I have done a lot of field recording of sound effects. I always use two narrow pattern shotgun mics on a "T" bar with a short fishpole.
A coincident capsule setup is NSG for cine purposes since, in the movie theater, you are trying to fill up 7.1 (or more channels and need as much, "Hole in the Middle" separation (for the center channel carrying dialogue) as possible.
Two SDC Neumann KMR 82s have more "reach" and variety of sound (due to the tight lobar polar patterns). Just a slight pan often reveals another entirely different sound. The phase reflections that compromise the KRM 82 inside are absent outside,
The USM 69 can fit inside a blimp (the same one as the RSM 191 but the shock mount is no longer sold) and is superior to the, discontinued RSM191 since the 191 uses dual capsules to make the "S" mic. This results In a "S" noise spec of 22dB as compared to the 13 dB of the USM69.
The well packaged USM69 is best for music (MS, XY and Blumlein) and some vocals-indoors.