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Thanks for stopping by and posting this question! If you are mainly using it for a boom mic, I presume you're using a condenser mic that is either a shotgun mic or a small diaphragm condenser mic? If so, I don't think the XLR2 will provide any benefit for your use with the GH6 or G9m2. To get any benefit from the XLR2 and those mics, I think you would need to use a GH7 and record in 32-bit float which would give you a safety margin for adjusting the audio later during editing. But from my testing, I don't think it would necessarily give you *cleaner* audio due to the newer preamps. I hope this helps!

@@HaveCameraNowWhat thanks for taking the time to respond - I will go for a refurbished XLR1 which is also cheaper than the XLR2 - I am also using the Hollyland Lark 150 which needs to be connected in the jack of the camera - it is great that the XLR1 is directly connected via the shoe mount. By interest, is there any other worthy similar XLR option compatible with the Lumix? ...Can the Tascam FR-AV2 work as well ? can it connect to Lumix camera via shoe mount Thx!

If you don't plan to buy a GH7, then I think the XLR1 is perfectly fine right now. The XLR2 would be future proofing your purchase, since future Lumix cameras will probably be designed to take advantage of its 32-bit float feature. For other options, I don't think there is anything that directly work with Lumix cameras. You would end up with an external recorder and a separate audio file that you need to synchronize in your editing software. Professional productions usually do it this way, but as a solo shooter/editor I like the convenience of having a decent quality audio signal recorded into the video file directly. By the way, how do you like the Hollyland Lark 150? I have a pair of Rode lavalier mics that I like the sound of, but I can't use them with my first gen DJI wireless mics because it gets terrible interference. I've been thinking about getting a different wireless system and hoping I can use the Rode lavaliers, but I'm still looking at options.

@@HaveCameraNowWhat thanks a lot...I get your point since I already owe a zoomh5 (to bulky to fit on rig) it makes more sense to get the XLR1...but with future camera upgrade the 32bit will certainly become the norm. I am getting fairly good audio with the HollyLand L150..yet to see if there are interferences with shotgun mic ...I am planning on getting a Sennheiser MKE 600 unless I find something with quality cost effective....thx!

Hi. Thanks for the comment. I haven't come across anything regarding this since posting my video. I've been using 32-bit float while being stuck on "recorded audio" and find it a bit annoying, but I guess it's one of the trade offs we need to make right now. If Panasonic could enable realtime audio via a firmware update, I'd be very happy!

Thank you for stopping by and taking the time to comment. I appreciate it!

Thank you for the comment! I'm glad if this can help anyone 🙂

Thanks for posting that. Yes, if you use 96kHz then there are some caveats that you pointed out.

Hallo. Danke für die Frage. Diese Antwort wurde mit einem Online-Übersetzer übersetzt. Auf der S5IIX, ist der einzige Vorteil, wenn Sie dynamische Mikrofone verwenden und wollen etwas leiser Vorverstärker.

That could be an interesting comparison.

I have the XLR1 and the Tascam FR-AV2. I'm putting my XLR1 up for sale at some point. I did see a comparison of the Zoom F3 and the Tascam FR-AV2, the Tascam had much better noise floor compared to the F3 with a resistor connected to the inputs. Plus the time code features are significant bonus.

If you're an audio pro and need the quietest recordings you can get, then the XLR1 or XLR2 probably don't quite cut it. Good luck with whatever you end up choosing!

@@BootStrapTurnerVideography I am about to get a XLR1.. is the Tascam FR-AV2 better ? thx

@@VeroLaos_lahausse Depending on your use case. In my situation, it's much better as it's 32-bit float audio with Pre-amps much better than the Zoom F3 and provides timecode. To get the 32-bit float audio, you will download a separate audio file you then sync in post based on the timecode (easy in modern editors).

I hope they will do that too... but somewhat uncertain at this point. For the S5, they released a new firmware this month, but it didn't get support for the XLR2 adapter and the S5 is newer than the S1 series. Hopefully new S1 series cameras are just around the corner, and will definitely have support for the XLR2... hopefully with 32-bit float.

@@HaveCameraNowWhat Based on a livesteam from Lumix I saw the other day, Sean from Lumix mention the S5iix didn't have the hardware necessary for 32bit float. I'd imagine they would be able to add support for S1 and S5 for 24bit but not 32.

