Panchout explains that he outfitted a pair of 6060s
with Bubblebee lavalier concealers, designed specifically for the 6060. Wardrobe then used a tube to run the lavalier’s cable along a seam on Laurent’s top, which was made of fishnet material. On the other end, Yasumoto used a cable to plug the mics directly into the main pod, which was specially designed to include an active microphone jack. This, he says, ensured consistent, quality sound versus using it as a wireless option.
“It was a great help to hide the mics in different positions,” he adds. “It’s why I typically also use DPA’s 4060s with a lavalier concealer. Even if you have no time to find the best position for it to go in clothes, you can just take the lavalier concealer and put it inside as fast as you can with tape on it and it will work in every position.
“When we filmed her [Laurent], she spent a lot of time inside the main pod’s dome, which was made of plexiglass,” Yasumoto continues. “This material caused some strange acoustics and reverberation, especially with the air volume adjusting as we opened and closed the pod. In the end, the DPA mics that we used were the perfect solution for this job.”
In addition to the body worn solution, the pair also modified a 4080
microphone, removing all the foam and wrapping it around a wire rig from Ursa, to affix it to the top of the pod for various scenes in which the boom could not be used. Panchout explains that “this was the only solution as some lights above the plexiglass dome were reflecting onto Melanie’s face,” which made it challenging to use a boom mic during filming. Additionally, it was physically difficult to boom while the camera was moving. Therefore, the DPA mics, most especially the 4080, provided the support necessary to ensure the sound was captured on both ends.