Recently, it was discovered that some new CONSUMER (not even PRO!) Wifi distributors are hogging up space in the wireless world, causing horrible interference, and worst of all, it hops to different frequencies. So even if I were to set up some wireless mics on safe channels within the same zone, those channels might be taken over at any given point.
This is an issue that we are seeing more and more of as wireless communications like Wifi, Smart Phones, and consumer grade electronics are taking up our radio spectrum in the professional audio-visual world. What does that mean for us? Well in 2009 the frequency range known as Block 28 was annexed by the US government, so many wireless devices such as Lav mics, IFB listening devices, and even Television or Video Broadcast was out of luck, and all that expensive equipment was then rendered useless. What we see is a trend of more and more things occupying the wireless work spectrum, which means we have less and less room to use wireless devices on set. So you think you can get away with just setting up a couple of wireless lavs and be fine? Think again.
A- Thats a lazy and non professional way of looking at sound, and
B- Youre going to need to start hiring Boom Ops (Thats right, the way it's supposed to be! A Sound Mixer/Recorder, and a Boom Op, and no, a PA doesnt cut it!)
We sound guys have been doing the one man show for a while, and though you can get great results from it, keep in mind that if you want someone monitoring the levels of YOUR audio, making on the fly adjustments so it doesnt get too low and too high, AND boom at the same time, remember how many arms one person has. In this equation, you need three arms.
RANT: No matter how low budget the production, I still see a DP operating the camera, an AC pulling focus and doing his/her normal tasks, and usually the camera or at least lenses are being rented.
Now look at the audio department. Usually you have your Mixer/Recorder adjusting levels, setting the wireless systems up and placing them on talent, and doing a lot of other technical voodoo that no one else on set really understands, AND you have a Boom Op taking care of the most expensive mic on set, which is undoubtedly getting the best sound (assuming your lighting crew knows how to light for sound, and youre not shooting all wides!). Camera gets an assistant, sound needs one too to do things right.
Back to the Issues at Hand: Noise! The world is getting noisier! A guy a block away from me was sitting in his drive way revving his motor cycle for a half an hour, just because he felt like it! Plus, cars are noisy, here in Los Angeles there are planes and helicopters flying overhead at any given moment, trains, kids, dogs, etc. Try finding a place where you cant hear anything but the wind, or birds chirping. The noisier it gets, the less we can really rely on the boom mic, even though it is designed to cut down on a lot of noise. But if our wireless channels are being taken up, we cant use those either.
Will we have to revert back to hiding wired mics on set all over the place, and have talent only speak when they are near one? I dont know what the outcome will be, but I see thing getting a lot worse before they get better. So film crews, listen to your sound guy or gal when he/she raises a red flag, and dont pretend you know what youre talking about when you start offering suggestions like "Cant you boom from underneath?" or "Cant you just go wireless?"... We dont make camera or lighting suggestions, and we dont tell directors how to direct. Everyone is supposed to know their job, and what they need to do in regards to the other departments. Let the boom mic get adequately close to the talent to get good sound, unless you dont care, in which case, hand the boom over to a PA and see what your budget looks like when you have to fix everything in post.
