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The preliminary test came up with a pretty convenient 5.5 MIC. BOOST & 5.5 REC. GAIN setting (easy to remember) but I'm considering not having this microphone on my website, because it cannot be used with an AUX. Amplifier (doing so can really make the microphone more useful, but this one does not work when attached to the AUX. AMP.) "CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom H1n (NO AUX. Amplifier) Deity V-Mic D3 Pro + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 5.5 REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW AUX. OUTPUT MIC. SETTINGS Off MIC. LOWCUT N/A MIC. HIGH PASS 5.5 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: March 10, 2022 at 11:17:13 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: The preliminary test came up with a pretty convenient 5.5 MIC. BOOST & 5.5 REC. GAIN setting (easy to remember) but I'm considering not having this microphone on my website, because it cannot be used with an AUX. Amplifier (doing so can really make the microphone more useful, but this one does not work when attached to the AUX. AMP.) 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

REAL REVIEWS Long-term reviews of budget photo & video gear. KIT PLAN RECOMMENDATION: [NOT IN KIT] Meike MK-Y600BR This image is 100% REAL, and no A.I. (or Photoshop compositing) were used to make it, and I know because I took it myself. Quality? LIGHT USE OK Yes MEDIUM USE OK Yes HEAVY USE OK ? Portable? POCKET No CAMERA BAG No BACKPACK Yes Affordable? AVERAGE NEW PRICE N/A *Indicates SALE price. Amazon AFFILIATE LINK AVERAGE USED PRICE N/A **Indicates BUY NOW price. Ebay AFFILIATE LINK Common? ON AMAZON No ON EBAY No Easy To Use? SKILL LEVEL MEDIUM OVERVIEW: I bought these on Amazon, but I don't think they are available any more. They were my first LED light of this size I purchased, and the price was really good. They are good enough to use as my #2 light (which I call my "T-light") but they are not big enough or powerful enough to act as your MAIN light (that's why I use it as my #2 light). Be aware that these are kind of semi-functional lights, for some of the features. The remote controls sort of work, but they are confusing...and I'm not sure they are labeled correctly, and there are some quirks about both the color "temperature" (which is not at all accurate) and other button functions as well. I did use one of them as my #2 light (during my first year or so of YouTube) and it worked well for that. I do like that they have a power input, but the power cable is not included (and you have to make sure you get the right one...or else the light can get hot...don't ask how I know). MAIN POINTS: PART 1: IS IT PORTABLE? PART 2: IS IT AFFORDABLE? PART 3: IS IT COMMON? PART 4: HOW’S THE QUALITY? PART 5: IS IT EASY TO USE? PART 6: NEEDS ADD-ONS? PART 7: WHERE DO I BUY? PART 1: IS IT PORTABLE? Yes, but it is not as small as other lights with the same face size and power output. PART 2: IS IT AFFORDABLE? Yes, they were super affordable when they were available, but I don't see them on Amazon any more. PART 3: IS IT COMMON? No, not any more. PART 4: HOW’S THE QUALITY? The build quality is good, but in use there are some quirks with both the color temperature settings and certain button functions (and the remote doesn't work too well). PART 5: IS IT EASY TO USE? No, not if you try to use the remote. Yes, if you don't try to use the remote. PART 6: NEEDS ADD-ONS? Yes, it needs a couple of NP-style camcorder batteries (to be portable) or a DC power adapter. PART 7: WHERE DO I BUY? They used to be available on Amazon, but I don't see them there any more. RECOMMENDATION: I don't recommend this light in general, but they are usable as a #2 light (I use it for a T-light) but it certainly is not powerful enough to be a main light. These reviews are just my opinion and are focused on my Q.P.A.C.E. packing method, so they're not comprehensive. I wrote these mostly to help me remember what items worked for my KIT PLANS (and which didn't). If I said anything negative I apologize, as these products still may work well for you in your situation, but they were not Q.P.A.C.E (Quality, Portable, Affordable, Common, Easy-to-Use) enough for my budget filmmaking KIT PLANS .

