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"VLOG" Test: This test was at my "VLOG" [22 inches...] proximity and is using the official Rode FURRY (VMPR Deadcat). I used the +20 MIC. BOOST because this microphone usually needs that for non-32-bit-float audio recorders, and while I could leave it at +0 and push the ability of the 32-bit float file from the Zoom F2 during post-production (i.e. by bringing up the audio level while editing) it becomes difficult to monitor the audio using headphones if the level is too low. RFI NOTES: One thing I did notice during this test, was how much RFI (radio frequency interference) affects this microphone. I had an iPhone 13 Pro Max approx. 3 feet away, and I heard noticeable interference, and then when I put the microphone close to the phone (within a few inches) it confirmed my suspicions that the iPhone was the source of the RFI (and at that point, the interference was so loud it was almost painful). So, this microphone isn't as good of a tool as it was before such powerful phones were available. With the +20 MIC. BOOST turned on, this mic picks up a LOT of background noise (I could hear people talking upstairs) and I would therefore only use this microphone when you don't mind picking up background noise (which I think is fine in an OUTDOOR vlogging situation). (I DO NOT use this combination for INDOOR work such as VOICEOVERS, NARRATION or PODCASTS because of this. Additionally, this mic has too much BASS with the FOAM + FURRY windscreens, so it needs a custom EQ. "VLOG" Proximity [22 inches / 55.5 cm] Zoom F2 (NO AUX. Amplifier) Rode VideoMic Pro R Windscreen: FOAM + FURRY (Official) 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 ON MIC. LOWCUT N/A MIC. HIGH PASS +20 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE JUST OK 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: December 27, 2022 at 9:23:31 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: "VLOG" Test: This test was at my "VLOG" [22 inches...] proximity and is using the official Rode FURRY (VMPR Deadcat). I used the +20 MIC. BOOST because this microphone usually needs that for non-32-bit-float audio recorders, and while I could leave it at +0 and push the ability of the 32-bit float file from the Zoom F2 during post-production (i.e. by bringing up the audio level while editing) it becomes difficult to monitor the audio using headphones if the level is too low. RFI NOTES: One thing I did notice during this test, was how much RFI (radio frequency interference) affects this microphone. I had an iPhone 13 Pro Max approx. 3 feet away, and I heard noticeable interference, and then when I put the microphone close to the phone (within a few inches) it confirmed my suspicions that the iPhone was the source of the RFI (and at that point, the interference was so loud it was almost painful). So, this microphone isn't as good of a tool as it was before such powerful phones were available. With the +20 MIC. BOOST turned on, this mic picks up a LOT of background noise (I could hear people talking upstairs) and I would therefore only use this microphone when you don't mind picking up background noise (which I think is fine in an OUTDOOR vlogging situation). (I DO NOT use this combination for INDOOR work such as VOICEOVERS, NARRATION or PODCASTS because of this. Additionally, this mic has too much BASS with the FOAM + FURRY windscreens, so it needs a custom EQ. 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. 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

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

REAL REVIEWS Long-term reviews of budget photo & video gear. KIT PLAN RECOMMENDATION: MINIMAL KIT IEM Case (for 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 No CAMERA BAG Yes BACKPACK Yes Affordable? AVERAGE NEW PRICE $ 11.99 *Indicates SALE price. Amazon AFFILIATE LINK AVERAGE USED PRICE <$500 **Indicates BUY NOW price. Ebay AFFILIATE LINK Common? ON AMAZON Yes ON EBAY Yes Easy To Use? SKILL LEVEL EASY OVERVIEW: This is a case for IEMs (In-Ear Monitors) but it just happens to almost perfectly fit the Zoom F2 (and the included LAV mic, and extra batteries) and it’s super affordable! This is made of fabric (not of plastic) so not super heavy-duty, but I think it protects the Zoom F2 well since the Zoom is so small, light. 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? 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? RECOMMENDATION: 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 .

Test at "VLOG" proximity with a FURRY windscreen on the Saramonic SR-VM4 microphone at +20 MIC. BOOST, MIC. LOWCUT is OFF, plugged directly into a Zoom F1 audio recorder with REC. GAIN at HIGH-. One thing to keep in mind is the level is a bit lower with the FURRY windscreen. "VLOG" Proximity [22 inches / 55.5 cm] Zoom F1 (NO AUX. Amplifier) Saramonic SR-VM4 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER "HI-" REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW AUX. OUTPUT MIC. SETTINGS OFF 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 2:15:59 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 DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: Test at "VLOG" proximity with a FURRY windscreen on the Saramonic SR-VM4 microphone at +20 MIC. BOOST, MIC. LOWCUT is OFF, plugged directly into a Zoom F1 audio recorder with REC. GAIN at HIGH-. One thing to keep in mind is the level is a bit lower with the FURRY 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

