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After testing every piece of budget photo & video gear I could afford, I started to ask myself if I really needed the VERY BEST kit. It was like, I was following some sort of unwritten rule that I wouldn't be able to survive (or that I wasn't really a PRO) if I didn't buy the top-of-the-line gear. As soon I realized the answer to this question was no, I stopped worrying, started working, and made this list of the "best" photo & video gear...that I could afford! SURPLUS CAN'T USE, OR DON'T NEED IT WORKS BUT... "ANOTHER MAN'S TREASURE"? After testing every piece of photo & video gear we could afford, I started to ask if we really needed the VERY BEST KIT EVER. For some reason, I was thinking we wouldn't be able to survive without the top-of-the-line gear! Then, we realized the answer to this question was "No, we don't need the very best gear, to make good content!" After that, we stopped worrying and started working...which made creating this list really easy. Sort by CATEGORY CAMERAS SURPLUS I didn't like the GoPro HERO4 Black (there's no screen on it) SHOP ONLINE* VIEW REVIEW *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you). The HERO4 Black was supposed to be the top-of-the-line action camera of that time period, but it does not have a rear screen, but the HERO4 Silver does...so because of this, the HERO4 Black is just about impossible to use (for professional shoots).

SilverLight Photo Company does not share your personal information with anyone (except ourselves, to check up and see how things are going). Privacy & Terms I'm a paragraph. Click here to add your own text and edit me. It’s easy. Just click “Edit Text” or double click me to add your own content and make changes to the font. Privacy Policy I’m a Privacy & Safety policy section. I’m a great place to inform your customers about how you use, store, and protect their personal information. Add details such as how you use third-party banking to verify payment, the way you collect data or when will you contact users after their purchase was completed successfully. Your user’s privacy is of the highest importance to your business, so take the time to write an accurate and detailed policy. Use straightforward language to gain their trust and make sure they keep coming back to your site! Terms of Use I’m a Customer Care section. I’m a great place to write a long text about your company and your services, and, most importantly, how to contact your store with queries. Writing a detailed Customer Care policy is a great way to build trust and reassure your customers that they can buy with confidence. I'm the second paragraph in your Customer Care section. Click here to add your own text and edit me. It’s easy. Just click “Edit Text” or double click me to add details about your policy and make changes to the font. I’m a great place for you to tell a story and let your users know a little more about you.

