Issue link: https://digital.copcomm.com/i/1504940
38 FA L L 2 0 2 3 I C A S Q U A R T E R L Y the dancers have one song in their earwigs and she has entirely different music in hers. Many of the scenes use music and dialogue simultaneously, which equals a lot of earwigs for me. I counted and recounted and found that I needed at least 35 earwigs! How on earth was I going to find 20 additional Invisity's that would be in good-enough shape that I could count on them? Long story short, I couldn't find them. So, I had to try to find a replacement … again. I contacted Phonak to see if their Roger system had improved or if they could help me find more of the older version of Invisity. I was hesitant but hopeful for version two of the Roger earwig [which was launched in 2020 and embedded the most advanced Sonova RF technology]. While the first version didn't perform as well as I had wanted, I had good luck with their previous It was discouraging. I didn't have great results at the beginning. I had barely 40 feet of range with its included antenna. So, I stuck to my old batch and babied them for a few more years. My team and I created elaborate little cases, pouches, and things to keep them as safe as possible between the moment they left and returned to our cart. My trustee batch of cradled earwigs was still going. Then the moment came—a movie was on the horizon—and to get it done comfortably, I would need a lot more earwigs. The movie coming up was Babylon, a 1920's silent-era film going into sound, directed by Damien Chazelle, who I worked with on La La Land. Damien was clear that the film would have a ton of music playback, a ton of dancers listening to the music, and, most specifically, some would need to be dancing to different songs depending on the scene. An example of this is in the first party scene of the film where Margot Robbie's character does a wild dance; Babylon (2022)