REAL REVIEWS Long-term reviews of budget photo & video gear. KIT PLAN RECOMMENDATION: BASIC KIT ULANZI MT-44 This image is 100% REAL, and no A.I. (or Photoshop compositing) were used to make it, and I know because I took it myself. Quality? LIGHT USE OK Yes MEDIUM USE OK Yes HEAVY USE OK ? Portable? POCKET No CAMERA BAG No BACKPACK Yes Affordable? AVERAGE NEW PRICE $ 24.65 *Indicates SALE price. Amazon AFFILIATE LINK AVERAGE USED PRICE N/A **Indicates BUY NOW price. Ebay AFFILIATE LINK Common? ON AMAZON Yes ON EBAY No Easy To Use? SKILL LEVEL EASY OVERVIEW: This the lightweight plastic version of the Ulanzi selfie stick (love the idea and design) but we don't use this for mounting a phone or camera, but instead for mounting a smaller shotgun microphone. MAIN POINTS: PART 1: IS IT PORTABLE? PART 2: IS IT AFFORDABLE? PART 3: IS IT COMMON? PART 4: HOW’S THE QUALITY? PART 5: IS IT EASY TO USE? PART 6: NEEDS ADD-ONS? PART 7: WHERE DO I BUY? PART 1: IS IT PORTABLE? Yes, it's fairly portable, and fits well in the side pocket of the backpack we use. PART 2: IS IT AFFORDABLE? Yes, it's affordable. PART 3: IS IT COMMON? It's common on Amazon, and there are heavier, metal versions that we use for small LED lights, but this one isn't strong enough for a light (or any camera) but works well for a small shotgun microphone. PART 4: HOW’S THE QUALITY? The quality is good enough to mount smaller items, but not for larger, heavier items (such as a camera). PART 5: IS IT EASY TO USE? Yes, it's easy to use, and also fast to set up, and tear down. PART 6: NEEDS ADD-ONS? Yes, when using it to mount a shotgun mic, it works well to add a Movo SMM2 shock mount to it. PART 7: WHERE DO I BUY? I bought this on Amazon. RECOMMENDATION: This works really well as either a short boom pole (to boom from overhead) or as a way to place the mic below the person speaking. These reviews are just my opinion and are focused on my Q.P.A.C.E. packing method, so they're not comprehensive. I wrote these mostly to help me remember what items worked for my KIT PLANS (and which didn't). If I said anything negative I apologize, as these products still may work well for you in your situation, but they were not Q.P.A.C.E (Quality, Portable, Affordable, Common, Easy-to-Use) enough for my budget filmmaking KIT PLANS .

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

UPDATE: Strange thing I discovered here. I tried turning the RECEIVER on, and then off, and then there was less RFI from the TRANSMITTER (so the recording sounded cleaner than before. This is strange, because when I just turn on the TRANSMITTER (without turning on the RECEIVER) it has that slight RFI throughout the recording, but it seems to go away after turning the RECEIVER on and back off. This is still not user-friendly, so I'm not going to add this back to my list of recommended mics for this (wireless system) recorder...but at least I know there is a workaround. The other issue is that this mic has a locking plug, so I also wouldn't really recommend it for that reason, but it might be useable in a "pinch". WARNING: This combination does not work (too much RFI). The RFI is from the transmitter/recorder itself (whether or not the RECEIVER is on) so there's no hope for this mic/audio recorder combination. I also did the test with the receiver ON, and the RFI is even worse (and it's constant, no matter what the distance). I'm going to have to remove this mic from the list of mics I can use with this transmitter/recorder). "LAV" Proximity [7 inches / 17.78 cm] 7RYMS iRAY DW30 (Recorder) [NO AUX. BOOST] Comica CVM-M-O1 (Lavalier) WINDSCREEN: FOAM + FURRY (Comica CVM-MF1) 48k 24-bit 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 N/A MIC. LOWCUT N/A MIC. HIGH PASS N/A MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE BAD LESS THAN 1.1ft / 0.34m N/A BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m N/A BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: February 24, 2023 at 12:02:20 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: UPDATE: Strange thing I discovered here. I tried turning the RECEIVER on, and then off, and then there was less RFI from the TRANSMITTER (so the recording sounded cleaner than before. This is strange, because when I just turn on the TRANSMITTER (without turning on the RECEIVER) it has that slight RFI throughout the recording, but it seems to go away after turning the RECEIVER on and back off. This is