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.