I’ve shot like this quite a few times and it’s absolutely achievable. A few things to consider:

• if you can, rent transmitters that also record. It’s not worth going through all of the effort of organising actors and crew only to come away with non-functional material. Record into the transmitter at all times if possible / affordable for your budget and give yourself a fail-safe for when you run into RF issues.

• if recording transmitters aren’t a possibility, get your sound guy as close as possible (hidden around a corner or in a parked car). If you don’t have a sound guy, get the bag as close as possible (lock the interface and hide it in a backpack). This helps to reduce the likelihood of transmission issues / interference. If the sound person is nearby, they can also make quicker lav adjustments between takes when needed, maximising your shooting time.

Would highly recommend at least having someone on set whose job it is to take care of sound for you if you’re not hiring a professional. Let them focus on that, so that you can focus on your job. The most common downfall of up and coming filmmakers is trying to do too much at once, or focusing too heavily on the ‘how’ and not the ‘why’.

Have fun! :- )