Welcome to what I call the "Playbook". The playbook includes "plays" for how to cover PEOPLE, PLACES & THINGS using gear from each kit level (Minimal, Basic, or Advanced). The Filmmaker's Playbook Minimal Still based on my #1 tip "Always shoot with (at least) two cameras" the "Minimal" kit consists of 1 camera and 1 cell phone. Basic The "Basic" kit introduces the use of my "dual-camera cage" which can increase production value by capturing two simultaneous shots on 2 interchangeable-lens cameras. Advanced While the "Advanced" kit still incorporates the 2-camera rig for on-location shoots, it adds using a 3-camera rig system in conjunction with an HDMI switcher in the studio, plus a 4th camera (that's remote controlled!) INTRODUCTING THE "FILMMAKER'S PLAYBOOK" Welcome to what I call the "Filmmaker's Playbook". The playbook includes "plays" for how to cover PEOPLE, PLACES & THINGS using gear from each kit level (Minimal, Basic, or Advanced). The reason I'm creating these plays is to make it easy to memorize the strategy for each type of content coverage. You may notice they're similar to football or basketball plays (in that each play has a catchy name) but the purpose of the names is not to hide the meaning (from the other team) but to make them easy to remember. ABOVE: The "PEOPLE" module includes plays for how to film people in the most common situations I have encountered, in both indoor and outdoor situations. ABOVE: The "PLACES" module includes plays for getting coverage of the interiors and exteriors of buildings under various lighting conditions. ABOVE: The "THINGS" module adds macro and other close-up plays to the coverage techniques of the PLACES module, and includes special plays focused on shooting food (something I learned from my food photography background). ABOVE: The "BONUS" module includes my favorite "plays" for all-around coverage. These are very well suited to on-location coverage in both indoor and outdoor situations. HOW TO READ PLAYS FROM THE "FILMMAKER'S PLAYBOOK" KEY POINTS FOR LEARNING TO READ PLAYS FROM THE "FILMMAKER'S PLAYBOOK" There Are 3 Playbooks (Minimal, Basic, Advanced) This is based on the kit (gear) that is used for the play Every Play is Numbered The Minimal playbook uses 100-series numbers (100, 101, 102, etc.) The Basic playbook uses 200-series numbers (200, 201, 202, etc.) The Advanced playbook uses 300-series numbers (300, 301, 302, etc.) There Is An INDOOR and An OUTDOOR Version of Each Play The INDOOR version will be listed first (and is always an EVEN number) The OUTDOOR version will be listed second (and is always an ODD number) Plays Are Built On a Clock System (An Analog Clock) The "subject" (the PERSON, PLACE or THING being filmed) will almost always be at the center of the clock dial* *The exception is for PLACES. PLACES are often around you, so they cannot be placed in the center of the clock. Every Play Will Cover "LIGHTS, CAMERAS & AUDIO!" LIGHTS: Shows where the lights are placed (on the clock dial) what type of light is used, and other details. CAMERAS: Shows where the cameras are placed, what lens is used, and other camera-related details. AUDIO: Shows where the microphones are placed, what type of microphones, etc. SAMPLE PLAY: SUMMARY: Set up the 1st light straight out to the side (at arm's length) from the camera, with diffusion, then set up the 2nd light directly across the clock dial, 2m or 6.6ft behind the subject. LIGHTS: #1 (SOFT)600-LED🕖7:00->2m/6.6ft #2 (OPEN)400-LED🕑2:00->2m/6.6ft CAMERAS: #1 (WIDE)35\24\17🕕6:00->2m/6.6ft #2 (TIGHT)70\50\35🕕6:00->2m/6.6ft AUDIO: #1 Lavalier🕕N/A->0m/0ft, ON #2 Shotgun🕛12:00->1m/3.3ft ABOVE GAFFER TAPE SUPPLIED BY WE DO AFFILIATE PROGRAMS WE PARTICIPATE IN, AND HIGHLY RECOMMEND, AFFILIATE PROGRAMS (INCLUDING THE AMAZON ASSOCIATES PROGRAM) WHICH PROVIDE A SMALL COMMISSION TO ME (AT NO ADDITIONAL COST TO YOU) WHEN YOU MAKE A PURCHASE THROUGH ONE OF THE LINKS ON THIS WEBSITE.

Something most people don't tell you about LUTS & camera settings is they need to be specific to each sensor-lens combination. Therefore, state the exact camera and lens combination used to create each LUT. ACTION CAMERAS (MOSTLY GOPRO RIGHT NOW) BRIDGE CAMERAS (1" SENSOR ONLY) MICRO FOUR THIRDS (2X CROP) SUPER 35/APS-C (1.5/1.6X CROP) FULL FRAME (NO CROP) ALWAYS CHECK THE "USED" MARKET!