still not user-friendly, so I'm not going to add this back to my list of recommended mics for this (wireless system) recorder...but at least I know there is a workaround. The other issue is that this mic has a locking plug, so I also wouldn't really recommend it for that reason, but it might be useable in a "pinch". WARNING: This combination does not work (too much RFI). The RFI is from the transmitter/recorder itself (whether or not the RECEIVER is on) so there's no hope for this mic/audio recorder combination. I also did the test with the receiver ON, and the RFI is even worse (and it's constant, no matter what the distance). I'm going to have to remove this mic from the list of mics I can use with this transmitter/recorder). 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

You may have noticed I didn't test any other proximity (than the "CLOSE" one) for this mic and recorder combination (I did the same for the H1n, F1). The reason is that this mic doesn't output a high enough signal to be useable (without an AUX. AMP) at proximities that are further away (VLOG, BOOM, AFAR). I did have a workaround when using this on the Zoom F2, and that was to add a Comica CVM-D03 AUX. AMP to boost the level...but it isn't really practical to add this amplifier AND the recorder to the top of your camera (while vlogging). Then, as far as the "BOOM" and "AFAR" proximities, I may follow up and do a test later, but I would prioritize using other mics if that is your intended use. This microphone/audio recorder combinations sounds better without the REC. LOWCUT, so at this "CLOSE" proximity that's what I use. Sometimes a LOWCUT helps to reduce handling noise (especially when using it while moving around such as in the "VLOG" or "AFAR" proximities) but I tested this mic with the included Rycote shock mount, and it's pretty good without the LOWCUT. "CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom H1 AUX. AMP: None Rode VideoMicro (Shotgun) Windscreen: FURRY (Stock) 96k 24-bit REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER 63 REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW FULL 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: February 7, 2023 at 9:23:08 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: You may have noticed I didn't test any other proximity (than the "CLOSE" one) for this mic and recorder combination (I did the same for the H1n, F1). The reason is that this mic doesn't output a high enough signal to be useable (without an AUX. AMP) at proximities that are further away (VLOG, BOOM, AFAR). I did have a workaround when using this on the Zoom F2, and that was to add a Comica CVM-D03 AUX. AMP to boost the level...but it isn't really practical to add this amplifier AND the recorder to the top of your camera (while vlogging). Then, as far as the "BOOM" and "AFAR" proximities, I may follow up and do a test later, but I would prioritize using other mics if that is your intended use. This microphone/audio recorder combinations sounds better without the REC. LOWCUT, so at this "CLOSE" proximity that's what I use. Sometimes a LOWCUT helps to reduce handling noise (especially when using it while moving around such as in the "VLOG" or "AFAR" proximities) but I tested this mic with the included Rycote shock mount, and it's pretty good without the LOWCUT. 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: 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 the test (in case I need to use the mic with this audio recorder for some reason) and the REC. LEVEL that's working well is 6.3 (I normally do not go above 6.3 on this recorder anyway, due to the self-noise). 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 H1n [NO AUX. BOOST] JK MIC-J 017 (Lavalier) WINDSCREEN: Comica CVM-MF1 (Furry) 96k 24bit REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER 6.3 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 5:41:11 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 A DO THE "LOWS" SOUND REAL? MIDS B DO THE "MIDS" SOUND REAL? HIGHS/TREBLE A DO THE "HIGHS" SOUND REAL? NOTES: AUDIO RECORDER SPECIFIC: 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 the test (in case I need to use the mic with this audio recorder for some reason) and the REC. LEVEL that's working well is 6.3 (I normally do not go above 6.3 on this recorder anyway, due to the self-noise). 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

