I send this as a new post hoping that all the people who helped me will see=
it: Marc, Danny, Kevin, Rob, Marinos, and Dan, and others who have chimed =
in.
I can't thank you enough for all your help on this issue.
To my self, I sound like a producer in my posts; however, in Marinos's word=
s I hear myself a long time ago as a lighting director in pre-production me=
etings.
I worked with so many producers---the folks with the money on the line---wh=
o would say "Ok, Joe, this needs to be good, quick, and cheap," and I'd say=
"Pick one."
Kevin's post also rung a loud bell. I saw most of my career working with mi=
nimal budgets, minimal gear, minimal power, and minimal time. I had to sque=
eze every ounce of mileage out of every light in the truck, often forcing t=
hem to perform dual roles in the shot. I constantly had to find a way to pr=
oduce quality work with minimal everything.
And the comments about "placement" leaped off the page at me. In production=
lighting, placement is crucial when you work with "minimal."
Alas, audio physics are not as forgiving as lighting, but the same usage gu=
idelines of production still apply. I'll start with the D50 and see where i=
t goes while I save my money and continue to research mics and such.
Thanks again to everyone for making this decision easier.
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