. NO TRAVEL DISTANCE, OR SQUARE FOOTAGE FEES We want pricing to be simple, so we never charge travel "distance" or "square footage" fees. Prices are subject to change at any time, without notice, and the information on this page about the 24-hour turnaround time does not mean I'll be available for a shoot without scheduling the details ahead of time (message me and we can discuss details). SPECIAL THANKS TO

TIPS #002 USE 2 OF THE SAME CAMERA (OR LENS-SENSOR SETTINGS) 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.) THE DETAILS There are good pieces of software out there that help you match cameras, but I don't like making things more work than they can be (and I hate the saying "fix it in post"!) My solution is to not only use lens-sensor specific custom (in-camera) settings while shooting, but also to start with cameras that have the same (or similar) sensors. This often means buying two of the exact same camera (or more) and then it comes down to matching the lenses. The rule I follow about matching lenses (the cheaper way) is to focus on getting lenses from the same manufacturer, and then of the same vintage. However, I have been able to use my custom (lens-sensor) settings to get lenses to match pretty well, and that was the main reason I created this website! ©2021 SilverLight Photo Co.

More stuff I've tried that may or may not help, if you're a budget filmmaker... REAL REVIEWS Long-term reviews of photo & video gear. REAL REVIEWS EXTRAS (COMING SOON) EXTRAS Coming Soon! 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 .

This lens is AMAZING...it delivers so much contrast and color that I had to tone those down (to get a "REAL" image) and the SHARPNESS is almost a perfect match for this sensor (not to sharp, etc.) though I had to use some NOISE REDUCTION to keep things looking real. [UNFILTERED] Panasonic G85 + ADAPTER (Non-Optical, NO BOOST) Sigma 75-300 4.5-5.6 Natural "PHOTO STYLE" -5 CONTRAST -0 SHARPNESS +3 NOISE -2 COLOR OFF HIGHLIGHT SHADOW OFF iDYNAMIC OFF iRESOLUTION LUMINANCE LEVEL Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT RADIUS THRESHOLD 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 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). Published: July 1, 2022 at 9:18:20 PM This lens is AMAZING...it delivers so much contrast and color that I had to tone those down (to get a "REAL" image) and the SHARPNESS is almost a perfect match for this sensor (not to sharp, etc.) though I had to use some NOISE REDUCTION to keep things looking real. My goal for these camera settings is to improve the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color with the result that it produces an image that looks less "digital" and more "organic" (more like film, etc). The first step is to apply these settings while shooting (produces an image that looks pretty good straight out of camera) but keep in mind there may need to be slight color grading (or a LUT) applied to finalize each shot. SPECIAL THANKS TO

TIPS #001 ALWAYS SHOOT WITH (AT LEAST) TWO CAMERAS Good cameras are not very expensive these days, so one thing you can do to be more productive is to always roll with at least 2. THE DETAILS The method of shooting with (a minimum of) 2 cameras has been shunned by some in the filmmaking industry, but I don't care...It's one of the most important things I believe in. It makes the editor's job way easier (by having more shots to choose at any given scene) and it makes production go a whole lot faster. Objections from the purists may have been the camera cost, but there are "good enough" cameras out there that make it possible to buy several where before only one could be afforded. The main thing that makes this tip work for me is to mount 2 cameras on one cage (on only one tripod or Steadicam) which takes up no more space than a single camera anyway. You can't do this with BIG cameras, but everything I buy is small and compact anyway, so this is possible. ©2021 SilverLight Photo Co.

[Note: This also is using an M42 screw mount to Nikon F adapter, in addition to the Nikon F to M43 SHIFT adapter noted.] I don't (normally) like to review lenses that are rare (because I want you all to be able to try them out) but since I found this for a good deal online at shopgoodwill.com, I thought I'd better test it. While it was difficult to figure out, I think it is looking pretty good with these custom settings. (The only thing that is off a bit is the color, and it's not bad, but is just not "REAL" and therefore won't match other lenses that get a better rating for that attribute, etc.) [UNFILTERED] Panasonic GX85 + SHIFT (Perspective Control Adapter) Pentax Bellows-Takumar 100 4.0 SMC Natural "PHOTO STYLE" -2 CONTRAST +2 SHARPNESS +4 NOISE -0 COLOR -2+2 HIGHLIGHT SHADOW OFF iDYNAMIC OFF iRESOLUTION 16-255 LUMINANCE LEVEL Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT RADIUS THRESHOLD DEFAULT (+HS) Pentax Bellows-Takumar 100 4.0 SMC Panasonic GX85 NATURAL -0-0-0-0 HS -2+2 CUSTOM Pentax Bellows-Takumar 100 4.0 SMC Panasonic GX85 NATURAL -2+2+4-0 HS -2+2 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 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). Published: June 23, 2022 at 8:53:09 PM [Note: This also is using an M42 screw mount to Nikon F adapter, in addition to the Nikon F to M43 SHIFT adapter noted.] I don't (normally) like to review lenses that are rare (because I want you all to be able to try them out) but since I found this for a good deal online at shopgoodwill.com, I thought I'd better test it. While it was difficult to figure out, I think it is looking pretty good with these custom settings. (The only thing that is off a bit is the color, and it's not bad, but is just not "REAL" and therefore won't match other lenses that get a better rating for that attribute, etc.) My goal for these camera settings is to improve the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color with the result that it produces an image that looks less "digital" and more "organic" (more like film, etc). The first step is to apply these settings while shooting (produces an image that looks pretty good straight out of camera) but keep in mind there may need to be slight color grading (or a LUT) applied to finalize each shot. SPECIAL THANKS TO