REAL REVIEWS Long-term reviews of budget photo & video gear. KIT PLAN RECOMMENDATION: MINIMAL KIT Zoom F2 This image is 100% REAL, and no A.I. (or Photoshop compositing) were used to make it, and I know because I took it myself. Quality? LIGHT USE OK Yes MEDIUM USE OK ? HEAVY USE OK ? Portable? POCKET Yes CAMERA BAG Yes BACKPACK Yes Affordable? AVERAGE NEW PRICE $ 179.99 *Indicates SALE price. Amazon AFFILIATE LINK AVERAGE USED PRICE $ 100.69** **Indicates BUY NOW price. Ebay AFFILIATE LINK Common? ON AMAZON Yes ON EBAY Yes Easy To Use? SKILL LEVEL EASY NOTE: This review was duplicated from the Zoom F2-BT review...The main difference is that you cannot control this version with the mobile app, which means you cannot quickly set the LOWCUT, which I think is essential for certain mics. OVERVIEW: This is the Zoom F2, the first 32-bit float lavalier/body pack recorder from Zoom. It records in MONO (wish it was STEREO) and records to a Micro SD card, runs on two (2) AAA batteries. It's really, really small, and I use it not only for LAV mics, but also for mini (3.5mm) shotguns. The first thing I should say about this recorder, is that even though it records a 32-bit float file, it does NOT use dual A/D converters (like the Zoom F3 or F6) that make “clipping” almost never occur. Having said this, I've still got a few experiments to try because I believe this thing could have a real impact on my audio workflow… MAIN POINTS: PART 1: IS IT PORTABLE? PART 2: IS IT AFFORDABLE? PART 3: IS IT COMMON? PART 4: HOW’S THE QUALITY? PART 5: IS IT EASY TO USE? PART 6: NEEDS ADD-ONS? PART 7: WHERE DO I BUY? PART 1: IS IT PORTABLE? The Zoom F2 audio recorder is so small (by itself) that it can fit in the tiniest of pockets…in your pants, shirt, or anything. If you include the LAV mic and my favorite furry windscreen (the Comica CVM-MF1) it’s still small but may need a plastic sandwich bag to keep it all safe and together (and sealed from weather). I don’t always use the Zoom F2 with a LAV though, but often with a mini (3.5mm) shotgun mic, and the Comica CVM-VM20 has been its favorite match in this regard. PART 2: IS IT AFFORDABLE? This is a difficult question to answer, as the non-Bluetooth version is, at only $159 US, but it seems I NEED the Bluetooth version (to quickly enable or disable the REC. LOWCUT). The low-cut filter on the recorder (REC. LOWCUT) may not SEEM like it's important, but to get some of the mics I use to capture clean, REAL-sounding audio, I really like using the lowcut. It's always a combination of the mic design, wind protection, "proximity" and therefore the resultant sound quality that affect these decisions...and this has led me to conclude I personally do want the Bluetooth version, which is around $229 new. PART 3: IS IT COMMON? When I say “common” I typically mean it’s easy to find one on the used market (locally it’s OfferUp, Craigslist) and so far, I haven’t seen many of these available. That could be a good thing, assuming most who buy it aren’t getting rid of it (I wouldn’t, it’s just so handy) but we’ll see if more hit the used market after a number of years go by. PART 4: HOW’S THE QUALITY? I’ll start with durability then move to the output. The durability is okay, but I'm guessing one of the little flaps or battery doors is going to fall off at some point...strange enough this was the case with my Zoom F1 (and a totally different design). The OUTPUT (sound quality) is certainly useable. It's not as full-sounding as the Zoom F1 (which has a bit too much BASS stock) but the files are a good, or should I say great starting point, because of the 32-bit float properties. So, it will need EQ to sound more realistic, but that depends on the mic used (and the included Zoom LMF-2 lavalier mic, plus my favorite furry windscreen, the Comica CVM-MF1 can sound pretty good). I also use it with a mini shotgun mic (the Comica CVM-VM20) and it can do so many tricks it's amazing. That combination is so amazing that it convinced me the Zoom F2 is far more than a LAV mic recorder. What I do is set the gain on the CVM-VM20 mic to 1 at 1 foot, 2 at 2 feet, 3 at 3 feet and 4 at 4 feet, for the cleanest file. Yes, it does matter where you set the gain on the mic...even though the Zoom F2 is a 32-bit float recorder. For more information, check out my custom settings for the Zoom F2 + Comica CVM-VM20 (in the AUDIO database on my website). PART 5: IS IT EASY TO USE? Yes, it's really easy to use (all you have