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Old 9th November 2019
Agree with all of the above. Room first, then mic. Also room should be big enough to use mic at some distance (similar with on boom on location).
Check with location recordist what they were using (I always ask the location recordist in a meeting before shooting, to put the mic type in the track name i.e. Boom50 is a MKH50, Boom416 and so on, do we know the mic used for the particular scene). When we do location sound our favorite interior mic is a MKH50, although we use other mics in specific situation (such as 8040 with low ceilings). Exterior prefs are 8060 and 416 (sometimes others).
For ADR I would avoid a 416, when there is no boom op in the ADR studio, as the off axis coloration is not nice to say the least :-) and you can’t ask all actors to not move at all. For ADR I often use the MKH40 and COS11 lav, but adapt to what was used on location if necessary.