SilverLight Photo & Video Co.: Recent Episodes
A "Fake" Filmmaker?
Welcome to the SilverLight Photo & Video Co. podcast, home of the "Fake Filmmaking" Method...where we figure out how to get good quality, without much money. We mostly talk about techniques for budget filmmaking, and recently, my focus has been on helping photographers become filmmakers...many say this transition is not possible, but after making this switch myself, I set out to create a system to help photographers let go of flash photography and overcome the stigma that "Photographers Aren't Filmmakers".
After losing both of my favorite cameras to Viltrox speedboosters (see the last episode) I'm going to switch to testing AUDIO until I decide which cameras to replace the old ones with. This episode tests the Takstar SGC-598 with one of my favorite (now rare) generic 1536 kbps audio recorders (actually, it says Yulass on the recorder).MORE CUSTOM SETTINGS: www.silverlightphotoco.com/audio
I'm now without a camera, except for my Panasonic FZ1000 and my old GH2. Why? Another problem with a speedbooster from Viltrox. You might have heard my story of how my Canon-mount EF-M2ii "killed" my Panasonic GX85 (and so I started recommending the all-manual, Nikon-mount version)...but now this Nikon version has "killed" my Panasonic G85, and I don't know what to do next.
Why would you buy my LUTs then, if they don't do much? Well, the reason is that they're important, but not as important as what we're going to talk about in this episode: Custom (lens-sensor specific) camera settings.
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.
The biggest complaint I have about AI-created blogs, is the content wasn't written by people who actually tested the camera gear they're talking about. This may be why those top 10 lists always seem so FAKE, and don't really help you understand why the gear they chose is on the list, and why they seem like they're just saying what everyone else says.
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.
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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, but it sounds way, way better (at ALL proximities) when using the Comica CVM-D03 as an AUX. amplifier (see my settings above).This is a 32-bit float recorder (the Zoom F2) so you really don't have to change settings when moving from one "proximity" (recording distance) to another (even the "AFAR" proximity). The only thing you COULD change is turning the REC. LOWCUT on/off. When using the "CLOSE" proximity INDOORS, you don't really need the LOWCUT to reduce bumps and/or wind noise from being in an outdoor environment, but I'm leaving it ON because I sometimes use "CLOSE" outdoors as well (either for narration or nat. sound capture) it works best for me to have the same settings for both. It does lack a little bit of BASS with the REC. LOWCUT on however, so I will need to create a custom EQ for each proximity.SETTINGS: Rode VideoMicro FURRY Zoom F2 CLOSE (with Comica Dual Lav)--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
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 SETTINGS: https://www.silverlightphotoco.com/audio
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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 SETTINGS: https://www.silverlightphotoco.com/audio
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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").
For more information about my easy AUDIO methods: Easy Budget Filmmaking AUDIO Method (PART 2: Proximity) (silverlightphotoco.com)
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You may have heard that I come up with custom settings for CAMERAS, but now I’m testing budget filmmaking AUDIO gear…so welcome to my first REAL test!--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
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 episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
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).
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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).
This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
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.
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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.
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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 for Micro Four Thirds, but I've been loving using a shift ADAPTER (which means I can use almost any Nikon mount lens, including the Tokina 11-16 zoom lens)!
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Will having a camera capable of more dynamic range create an image with more dynamic range (with Ansel Adams like detail 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.
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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 "budget" filmmaking method).
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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"...
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When I was growing up, I read a lot of lens reviews in photography magazines, and sharpness and contrast were always referred to as a positive. However, when I started testing all of my lenses to create "lens-sensor LUTs" (and camera settings recommendations) I've been finding that sometimes too much sharpness and too much contrast reduces the perceptive dynamic range (my new word).
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Can one improve their small business workflow? It all begins with defining what you do, and who does it, but I'll also talk about the differences between physical and digital workflows, and give examples from my small (fake) filmmaking business.
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I talk more about why, I think, every lens needs its own custom settings, and a few related issues.
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You wouldn't believe how easy recording natural sound on location can be (with this little hack); This not only makes it WAY easier to capture realistic location audio, but it can double as a backup mic for "talking head" and even as a podcast mic!
This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
As we travel the road of becoming a real filmmaker, we may run into people who call us "fake filmmakers" but I think the quickest path to becoming a "master" is to get out there and practice, practice, practice.
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Budget filmmakers don't have money, but they still have an appetite for quality audio, so what are we to do? Often the gear we can afford doesn't live up to our expectations, but here's a valuable tip that can improve the audio quality dramatically!
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After selling my Viltrox EF-M2ii, I just bought another copy...and I think I've found workarounds for some of the issues I noted. I've updated my recommendation to include this adapter, but only in my "ADVANCED KIT" (as there are too many quirks to recommend it for my "BASIC KIT" plan, which is geared toward entry-level use).
This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
I talk about two goals that I have, that seem to contradict each other: Test the most popular lenses, but only test budget lenses.
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I create LUTs to make lenses look their best (specific to each camera I use) and include these "recommended" camera settings in the on my website as well. So, would it be possible to create a SIMILAR database of microphone-recorder-specific settings?