to do is position the microphone correctly, and make sure it has wind protection...a FURRY windscreen OUTDOORS). PART 6: NEEDS ADD-ONS? I think it needs a FURRY windscreen, especially if you're using it outdoors, and you'll need a micro SD card (check the manual for the card specifications). PART 7: WHERE DO I BUY? When it’s possible, and when the price is good enough, I like to buy AUDIO gear at Sweetwater. The main reason is their extended warranty (and ability to get in touch with the manufacturer quickly, which has come in handy, especially with Zoom). RECOMMENDATION: I consider the Zoom F2-BT to be one of my most valuable pieces in the AUDIO category of my kit, as it works well as not only a LAV mic, but also as a tiny companion for mini (3.5mm) shotgun mics as well, especially my Comica CVM-VM20. These reviews are just my opinion and are focused on my Q.P.A.C.E. packing method, so they're not comprehensive. I wrote these mostly to help me remember what items worked for my KIT PLANS (and which didn't). If I said anything negative I apologize, as these products still may work well for you in your situation, but they were not Q.P.A.C.E (Quality, Portable, Affordable, Common, Easy-to-Use) enough for my budget filmmaking KIT PLANS .

REAL REVIEWS Long-term reviews of budget photo & video gear. KIT PLAN RECOMMENDATION: ADVANCED KIT Zoom H1essential This image is 100% REAL, and no A.I. (or Photoshop compositing) were used to make it, and I know because I took it myself. Quality? LIGHT USE OK Yes MEDIUM USE OK Yes HEAVY USE OK ? Portable? POCKET No CAMERA BAG Yes BACKPACK Yes Affordable? AVERAGE NEW PRICE $ 99 *Indicates SALE price. Amazon AFFILIATE LINK AVERAGE USED PRICE N/A **Indicates BUY NOW price. Ebay AFFILIATE LINK Common? ON AMAZON Yes ON EBAY No Easy To Use? SKILL LEVEL EASY OVERVIEW: This is a 32-bit float, stereo audio recorder, with built-in X/Y microphones... that's less than $100 US. I'll spare the suspense, and just say I do recommend it, but there are more details below. MAIN POINTS: PART 1: IS IT PORTABLE? PART 2: IS IT AFFORDABLE? PART 3: IS IT COMMON? PART 4: HOW’S THE QUALITY? PART 5: IS IT EASY TO USE? PART 6: NEEDS ADD-ONS? PART 7: WHERE DO I BUY? PART 1: IS IT PORTABLE? I always ask this question when I buy and/or recommend something, and the answer for this one is definitely, yes. It's both small and lightweight, but the build quality is the best the Zoom H1 has ever been (the original H1 was ok, but always seemed to have the plastic mic protector bar break and version 2, the H1n was good, but the H1e is better). PART 2: IS IT AFFORDABLE? For what it is, I think it's super affordable. PART 3: IS IT COMMON? It's common on the new markets, and it seems to be selling well, so it might become common on the used market too...unless people realize how good it is, and not get rid of it (unless they upgrade, of course). PART 4: HOW’S THE QUALITY? So, I'm still working on a longer-term review, but so far the audio quality has been good, though a bit thin, but that's not always bad, as long as the files are easy to work with in post. PART 5: IS IT EASY TO USE? It's really easy to use because it's a 32-bit float recorder where you don't need to set the REC. LEVEL. Aside from that, I think it has just enough complexity to make one feel like it has some features, but not so many it slows you down...and you can use it without learning the advanced features, so that's always good. PART 6: NEEDS ADD-ONS? Yes, it does need a FURRY windscreen (for OUTDOOR use) and a shock mount, to make sure the recordings are not affected by vibrations. PART 7: WHERE DO I BUY? I bought it on Amazon. RECOMMENDATION: The Zoom H1essential is now my #1 budget recommendation for a stereo audio recorder. I used to recommend the original H1 (even when the H1n became available) but the 32-bit float feature of the H1e made it an easy decision. One underrated thing I like about the H1essential is the NUMERICAL headphone out level (perfect for a passthrough!) These reviews are just my opinion and are focused on my Q.P.A.C.E. packing method, so they're not comprehensive. I wrote these mostly to help me remember what items worked for my KIT PLANS (and which didn't). If I said anything negative I apologize, as these products still may work well for you in your situation, but they were not Q.P.A.C.E (Quality, Portable, Affordable, Common, Easy-to-Use) enough for my budget filmmaking KIT PLANS .

