I had the chance to work with big motion pictures here, in México, were bad sound was the signature of national productions, because a lot (most) of directors didn't care about sound, and there is an awful saying: "its coming out in post". So, you might imagine, with bad recorders, bad sound field guys who didnt take care of hearing what they were picking up. So, ADR was my best and sometimes only option.
Because, of course, most producers and director hate it, the best call is to improvise with anything you can get. The things i've learned so far.
1. You can work with the same mics, but sometimes you dont, so, you have to choose your mic placement, because sometimes the best track for after and before your cut is the lav mic, some other times is the boom. If you put the mic in front of the nose you get one resonance, that can affect the sound quality. If you choose to put it lower, on the mouth you get some other quality.
2. If you make it to a recording studio, even if it is small, for music-specific, avoid corners, get as much space as you can get into the back of the mic, and try to block to be in front of the wall, try to avoid to be in a parallel position, and most important, avoid to be close to any window or flat surface that can vibrate with the voice.
3. When recording, you have to point to the actor the peculiar behaviour of the voice: the slang, the moment they finish up or down the sentence, the quantity of air they had, if they were moving in a particular way, and sometimes you have to deal with the need of the actor to follow some movements to accomplish, so you have to make them (by default) to leave jewelry, clock...
3.1 when you make the call back, ask them to bring silent clothes, because there are fabrics, like the ones that are used for sports, that make a lot of noise.
4. Clean their noses, bring them water, because dry mouths can make a lot of clicking noise, and that take a lot of time of cleaning.
5. When Directing, i wanted to work with directors by my side. Sometimes (most) they dont like it at the very beginning, but once they found the benefits of correcting and even improving the scene, you only worry about the technical stuff, directing the director, and keeping an order. If the director is not available, you cannot improvise, so, take the whole scene, or pick a 2-3 minutes handle, so the actor can recall the situations that took the dialogue to that color on the first time.
5.1 Directing the director is about making them notice that sometimes there are more loops needed than the ones they think are just critical, and you have the point the fact that they listen better because they know the lines, they can decode the voice from a lot of noise.
6. You have to be ready to find some resistance from the actors. Some are very afraid to stand in front of a mic. Some dont understand and some are afraid of not getting the same performance, and, trust me, even great actors can feel very insecure. So, try to not be limited to a fixed loop. Try to arrange them by colors. Dont distract them with instructions, let them find the right way to follow their lips, their intention, and the strength of the voice.
7. Remember that while on field, stage, or location, people keep certain volume of sound, and now you are working with very low levels of noise, and, trust me, that makes a lot of difference! Make them try to emulate the same sound level they had.
8. when editing, i prefer to use (on pro-tools) elastic Audio. I duplicate the track, and change the settings so the elastic audio is developed with the algorithm that you get from a better plug-in (the default is good enough some of the times), and then i twist, stretch, and move, taking care of the digital distortion (kind of flanger).
To get the best of my sound, i prefer to work with the classy basics, and use the 7 bands eq, i am totally agree with the suggestions from the video, and i might add the 5-7k to avoid the "S", and sweep the bands to clean from room resonances.
9. When cleaning, and even helping the edition, IZOTOPE RX is a MUST! It saved my life so much times, that, well, it is the owner of my deepest true good feelings, love it.
10. when mixing, i use the reverb that can handle the job, as long as it dont bring that awful wash. I found useful to use a send bus, with pre fader option, and then control the wet-dry- ratio, and be as exquisite as i can, changing the levels depending on the direction the actor is turning his head (STAY WITH THE DISTANCE, THE WALLS, THE DOORS, BUT NO THE CAMERA PERSPECTIVE, IT WILL AFFECT FOR SURE THE IDEA OF BEING IN A POINT OF VIEW, WHEN THE IDEA OF THE SCENE IS NOT TO PLACE YOU IN A GOD'S PERSPECTIVE).
Well, those are the things that come to my mind to this moment... Hope some find this usefull, and, i apologize for the grammar, and all the mistakes you might (and for sure will) find.
OK! 2 Extra points that i was missing:
11. About the hardware... well, if you choose cheaper, it means noisier, and it means that the dynamics of the voice are very affected, so a whisper is not going to work as good as you have planned.
12. RECORD ALWAYS THE BREATHING, THE BREATHING IS PRESENCE, THE BREATHING IS LIFE, PLAY WITH IT, IT MAKES THE DIFFERENCE! Take the time to close your session with breathings, grasps, mout noise (opening, saliva, etc...), you will thank yourself.