Thanks for that info. Yes, that's what I figured: If they could have added 32-bit float, they probably would have (and many users would have been rejoicing!)... so there must be a hardware reason it can't be done with older cameras. Compatibility, yes, but without 32-bit float. Anyway, I'm pretty sure newer high end cameras, including upcoming S series full frame cameras, will have 32-bit float.

Thanks for your previous question, and I'm glad that I was able to provide an answer here. Thanks also for subscribing. I appreciate it! 😄 Sounds like you already have some good audio equipment. I'm sure the Mixpre will be better than anything Panasonic puts out. If anything, it's the little bit of convenience of having 32-bit float baked into the video file rather than having to sync it in post.

Hi. Thanks for stopping by. And great question! To be honest, I haven't done a direct comparison between the XLR1 and XLR2, but that could be a great comparison to do. I only have one dynamic mic. It's an old Heil Sound mic that I originally bought to use with an old Zoom H4n, but that was just too noisy to be usable. I should try it with the XLR1 and XLR2 adapters to see if there are any improvements with the new one.

@@HaveCameraNowWhat definitely would be interested in your testing. I think for most users (unless you have a GH7) there probably isn’t much of an upgrade between the XLR1 and the XLR2 adapter except for the 3.5mm jack. Unless of course the preamps are much cleaner than the original and can supply enough gain for dynamic mics with very little noise. I would say then it’s probably worth it even without 32 bit float.

Hi Daniel. Thanks again for the great question. I wanted to give you an answer, so I did some tests and you can find the results in this new video: th-cam.com/video/RC6qtl_sqQY/w-d-xo.html I hope this helps!

Thanks for stopping by and taking the time to comment! After using the GH7 for a couple months now, I'm glad I upgraded. Not having to worry about AF means I can leave the camera alone to let it do its thing. And 32-bit float audio has saved me on a few occasions. Glad I upgraded and hope you like it too 😄

Hi, thanks for stopping by and taking the time to comment. We have a similar path with the GH cameras (except that I don't shoot cars on race tracks!). I bought the GH5 at release and still have it. It's a great camera that has served me well, but it is getting old. I bought the GH6 at release and used it for a while. My biggest disappointment was that they stayed with the old contrast detect autofocus system... and then they released the G9II with phase detect shortly after the GH6. I was, honestly, quite upset about that. I held onto the GH6 for about a year and a half before selling it and buying another S5IIX. I kept the GH5 because it was still a capable camera... which ultimately led to this comparison video about upgrading from the GH5 to GH7. I doubt they will add 32-bit float to the GH6. They already released a GH6 firmware update that at least allows it to use the new XLR2 adapter, but without 32-bit float. I guess the camera itself just isn't capable of recording that audio format. I bought the S5 when it was released, thinking I would slowly move away from the GH series. Each system has its strengths and weaknesses, and I don't have any pressure to sell off my m43 system, so I think I will keep both. Honestly, I use the S5IIX with the 24-105mm lens as my main everyday camera now. The GH7 stays mounted on a tripod in my studio most of the time, but I do prefer it as my travel camera because its lenses are much more compact. I find that the GH7 leans quite magenta compared to the S5IIX, even with manually setting the white balance on both. I could adjust the tint in camera, I suppose... but usually I adjust it in post production for now. Aside from that, I think the GH7 and S5IIX go quite well together. Sorry for the overly long answer! 😅

@@HaveCameraNowWhat Thanks for the comprehensive answer! OK, so I'll get the GH7 & the XLR2 module for sure and I may get a S5IIx with the 24-105mm later this year. Maybe like you, I have an expensive set of M43 Lenses (Fujinon MKs, 10-25mm & 25-50 f1.7, 50-200mm f2.8-4, the 100-400mm, the 12-35mm & 35-100mm...and some primes) so I won't give up the Panasonic M43 system anytime soon, and franckly the images out of the GH6 are fantastic. In an other hand, In 2016 I use to have the Sony FS5 for a year, I can say the ergonomy of this camera is great, much better than the mirrorless cameras. I have hesitated to buy an FX6 but the innability to have 4k resolution in S35 mode make hold the purchase (as I could not enjoy the Funion MKs with it). And the downside of this camera is that it-s not compact at all, not good for travelling.

Thank you for stopping by and taking the time to comment. I appreciate it!

As of now, no it is not. If you put it on another camera, the camera does not recognize that an XLR adapter is connected. Maybe Panasonic will at least add compatibility through firmware updates later, but doubtful if it will bring 32-bit float capability to the other cameras.