For years, I searched for the perfect lens-sensor combination; a lens and camera duo that would produce a beautiful image with few adjustments and little post processing. It would look "100% REAL" straight out of camera, and be everything I needed and wanted in a camera system. However as I tested each pair, they all told a different story and would deliver light to the sensor differently. ABOUT THE STORY OF "LENS-SENSOR RECIPES" For years, I searched for the perfect lens-sensor combination: a lens and camera duo that would produce a beautiful image with few adjustments (and little post-processing). It would look 100% REAL straight out of camera (SOOC ) and would supply enough dynamic range for both photo & video workflows, and would be everything I needed (and wanted) in a camera system. Yet, as I tested each combination, they all told a different story, and would deliver light to the sensor differently. So, I began tweaking settings and jotting down notes (on index cards) for each lens-sensor pair I tried. As I tested more and more lenses, I realized I would need some sort of a database to access all of these settings quickly, when in the field. So then, I created this website. SEE SETTINGS PART 1 WHY USE "LENS-SENSOR" RECIPES & LUTS ? This is your About section. Every website has a story and users want to hear yours. This is a great opportunity to give a full background on who you are and what your site has to offer. Double click on the text box to edit the content and add all the information you want to share. You may like to talk about how you got started and share your professional journey. Explain your core values, your commitment to customers and how you stand out from the crowd. You can also add a photo, gallery or video for even more engagement. F.A.Q. MACRO Vivitar 70-210 3.5 MF (w/VILTROX .71x) STATUS: (Currently testing...) STEP 1: CAMERA SETUPPicture Profile: "Natural" Contrast: +0 Sharpness: +0 Noise Reduction: +0 Color: +0 STEP 2: DOWNLOAD LUT (TEESPRING)NOTE: Make sure to use camera settings from STEP 1 while shooting or the LUT won't work!!! Download Coming Soon (Teespring Store) Nikon 70-210 4 E-Series MF (w/VILTROX .71x) STATUS:(I need this lens.) STEP 1: CAMERA SETUPPicture Profile: "Natural" Contrast: +0 Sharpness: +0 Noise Reduction: +0 Color: +0 STEP 2: DOWNLOAD LUT (TEESPRING)NOTE: Make sure to use camera settings from STEP 1 while shooting or the LUT won't work!!! Download Coming Soon (Teespring Store) Nikon 80-200 4 AIS MF (w/VILTROX .71x) STATUS:(I need this lens.) STEP 1: CAMERA SETUPPicture Profile: "Natural" Contrast: +0 Sharpness: +0 Noise Reduction: +0 Color: +0 STEP 2: DOWNLOAD LUT (TEESPRING)NOTE: Make sure to use camera settings from STEP 1 while shooting or the LUT won't work!!! Download Coming Soon (Teespring Store) Nikon 55-200 4-5.6 (w/VILTROX .71x) STATUS: (Approved) STEP 1: CAMERA SETUPPicture Profile: "Natural" Contrast: -1 Sharpness: +0 Noise Reduction: +2 Color: -4 STEP 2: DOWNLOAD LUT (TEESPRING)NOTE: Make sure to use camera settings from STEP 1 while shooting or the LUT won't work!!! Download Coming Soon (Teespring Store) Nikon 55-200 4-5.6 VR (w/VILTROX .71x) STATUS: (I need this lens.) STEP 1: CAMERA SETUPPicture Profile: "Natural" Contrast: +0 Sharpness: +0 Noise Reduction: +0 Color: +0 STEP 2: DOWNLOAD LUT (TEESPRING)NOTE: Make sure to use camera settings from STEP 1 while shooting or the LUT won't work!!! Download Coming Soon (Teespring Store) Nikon 55-200 4-5.6 VR