Issue link: https://digital.copcomm.com/i/1545202
68 S U M M E R 2 0 2 6 I C A S Q U A R T E R L Y While prepping for the last two episodes, I reached out to Alex and Matt to get myself up to speed on the workflow. They were both able to provide valuable feedback on the process and the variables to look out for—especially in the world of RF coordination for the helmet scenes. I knew from my own experience that going into an exterior location with a high wireless count between playback, Alex and myself would require careful coordination and planning. Using Soundbase to pre-coordinate and Wireless Designer to deploy, I was able to do a clean RF coordination of all our channels—including talent, comms, and headset IFB's—before we arrived on set. I only needed to check my TinySA Ultra on arrival to ensure the scans matched what I was seeing on set. BRITTANY MYERS: Additional Utility The comms systems on Peacemaker required diligent collaboration between both the sound and costume departments. The wires in the helmets had to be placed strategically for clarity, with reliable wind protection, because once the suits went on, there were no halts to filming. This was often the easy part, though. On a fast-moving, large production, this process often felt more theatrical than a traditional film set, with quick changes and helmet switches behind a costume rack just off set. Often during scenes, we were switching quickly between stunt performers and real actors, using earwigs for director feedback as well as helmets wired for communication and recorded dialogue. On days where we had multiple performers switching back-and-forth, it was useful to have a second utility in the sound department to manage helmets and wardrobe, as well as a playback operator to manage earwigs. Keeping diligently aware of all the moving parts and pieces was essential to make sure communication from the directing team, as well as the recording was as seamless and faithful as possible. MICHAEL WYNNE: It's also worth mentioning that Alex and I were both using Lectrosonics D2 digital wireless systems for both the IEM's and talent wireless, which proved to be very robust. The duets in the helmets had no issues with the DBSM transmitters in close proximity, which I had tested in advance. Being prepped, preplanned, and pre-coordinated was critical to not wasting time on what was a fast-moving day with lots of work ahead. We started our first scene on a daylight exterior in a tall, grassy field. Due to the nature of the shots, they wanted everyone as far back as possible. We ended up negotiating to push our carts onto the field at a distance of about 300 feet from talent, but we were able to run a pair of Wisycom LFA's out to set with a 100- foot run. Fortunately for us, the transmitters and IEM's for talent, plus the communications systems, were in the helmets and not buried in the costumes. That gave Alex and myself an advantage for range and robustness when it came to signal-to- noise. On my cart, I also use a Wisycom SPL2208, which has two input zones and multiple RF output sends on a patchbay. So, I was able to provide Alex with the RF receiver he needed from the same pair of antennas, minimizing our footprint. Also on Actors on set in their suits