© 2022 SilverLight Photo Co. The above photo is 100% real, as no A.I. or Photoshop tricks were used to make it. Sitting on Bench at the Beach Park < Back to All BUY PRINTS Camera Settings LENS 18mm Sigma 18-35 1.8 ART SENSOR 2x Panasonic GX85 CUSTOM CAMERA SETTINGS SEE SETTINGS Camera Placement CAMERA SUPPORT TRIPOD CAMERA HEIGHT ? CAMERA ANGLE LEVEL PHOTOGRAPHER NOTES: It was a windy day near the beach at Des Moines Marina. I didn't log the exact tripod height, but I remember that the legs were adjusted at different lengths to accommodate the uneven terrain. The lens was the heavy Sigma ART 18-35 1.8 (on a Nikon F/G to M43 TILT/SHIFT adapter) which was a bit precarious. The camera was the Panasonic LUMIX GX85, which has excellent in-body image stabilization, which kept this heavy lens in check. I used my custom (lens-sensor specific) camera settings AND my custom LUT to finish the image. This image is a frame taken from 4K video footage. *As A.I. (artificial intelligence) started sneaking into the photo & video production industries, I decided to go for 100% realism in my work. What this means for me, is to shoot for realistic-looking photos and video content. My approach includes using custom, lens-sensor specific CAMERA SETTINGS (and sometimes lens-sensor LUTs when needed). I never use A.I. to generate images, and I don't do tricks using Photoshop. There are adjustments I make to produce more accurate PRINTS but my goal is to limit editing a much as possible.

INDOOR OUTDOOR < Back #301 Advanced Playbook 2 Static WIDE & 2 Walk This is placeholder text. To change this content, double-click on the element and click Change Content. 30 LIGHTS 50 CAMERAS 200 AUDIO This is placeholder text. To change this content, double-click on the element and click Change Content. Want to view and manage all your collections? Click on the Content Manager button in the Add panel on the left. Here, you can make changes to your content, add new fields, create dynamic pages and more. You can create as many collections as you need. Your collection is already set up for you with fields and content. Add your own, or import content from a CSV file. Add fields for any type of content you want to display, such as rich text, images, videos and more. You can also collect and store information from your site visitors using input elements like custom forms and fields. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Preview your site to check that all your elements are displaying content from the right collection fields. BE SAFE & BRING TAPE.

Are there any good budget filmmaking lights out there? If so, how do you know? REAL REVIEWS Long-term reviews of photo & video gear. REAL REVIEWS LIGHTS Coming Soon! 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 .