II (w/VILTROX .71x) STATUS: (I need this lens.) STEP 1: CAMERA SETUPPicture Profile: "Natural" Contrast: +0 Sharpness: +0 Noise Reduction: +0 Color: +0 STEP 2: DOWNLOAD LUT (TEESPRING)NOTE: Make sure to use camera settings from STEP 1 while shooting or the LUT won't work!!! Download Coming Soon (Teespring Store) Nikon 55-300 4.5-5.6 (w/VILTROX .71x) Details: Log in (or subscribe) to view details. Summary: (Summary of key points in regard to this lens-sensor combination.) Lens Tests: Contrast: (COMING SOON) Sharpness: (COMING SOON) Color (Saturation): (COMING SOON) Color (Accuracy): (COMING SOON) Nikon 70-300 ED (w/VILTROX .71x) STATUS: (I need this lens.) STEP 1: CAMERA SETUPPicture Profile: "Natural" Contrast: +0 Sharpness: +0 Noise Reduction: +0 Color: +0 STEP 2: DOWNLOAD LUT (TEESPRING)NOTE: Make sure to use camera settings from STEP 1 while shooting or the LUT won't work!!! Download Coming Soon (Teespring Store) Nikon 70-300 G (w/VILTROX .71x) STATUS: (I need this lens.) STEP 1: CAMERA SETUPPicture Profile: "Natural" Contrast: +0 Sharpness: +0 Noise Reduction: +0 Color: +0 STEP 2: DOWNLOAD LUT (TEESPRING)NOTE: Make sure to use camera settings from STEP 1 while shooting or the LUT won't work!!! Download Coming Soon (Teespring Store) Nikon 70-300 G VR (w/VILTROX .71x) STATUS: (I need this lens.) STEP 1: CAMERA SETUPPicture Profile: "Natural" Contrast: +0 Sharpness: +0 Noise Reduction: +0 Color: +0 STEP 2: DOWNLOAD LUT (TEESPRING)NOTE: Make sure to use camera settings from STEP 1 while shooting or the LUT won't work!!! Download Coming Soon (Teespring Store) Promaster 70-300 (w/VILTROX .71x) STATUS: (Currently testing...) STEP 1: CAMERA SETUPPicture Profile: "Natural" Contrast: +0 Sharpness: +0 Noise Reduction: +0 Color: +0 STEP 2: DOWNLOAD LUT (TEESPRING)NOTE: Make sure to use camera settings from STEP 1 while shooting or the LUT won't work!!! Download Coming Soon (Teespring Store) Sakar 75-300 5.6 (w/VILTROX .71x) STATUS: (Approved) CAMERA SETTINGS:"Photo Style" = Natural Contrast: +2 Sharpness: +1 Noise Reduction: +0 Color: +0 This lens was a surprisingly good performer (for such an old lens) and showed little to NO color fringing or chromatic abberation (something present in most 75-300 lenses). I added +2 contrast to compensate for the lack of contrast you normally see at the long (telephoto) end of this type of zoom, and added +1 sharpness to improve the lens at the same focal length (around 300mm). I really like the idea of a constant aperture 75-300 zoom lens. It really makes things easier for video production compared to having the standard F4-5.6 variable aperture (which means you need to adjust exposure when you zoom). Sigma 70-300 DL (w/VILTROX .71x) STATUS: (I need this lens.) STEP 1: CAMERA SETUPPicture Profile: "Natural" Contrast: +0 Sharpness: +0 Noise Reduction: +0 Color: +0 STEP 2: DOWNLOAD LUT (TEESPRING)NOTE: Make sure to use camera settings from STEP 1 while shooting or the LUT won't work!!! Download Coming Soon (Teespring Store) Sigma 70-300 DG (w/VILTROX .71x) STATUS: (I need this lens.) STEP 1: CAMERA SETUPPicture Profile: "Natural" Contrast: +0 Sharpness: +0 Noise Reduction: +0 Color: +0 STEP 2: DOWNLOAD LUT (TEESPRING)NOTE: Make sure to use camera settings from STEP 1 while shooting or the LUT won't work!!! Download Coming Soon (Teespring Store) Sigma 70-300 APO DG (w/VILTROX .71x) STATUS: (I need this lens.) STEP 1: CAMERA SETUPPicture Profile: "Natural" Contrast: +0 Sharpness: +0 Noise