@@HaveCameraNowWhat thanks for the information! Yes they should just add support for the other Lumix cameras. (without 32-bit float)

Might it be naming differences? The GH5 offering open gate mode was pretty new for the day when 4K was kind of the only game in town and people weren't familiar with anything higher than that. My GH5 in the Anamorphic(4:3) settings it is called 4K anamorphic that records at 3328x2496 pixels which is the 4:3 aspect ratio (I only seem to have 23.98fps... nothing higher on my GH5). The GH7 has everything "4K" limited to a vertical size of 2160 pixels. Anything higher than 2160 pixels is called things like 5.7K or 5.8K. If you need something in the 4:3 aspect ratio at 50p then it will do 4.4K at 4352x3264 pixels which is more resolution than the GH5 can deliver.

Hi. Thanks for stopping by and taking time to comment. I realized after posting the video that this topic could be more important for video where things could be changing in front of the camera throughout a clip.

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I really need to try Resolve and start on that learning curve.

@@HaveCameraNowWhat As a video novice, i found it not too difficult. There are tons of TH-cam videos for "how-to do ... " in Davinci Resolve. You can seamlessly jump back and forth between the various functions (Cut, Edit, Farilight-audio, Color, Fusion, Deliver) 95 percent or more of the features are included in the free version. The paid Studio version costs a one time $295! Both the free and Studio versions keep getting updates (at no further cost!). For only $395 you can get the Speed Editor keyboard PLUS the Studio version.

Just checked mine on the S5IIX. You can control aperture, shutter speed, and iso. It doesn't seem to control focus because touching the screen on the phone tries to activate active track on the gimbal. I don't see any setting for white balance either.

You can. However, I've found the range of the LUMIX app to be fairly limited when using the camera's WiFi function... Perhaps it's because the antenna hidden inside the camera body doesn't have as strong a signal. I've had the app drop out after about 10m. The Raveneye on the other hand says that its range goes up to 200m. While that's probably in best case situations, I've seen other people use it from distances that would likely completely drop on the LUMIX app.

Thanks for stopping by. Love the videos on your channel!

Good luck! I've noticed a difference. The tint setting is consistent now :)

Hi, and thanks for the comment. Actually, someone else mentioned it too. Pretty embarrassing for a video talking about "correct color". Since posting this, I've found 2 problems with my set up (not related to white balancing, though): 1) the overhead lights behind me have a green cast, so I'm looking at replacing those lights; 2) my monitor color management settings were off! I'm working on a P3 monitor, but the timeline is rec.709 and color management was turned off, so what I was seeing was different from the final output. Man, I wish I could go back and correct the video, but TH-cam doesn't allow it.

Thanks for watching and taking the time to comment! Sounds like you have a manageable workflow there. For photography, I usually shoot in AWB myself and find that my camera does a pretty decent job. The technology is pretty good today :)

Thank you for watching and taking the time to comment. I'm really happy if this can help some people get better color in their videos :)

Thank you for watching and taking the time to comment! I'm glad if this can help someone ☺️

Thank you for commenting. I appreciate it! ☺️

Thank you for taking the time to comment! I suspect that different camera makers will treat the tint aspect of white balance differently. Some may lock it, some may use some stored value, and some may continue to auto adjust it. Fortunately, auto white balance is generally pretty good on modern cameras. Especially with photos, it may be easier to deal with the occasional tint adjustment. But in my case, it is more problematic for video if the tint shifts from shot to shot, or within a shot because it could be very noticeable to viewers.

Thank you for watching and taking the time to comment. I appreciate it!

Thanks for helping me to check on the lighting! Looking at a screenshot from my iPhone footage, I can see a green tint at the top of the left wall, but it goes away towards the bottom. From the angle of the reflection, I suspect the culprit is again the LED tube lights I mounted to the ceiling. I guess a way to get to the bottom of it would be to buy a color meter and check the output from each light. If only color meters weren't so expensive. From your other comment about not going out and buying expensive lights, my budget agrees. I need to do a bit more checking, but I may end up replacing those tube lights at least. Thanks again my friend!

Ah. I've seen those, but never tried it. Thanks for the tip. I should look into it.

I also have an Expo Disc. You don’t have to carry around a bulky grey card. Worth the price.

In difficult lighting environments, with multiple light sources, it is the only one that does the job.

is this for both exposure and whitebalance?

@@DavidFamous, yes.

