SilverLight Photo & Video Co.

In the third and final episode about wide angle lenses, we change our focus to the actual images they produce; not the hype, not the claims, but what the image actually "projects".

This episode gets into the history of how ultra-wide angle lenses were marketed, and why some say they can't live without them.

This might seem like a strange question to ask, but the question is why do we NEED wide angle lenses?

We continue talking about the advantages of using compact (and affordable) camera gear...and ask myself the question "Do I really need a $100,000 gear van?"

If we look back in time, camera gear used to be a lot bigger...and we go over a lot of the reasons. However, there are so many compact, budget options out there today, that the only reason to have the bigger gear, is to be more impressive (if that's your goal).

In this episode (and the last) we started talking about how the footage from the GoPro ILS CAN be good IF you have the right lenses (and the right SETTINGS too).

I don't think it could be your ONLY camera, but in the role of a second or third camera we're starting to ask "What can I do for my GoPro ILS" instead of "What can the GoPro ILS do for me?"

NOTE: I think I hit the limit for this Hollyland A1 noise-cancelling mic system, and it sounds pretty bad. I was taking a walk (outside, just under the flight path near an airport).So, I used to use DSLRs, and nothing else, because I was focused on still photos. Then, when video capabilities started being added to DSLRs, some of us started getting excited about the possibilities, because it opened up a door to do work we couldn't do previously. However, as time has marched on, they're starting to not look like such a good idea. This might be my last test...of a DSLR.

We are starting to talk about lens options for the GoPro ILS, and using a Nikon to Micro Four Thirds speedbooster (focal reducer) sounds like it might work well...Haven't tested this yet.Affiliate Links:Here is the remote control lens system (not for M43 yet):https://th.hkyongnuo.com/products/br-l1Here it is on Amazon:https://amzn.to/4yyBfi3Here's the Nikon to M43 Speedbooster:https://amzn.to/4ilfNs6

There's a blog post I did earlier (and an older podcast episode) about this same topic, but it's even MORE IMPORTANT than I thought (especially when using custom LUTs).

After testing the Panasonic LUMIX S9 (with the 18-40 kit lens) I am super excited to report that using the in-camera picture profile settings (specific to the lens-sensor combo) is working super well.Here is a link to the CUSTOM SETTINGS:https://www.silverlightphotoco.com/camera-settings/lumix-s-18-40-4.5-6.3-panasonic-s9-natural

If you've noticed my Instagram change (from just random stuff to sets of 3, etc.) you might have wondered what's going on (or not) but what I've been working on is my SHOOT43 production method

We're talking about dust and other stuff including glitter, and even aluminum particles, that can be dangerous when it comes to your camera's sensor...and maybe even to the environment

I think learning to manually focus, both mentally and with literal lenses, is a super good skill to have, even if there are other options.

I still like Micro Four Thirds cameras, even after adding the full frame Panasonic S9...so how can I keep my kit compact?

Now let's talk about sensor size, and TELEPHOTO lenses...and still talk about focal length (because how can you do one, without the other?

We're talking about focal length again (as opposed to SENSOR SIZE) but now the focus is on realism.

This is the first episode where we talk about batteries, and we go over the safety (or lack thereof) of some of the aftermarket batteries available...and what the safest approach is.Oh, and here is a link to that website:https://www.batteryuniversity.com/And the shop vac: https://amzn.to/4for3lCCorrections:1. The color of Ryobi tools isn't turquoise...That is Makita

Ok, now I like LUMIX Lab...It lets you import VIDEO files from the Panasonic S9 (only in mp4 LITE) and CREATE LUTS ON YOUR PHONE, but make sure you have a good phone. I used an iPhone 13 Pro Max, but I can't say it would work with something older...and I recommend using a top-of-the-line iPhone, because I don't really trust the screen accuracy of any other phone type, besides Apple, right now.

For context, this is version 3.1.0 so some of the bad things (we call these "bugs" in the area of software testing) might be gone by the time you hear this. There are good things to say as well, and if you're wondering, I really love this app and think it has a lot going for it.

I'm now on board with BOTH full-frame and Micro Four Thirds...and if that sounds like a contradiction, just listen to this episode.

