Issue link: https://digital.copcomm.com/i/1469942
26 PRODUCTION SOUND & VIDEO – Summer 2022 on those loud lines. Post can then decide what the flavor of that is to be in the final. With the shields on for the wide coverage, there is of course, the enclosed bubble sound of the helmets and then the fans running to keep the shield clear of moisture. Auto mixing and Cedar NRS on that comm channel did improve the clarity on the comm feeds in keeping with the FS II system. I got decent scratch recordings to hand off to post on those. On the tighter coverage with the shields off, I was happy that we could quickly flip our gain settings for a better base line voice worthy of the cinema venue. The helmet shields changed often and at times without much warning, so again having networked gear to keep up was impactful to us all. I want to thank our splinter unit crew of mixer Richard Schexnayder and Boom Op Leonard Suwalski, and Jared Lawrie and Lewis Rhodes as our 2nd Tech Comm Daily Operators. This was a fulfilling project to work on because we had support in time and resources to select people and the gear suited to the task. Computers and the ability to network the gear were our friends. We were given the time to sort out issues as they revealed themselves to us. We had a plan and committed to it and identified the bits that were not working and got rid of those in favor of something better. We had leadership that led by the idea to be fully engaged, stay calm, and carry on because the pumpkin time is coming for our young actors. No doubt being contained on stages was a big help versus a live expansive location exposed to the weather elements and more RF density. Without the homework, networked gear and evolved knowledge, the friendly walls of that stage keeping our outer space cold in and the hot summer rains out, could very well have been those same prison walls of stomach aching hell lurking from the past. Top left: The helmet connections required for audio in and out, as well as multiple power connectors for fan and lighting control. The TASF connection made the helmet mics compatible with Letrosonics transmitters in case a quick line is needed from the actor without needing the full comms system—useful because both First and Second Unit Mixers use Lectrosonics wireless. Top right: The "Moon Rover" set was completely enclosed on all sides, including top and bottom. Concerned about RF propagation into and out of the set, we worked with the Art Dept. to build antennas into the set, fully decorated and fully functional, with BNC connections made outside and under the rover. Bottom left: The custom ear pad perfectly encapsulates and isolates the Amazon-purchased motorcycle helmey speaker used for comm audio to each actor.