This answer will change drastically depending on your line of work but for me I can have the all in one unit solution a then if i need to expand i can put a mixer in front to interface with it as a recorder.
Plane noise is so common in my line of work, but now there is a new interactive map (sadly just for the USA for now) to be able to see basic flight paths for all the major airports. This is very useful if you want to pass this on to production to give them a better estimate of the issue of plane noise.
I answer this question by the economics of the content basically. Commercials pay more because the upside of the piece of content is much greater than the cost of it. If you do a worldwide commercial for a popular brand then they are going to make, realistically, a ridiculous multiple on the amount spent on the commercial, even if they go 2 days into overtime for everyone. Also the complexity of these projects is usually higher.
The video below will automatically skip you to the right section of the video bit essentially it’s a 2 part answer to recording sound FX on the fly while doing location sound work:
I speak for my 44th Sound chat with José Frías about his sound mixing career.
Often on shoots, especially drama, you need to hide your transmitters, but often some people have complained about range issues in certain positions.
This is usually because the body is taking out and blocking the signal being sent. This is also to do with if the antenna of the TX pack is touching the actual skin of the talent. When this happens your radio mic signal range will be impacted.
This is a quick overview of what I typically have in my peli box for a corporate shoot. I’m using the Pelican 1620, great case for travelling and getting everything in.
This is a 3 parter to help you not only see what is better in terms of range but how much by and then different positions of the transmitter so you can get the maximum range. The transmitter power is 25mW which is the max for the UK.