I'm not exactly sure why people say "Gear doesn't matter" when they're specific on what gear they use...so let's figure out a better phrase...

So I tried to make KIT PLANS that were more GENERIC (and not specific to just LUMIX cameras) but I keep going back to LUMIX gear.

There are a lot of lenses that people reject and they don't even give them a chance, even though they're affordable...because they've read something bad about them, but most reviews (and therefore A.I.) don't consider how the lens-sensor relationship affects the image (some sensors don't like tons of sharpness, or contrast).

We talk about how RAW editing and Texture Expression are a big deal, and we've not even talked about how this could improve WORKFLOWS!

MORE STORIES ON THE BLOG:https://www.silverlightphotoco.com/blogI just sold my GX9...and bought an S9!Here is that video I referred to:https://youtu.be/NZp-at-cmN8?si=gozONHrZRamMiCiH

MORE STORIES ON THE BLOG:https://www.silverlightphotoco.com/blogThere used to be (and sometimes still are) separate crews for still photography and video production, so why are they, or were they, so different?

SPOILER: If you don't want to listen to this podcast episode, I am going to list the reasons the GX9 is bad for video...and it's more than not having a microphone jack, and it's a sad story (listen to this episode for those details).WHY It's bad (for VIDEO):1. The most important thing is, the video footage that comes out of the 4K PHOTO Mode (where you can get the 4:3 aspect ratio "open gate") looks bad...kind of mushy... don't know how else to say it. When you compare the footage, with the exact same settings, from the LUMIX G95, the GX9 footage looks similar FROM A DISTANCE but it is "mushy" (is not sharp, and more). So sad.2. There is no microphone jack on the GX9, and we know that part, but it needed to be mentioned.3. There is no way to change the "Luminance Level" in the video mode on the GX9. You can do it on the G95, but the GX9 doesn't include it in the menu system, so you don't really even know FOR SURE what it is. However, I figured out (from various information on Panasonic's website) that they always use 0-255 for 4K or 6K PHOTO Mode, so you can kind of force it into 0-255 with that mode, but the footage is bad (mushy) in that mode, so the only mode you can use is the regular (16:9) video mode...which is probably 16-255.4. The Panasonic LUMIX GX9 has a 30-minute recording limit (the GX85 did not, so I'm not sure why they wanted to go backwards for the capabilities on the GX9).

If you listen to the BIG YouTubers who have a lot of money (and can afford to buy as many full-frame cameras as they want) you will hear strange things in response to the new GoPro. However, I don't have a large YouTube audience (yet) or the money, so I'm free to say I think it's AN EXCELLENT idea...as long as companies start making a certain kind of lens for them.

Do you think it's possible to boil down all photography and filmmaking into 3 things? We're trying.

We're talking about why the iPhone SENSOR SIZE is not the biggest problem in production, but it's definitely part of the problem...it's lens focal length.

We're talking about location scouting methods, and why it's best to use the lens-sensor combination the camera crew will be using, and I've been working on a section of my website to help with that. It's at www.shoot43.com or www.silverlightphotoco.com/bts

I did not expect to come to the conclusion I came to about Adobe, and I didn't expect to take the news about Davinci Resolve adding still photo editing features this way...

I'm still not against trying a full-frame camera (in the future) but we're going to talk about why I sold my full-frame camera, and bought 2 M43 (Micro Four Thirds) cameras.

I don't know what else to say, but I keep going back to LUMIX. In this podcast, we are talking mostly about how good in-camera SETTINGS are in LUMIX cameras (even cameras that were released before realtime LUTs) but we also talk a lot about using the LUMIX Lab app...and we may be talking about this subject more.

I was going to talk about more than Anti-Moisture packs (I may do more about other stuff in my kit later) but if you live in a region where moisture is a problem, we go over some recommendations.AMAZON LINKS*:1. 50 Gram WiseDry packs, https://amzn.to/3Oqtycz2. (Small) USB-C Rechargeable Desiccant Dehumidifier, https://amzn.to/4vTNjK63. (Large) Rechargeable Dessicant Dehumidifier, https://amzn.to/4ucxPzn4. (30L) Ruggard Electronic Dry Cabinet, https://amzn.to/3OIdZNs5. (50L) Ruggard Electronic Dry Cabinet, https://amzn.to/4czxBfP*SilverLight Photo Company is a participant in the Amazon Services LLC Associates Program, an affilate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.com

The first, and most obvious reason is the money issue (and we're not just talking about the CAMERA cost) and then there's the faster memory cards, computer (yes, you can do proxies) and more...but what we're really talking about here is keeping things low-stress, simple, and WYSIWYG...

