This suggestion depends completely on the location/set, but it might be worth trying to use a magic arm clamped to ceiling (since it's a garage I'm imagining it has supports or something on the ceiling) to place the microphones above the actors . I think it will be easier to place the microphones as close as possible to the edge of frame like this than with a very extended boom pole in a c-stand, and slightly less cumbersome.
Great answer Scott. The only thing that got me thinking is the choice between cardioid and shotgun. I would use the cardioid (or more exactly a hyper cardioid) exactly because of the reverberations. As far as I know many shotguns don't fare well with reverberant spaces because they mess with the functioning of the interference tube, which causes the pickup pattern to fluctuate and they also color the reverberations differently than the voice, which is not very natural.
This is just what I think, and definitely can't swear what I said make sense. Would love to hear your thoughts on it if I'm imagining problems.
I'm still trying to figure out the way this board works, so excuse me if this message ends up somewhere else. I mean to reply to Douglas reply to Samuel.
The concern of making it work in all viewing platforms is one that is very present for soundies now, since people watch the same video on the internet in their cellphone in the bus and in their home-theater in the basement. And as far as I know, up to now the strategy available is to make educated compromises to certain platforms, depending on which audience you want to prioritize.
I mean, the speaker from the phone is very different from the speaker in the home theater. If you want it to sound good in the laptop for the submission screener, it is probably a good idea to prepare a "laptop" mix for this delivery, and once the film enters you send the version with the proper "theater"mix. That way you know what to expect and tailor your sound to the viewing platform. It might be worth calling the festival and asking how the make the submission screening, just to be safe knowing you are not shooting yourself in the foot if they actually screen it in a better setup.
Hope this helps
Well, for all I know, there is some sense in what you said, but not exactly the way you put it. Laptop speakers are physically unable to reproduce part of the low frequencies, so they will pretty much just disappear when you play it back. Because of that it is important that important sounds have also information in the mid-range so once the low end disappears, the sound is still there, just slightly lighter. In that sense your idea makes a lot of sense. Otherwise you end up with a "gap". But mid range is mid range, so even though it can be used to give the same information of the low end, it won't have the same feeling. Simply because low frequencies are not only heard, but also felt through your skin to a certain extent. They are also less localized, so they feel more enveloping. These feelings will be very hard to reproduce without the low end.
In short: yeah, I think it makes sense to have mid-range information as a "fall-back" (if the low end doesn't play, it's there to convey the message and the mood), but I don't think you can recreate the feeling of low end with mids.
And if I'm talking bollocks please somebody correct me. Hope this helps.