@ Nick, I have had no reason to change from factory settings. I have used a clients camera and had the "hairdrier" in the middle of the take, because the sound guy had insisted they turn the fans down on a previous job. That's sounds fault for not understanding what the hell they are asking for.
That's great, but if sound really thinks it's a problem, and they have never sat though a mix, and don't understand the difference between being able to hear something when the room is dead silent, and having something so far under the person speaking that it doesn't matter, then yeah they should get a different job. Things like putting a Lav on a guy when you are already booming is the kind of shit that lets you hear the camera. There is no reason to do that shit unless the producer got burned by a lousy sound guy in the past so he insists on it.A 'non-issue' to camera could mean the world to sound.
I wouldn't care if there was a boom shadow that was out of frame - that is the correct analogy here. Hearing something, and something being a problem are too different things. Just like a boom shadow out of frame isn't a problem.You wouldn't be happy with a slight boom shadow in the shot halfway through a long take, would you?
What kind of low rent cable access show doesn't budget a mix? The lowest rent indie movie I ever worked on did a decent mix. Every doc I have ever worked on has had a mix. The shittiest dumb ass History channel show I ever worked on had a mix.The vast majority of productions don't budget anything for dialogue mixing or sound design in post to fix these things,
I understand it would be nice if the camera was a little quieter, but it's not. It is totally useable however, and a quiet talk with the sound guy before the shoot will usually prevent them complaining loudly about it in front of the client and the producers.
Just my opinion, I'm pretty anti sound anyway ;-)