For the money, I don't currently recommend this camera if you're just getting into budget filmmaking. I've been testing this in addition to the G7, GX85 and G85, and I would spend my money on a G85, GX85 (or even a G7) before buying a GH4. The GH4 screen is so inaccurate, you need an external monitor to use it (the GX85 and G85 are better, the G7 screen okay). You can get decent results from the GH4 (especially with my custom settings) but the lack of IBIS makes it a no-go for me. CAMERAS Panasonic GH4 (Keep in mind, the settings below are specific to this camera, paired with each lens listed below.) You can get decent results from the GH4 (especially with my custom settings) but the lack of IBIS makes it a no-go for me. For the money, I don't currently recommend this camera. I've been testing this in addition to the G7, GX85 and G85, and I would buy a G85, GX85 (or even a G7) before a GH4. The GH4 screen is so inaccurate you need an external monitor for it (the GX85 and G85 are much better). See YouTube Playlist CANON NIKON OLYMPUS PANASONIC SIGMA TAMRON TOKINA MISC. & M42 CANON Canon [FD] DB Canon FD 50 1.4 S.S.C. DB Canon FD 50 1.4 S.S.C. ii DB SETTINGS Canon FD 50 1.4 SETTINGS Canon FD n 50 1.8 + BOOST Canon [EF] DB Canon 50 1.8 DB SETTINGS Canon 50 1.8 ii + BOOST DB Canon 50 1.8 STM DB SETTINGS Canon 70-200 2.8 +BOOST Canon 75-300 Canon 75-300 ii Canon 75-300 iii NIKON [F] Nikon [F] DB CPL SETTIN GS Nikon 18-55 DB Nikon 18-55 ii DB SETTIN GS Nikon 18-55 VR DB Nikon 18-55 VR ii DB SETTINGS Nikon 18-70 DB Nikon 18-105 3.5-5.6 DB Nikon 18-140 3.5-5.6 DB Nikon 18-300 3.5-6.3 DB SETTINGS Nikon 35 1.8 G DX +BOOST DB SETTINGS Niko n 50 1.8 AIS +BO OST DB SETTINGS Nikon 50 1.4 D DB SETTINGS Nikon 50 1.8 D +BOOST DB SETTINGS Nikon 50 1.8 G +BOOST DB Nikon 55-200 DB SETTINGS LUT Nikon 55-200 VR DB Nikon 55-200 VR ii DB SETTINGS LUT Nikon 70-210 4 E DB SETTINGS Nikon 80-200 4 AIS Nikon 70-300 D DB SETTINGS LUT Nikon 70-300 ED Nikon 70-300 G Nikon 70-300 P DB SETTI NGS Nikon 80-200 2.8 E D +BOOST DB Nikon 80-2 00 2.8D ED (opt ics same as v1) DB Nikon 80-200 2.8D IF-ED (optics same as v1) OLYMPUS Olympus Olympus 12-50 3.5-6.3 Olympus 14-42 EZ Olympus 14-42 ii R Olympus 25 1.8 Olympus 40-150 4-5.6 R Olympus 60 2.8 MACRO PANASONIC Panasonic Panasonic 12-32 3.5-5.6 (No Manual Focus) UNFILTERED BPM18 Panasonic 12-60 3.5-5.6 Panasonic 14-42 PZ Panasonic 14-42 SETTINGS Panasonic 14-42 ii Panasonic 14-42 iii Panasonic 25 1.4 Panasonic 25 1.4 ii SETTINGS Panasonic 25 1.7 Panasonic 30 2.8 MACRO SETTINGS Panasonic 45-150 4-5.6 Panasonic 45-200 4-5.6 Panasonic 100-300 4-5.6 SIGMA Sigma DB SETTING S Sigma 17-50 2.8 +BOOST DB SETTINGS Sigma 18-50 2.8 EX DB SETTINGS LUT Sigma 18-35 1.8 DB SETTINGS Sigma 18-35 1.8 + BOOST DB SETTINGS Sigma 70-300 D Sigma 70-300 DL Sigma 70-300 DG Sigma 70-300 APO DG Sigma 105 2.8 MACRO TAMRON Tamron DB Tamron 17-50 2.8 DB Tamron 17-50 2.8 ii DB SETTINGS LUT Tamron 70-300 LD Di DB SETTINGS LUT Tamron 75-300 LD TOKINA Tokina DB Tokina 11-16 2.8 (optics same as v2) DB SETTINGS LUT Tokina 11-16 2.8 ii D B Tokina 12-24 4 DB Tokina 12-24 4 ii (optics same as v1) MISC. & M42 Misc. & M42 DB Asahi Super-Takumar 50 1.4 DB SETTING S Asahi Super-Takumar 50 1.4 ii DB Asahi Super-Multi-Coated Takumar 50 1.4 DB Asahi SMC Takumar 50 1.4 SETTINGS Kiron 28-85 2.8-3.8 DB Konica Hexanon AR 40 1.8 DB Konica Hexanon AR 50 1.4 DB Konica Hexanon AR 50 1.4 ii DB Konica Hexanon AR 50 1.7 DB Konica Hexanon AR 50 1.7 ii DB Konica Hexanon AR 50 1.8 SETTINGS Minolta AF 50 1.7 Minolta AF 50 1.7 ii SETTINGS Mi no lta M D 50 1.7 SETTINGS LUT Promaster 70-300 +BOOST Qu antaray 70-300 4-5.6 LD Qu antaray 70-300 4-5.6 LDO Sakar 70-300 5.6 +BOOST SETTINGS Vivitar Series 1 70-210 3.5 SETTINGS Vivitar Series 1 70-210 2.8-4 INFO KEY: DB = More lens data at lens-db.com LENS FILTER KEY: SETTINGS or UNFILTERED = No Filter UV = UV Protection ND8 = Neutral Density (and #) VND = Variable Neutral Density CPL = Circular Polarizer BPM = Tiffen Black Pro-Mist® GG = Tiffen Glimmerglass® LENS ADAPTER KEY: + ADA PTER = Standard adapter (no optics, etc.) +BELLOWS = Macro bellows (plus adapter) +BOOST = Speed booster (i.e. focal reducer) +HELICOID = Macro helicoid (expands in/out) +SHIFT = Perspective control adapter (i.e. shift) +TILT = Tilt adapter (angles focus plane) +TILT/SHIFT = Focus plane, perspective control Read: " How I Adapt Old Lenses (for Micro Four Thirds) " ALWAYS CHECK THE "USED" MARKET! REMEMBER TO "REFRESH" PAGE TO SEE NEW DATA