This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
RE-RELEASE: I took this episode down because it was too long, but I brought it back. In this episode, I discuss how that if your ideas differ from others' you may get criticized, but that this may be part of a YouTube "niche". You do have to learn to be patient however, and survive the comments until ideas are accepted.
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When I think about my motivation for choosing camera settings, I often think of Ansel Adam's "Zone System". In today's (longer) episode we'll get into how I use contrast, sharpness, noise reduction and color controls IN-CAMERA to capture a more realistic-looking image.
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This update will cover a few of the reasons why I'm slowing down the "Filmmaker's Playbook" development (to make sure each play has been well tested and proven).
This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
This episode goes into a few details of how adjusting the color settings of the camera in ADDITION to applying a lens-sensor LUT during post production can improve the image!
This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Important update regarding the Zoom F2, plus why I plan to stop recommending the Zoom H1 as a wired lavalier body pack recorder (HINT: It is affected by radio frequency interference from newer smart phones).
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UPDATE: I found out the A/D converters in the F2 are not like the F6, but rather are optimized for capturing dialog, so a couple of the ideas I had in this recording won't work! I still think the Zoom F2 is going to be big though (even though it's really small).
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I've noticed a lot of good YouTubers (and other people) getting rid of their 2nd camera, and I think this is not only dangerous (being without a backup) but also, I've experienced increased productivity (in production and post production) when I "always shoot with 2 cameras".
This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
This episode presents a few reasons why I think IBIS (or In-Body Image Stabilization) is a super important technological advance in filmmaking.
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This episode focuses on how and why I'm creating "lens-sensor specific LUTs, and color settings"...(which is shot matching). It emphasizes the importance of shot matching, and how I go about doing it.
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This version is shorter (with the prelude with the audio recorder review moved to a separate recording). This episode is about how I bought a LUT and it didn't work. I thought about it (for a number of years) then came to the conclusion that LUTs need to be lens-sensor specific. I'll tell you why in this episode.
This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
I'm talking again about a concept I call "lens-sensor LUTs" and about how I'm learning that adjusting the CAMERA SETTINGS (of all things) is an important step to take while fine tuning an image (if you're not capturing in RAW).
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In this episode, I'll be talking about how I've decided to start adding camera color settings to my LUT information on the LUTS page of my website (plus some un-planned comments about lens fungus).
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This episode includes qualifiers to my previous advice regarding the Panasonic G7 including recommendations about in-studio vs. on-location use.
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In this episode, we go over how I'm using LUTs to shot match cameras (using what I call a "Real" LUT). I am hoping to make these LUTs available on my website (as soon they are created, tested, approved, etc).
This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Let's talk about how to build a box for the ATEM Mini, even if you're not very good at DIY. It's really easy, and I came up with options for both recording and live streaming (one uses an iPad or PC tablet to stream)!
This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
No, but in this episode, we'll focus on the concept of photographers becoming filmmakers. Many say the transition is not even possible, but after making the switch myself, I started developing a system to help the much maligned "photographer" recover from the saying "Photographers Aren't Filmmakers".
This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
This episode covers my (current) recommendations for affordable, but high quality, audio recorders included in my list I'm calling my "Advanced Kit".
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This episode goes into detail about what audio recorders I recommend for budget filmmakers, and why I no longer recommend the Zoom H4n (or the H4n Pro?)
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In a world...that stinks, imagine being able to capture every detail of our existence, including the smell. Yes, "scentography" is real.
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We're going to talk about what lenses I use for my "Basic Kit Plan" which falls into the category of gear that is both easy-to-use AND is affordable.
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In this episode, I continue going through my thought process for the idea of developing what I am calling "The Filmmaker's Playbook".
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This podcast shares my thought process for the development of what I am calling filmmaking “plays” (like sports plays) and encourages filmmakers to look into using multiple camera formats when necessary.
This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
The much maligned 3.5mm "mini plug" has been despised, at times, by XLR purists who insist that all cables must be balanced to be of any use. In theory, or in a perfect world they may be right, but in reality, 3.5mm is everywhere and the sooner we embrace it, the sooner we master it.
This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
After years of testing, I've come up with two sets of gear (Basic & Advanced) which are so inexpensive you hardly believe it, but they do almost everything I need them to do and allow growth while moving from the Basic kit to the Advanced (Later, we may visit exactly how I use each of these pieces, but for now, here's the kit.)
This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
2021-3-31 UPDATE: For cameras, I now recommend getting 1 Panasonic GX85 and 1 G85 (instead of 2 GX85 bodies) because the price of the G85 is so low. After years of testing, I came up with these two sets of gear (Basic & Advanced) that are so inexpensive you hardly believe it, but they do almost everything I need them to do and allow growth while moving from the Basic kit to the Advanced (Later, we may visit exactly how I use each of these pieces, but for now, here's the kit.) KIT: https://kit.co/SilverLightPhotoCo
This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
One of the biggest challenges for filmmakers using budget gear (i.e. not shooting raw) is controlling the dynamic range of their camera's sensor. In this episode I introduce a possible solution: control the lens-sensor relationship.
This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app