Hey man, if you read the industry press (and I am sure you do), it's written in it.
About recording vocals, the info is scattered in interviews most often. Still, if you read them regularly, it's not rocket science to figure out that the vast majority of big albums were recorded on U87s.
About cameras, you can find the info more easily
http://www.indiewire.com/2017/01/sundance-2017-cameras-arri-canon-red-sony-1201770071/
https://www.premiumbeat.com/blog/cameras-and-lenses-behind-2017-oscar-nominated-films/
https://nofilmschool.com/2015/02/which-cameras-were-used-oscar-nominated-films-2015
https://shotonwhat.com/cameras/ Arri: 1627 films vs Red 427 films (probably not exhaustive, but still that shows a trend)
and aside some occasional Red or Pana, it's : Arri, Arri, Arri, Arri, Arri, Arri ...
The endgame for everybody is doing exactly what you said: real-world used-on-a-real-job-for-money.
And personally, I have no problem as per se that somebody does not agree with my choice.
I have a problem when that choice discards people based on gear brands reputation ONLY.
What I am saying is that in the film industry there is a STRONG bias on gear brands. And brands than don't have a great history record like Zoom seem doomed to stay on the bottom of reputation even if one day they come up with the indisputable best (because it's measurable) product ever.
I am saying that there are not much people ready to say a product is good/bad at something (and accordingly use them or not in prods) REGARDLESS of the brands.
Like the SD MixPre power options are plenty but are all a joke.
And the Zoom F series have much better preamps than we expected from them before that. So much that they can even be considered for high quality jobs now.
And since this is a reality we need to play with, I am weighing the fact if I should lean a bit into that (by buying a SD MP 10T instead of a seemingly equally capable F8n) to avoid unnecessary discussions like these when trying to get a job.