I run an ad and marketing agency, IncentiveServer.com, and also The Hartford Film Academy (a 20 seat filmmaking classroom).
Very good advice. Most of what I've learned about recording sound in a "studio environment" was picked up from music producers. Here are my two cents:
You will need a good preamp if you record straight into a computer (preferred). If you record into your Zoom H4n, the recorder is your preamp. It is said the Scarlett 2i2 is one of the best out there, this company makes all models to the same high standards, prices vary just for the number of inputs.
Sound professionals want the cleanest, most accurate recording possible, just like film professionals make no compromise on the video quality. You can add environment sounds later. In the under $1000 range I find the MXL V89 condenser mic to deliver the most accurate, clear voice. This takes phantom power.
The MXL R144 ribbon mic is very flattering to the male voice (gives it timbre) but when you plug it into your preamp you need to remember turn off your phantom power or it will fry. A ribbon mic will need the most powerful preamp you can get to deliver good output. It also needs to be transported gently, not get thrown around.
I suppose there are probably RODE equivalents to what I mentioned above. Also, I assume many of you already own an H4n and an NTG3, in which case you should just tweak your settings and work the equipment you have, and you will also get decent results.
One last note, pick a data rate that works for you, no need to work at the highest common denominator. Don't go above 96, even that is overkill. What is important is that you record in a format your editing software finds easy to manipulate. Just like when you freely mix frame rates in video, weird things can and will happen, which range from chopping and crackling sounds to some really strange behavior, if you jump haphazardly between sound data and compression rates and formats hoping the software will figure it out.