Re: Sennheiser k6 and capsules me66 me64 me62???

To be honest, none of the mics you listed are suitable for foley recording (although the SM 57 is handy to have as a support mic for high-SPL effects). Foley tends to be rather quiet, which is why extremely sensitive mics are preferred (paired with high-end preamplifiers and A-D converters).

With the mics you listed, you would be obliged to record with the mic extremely close to the action in question, giving an unnaturally exaggerated perspective.

Here are the mics I use for foley recording (by no means the final word, but they get the job done):

Sennheiser MKH416 (short-shotgun condensor)
Exceptionally sensitive, but rugged enough for use in the dirt pits. The off-axis rejection gives it a nice, tight sound for exteriors while still giving tremendous flexibility in mic placement. Works great at a distance of 2' to 4', depending on the desired accoustics, though its sensitive enough to give clear and detailed results at much longer perspectives. This is the workhorse, and its the primary up-close mic for almost everything I record. Additionally, it is a very popular mic for production recording, making it that much easier to match the sound and perspective of the dialogue track.

Neumann TLM 103 (large-diaphragm cardiod condensor)
Paired with the MKH416, this makes an excellent perspective mic. On interior scenes, I place this high up, near a corner of the studio, facing towards the centre of the room. Mixing a bit of this distant sound with the close-up MKH416 gives us plenty of flexibility in terms of perspectives (ie. for a more distant perspective, I simply mix in more of the TLM 103). The low self-noise of the mic, paired with its sensitivity and transparency, give the resulting recordings a very "open" and natural sound.

Neumann TLM 170 (large-daiphragm variable-pattern condensor)
I only recently started working with this mic, so I'm still getting a feel for its use. Occasionally, effects with a great deal of transient energy (smashing glass, etc.) will cause a bit of distortion on the MKH416. In those cases, I'll often use the TLM 170 (with the pattern set to hyper-cardiod). I've tried using it as a perspecitve mic, but I find that it lacks the mellowness of the TLM 103. This mic has an extended high-frequency response, so it can be usefull if you plan on pitching-down effects recorded at 96kHz.

Other special-use mics
Once or twice a month I may turn to a more specialized tool to reinforce or support the MKH416. A few of these include: DPA 8011 hydrophone (for underwater recording), Shure SM-57 (for high-SPL effects where the mic may be damaged), AKG D112 kick-drum mic (for high-SPL effects that need extended bass response), C-ducer contact transducer (for really unusual mechanical effects).

The first 3 mics will would work quite well in a voiceover or ADR session. The MKH416, in particular, is well suited to ADR given its production sound reputation. The Neumann mics are great VO and narration mics, although some voices will benefit from warmer or more coloured mics.

You should go over mic selection with your foley artist. An experienced foley artist will be able to play to the strengths of particular mics.