During the production, McCoy used DPA’s
CORE 4061 Miniature Microphone – one of the world’s first film projects to deploy the new CORE by DPA technology – along with
4017 and 4018 Shotgun Microphones.
“It’s amazing how the boom mics blend seamlessly with the lavs, not only in the mix on-set, but also in post-production, when you need to blend them together,” adds McCoy. “I like to use some of the bass and proximity from the omni (4061) on the body, blended with the high-audio pickup of the shotgun mic in free space to get better articulation. Using DPA’s 4000 series lavalier microphones
together with the 4017 and 4018 boom mics enabled me to create a harmony of vocal and ambient sound. The actors’ dialogue blended seamlessly on top of the sounds of real neighborhoods, towns and driving. I was able to capture crisp, clean vocal audio over all that background noise and still get incredible fidelities you can hear in the film.”
For wireless, McCoy turned to his trusted Wisycom
MTP40/41 Wideband Bodypack Transmitter paired with the MCR42-S2 Dual True Diversity UHF Miniature Camera Receiver. “With Wisycom, I know that the exceptional RF range will ensure a perfect capture every time; it always amazes me how much range I can get with them,” he continues. “For this project, I employed the AES3 output on the mic transmitters to have that feed directly with a digital stream of audio on the receiver. It all stayed digital once it hit Wisycom’s MCR42, which sounded great. Post-production received a huge dynamic range of audio and was able to really carve and shape the sound design throughout the film from the tracks we provided.”