6060 CORE Subminiature Normal SPL Lavalier Microphone

The best professional quality? That would be a current Lectrosonics, Zaxcom, Sound Devices, or Wisycom wireless system. There are many models of transmitters and receivers, but for argument sake let’s say Lectro DBSM and DCR822. As for lav mics themselves? DPA 4060, DPA 6060 or Sanken COS-11D. All great. (There’s tonnes of other options top, those are just too of mind). Boom mic will sound better in general though, and best would be a Schoeps CMIT5U or miniCMIT or SuperCMIT for exteriors, Sanken CS-3e for very noisy locations that need a laser-like focus, and a Schoeps CMC6 MK41 or Sennheiser MKH50 for interiors. Best would be used with a plug-on transmitter like a Lectrosonics DPR-A or HMa, and the paired receiver running into either a Sound Devices, Zaxcom, Sonosax, or Aaton recorder with maybe a Sonosax or old Cooper 208D mixer in front of it. (Again there’s tonnes of somewhat equivalent options for mics, transmitters, and mixers, I’m just illustrating a point.) Then presuming that’s all utilized properly and recorded well (meaning proper wirelesss signal distribution and power distribution and proper gain staging), it would be a matter of taking the best of both worlds, the open natural sound of the boom and combined it with the up front body of the lav, using Auto Align Post 2 to phase align the two. Then some in depth editing of cut/fill/fade, layer in additional ambience, foley, library effects, sound design, etc. and mix using EQ/compression/reverb/etc.. with a high degree of automation across many parameters written in through a physical control surface for fader moves. Listening while moving a physical control gives way better and faster results than drawing automation lines and curves on with a mouse. or wait… did you not actually mean THE BEST MOVIE-LIKE QUALITY for realsies? People seem to get okay results with the DJI for a cheap, social-media-quality, streamlined, user friendly system. [If you learn](https://youtube.com/playlist?list=PLk55CEmjflkbEK-P8jag5pqZ1CpbjaVwZ&si=5dkXp77d7NCOQdaG) how to do a half decent job in post production you could probably squeeze a lot more life out of it too. Or if you can tolerate a little more complexity in operation, a Sennheiser G4 system would probably sound better. Best upgrade you could do for it is to replace the kit mic with something better like a Sanken COS-11D. Just gotta make sure it’s wired correctly. Recording separately from the camera and syncing up afterwards also will help since camera audio inputs typically have terrible noise floors. A cheap entry level recorder like the Sound Devices MixPre series would be where to look for that. Again increasing complexity. Sorry, didn’t mean to be snarky at the start, but it’s extremely unrealistic to expect the BEST or MOVIE-LIKE out of inexpensive consumer/prosumer grade gear. The truth is that there is an unbelievable amount of cost and skill that goes into getting that movie sound you’re talking about. There’s a reason it’s a whole department.

Indeed it’s a complicated question to answer, and it ultimately depends on the person’s voice, but If you’re asking “best” lav mic without a boom, and you’re renting, I would say get DPA 4060’s or 6060’s. COS 11-D’s are great as others have said, and they’re workhorses, but in my experience the DPA’s generally surpass it in quality, and arguably have the same tonal quality as a nice boom mic would.

I love the DPA 6060’s. Very easy to hide.

They better be for $600-$700 with microdot adapter. 🙂

Also **incredibly** good mics -- my pal Richard Ragon swears by them.

To some degree, if you physically **wear** a lavalier and keep it close to your mouth, it will eliminate a lot of the room from the sound. The trick is you have more potential for mic noise if you bump it or the cable in use. There's an art to placing lav mics carefully on people (as is done everyday in film & TV). There are great condensor lavs like the Sanken COS-11, the DPA 6000 & 4000 series, the Sennheiser MKE series, and the Countryman B6.

Just hire someone. The gear you need is going to cost several thousand dollars. Sound mixers will rent their gear out to you to use on your production.  There’s plenty of sound people, including myself, looking for work. Placing a mic on someone in order to get clean audio is a skill that takes years to master.  But to answer your question, I would use lectrosonics transmitters with a microphone from DPA. Either a 4060 or a 6060 depending on the circumstance.  At 100 feet I might even just use a personal recorder and trust the skill of a sound person to mic up talent. 

DPA 6060 with a or go home. Don’t bother with wireless unless you’re gonna be in the field. Realistically though, maybe just get the deity mini shotgun or mke600. Probably don’t need a Lav.

So You asked for “The Best”. For the life of Me I can’t understand why people name drop Sanken Cos-11. It will do the job. Way overrated? Absolutely. I’d go with DPA 6060 - 6061 with CORE+. They have High SPL and are super clean. I run mostly with Neumann shotguns and I’ve actually had editors say they were confused because the DPA’s sounded as good! (In several cases) Mic placement is going to be everything. If You have the budget, double micing in two different places on the body may be benificial in case of rustling etc. If You can record 32 bit, also helpful for screamers or soft spoken actors. Hope that helps!