Shure 58s and Lapels? Do they work?
 

I'm looking for inexpensive ways to record audio for my movie project next summer, but I want the audio to be professional. I heard from someone that using Shure 58s on a broom and lapel mics work just as good as boom mics, is that true?

For a little over the price of a Shure 58, I think you'd be better off with the Rode Videomic (~$150) and the boompole accessory (~$80).

That setup is nice for cameras that only take mini-plug mic in and don't have XLR inputs. It avoids the complication of having to buy an XLR adapter (~$150 or more) and a shockmount ($40) if you want to go with a mic that uses XLR.

Doubtful.

The Shure 58 is a dynamic mic and will need a lot of preamping.

Lapel mics typically are omni-directional, and have high self-noise. If you plant it on the talent you'll get good sound but you'll need to tweak it in post so it'll sound more look a boom mic and you need to add ambience.

For the price of these mics I believe you'd be able to find a decent cardioid condenser microphone for the same price, and that would be a better boom mic.

I agree with Glenn, the SM58 is not too bad if you want to do voiceovers in post. But on location, try to buy, beg or borrow a condenser microphone. The Rode Video Mic is a good place to start. Add a good pair of headphones too.
Does your camera have xlr inputs or just a miniplug?

Brooms are too short and too heavy. Remember your poor boom operator is going to have to be holding it over his head for long periods of time as well as be able to get the mic in close to the talent but out of shot overhead. And not just holding it but swiveling it back and forth to catch the dialog from each actor in the scene. You can rent a real boom rig for only a few $$ a day or buy one for a few hundred and get double the length, lighter weight, strength, and a proper shock-mount to damp out handling noise.

A Shure 58 is designed as a vocalist's mic with a cardoid pattern and meant for close in use. Boom mics are usually hypercardoid for interiors and shotguns for exteriors because their directivity reduces sounds from out of shot that might otherwise interfere while maintaining good sensitivity at 1-3 feet away from the talent.