Hi. Thank you for commenting and elaborating on the color settings. I appreciate your taking the time to explain and share your experience. Despite doing this for quite a while and taking a few classes in university way back when, I'm mostly self taught, and definitely still learning. Your taking the time to share your experience is tremendously valuable! I'll recalibrate my monitor for good measure. And yes, maybe the camera does lean to the green tint. It could also be my complexion? I'm asian and have a yellowish, rather than pinkish tint to my skin. Anyway, I'm just starting to shoot for TH-cam and obviously have a way to go, and hopefully continue to improve. 🙂

@@HaveCameraNowWhat thanks for not thinking I was here to bash your videos. These days I feel the WB sensors do a fantastic job on their own without trying to white balance. I find it easy to set the camera to auto and let the sensor do the work. Once locked in I switch it to manual so the WB is consistent throughout the shoot. Have a good one my friend. My channel is not about photography like yours so I rarely spend time worrying about WB or color grading. Many years ago I owned a photo lab and I use to spend hours color grading a single RAW photo before there was digital. I use to dodge and burn the old school way. Now I let the camera do most of the work and I most always shoot in manual mode. With my Canon cameras I mostly shoot in aperture priority on most everything unless it is an action shot.

Pleasure chatting with you :) Ah, the dark room and smell of photo chemicals. Those were the days. lol

Hi. Thanks for the question! A white card will also work. I've used copier paper in the past, in a pinch. There is one caveat: You need to make sure that you're not severely overexposing the white card when you take a reading. If you do, the R, G, and B channels will all hit 100% and the camera may not be able to pick up the light's color properly. A gray card was originally used for metering your exposure and is much harder to completely blow out the exposure on, so it can be safer.

Hi and thanks for the comment. Hm. You've got me wondering. Do you see an awful green tint in my videos? I'm not seeing it, but then again, I'm not a colorist. I know my videos are low contrast because the studio lights are not set up for this particular angle of shot and it's very flat. But I'm not seeing a green tint on 3 devices I've checked on: Mac Studio running on an Asus ProArt display that has been calibrated, MacBook Air built in display, iPhone 15 Pro.

yes there is definitely a green tint. It’s not temperature, it’s tint. Your white balance may be good, but there is a tinting problem that might be a camera issue. I too have a reference monitor and I see green around your neck by the collar of your shirt and on your head where the light is (front camera). When I view this video it looks as if you shot it in log and forgot to use a LUT and no color grading (like it is washed out). A good reference is an iPad Pro. Sometimes I feel the iPad Pro is better than my BenQ SW272Q.

Ah! I see what you're talking about now. You're right. There is a green tint around my neck the comes and goes. And you're right that it's not a white balance issue either -- it's the lights behind me that have a green color cast. I'm getting ready to post my next video which is a tour of this kitchen studio. In it you can see the mixed lighting set up that I have in the studio. The hair lights are cheap LED tube lights from Amazon, and the under-cabinet lights are from Ikea. They are "warm incandescent" lights, but not color accurate photo lights... and I think that's what's causing the green tint on my neck. I've been wanting to switch to using all Aputure lights and maybe I should speed up that transition. Thanks for point it out!

@@HaveCameraNowWhat I’m glad you see it. Don’t waist your money on expensive lights for home studio lighting. I own some very expensive German light boxes that do no better than the LED shop lights you can purchase at Home Depot for about $30. All videos on my channel are lighted with these simple lights. I have only 4 of these lights. They are simple T8 LED tubes that produce 3,600 Lumens of 4000K light. I wrap the light in a thin white cloth sheet to deflect the light source. If you use ANY colored lights you must place them behind you for video. If you are color shifting I would assume your camera is at fault (not locked on WB). I didn’t mention this earlier, but I design and install theater lighting for video, theatrical stages and concerts.

You've definitely got the experience! Do the LED shop lights from Home Depot have any odd color tints? That's what I'm guessing would be a problem with cheap lights since they are not intended for photo/video use. If you take a peek at my latest Kitchen Studio Tour video that I just posted and skip to the "What I would do differently" section, you can see that the lighting has different tints (note the color it throws onto the ceiling). The tube lights I bought on Amazon for cheap definitely have a greenish tint, and the old Aputure Tri-8C to the left has a magenta tint. I actually didn't notice it until I shot this tour on my iPhone and was editing the footage. Now it bothers me a lot 😅 And now I am certain that this is what causes the green tint around my neck in the white balance video. The white balance on the camera isn't shifting, but depending on how I move, my neck reflects the green tinted light into the lens.

