Issue link: http://digital.copcomm.com/i/1314046
32 FA L L 2 0 2 0 I C A S Q U A R T E R L Y out the whole production area to define the zones. Within the zones they defined "pods." For example, the grip department would be [divided into] pods, and they could travel within certain zones. At this point, the need for a next-level communications system became obvious. On their multi-camera broadcast production, they use FreeSpeak belt packs in a matrix full duplex system. But adding zones to the equation challenged them to make their existing system grow. Next, Gerry Formicola talked about his experience where, historically in broadcast, they had a big comms infrastructure in the truck or studio. Additionally, some of their large multi-camera episodic clients would bring the comms. Radios are very common, everyone has one, but "we don't typically communicate in a simplex fashion. We're used to talking to somebody and having them immediately talk back. That's how we operate as human beings." Intercom operates that way, but it's not something that everyone on these kinds of productions is used to. So, they spent time educating clients, explaining that small groups could have their own private channel. "Showing people how that works, and bringing that along, has been an important part of teaching those clients how they can function beyond the standard walkie-talkie frame." Peter Schneider added that the push for communications is coming from the camera department. "One DP I talked to was told they don't want him within six feet of anybody, so that's a huge change for them. You get AD's wanting to make announcements to the entire set, so that becomes a Voice of God (VOG) system. And from there, you want the director to be able to talk through a little speaker to the actor so they can have a quick conversation without having to meet face-to-face. Sometimes an earwig … and a wireless intercom system facilitates all this style of communication." He went on to say another interesting aspect of developing these systems is that they are putting them on carts and running with backups. In an ideal world, you could roll it off the truck, power it, and be running in a few minutes. Richard Lightstone said that in his broad experience over the years, he's had experience using Clear-Com systems but feels in the current environment, it's going to come down to cost. "It's really a brave new world out there where the guidelines are a starting point and it depends on the ability of the producers to maintain control, and/or the COVID supervisors. And all of that creates an environment of a lot of questions on how each set is going to be run." He went on to explain that from his experience and conversations with other mixers, each show develops its own set of protocols, ranging from very strict, where most of the crew leaves the stage or set, to others where it's more relaxed where people are wearing masks or face shields, and nobody's really enforcing those. It depends on the show. Tom noted that we live in an age where technology can help fill some holes brought on by safety concerns. He went on to say that the need for communication is greater than ever in a time when we're farther apart. From here, the conversation turned toward operational setups. Gerry explained that in his current production, the COVID compliance people have separated them into a "location" unit and a "stage" unit, they have consistent testing three times a week and so on. One of the challenges is how to make it possible for the people in different units to be able to communicate directly with each other. He stated that tools like the Clear-Com Agent IC app are great for that. The app runs on a phone or tablet, and people who don't necessarily have to be on set can talk directly to those who are. Brent described the two systems they run; with three productions going back-to-back. They are using Clear-Com Medium and Delta, both of which are scalable. On MasterChef, their biggest show, they had two carts running 38 FreeSpeak belt packs, 30 panels, and six walkie-talkies interfaced into the system, and 40 walkies working off the system. They don't have anyone off set, so they are not using Agent IC. Tom asked Richard his views regarding on-set versus off- set viewing. He noted that post has been remote viewing for decades with T1 and video lines for producers to view and listen to mixes and make comments. And mixers have been social distancing farther and farther from set for years. But the real issue is how would a boom operator, third, and possibly fourth person be incorporated to manage all the requirements on set. Gerry mentioned that the app-based intercom is here and being used actively. He was recently on a production where he was in New York, part of the production was in Los Angeles, and another part of the production was in a