Issue link: http://digital.copcomm.com/i/1314046
C A S Q U A R T E R L Y I FA L L 2 0 2 0 17 A n O p i n i o n P i e c e b y D e v e n d r a C l e a r y C A S is also commonplace is the loaning of a megaphone to the assistant directors. The same touch point/ sharing issue could also be a problem. Depending on the scenario, we can make some adjustments that can serve this communications' need in a more safe manner. First, the megaphone loan-out issue. I decided recently to ditch an expensive bullhorn that I had in my kit and replace it with several inexpensive options. When we select professional components for our production sound kits, this is hopefully not the mentality. But honestly, expensive bullhorns get abused and neglected and break at the same vulnerable stress points where the batteries are loaded. Excessive L&D becomes a crux and more paperwork and attention gets paid to things that don't involve the core of our job responsibilities. So, in purchasing a whole fleet of $30 bullhorns, I can issue one to each and every assistant director who needs one and they can keep them for the duration of the shoot. Better yet, provide a link for purchase to the production office so that they can take ownership of them. This use can be launched on Day One of production when the first assistant director is about to call their first safety meeting. Not to be too cynical, but throughout my career I've often noticed a "7 AM Safety Meeting" printed on the call sheet— but there is almost never one. However, I have a strong feeling we will be attending them every day from here on out. Back to the SM58 VOG mic setup mentioned before. This can often be the favored configuration with a first assistant director when shooting in a large space for the day as communication is key and they don't want to lug around their bullhorn. This is trickier to solve because there may not be the "$30 option" like there is with bullhorns when talking about dependable, robust, wireless microphone systems. Instead, I believe the traditional option could work with added frequency of sanitization of the microphone and plug-on transmitter. We could even rent or purchase several SM58-style microphones so they don't need to be shared among various members of the AD staff either. Another loudspeaker with a native rechargeable battery pack is a great find as well. Anchor and Samson both make models suitable for this need. Charge it up, place it a safe distance away, and no need to bother the set lighting technicians for power if they aren't on the clock yet. Now, onto a potentially newly requested item that wasn't too common pre- pandemic: intimate director-to-talent communication. Filming in cars, whether done "poor man's process" or practical, is where I most commonly had this request. But I wouldn't be surprised if it became an everyday item. This got my head spinning with possibilities. Similar to the previous article's description of a FOH rig, I wanted to put something together that consisted of components mostly already part of my kit. Though this one had me reaching more for the infrequently used Pelican cases that normally live on the truck. Now, as much as an SM58-style mic is suitable for a first assistant director as they can be responsible for keeping it Shure SM58 with switch and Lectrosonics plug-on transmitter ready to hand off to the first AD. Bottom row: Battery-powered VOG speaker. Samson XP 106 and Lectrosonics 411a receiver front (left) and back (right). Part II (Helpful Ideas) Mix Production?