Agreed. It's basic and old news for a lot of people. I hope this video helps more people understand that a gray card is still a useful tool 🙂

Thanks for commenting. Honestly, that's beyond my knowledge so I hadn't gone there. Do you mean that light sources don't put out a consistent amount at all wavelengths, even if they appear "white" to our eyes? How effectively does white balance and black balance compensate for gaps in the spectra?

No offense taken! Thanks for watching and commenting. I did minimal grading on this video. I do shoot in log and do a pretty basic rec.709 conversion. From there I just did highlight and shadow adjustments, but not much beyond that. This kitchen studio is a very high key environment, and it's meant to be pretty low contrast. For the purpose of cooking videos, I was hoping to make it look more "analog" and less digital.It's not an ideal set for shooting non-cooking videos 😆

Thank you for the comment. To be honest, most of the time I use auto white balance when I'm just taking photos or videos for myself, and cameras these days do a pretty good job most of the time. But I do these cooking videos and interview videos for work, and I need to get the color right in those situations. That's when the white balance setting becomes really important.

Thank you for watching and taking the time to comment. I appreciate it!

@@HaveCameraNowWhat welcome sir

Yes, good point! There are so many things that can affect the light. Even different soft boxes, scrims, reflectors, and objects around the set can affect it. On the camera side, different lenses, filters, teleprompters affect it. At least with white balancing from a card, it takes a reading that accounts for all those different variables and you should be able to get good colors from there.

I agree. Art and personal style are super important. This was geared more towards video, and in my case color accuracy is quite important so setting a Kelvin value was causing problems for my work. White balancing this way should still apply to photography, but especially if you shoot RAW photos, you have so much flexibility to edit it later. I can't remember the last time I manually white balanced when doing photos only.

Thanks for commenting! I often did that in a pinch too, since it's easy to find white copier paper in many places. Is black balance still common? I haven't see it in a very, very long time.

Hi. Thank you for watching and good question. A white card works too 😊 There seem to be different opinions on the effectiveness of white versus gray. It seems natural to use a white card to "white" balance, but on a technical level, it may not make a difference to the camera -- as long as the card you are using is truly neutral white or gray. Traditionally a gray card was used with an exposure meter to get the proper exposure for photography, so many old school photographers (like myself) might default to using gray cards.

Ah, interesting. I hadn't thought about setting the camera to Adobe RGB. That will give you a larger color gamut but I hadn't thought about how it might affect white balance. I should test that out.

@@HaveCameraNowWhat I learned it after using Canon and Sony, because red and green was always over saturated 😬

Unfortunately RAW video is still not so common for most people. If you can shoot RAW, then yes you can adjust your white balance in post production.

Thanks for watching. Great question! I first use the gray card to set the white balance at the time I'm shooting. But (and this isn't in the video) I also recorded a little bit of footage while holding the card, so that I could check the results on the actual media files, using the eye dropper tool during editing. That gave me a double check that the white balance was set correctly. And yes, you're right. That's an important point! If anything is completely over exposed so the RGB values are 100% in all channels, then it serves no purpose for white balancing because an eye dropper tool will not pick up any difference in any of the colors. That would be an interesting test. If using a white card and the exposure settings cause it to completely blow out, would it still give accurate results? In that case, a gray card may actually be safer. Hmmm. I should test this later.

@@HaveCameraNowWhat Thanks for taking the time to respond.

Hi. Thank you for the comment! I had completely overlooked tint for years. I guess much of the time setting Kelvin could be okay... but when color accuracy is really important, or you're working with strong colors that could throw off your any auto settings, it is better to use a card. 😊

My copy of the r6 with a tamron 25-70 g2 has terrible wb issues, with my calibrated monitor i can tell, using the custom in CRITICAL color work is beneficial

To be honest, for casual shooting I leave the camera on auto white balance most of the time. This was aimed more at situations where color accuracy is really important. In my case, that's for cooking videos or interviews where I need to get accurate skin tones.

Hi. Thank you very much for watching and commenting! I appreciate it! 😊

True! You can set a Kelvin value, and then fine tune that using a color matrix chart. I haven't tested it, but I wonder if that will then lock in the tint. It might be interesting to check on that. Where I have used the adjustment is to better match my cameras. I have a couple of S5IIX bodies and a GH7 as my A, B, and C cams for this studio. The GH7 gives a more magenta cast to the image by default, so I've toned that down a little bit using the matrix. It's handy!