Issue link: https://digital.copcomm.com/i/1057439
C A S Q U A R T E R L Y F A L L 2 0 1 8 73 ready and any system re-patching, testing, or "dialing- in" is done and you can focus on finessing the always unique-to-location RF coordination and concentrate on the most important aspect of our jobs, critical dialogue recording. The downside to this method is often there is not much room on that aforementioned deck of the Shot Maker rig. It is imperative that this is discussed and arranged ahead of time. Even though my personal preference for this type of work is to set myself up in the passenger seat of the cab of the Shot Maker, I do absolutely employ the cart rig in other scenarios (to be discussed later). Either way you do it, one thing is clear: doing process trailer work is freaking noisy, exhaust is smelly, and it's honestly just a pain. That said, I don't anticipate car scenes ceasing to exist in scripts. RECORDING WIRELESS This is a method that I have limited experience with. However, it's quite possibly the best scenario that bridges the divide between full process trailer work and actors free-driving. Zaxcom wireless have the ability to record with timecode onto an internal micro- SD card and transmit the RF signal to the sound mixer's receivers simultaneously. This offers flexibility in the event where the scene starts off on a process trailer in an early camera setup and then later becomes a free-drive. The latest transmitters by Lectrosonics have the ability to record to a micro-SD card, as well but in an either-or- fashion where you choose between transmitting RF or recording. They also make a couple of pocket recorders, the PDR and SPDR. One being mono and one being dual input. This can offer flexibility when given time restrictions to do a changeover if production changes its mind in regard to the driving method. THE BAG DROP Here's another option, but it all depends on what equipment you have in your arsenal. Given how common this method is, it's the one I have the most distain for. However, I will express its positives and negatives here. The reason I loathe this method of working running shots is because of the lack of control. Though in an actor-controlled, free-driven vehicle, this is a much better approach relative to personal safety than jumping into the vehicle when the only open spot is the trunk. The most common cause for this predicament is the lack of arrangement of a follow van. Even if a follow van is arranged for, sometimes they are deemed to be too unsafe because of the terrain where the picture car is traveling. Or, there is no way to have the ability to stay close enough to the picture vehicle and have reliable performance of video picture transmission and audio RF transmission. THE FOLLOW VAN When a follow van is arranged for and the conditions allow, this can be a great way to work. It is a very delicate balance but, if the follow van can stay within a reasonable proximity to the picture vehicle and you can have a directional antenna facing the correct way, and if you are lucky enough to have nice and clear RF scans. Assuming these conditions are just right, you can have a luxurious day in a follow van sitting behind the director of photography viewing everything on large LCD screens mounted upfront. Because of the mentioned "mild Faraday cage" aspect of cars, your biggest challenge is hanging on to reliable RF in an ever-changing environment. When it works, it works great and it's the best way to go, even compared to process trailer work (in my opinion). The reason being is that the production outfit of one picture car and one follow van makes for a much more compact and slick train of vehicles traveling the route. Plus, you no longer have the noise and exhaust of the generator in a Shot Maker rig. Another reason I titled this article with the pun of CART in the title is that here is another situation where an entire sound cart could be placed in the follow van. Again, the same restrictions apply as when doing this on the Shot Maker rig: you must have a sound cart small and light enough and you must prearrange for it with the transportation department. All they have to do is take one of the commonly used large passenger vans and remove the front seat for the director of photography's monitors and remove the back seat for the sound cart. The same preparation advantages apply where your audio system and workflow are as ready as they are on any other given day. No need to re-patch, un-plug, or re-plug. The grip department can also provide you with suction cup rigging so that you are ready once the antennas are on the roof, allowing you to do a clean RF scan.