After so much emphasis on SENSOR size, we're starting to talk about SCREEN sizes (the size of the screen you'll watch the content on).

I started testing a full frame camera, and I can see some advantages (specifically for wide shots) but there are still so many things Micro Four Thirds can do that full frame cameras can't...and this is mostly related to lenses...so I'm starting to flip my focus from selecting CAMERAS, to figuring out solutions for lenses.

After testing, I definitely can say the Nikon Z5 (v1) isn't good for video. I really wanted this to work because it is one of the few full-frame cameras, with IBIS, that were under $600...but even after adding custom, Nikon Picture Control files, this camera is horrible for video recording purposes. I was going to just keep it for doing stills only, but I really do need a hybrid photo & video camera if I'm going to spend this money.

Everyone wants more "dynamic range" but the REAL problem is not living within the dynamic range of our camera's sensor...but, how does one do that? The answer might be controlling the light that passes through the lens (sometimes this can even mean using filters).MORE INFO AT:https://www.silverlightphotoco.com/camerashttps://www.silverlightphotoco.com/luts

We know Nikon cameras are going to get better for video purposes, because they bought RED (the Nikon ZR already looks really good) but are any of their older and more budget-friendly cameras (the Z5 v1) that can create professional-looking video?

So, I do agree that filters affect the image, but what if I told you there are times when using filters can sort of improve the dynamic range? So, before anybody gets too upset, let me emphasize that I think it works well with SOME lenses, but not with others.

Okay, let's agree first that using a filter doesn't actually change the dynamic range specifications of your camera's sensor. It is however, an optic that will affect the way light will hit the sensor, and THIS is what can change what I'll call the "perceptive dynamic range".

If you've ever thought of starting your own business, you've probably wondered if your idea is any good. Some people say you need to make sure your business is solving a problem and then you know there is demand (for what you're doing) but what if people don't know a problem exists?

The short answer is yes, but there's so much more to learn from what Panasonic is doing, and how they think.

Starting to work on a multi-camera production method, called SHOOT43!www.SHOOT43.comIntroduction and Audio Setup (00:00:01) Speaker introduces the episode, mentions testing a lavalier mic, and sets the context for discussing multi-camera video production.Why Use Multiple Cameras? (00:00:40) Explains the benefits of using multiple cameras for clean edits and different shot types (wide, medium/tight, telephoto).Sensor Size and Camera Roles (00:01:10) Discusses choosing cameras based on shot roles, sensor size considerations, and using Micro 4/3 for tight shots.Full Frame Camera Experimentation (00:02:25) Shares experience acquiring a Nikon Z5 full-frame camera and its potential use for wide and medium shots.Assigning Roles to Each Camera (00:03:41) Explores the concept of assigning specific roles to each camera for easier setup and editing.Multi-Camera Cage Setup (00:04:51) Describes building a multi-camera cage to mount multiple cameras on one tripod for efficient solo operation.Applications and Static Shots (00:06:14) Covers practical uses for the multi-camera setup, emphasizing the importance of static shots in interviews and coverage."Shoot for Three" Branding (00:07:12) Introduces the "Shoot for Three" concept, inspired by basketball, as a branded technique for multi-camera shooting.Solo Operation Efficiency (00:07:50) Highlights how solo operators can efficiently capture multiple angles with minimal effort using the multi-camera setup.Camera System Flexibility and Stabilization (00:08:17) Discusses using different camera systems (Micro 4/3, APS-C, etc.) and the importance of in-body image stabilization.Panasonic Camera Recommendations (00:09:30) Recommends Panasonic G85, GH5, and FZ1000 for stabilization and telephoto capabilities in multi-camera setups.Missed Opportunities with Single Camera (00:10:37) Reflects on missed creative opportunities when only having one camera at scenic locations.Necessity of Multiple Cameras for Time-Sensitive Shoots (00:11:44) Stresses the need for multiple cameras in fast-changing situations, like sunsets, to maximize coverage.Shifting Focus: Multi-Camera and Tilt-Shift Lenses (00:12:10) Mentions shifting focus to multi-camera techniques and introduces interest in tilt-shift lenses and adapters.Tilt-Shift Lens Acquisition and Future Content (00:13:02) Shares recent purchases of tilt-shift lenses, plans for related content, and audience interest in the topic.Conclusion and Website Promotion (00:14:03) Wraps up the episode, promotes the "Shoot for Three" website, and hints at future content on multi-camera setups.