RFI WARNING: The Zoom H1 (v1) has noticeable RFI (Radio Frequency Interference) when used at less than 5 FEET from an iPhone 13 Pro max. This is a major limitation, especially for LAV use, because if the recorder is in the pocket of a groom, and they have an iPhone somewhere in their coat, this is going to cause RFI. PREFACE: I came up with 2 versions of my settings, but the 2nd set is not easy, so I would say start out with the 1st. (The 1st set is what you see above, and the 2nd set will only be in these notes below). OVERVIEW: For the 1st settings recommendation, I chose the easy approach (that still sounds pretty good) of switching the MIC. LOWCUT to ON and the MIC. BOOST to +20. This is easiest, because these are 3-position switches, and because they're so little, it can be difficult to set them to a "center" position (instead of to the left or right). The good news is that it works pretty well (though it still needs a custom EQ)! ALTERNATE VERSION: I created a 2nd set of settings because this mic has way too much BASS/LOWS (because of the excessively think foam windscreen). This 2nd set of settings includes doing everything I could figure out how to reduce the level of BASS, while recording. This combination will still need a custom EQ to make it sound realistic though, as this mic simply has too much BASS. I also did this to try and make this work (at this "CLOSE" proximity) with both the FOAM + FURRY windscreens on, so I wouldn't have to remove the FURRY when switching recording distances (or going INDOORS vs. OUTDOORS). This ended up being quite a workaround and so it's not my first choice for this mic (at this proximity) but here is settings: ALTERNATE SETTINGS: 1. ADD the FURRY windscreen (Official Rode) 2. ADD the AUX. Amplifier (Neoteck NTK-059) 3. Set the MIC. BOOST to -10 4. Set the AUX. Amplifier GAIN to "HIGH" 5. Set the AUX. Amplifier VOLUME to "10" (FULL dial) "CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom H1 AUX. Amplifier: NONE Rode VideoMic Pro R Windscreen: FOAM (Stock) 96k 24-bit REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER 19 REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS ON MIC. LOWCUT N/A MIC. HIGH PASS +20 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE - LESS THAN 1.1ft / 0.34m - BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m - BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: May 4, 2022 at 9:18:11 PM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS B DO THE "LOWS" SOUND REAL? MIDS B DO THE "MIDS" SOUND REAL? HIGHS/TREBLE B DO THE "HIGHS" SOUND REAL? NOTES: RFI WARNING: The Zoom H1 (v1) has noticeable RFI (Radio Frequency Interference) when used at less than 5 FEET from an iPhone 13 Pro max. This is a major limitation, especially for LAV use, because if the recorder is in the pocket of a groom, and they have an iPhone somewhere in their coat, this is going to cause RFI. PREFACE: I came up with 2 versions of my settings, but the 2nd set is not easy, so I would say start out with the 1st. (The 1st set is what you see above, and the 2nd set will only be in these notes below). OVERVIEW: For the 1st settings recommendation, I chose the easy approach (that still sounds pretty good) of switching the MIC. LOWCUT to ON and the MIC. BOOST to +20. This is easiest, because these are 3-position switches, and because they're so little, it can be difficult to set them to a "center" position (instead of to the left or right). The good news is that it works pretty well (though it still needs a custom EQ)! ALTERNATE VERSION: I created a 2nd set of settings because this mic has way too much BASS/LOWS (because of the excessively think foam windscreen). This 2nd set of settings includes doing everything I could figure out how to reduce the level of BASS, while recording. This combination will still need a custom EQ to make it sound realistic though, as this mic simply has too much BASS. I also did this to try and make this work (at this "CLOSE" proximity) with both the FOAM + FURRY windscreens on, so I wouldn't have to remove the FURRY when switching recording distances (or going INDOORS vs. OUTDOORS). This ended up being quite a workaround and so it's not my first choice for this mic (at this proximity) but here is settings: ALTERNATE SETTINGS: 1. ADD the FURRY windscreen (Official Rode) 2. ADD the AUX. Amplifier (Neoteck NTK-059) 3. Set the MIC. BOOST to -10 4. Set the AUX. Amplifier GAIN to "HIGH" 5. Set the AUX. Amplifier VOLUME to "10" (FULL dial) Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

Overall, this microphone sounds pretty good (i.e. it sounds natural and "REAL") and this is with the included (stock) FOAM windscreen. However, what is really interesting is that this microphone does not sound good with the Comica...(furry lavalier windscreen). That's interesting because most of the lav microphones I've tested sound BETTER with that furry windscreen. (This microphone doesn't seem to benefit from a reduction of reverb when used INDOORS, as a lot of the other microphones seemed to. This means both that this microphone is not a good choice for me to use OUTDOORS (with the Comica furry). Also, it means, even if I did find another lavalier furry windscreen, this one will be slower to use because I can't just leave a furry windscreen on all the time (I prefer to use lav mics that sound better with a furry windscreen (both indoors and out). The good news is that they did a really good job making this microphone sound natural with the included (stock) FOAM windscreen, which I can't say is the case for a lot of other lavalier mics (the ones I've tested of course). "LAV" Proximity [7 inches / 17.78 cm] Zoom H1n [NO AUX. BOOST] 7RYMS Lavalier (for iRAY DW30) WINDSCREEN: Foam (Stock) 96k 24-bit REC. SETTINGS OFF REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS N/A MIC. LOWCUT N/A MIC. HIGH PASS N/A MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: January 5, 2023 at 1:58:58 AM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: Overall, this microphone sounds pretty good (i.e. it sounds natural and "REAL") and this is with the included (stock) FOAM windscreen. However, what is really interesting is that this microphone does not sound good with the Comica...(furry lavalier windscreen). That's interesting because most of the lav microphones I've tested sound BETTER with that furry windscreen. (This microphone doesn't seem to benefit from a reduction of reverb when used INDOORS, as a lot of the other microphones seemed to. This means both that this microphone is not a good choice for me to use OUTDOORS (with the Comica furry). Also, it means, even if I did find another lavalier furry windscreen, this one will be slower to use because I can't just leave a furry windscreen on all the time (I prefer to use lav mics that sound better with a furry windscreen (both indoors and out). The good news is that they did a really good job making this microphone sound natural with the included (stock) FOAM windscreen, which I can't say is the case for a lot of other lavalier mics (the ones I've tested of course). Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