Reduction: +0 Color: +0 STEP 2: DOWNLOAD LUT (TEESPRING)NOTE: Make sure to use camera settings from STEP 1 while shooting or the LUT won't work!!! Download Coming Soon (Teespring Store) Tamron 70-300 4-5.6 LD (w/VILTROX .71x) STATUS: (Testing...) STEP 1: CAMERA SETUPPicture Profile: "Natural" Contrast: -4 Sharpness: +4 Noise Reduction: +0 Color: -2 STEP 2: DOWNLOAD LUT (TEESPRING)NOTE: Make sure to use camera settings from STEP 1 while shooting or the LUT won't work!!! Download Coming Soon (Teespring Store) Tamron 70-300 Di (w/VILTROX .71x) STATUS: (Currently testing...) STEP 1: CAMERA SETUPPicture Profile: "Natural" Contrast: +0 Sharpness: +0 Noise Reduction: +0 Color: +0 STEP 2: DOWNLOAD LUT (TEESPRING)NOTE: Make sure to use camera settings from STEP 1 while shooting or the LUT won't work!!! Download Coming Soon (Teespring Store) PART 2 HOW TO USE LENS-SENSOR RECIPES & LUTS 1 CHOOSE YOUR CAMERA 2 FIND YOUR LENS 3 USE "LENS-SENSOR" SETTINGS 4 DOWNLOAD & APPLY THE LUT (UNLESS SOOC ) 5 SHARE THIS (IF YOU LIKE IT)

There isn't much to say in terms of SETTINGS (because this recorder is a 32-bit float recorder, and you can't set any settings) so instead I'll focus on one of the most important things that affect quality: wind protection. There's a really good story here, and that is that after a number of tests, I discovered I like to use this lavalier microphone with a Comica CVM-MF1 furry windscreen (better than with the stock FOAM windscreen) because it sounds more "REAL". It sounds more natural and balanced in terms of levels of lows/bass, mids and treble/highs with the FURRY, but too "tinny" (too much treble) and "thin" with the stock FOAM windscreen. "LAV" Proximity [7 inches / 17.78 cm] Zoom F2 [NO AUX. BOOST] Zoom LMF-2 (Lavalier) WINDSCREEN: Comica CVM-MF1 (Furry) 32-Bit Float 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: December 20, 2022 at 3:41:48 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 A DO THE "LOWS" SOUND REAL? MIDS A DO THE "MIDS" SOUND REAL? HIGHS/TREBLE B DO THE "HIGHS" SOUND REAL? NOTES: There isn't much to say in terms of SETTINGS (because this recorder is a 32-bit float recorder, and you can't set any settings) so instead I'll focus on one of the most important things that affect quality: wind protection. There's a really good story here, and that is that after a number of tests, I discovered I like to use this lavalier microphone with a Comica CVM-MF1 furry windscreen (better than with the stock FOAM windscreen) because it sounds more "REAL". It sounds more natural and balanced in terms of levels of lows/bass, mids and treble/highs with the FURRY, but too "tinny" (too much treble) and "thin" with the stock FOAM windscreen. 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

GoPro HERO4 Silver [UNFILTERED] GoPro HERO4 Silver ADD-ONS: None LENS MOD: None "Linear" FIELD OF VIEW COLOR MODE Flat SHARPNESS Low WHITE BALANCE Native EV COMP -1.5 SHUTTER AUTO ISO MINIMUM 100 ISO MAXIMUM 800 Published: March 25, 2022 at 10:40:58 PM I don't know why this older camera looked SO much better (than the HERO7) initially. I think it may be due to excessive NR (Noise Reduction) on the HERO7. The way I worked around it on the 7 was to set the ISO MIN and ISO MAX to 200 (for some reason that produced less NR artifacts). NOTE: I am in the process of working on a custom LUT for this camera, but the newer GoPro models will be my priority at this moment (I will get to it, though). GAFFER TAPE SUPPLIED BY