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So, a Viltrox speed booster killed another one of my cameras (my Panasonic G85). Previously, 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) but the bad news is the “Nikon" version killed my G85 (scratched the sensor).

So, in this episode, we dive into our experiences with speed boosters for micro four-thirds cameras (and especially the ones with IBIS). We discuss the pros and cons of brands like Viltrox and Metabones, sharing personal anecdotes about how two of our cameras were damaged with these accessories. We highlight the importance of testing compatibility with different cameras and lenses, and the impact of stabilized sensors (pun intended, sort of). We talk about our goal to find affordable camera solutions to build a reliable two-camera setup for our work in video production and photography, emphasizing the need for accurate testing to avoid problems.

Introduction to Speed Boosters (00:00:00)

Discusses the speaker's experiences with speed boosters for micro four-thirds cameras.

Third Brand Introduction: Pixco (00:01:21)

Introduces Pixco as a lesser-known brand of focal reducers and their compatibility issues.

Testing Compatibility (00:02:28)

Highlights the importance of testing lens compatibility with adapters to avoid issues.

Focal Reducer Market Overview (00:03:32)

Discusses the price differences and recommendations for various focal reducers.

Camera Damage Anecdote (00:04:33)

Shares a personal story about damaging a camera while using a speed booster.

Issues with Electronic Controls (00:05:29)

Describes problems with the camera's shutter speed control after using certain adapters.

Nikon Mount Experience (00:06:39)

Relates the experience of using a Nikon mount speed booster and subsequent camera damage.

Sensor Movement Explanation (00:07:40)

Explains how stabilized sensors can lead to issues with focal reducers.

Metabones Compatibility Chart (00:08:48)

Discusses Metabones' approach to compatibility with different camera bodies.

Canon Mount Problems (00:09:58)

Details issues faced with a Canon mount speed booster and its impact on camera performance.

Glitches and Corrupt Files (00:12:13)

Describes file corruption and glitches experienced with the camera after using the speed booster.

Recommendation Changes (00:14:24)

Announces the withdrawal of recommendations for specific speed boosters due to reliability concerns.

Current Camera Status (00:15:37)

Updates on the speaker's current camera situation after recent damages.

Testing New Lenses (00:17:47)

Plans to test new lenses in light of current equipment limitations.

Budget Camera Strategy (00:19:05)

Discusses the strategy of maintaining a two-camera setup under a budget of $600 per camera.

Future Camera Aspirations (00:20:10)

Explores potential upgrades to newer camera models while keeping costs low.

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In this episode, we dive into the importance of custom camera settings over LUTs in video production. We explain our approach of using lens sensor-specific settings to achieve top-notch image quality straight out of the camera, minimizing the need for extensive color grading. We clarify that our LUTs are for minor tweaks, not the primary tool for achieving a desired look. We also discuss the challenges of color grading, especially with 8-bit files, and the benefits of optimized settings for live streaming. Overall, the episode educates listeners on the value of tailored camera settings for high-quality video output.

Why My LUTs Don't Do Much (00:00:00)

The speaker explains the limited importance of LUTs compared to custom camera settings.

Lens Sensor Specific Settings (00:01:12)

Discussion on using lens sensor-specific settings for optimal image quality.

In-Camera Settings vs. Real-Time LUTs (00:02:37)

The advantages of in-camera settings over real-time LUTs are highlighted.

Custom Settings for Each Lens (00:03:52)

Emphasis on the need for tailored settings for each lens to achieve better results.

Testing Lenses and Settings (00:06:04)

The speaker shares experiences with specific lenses and their performance with default settings.

Minor Adjustments with LUTs (00:08:17)

LUTs are used for minor tweaks rather than significant changes to the image.

Color Grading Ease (00:09:38)

The speaker discusses how custom settings simplify the color grading process.

Noise Reduction and Sharpness (00:10:51)

Insights into the relationship between noise reduction and sharpness adjustments in-camera.

Addressing Common Misconceptions (00:13:01)

The speaker counters common advice against using in-camera noise reduction and sharpness.

Website as a Resource (00:14:49)

The speaker describes their website as a database for custom camera settings.

Importance of Custom Camera Settings (00:16:52)

The speaker emphasizes the significance of custom settings for achieving a realistic look.

Future Topics on Shooting Flat (00:17:54)

The speaker hints at a future episode discussing reasons for not shooting flat or in log.

Benefits of In-Camera Settings for Live Streaming (00:18:52)

In-camera settings are beneficial for live streaming, providing a realistic appearance.

In this episode, we discuss the merits of using both micro 4/3 and full-frame camera sensor formats for media production, content creation, and filmmaking. We recommend that filmmakers gain experience with both formats to understand their unique advantages and foster a more unified camera community. The episode covers specific camera models, their features, and practical tips for various filming scenarios. By embracing both sensor sizes, we can enhance our skills and creativity, moving beyond divisive preferences and towards a more inclusive and innovative environment.

Introduction to Camera Formats (00:00:00)

The speaker recommends using multiple camera formats to understand their unique benefits.

Understanding Sensor Loyalty (00:01:13)

Discussion on the division between micro 4/3 and full-frame camera users.

Benefits of Micro 4/3 (00:02:29)

Explains advantages of micro 4/3 format, especially for beginners.

Affordable Full-Frame Options (00:02:29)

Mentions the decreasing prices of full-frame cameras, making them more accessible.

Telephoto Lens Advantages (00:03:39)

Highlights the effective telephoto capabilities of micro 4/3 cameras for outdoor coverage.

Optical vs. Crop Equivalents (00:04:55)

Clarifies the difference between crop equivalents and optical properties of lenses.

Wide Angle Distortion Explained (00:06:20)

Discusses the effects of wide-angle distortion in photography and its implications.

Full Frame vs. Micro 4/3 (00:08:59)

Contrasts the benefits and drawbacks of full-frame and micro 4/3 cameras.

Camera Size and Weight (00:10:15)

Considers the physical dimensions of full-frame cameras in relation to micro 4/3.

Camera Matching for Color Accuracy (00:11:20)

Recommends using identical cameras for better color matching in production.

Recommendations for Second Cameras (00:12:26)

Suggests Panasonic micro 4/3 models as affordable second camera options.

Combining Camera Formats (00:13:47)

Explains the benefits of using a micro 4/3 camera alongside a full-frame camera.

Stabilization in Camera Systems (00:15:07)

Discusses the importance of in-body stabilization for camera setups.

Adapting Lenses on Micro 4/3 (00:16:13)

Mentions the versatility of adapting various lenses to micro 4/3 bodies.

Battery Life Tips for Panasonic GX85 (00:17:08)

Provides practical advice for improving battery life during video work.

Conclusion on Sensor Formats (00:19:14)

Encourages exploration of both camera formats to foster unity in the photography community.

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.

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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) it sounds way, way better when using the Comica CVM-D03 as an AUX. amplifier. MORE CUSTOM SETTINGS: www.silverlightphotoco.com/audio

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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

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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 CUSTOM SETTINGS: 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"). MORE CUSTOM SETTINGS: www.silverlightphotoco.com/audio