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PRODUCTION ROOM DIGITAL HANDBOOK the audio department. For instance, the tech manager may be asking for additional wireless channels for riggers flying set pieces into the stage, while the Al or producers want more mics and IEMs for a performance element that was just added. Deployment Once you have the list of required equipment and have determined the baseline coordination, it's time to start fitting the puzzle pieces together. First, integrate the "must -use" equipment from the network and baseline coordination. Once you complete this task, you can fill in the middle of the puzzle with equipment from your inventory. Sometimes, there is simply too many of one particular model and frequency range, and you have to look at subrenting equipment in alternate frequency ranges. Only after the frequency coordination has been roughed in can you start designing an antenna system and accessories to outfit the required coverage areas with all of the various wireless systems needed for this production. While you are planning, maintain your awareness of the other productions going on in the area, such as the red carpet event or the daily network news show. These other events need to be mixed into the overall frequency plan. It's pretty much guaranteed that the talent and production staff will be in rehearsals or on -air at the same time that the main event is rehearsing. An added twist comes in the form of roving camera crews documenting the event setup or shooting B -roll packages for use during the broadcast. As these crews routinely shoot both inside the main event and at each of the associated productions, their wireless mics need to be coordinated for use both inside and outside the venue. Don't rely on those crews remembering to change frequencies when they move from one area to another. Once on site, program all of the wireless systems to the frequency plan you developed, and "war game" all of the systems. War gaming refers to turning all transmitters on at once, and then turning one off at a time and checking the associated receiver for any issues. When all of the fixed systems are working to your expectations, it's important to identify the roaming wireless systems in some manner. We often put a flag or tag on the receiver antenna showing that a camera crew's wireless mics have been cleared for use. This allows anyone in the audio or intercom department to quickly determine if a new system has been brought into the venue or a previously cleared system is in use. If anyone on the crew spots wireless systems without flags, they are trained to contact the lead frequency coordinator. This way, the new wireless system can either be cleared for use or requested to be turned off. Show time On the day of the event, many more media crews will show up to cover it, and many of these crews will bring wireless systems. It's important to constantly watch for these new arrivals and intercept them before they start using their wireless systems. If possible, try to clear the frequencies for use and be sure to flag the systems for quick identification. If the systems cannot be cleared for use, ask the camera operator to remove the antennas completely to show that they aren't using the wireless systems at all. Prior planning is key in the wireless microphone game. Learning the recipe for success and being able to apply it before and during the event will help you produce every event with zero wireless problems. BE Jason Eskew is a wireless specialist with Professional Wireless Systems and the author of the lntermodulation Analysis System frequency coordination software. + ADDITIONAL RESOURCES + The following are available on the Broadcast Engineering website: FCC: Where do wireless mics fit in shrinking TV spectrum? Avoiding audio problems with wireless microphone systems Improving audio quality with digital microphones and digital wireless www.sglbroadcast.com SOFTWARE GENERATION LIMITED LTFS is the new archive tape technology that is changing the landscape of file-based workflows for the broadcast industry. SGL provides support for LTFS drives and libraries, allowing complete content portability between systems and streamlining workflows to increase the revenue that you generate from your content. Visit us at NA82013 to see how SGL & LTFS can help revolutionize YOUR workflows N,SHOW NNSe :r-rEynWbLk N1520 24 broadcastengineering.com I March 2013
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