rec.arts.movies.production.sound

1- Try to influence the location of the shoot as far away as possible
from any sound source ( loudspeaker, shops or restaurant with music
etc... ).
2- Schoeps is a very good choice to deal with some of the reverberant
field.
3- Some sound blanket in front of the talents with booming from below
might yield some result ( or may not but worth a shot ).
4- I would boom and lav ( on split track ) and place the lavalier
under cloth right under the sternum in order to get maximum isolation
from outside noise and a warm tone that could be added to the boom in
order to draw the perspective back to our talent and not the room. BTW
i would mix both lavs and make sure that they are not phasing each
other out or partially.
5- Explain what you hear to your director so that they know what the
shot sounds like. I always do and that way they sometime change what
they are doing or the way they shoot because they understand what the
audio portion of the shot is like. I, now, always give an IFB to the
director in order for them to judge and be aware of what it is that i
am doing. Afterall, it is there show and they will be editing it
later.

My 2 cents....

Pascal