Issue link: https://digital.copcomm.com/i/1277927
24 S U M M E R 2 0 2 0 I C A S Q U A R T E R L Y Now back to the part where my opposing counsel (me) mentioned how much better certain contemporary lav mics sound compared to their predecessor units of the past. Miniature capsule design has come a long way. Having mismatched lav mics now is a lesser concern. They sound "bigger" than ever. Additionally, there are post-production tools that allow for better tonal and timing matching. But perhaps the strongest argument in favor of radio mics is that post- production and production sound mixers have come to realize their practical advantages. Sometimes it is the only way to get a scene. There's nowhere a boom could capture it. Dialogue on motorcycles or navigating an impossible wide-and-tight are examples. Besides, a lav can often capture a whispery line in a scene or a surprise improvisation from the other side of the doorframe away from the two boom operators. Lavs have become essential tools even for the most hardened boom-only sound mixers. Production is used to the time allotment, post-production is used to receiving the lav ISO's, and production mixers have really refined their use and exploited their magic. We've come too far to go back now. THE ARGUMENT FOR REMOTE WORKSTATIONS Now, switching gears to a completely different item of potential contention. This can be considered an RF best practice, as well as a recent potential necessity for creating maximum physical distancing. It is not a new concept. It has been done for many years by Mark Ulano CAS and Steve Nelson CAS. Mixing and recording equipment can be set inside trucks or trailers. Several hundred meters of network cables can be run to link by Aviom hardware with their RF modules or "FOH" (Front of House) carts on set. The primary reason for doing this in the past has been to create a safer place out-of-the-elements for the equipment, as well as creating a quiet environment for the mixer. But for many types of production, this method is not always as practical or conducive ... until now. If production on scripted movies and television need to separate themselves into these three zones: A: set; B: office, basecamp, off-stage truck installations; and C: outside world and teleworking; then this method could place the sound mixer into either Above: Ahead of its time: Mark Ulano CAS "Front of House" rig utilizing Aviom components. Right: Also ahead of its time: Steve Nelson CAS "Front of House" rig utilizing Aviom components. ISO's post would be missing out on in a "boom only" workflow.