"CLOSE" Proximity [ 3.5 inches / 8.89 cm] Zoom F1 (NO AUX. Amplifier) Takstar SGC-598 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER "MID+" REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW AUX. OUTPUT MIC. SETTINGS Off MIC. LOWCUT N/A MIC. HIGH PASS +10 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: April 29, 2022 at 10:18:38 PM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

Something that's pretty amazing (about this microphone/audio recorder combo) is that, at the "BOOM" proximity, you can push the proximity to 4 feet (instead of the normal max. BOOM proximity distance of 3 feet) and it still sounds good. Pushing it to 4 on the MIC. BOOST (gain dial on mic) adds extra BASS (I think it's due to the pre-amp in the mic increasing in BASS at the higher MIC. BOOST level). This actually helps fill in for the missing BASS/LOWS that result from using so much LOWCUT (both on the mic and on the audio recorder). I think it really needs all of that LOWCUT because of the poor shock mount and imperfect side/back rejection capabilities of the mic, so it's good to have this workaround! So, it's interesting that the following proximities work really well: 1. "CLOSE" = MIC. BOOST @1 2. "VLOG" = MIC. BOOST @2 3. "BOOM" = MIC. BOOST @3 4. "BOOM" (OPTION 2) = MIC. BOOST @4 (for 4 feet) As you may know, the further a microphone is from the sound source, the more it will struggle with gathering "clean" audio (because the background noise will also enter the mic). The good news is (for this test, anyway) that we're using the 32-bit float Zoom F2 recorder, so we can capture at a fairly low level, and increase the levels during post-production (in an audio editing program). Therefore, after some testing, I found I can get away with a pretty low MIC. BOOST level of 2 at this "BOOM" proximity. That amount of MIC. BOOST seems to capture the least amount of background noise (this mic does not reject from the sides very well, and certainly not from the back) therefore resulting in the cleanest audio I could get from this combination. RFI NOTES: In regard to RFI (Radio Frequency Interference) this mic showed the typical "BAD" performance when held within a few inches of an iPhone (13 Pro Max) but is safe to use at a distance of 3 feet. "BOOM" Proximity [35 inches / 88.8 cm] Zoom F2 (NO AUX. Amplifier) Comica CVM-VM20 (Shotgun) Windscreen: FOAM + FURRY (Stock) 32-Bit Float REC. SETTINGS ON REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS 150 Hz MIC. LOWCUT N/A MIC. HIGH PASS 3 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE OKAY LESS THAN 1.1ft / 0.34m BAD BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: January 24, 2023 at 4:22:26 PM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS B DO THE "LOWS" SOUND REAL? MIDS C DO THE "MIDS" SOUND REAL? HIGHS/TREBLE C DO THE "HIGHS" SOUND REAL? NOTES: Something that's pretty amazing (about this microphone/audio recorder combo) is that, at the "BOOM" proximity, you can push the proximity to 4 feet (instead of the normal max. BOOM proximity distance of 3 feet) and it still sounds good. Pushing it to 4 on the MIC. BOOST (gain dial on mic) adds extra BASS (I think it's due to the pre-amp in the mic increasing in BASS at the higher MIC. BOOST level). This actually helps fill in for the missing BASS/LOWS that result from using so much LOWCUT (both on the mic and on the audio recorder). I think it really needs all of that LOWCUT because of the poor shock mount and imperfect side/back rejection capabilities of the mic, so it's good to have this workaround! So, it's interesting that the following proximities work really well: 1. "CLOSE" = MIC. BOOST @1 2. "VLOG" = MIC. BOOST @2 3. "BOOM" = MIC. BOOST @3 4. "BOOM" (OPTION 2) = MIC. BOOST @4 (for 4 feet) As you may know, the further a microphone is from the sound source, the more it will struggle with gathering "clean" audio (because the background noise will also enter the mic). The good news is (for this test, anyway) that we're using the 32-bit float Zoom F2 recorder, so we can capture at a fairly low level, and increase the levels during post-production (in an audio editing program). Therefore, after some testing, I found I can get away with a pretty low MIC. BOOST level of 2 at this "BOOM" proximity. That amount of MIC. BOOST seems to capture the least amount of background noise (this mic does not reject from the sides very well, and certainly not from the back) therefore resulting in the cleanest audio I could get from this combination. RFI NOTES: In regard to RFI (Radio Frequency Interference) this mic showed the typical "BAD" performance when held within a few inches of an iPhone (13 Pro Max) but is safe to use at a distance of 3 feet. Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