I'm starting to test more wireless LAV microphone systems and so far, the noise cancelling on this one is pretty good! Here's an Amazon affiliate link #ad: https://amzn.to/49GwSXj

SUMMARY:We ask the question "Is there any such thing as an affordable full-frame camera (currently)?" and if it seems like there is no conclusion that's because I haven't reached one, but you can use these raw facts to come up with one.BLOG POST:https://www.silverlightphotoco.com/post/does-sensor-size-matterSPECIAL THANKS:UsedPhotoPro.com (Use below link to get free shipping): https://www.jdoqocy.com/click-100161146-13597005http://www.GafferPower.com#microfourthirds #fullframecamera

THE LENS: https://ebay.us/W3TSNKTHE CAMERA: https://ebay.us/pAfxF3LENS-SENSOR SETTINGS: https://www.silverlightphotoco.com/camera-settings/promaster-70-300-4-5.6-panasonic-g7-natural

In this episode, we break down the complexities of camera shot types, lens choices, and sensor sizes. We propose a simple system: use “wide,” “tight,” and “tele” shots instead of the traditional categories, and match each with the ideal sensor size—full-frame for wide shots, micro 4/3 for tight and tele. The episode covers lens distortion, working distances, and why using multiple cameras improves editing and storytelling.Introduction to Shot Types and Standardization (00:00:01)Explains the need to simplify shot types to wide, tight, and tele, and the importance of lens and sensor size.Defining Wide, Tight, and Tele Shots (00:01:25)Describes what each shot type covers visually and why focusing on the look is more universal.Lens Focal Lengths and Sensor Crop Factors (00:03:53)Discusses how different focal lengths and sensor sizes affect image composition and distortion.Non-Destructive Focal Lengths and Distortion (00:05:15)Explains the concept of non-destructive focal lengths and how wide-angle lenses introduce distortion.Rectilinear vs. Fisheye Lenses (00:06:42)Covers the development of rectilinear wide-angle lenses and the visual effects of wide-angle distortion.Wide-Angle Distortion in Real-World Use (00:08:53)Gives real estate photography as an example of wide-angle distortion and its impact on perception.Standardizing Shot Lists for Production (00:11:02)Describes the practical approach of always using multiple shots (wide, tight, tele) for editing flexibility.Sensor Size and Working Distance (00:12:09)Explains how sensor size and lens focal length determine camera distance and shot composition.Portraits, Working Distance, and Distortion (00:14:39)Discusses traditional portrait focal lengths and how working distance affects distortion in headshots.Macro Photography and Sensor Considerations (00:15:58)Explains macro working distance and how sensor size impacts focus and composition.Simplifying Shot Setup with Templates (00:17:03)Introduces the idea of treating each shot type as a separate job, often requiring different cameras.Assigning Camera Systems to Shot Types (00:19:43)Explains the benefits of using different sensor sizes for each shot type rather than sticking to one system.Telephoto Shots: Micro 4/3 Advantages (00:22:04)Argues that Micro 4/3 is best for telephoto shots due to cost, size, and stabilization benefits.Medium (Tight) Shots: Sensor Flexibility (00:26:57)Discusses options for medium shots, favoring Micro 4/3 and crop sensors for practicality and cost.Wide Shots: Full Frame Superiority (00:30:25)Explains why full frame cameras are best for wide shots due to less distortion and more realistic rendering.Historical Perspective on Focal Lengths (00:33:07)Reflects on the historical use of 35mm for wide shots and its realistic look in photojournalism.Conclusion: Assigning the Right Tool for Each Job (00:34:20)Summarizes the approach of matching sensor size and lens to the shot type for optimal results.