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 BOOM (4 feet) proximity with the MIC. BOOST at +10, the REC. GAIN at 37, the AUX. amp at HIGH/Full Dial. "BOOM" Proximity [35 inches / 88.8 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 HIGH AUX. HIGH-LOW @FULL 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 3, 2022 at 11:22:03 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 BOOM (4 feet) proximity with the MIC. BOOST at +10, the REC. GAIN at 37, the AUX. amp at HIGH/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

REAL REVIEWS Long-term reviews of budget photo & video gear. KIT PLAN RECOMMENDATION: BASIC KIT ULANZI MT-79 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 $ 29.95 *Indicates SALE price. Amazon AFFILIATE LINK AVERAGE USED PRICE ? **Indicates BUY NOW price. Ebay AFFILIATE LINK Common? ON AMAZON Yes ON EBAY ? Easy To Use? SKILL LEVEL EASY OVERVIEW: This is a small, collapsible stand that I think works well for a small light, but not for heavy things, like interchangeable lens cameras. This is super easy to set up and take down, and folds small (so it's easy to carry more than 1, if needed). 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 super portable, and can fit in the side pouch of most backpacks (or can easily fit in a tripod bag). PART 2: IS IT AFFORDABLE? Yes, compared to buying a normal light stand, it's a little less expensive than that (but I only use it for small and light lights). PART 3: IS IT COMMON? Yes, and there are a few other versions (some are not all metal, but this one is and I recommend it and the MT-80). PART 4: HOW’S THE QUALITY? The quality is good, as it's strong enough to hold a small 10 inch LED panel (which is the main thing I use it for, and don't recommend using it for a camera). PART 5: IS IT EASY TO USE? Yes, it very easy to transport, set up and tear down, because it's a selfie stick that collapsed down to about the size of a track & field baton (but it weighs more, of course, but that's a good thing, LOL). PART 6: NEEDS ADD-ONS? No. PART 7: WHERE DO I BUY? I bought this on Amazon. RECOMMENDATION: This stand is an essential part of my kit (and it and the MT-80 are the two stands I recommend for supporting small LED video lights). I do recommend this, but only for using with smaller items like the 10" LED light panel I use for the T-Lighting method, and I wouldn't put a heavy camera on it. 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 .

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 microphone does NOT fully plug into this audio recorder, so you only get 1 channel of audio (the LEFT channel). 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 result was at 48. This requires boosting the levels in post-production, but I've found the sweet spot of this audio recorder is between 37 and 50 (and 63 is the highest level this recorder does well at before it introduces way too much self-noise). 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) and it sounds pretty natural and real with it on, so I'm not planning to use this mic without it (so I can be either INDOORS OR OUTDOORS and have it sound the same). "LAV" Proximity [7 inches / 17.78 cm] Zoom H1 [NO AUX. BOOST] JK MIC-J 055 (Lavalier) WINDSCREEN: Comica CVM-MF1 (Furry) 96k 24-bit REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER 48 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 BAD BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BAD BETWEEN 2.2ft / 0.67m -3.3ft / 1m SO-SO BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: March 28, 2023 at 11:23:46 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 A 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 microphone does NOT fully plug into this audio recorder, so you only get 1 channel of audio (the LEFT channel). 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 result was at 48. This requires boosting the levels in post-production, but I've found the sweet spot of this audio recorder is between 37 and 50 (and 63 is the highest level this recorder does well at before it introduces way too much self-noise). 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) and it sounds pretty natural and real with it on, so I'm not planning to use this mic without it (so I can be either INDOORS OR OUTDOORS and have it sound the same). 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. Wow. This microphone sounds really good at this "CLOSE" proximity! Plus, not only does it sound really, really good, the output is so strong (I know I'm using the +20 MIC. BOOST) that I can use a super low REC. GAIN setting on the Zoom H1 audio recorder of 16! So, the reason why I turn on the +20 MIC. BOOST (instead of turning of the REC. GAIN) is that it's so much easier to set the switch to the top position, instead of the middle position (where the +0 setting is). "CLOSE" Proximity [ 3.5 inches / 8.89 cm] Zoom H1 (NO AUX. Amplifier) Shure VP83 LensHopper + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 16 REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW AUX. OUTPUT MIC. SETTINGS OFF 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 5, 2022 at 2:27:19 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. Wow. This microphone sounds really good at this "CLOSE" proximity! Plus, not only does it sound really, really good, the output is so strong (I know I'm using the +20 MIC. BOOST) that I can use a super low REC. GAIN setting on the Zoom H1 audio recorder of 16! So, the reason why I turn on the +20 MIC. BOOST (instead of turning of the REC. GAIN) is that it's so much easier to set the switch to the top position, instead of the middle position (where the +0 setting is). 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

The most important discovery about this microphone-audio recorder combination (specific to this "CLOSE" proximity) is that it sounds much better with the audio recorder's LOW CUT filter ON (set to 160Hz)! This is one of those things I wouldn't have guessed, but at this ("CLOSE") proximity, there is way too much BASS (sounds "boomy") without these LOW CUT settings. I also tried using the MIC. LOWCUT (both of the settings) and they didn't sound good at all, but the 160Hz filter on the Zoom H1n audio recorder is making the audio sound pretty natural and "REAL" (which is my goal for the "starting point"). As I've mentioned before, the shock mount that comes with this microphone does NOT do a good enough job with removing handling noise, and this may not be an issue when using this in a stationary position (like you could when recording narration, a voiceover or a podcast) but when we get to trying this thing out for the "VLOG" and "BOOM" situations (especially if the boom operator has to move the mic while recording) this shock mount may not work. In regard to how "REAL" this things sounds (after using these custom settings) it sounds a lot better with the 160Hz LOW CUT (on the audio recorder) but I think it's still going to need a custom EQ. "CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom H1n (NO AUX. Amplifier) Comica CVM-VM20 (Shotgun) Windscreen: FOAM (Stock) 96k 24-bit REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER 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 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 24, 2023 at 11:51:23 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 C DO THE "LOWS" SOUND REAL? MIDS B DO THE "MIDS" SOUND REAL? HIGHS/TREBLE A DO THE "HIGHS" SOUND REAL? NOTES: The most important discovery about this microphone-audio recorder combination (specific to this "CLOSE" proximity) is that it sounds much better with the audio recorder's LOW CUT filter ON (set to 160Hz)! This is one of those things I wouldn't have guessed, but at this ("CLOSE") proximity, there is way too much BASS (sounds "boomy") without these LOW CUT settings. I also tried using the MIC. LOWCUT (both of the settings) and they didn't sound good at all, but the 160Hz filter on the Zoom H1n audio recorder is making the audio sound pretty natural and "REAL" (which is my goal for the "starting point"). As I've mentioned before, the shock mount that comes with this microphone does NOT do a good enough job with removing handling noise, and this may not be an issue when using this in a stationary position (like you could when recording narration, a voiceover or a podcast) but when we get to trying this thing out for the "VLOG" and "BOOM" situations (especially if the boom operator has to move the mic while recording) this shock mount may not work. In regard to how "REAL" this things sounds (after using these custom settings) it sounds a lot better with the 160Hz LOW CUT (on the audio recorder) but I think it's still going to need a custom EQ. 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

My main focus is BUDGET filmmaking, so the most affordable road (up until this point) has been using a lot of somewhat vintage lenses on M43 (Micro Four Thirds) bodies (see the list of CAMERAS ). One of the neat things that makes this work, is that the "flange distance" of M43 cameras allows almost ANY lens mount to be adapted to it, and sometimes even boosted (i.e. using a speedbooster/focal reducer to increase the light input)! These are the adapters I have tested so far. Budget Filmmaking LENS ADAPTERS & CUSTOM SETTINGS *ABOVE: My main focus is BUDGET filmmaking, so the most affordable road (up until this point) has been using a lot of somewhat vintage lenses on M43 (Micro Four Thirds) bodies (see the list of CAMERAS ). One of the neat things that makes this work, is that the "flange distance" of M43 cameras allows almost ANY lens mount to be adapted to it, and sometimes even boosted (i.e. using a speedbooster/focal reducer to increase the light input)! These are the adapters I have tested so far. BUDGET FILMMAKING LENS ADAPTERS Viltrox NF-M43x (for Nikon F, G Lenses) This is currently my favorite adapter (though I love the shift and tilt/shift adapters a lot). The reason I like this one is because it's both affordable and it turns an affordable 50mm 1.8 into an AMAZING 35mm F/1.2! I don't recommend the Canon-mount version of this adapter, because after lots of testing (and having the electronic Canon-mount version fail...ruining a camera) I now only recommend the Nikon-mount version. I also had trouble with the Canon mount version in AF mode (it doesn't allow switching to MF). VIDEO Amazon AFFILIATE LINK B&H N/A Ebay N/A OfferUp SEARCH BUDGET FILMMAKING LENS ADAPTERS Fotodiox Shift (to Nikon F, G) This adapter is one of the biggest discoveries I ever made regarding Micro Four Thirds. This can turn almost any (Nikon mount) lens into a shift (perspective control) lens! What's amazing, is that this allows you to create a variable focal length (i.e. "zoom") shift lens, which is not available in any other way. You can also get a "tilt/shift" version, but I would recommend starting with shift only, to learn first. VIDEO Amazon AFFILIATE LINK B&H N/A Ebay N/A OfferUp N/A ALWAYS CHECK THE "USED" MARKET!