AUDIO RECORDER SPECIFIC: RFI WARNING: The Zoom H1 (v1) has noticeable RFI (Radio Frequency Interference) when used at less than 5 FEET from an iPhone 13 Pro max. This is a major limitation, especially for LAV use, because if the recorder is in the pocket of a groom, and they have an iPhone somewhere in their coat, this is going to cause RFI. This specific model of the microphone does NOT fully plug in (and you only get 1 channel of audio. I think it's the LEFT ear). I don't know if there is a non-locking version of this model, but there is of the more popular (and smaller) 044. I don't really like monitoring audio when it's just coming in through one ear, so I don't use this mic with this audio recorder. I did complete this test for reference (and in case I had to use it for some reason) and the REC. LEVEL I felt gave me the best results was at 55. This requires boosting the levels in post-production, but I tried going up to 63 (which is what I consider the highest level this recorder does well at before it introduces self-noise) and the audio didn't work as well with noise reduction (which some recordings with this mic may need, because it doesn't isolate too well). It's good to start with a slightly lower REC. LEVEL on a non-32-bit float recorder anyway, to give yourself more "head room". MIC-SPECIFIC: This is yet another test in which a mic sounds better with the Comica CVM-MF1 (Lavalier Furry). Also, this is one of the few mics that works (fairly well) WITHOUT a windscreen at all (I suspect it may have some built-in wind protection, because the top of the mic is bigger than any lavalier mic I've seen. To me, the fact that this sounds better with the FURRY is kind of a timesaver, because now I can leave the furry on for either INDOOR or OUTDOOR use (except for the fact that you need to wear it with dark clothing to hide it). "LAV" Proximity [7 inches / 17.78 cm] Zoom H1 [NO AUX. BOOST] JK MIC-J 017 (Lavalier) WINDSCREEN: Comica CVM-MF1 (Furry) 96k 24-bit REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER 55 REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS N/A MIC. LOWCUT N/A MIC. HIGH PASS N/A MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: January 8, 2023 at 4:28:59 AM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS B DO THE "LOWS" SOUND REAL? MIDS B DO THE "MIDS" SOUND REAL? HIGHS/TREBLE B DO THE "HIGHS" SOUND REAL? NOTES: AUDIO RECORDER SPECIFIC: RFI WARNING: The Zoom H1 (v1) has noticeable RFI (Radio Frequency Interference) when used at less than 5 FEET from an iPhone 13 Pro max. This is a major limitation, especially for LAV use, because if the recorder is in the pocket of a groom, and they have an iPhone somewhere in their coat, this is going to cause RFI. This specific model of the microphone does NOT fully plug in (and you only get 1 channel of audio. I think it's the LEFT ear). I don't know if there is a non-locking version of this model, but there is of the more popular (and smaller) 044. I don't really like monitoring audio when it's just coming in through one ear, so I don't use this mic with this audio recorder. I did complete this test for reference (and in case I had to use it for some reason) and the REC. LEVEL I felt gave me the best results was at 55. This requires boosting the levels in post-production, but I tried going up to 63 (which is what I consider the highest level this recorder does well at before it introduces self-noise) and the audio didn't work as well with noise reduction (which some recordings with this mic may need, because it doesn't isolate too well). It's good to start with a slightly lower REC. LEVEL on a non-32-bit float recorder anyway, to give yourself more "head room". MIC-SPECIFIC: This is yet another test in which a mic sounds better with the Comica CVM-MF1 (Lavalier Furry). Also, this is one of the few mics that works (fairly well) WITHOUT a windscreen at all (I suspect it may have some built-in wind protection, because the top of the mic is bigger than any lavalier mic I've seen. To me, the fact that this sounds better with the FURRY is kind of a timesaver, because now I can leave the furry on for either INDOOR or OUTDOOR use (except for the fact that you need to wear it with dark clothing to hide it). Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

"CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom H1n Rode VideoMic Pro R WINDSCREEN: FOAM (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 4.3 REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW AUX. OUTPUT MIC. SETTINGS ON MIC. LOWCUT N/A MIC. HIGH PASS +20 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: May 4, 2022 at 9:25:10 PM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

RFI WARNING: The Zoom H1 (v1) has noticeable RFI (Radio Frequency Interference) when used at less than 5 FEET from an iPhone 13 Pro max. This is a major limitation, especially for LAV use, because if the recorder is in the pocket of a groom, and they have an iPhone somewhere in their coat, this is going to cause RFI. This test was at CLOSE (3.5 inches) proximity with the MIC. BOOST at +0, the REC. GAIN at 37, the AUX. amp at LOW/Full Dial. "CLOSE" Proximity [ 3.5 inches / 8.89 cm] Zoom H1 AUX: Neoteck NTK059 Takstar SGC-598 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 37 REC. LEVEL AUX. SETTINGS OFF AUX. BASS LOW AUX. HIGH-LOW @FULL AUX. OUTPUT MIC. SETTINGS Off MIC. LOWCUT N/A MIC. HIGH PASS +0 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: April 3, 2022 at 11:10:08 PM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: RFI WARNING: The Zoom H1 (v1) has noticeable RFI (Radio Frequency Interference) when used at less than 5 FEET from an iPhone 13 Pro max. This is a major limitation, especially for LAV use, because if the recorder is in the pocket of a groom, and they have an iPhone somewhere in their coat, this is going to cause RFI. This test was at CLOSE (3.5 inches) proximity with the MIC. BOOST at +0, the REC. GAIN at 37, the AUX. amp at LOW/Full Dial. Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

This microphone-audio recorder combination is getting pretty close to sounding "REAL" without the need for any EQ (post production audio editing). I've used this microphone for almost all of my PODCAST episodes (so far) but it wasn't with the Zoom F2, but this test is making me think about doing so. The Zoom F2 allowed me to record at +0 MIC. BOOST (instead of the +20 I was using for other audio recorders) because the 32-bit float file (from the Zoom F2) sounded clean after boosting the audio in Audacity! The +20 MIC. BOOST on this microphone is better than a lot of the other mic (in this class) but it sounds even better when you don't have to turn it on. I still may add an EQ to perfect this mic-recorder combination, but I'm glad it doesn't need much. "CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom F2 (NO AUX. Amplifier) Shure VP83 LensHopper WINDSCREEN: Foam (Stock) 32-Bit Float REC. SETTINGS N/A REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS OFF MIC. LOWCUT N/A MIC. HIGH PASS +0 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: December 26, 2022 at 8:51:32 PM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS A DO THE "LOWS" SOUND REAL? MIDS A DO THE "MIDS" SOUND REAL? HIGHS/TREBLE A DO THE "HIGHS" SOUND REAL? NOTES: This microphone-audio recorder combination is getting pretty close to sounding "REAL" without the need for any EQ (post production audio editing). I've used this microphone for almost all of my PODCAST episodes (so far) but it wasn't with the Zoom F2, but this test is making me think about doing so. The Zoom F2 allowed me to record at +0 MIC. BOOST (instead of the +20 I was using for other audio recorders) because the 32-bit float file (from the Zoom F2) sounded clean after boosting the audio in Audacity! The +20 MIC. BOOST on this microphone is better than a lot of the other mic (in this class) but it sounds even better when you don't have to turn it on. I still may add an EQ to perfect this mic-recorder combination, but I'm glad it doesn't need much. Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY