H4n is an audio recorder, microphones are well microphones.
Probably the only impact one has on the other is unless you've got uber good preamps which the H4n hasn't, better to use sensitive mics when recording faint sounds or else use an external preamp.

From your description of what you're doing that's probably not an issue you need to give much thought to but still worth keeping in mind for the future. I have come accross mics that do need low noise high gain preamps to perform well

Bob.

"Using the H4n in combination with your camera audio is a strong case for purchasing Pluraleyes."

You're absolutely right, although this time around I'm not the video editor - I'm just the sound man. The short film is being shot with two DSLRs with sound from my H4n.

farss . . .

" low noise, high gain preamps"

Can you give me an example that would hook up to the H4n?

Sound Devices MP1

That said ANY mic preamp should work and for the work that you're doing you're probably spending money for nothing buying one.
Perhaps you're wondering why you don't see the Zoom H4n used for location audio on big budget movie shoots?

The answer is ease of use, ruggedness, more channels, better preamps and better A>D converters. You don't really need any of this and your money is almost certainly better spent on better mics and when recording at home probably better acoustic treatment of the space you're recording in.

Bob.

"Also, is there a wireless lavalier setup than can be done with the H4n"

Why wireless?... plug lavalier mic into H4n and clip unit on belt of subject. No need to complicate things with wireless!

"plug lavalier mic into H4n and clip unit on belt of subject"

I've thought of this and it probably is the easiest way to go.

"on better mics and when recording at home probably better acoustic treatment of the space you're recording in."

So what's a better mic?

And no, I'm not recording this short film at home. =) It's everything from big back yards complete with overflying airplanes to 12 X 12 rooms with very strange ceilings. It's not my radio show that I'm concerned about - I've got that setup figured out.

And no, I don't wonder why Hollywood doesn't use H4ns. =) They have all the money in the world to spend on their movies.

I do appreciate your help guys.

Why not try a tascan hd-p2 unit pre amps pretty good

and for the money dam good at what they do
as for mics dont just stick to only one to do the work

the more mics the better if placed at the right spots again depends
on budget

rodes mics pretty dam good at the job of field recording,
but if your doing scenes in rooms then why try some
small shot condensors as room mics to pick up what you may miss

just keep a eye on the phase of the mics

For recording location "film" sound you probably cannot go wrong with the mics made by Sanken, starting with the CS-3e. A competant boom operator is kind of vital as well plus some system for keeping track of all the audio files. The more expensive location recorders offer not just genlock but also electronic slates.

I could write a huge post about location audio but to keep in short, put as much time and effort into getting the sound 'in the can' as you do the image. Never fall into the trap of thinking you can 'fix it in post'. If your plans include doing ADR allow enough time for it and make 101% certain the talent will be around for it.

Bob.

Thanks guys for all your help.

Check out the Zoom R16 for 8 track (simultaneous) recording... I used one of these for recording a choral group with a matched pair of Rode NT-5's (48v Phantom power supplied by R-16), and four additional mics on the orchestra, each on it's own dedicated track. Recording at 24 bit on SDHC card. Outstanding dynamic range and performance. Import each track to Vegas and mix or mix directly on the R-16 and then import the mix to Vegas.
Can't beat the R-16 for price/performance!

I regularly use 2 Zoom H2's or the R-16 depending on the gig for field recording. Then use Pluraleyes to sync it all up.