Wide variety of DPA microphones with Wisycom transmitters and receivers

Netflix film Paddleton takes a unique approach to sound

With a unique improvisational acting style at the heart of the Netflix original film, Paddleton, capturing audio was of paramount concern for Sound Supervisor Daniel S. McCoy CAS, owner and operator of ToneMesa, Inc. Taking into consideration that renowned comedian Ray Romano is in the starring role, McCoy seized the opportunity to showcase the actor’s comedic style by integrating two audio powerhouses, DPA Microphones and Wisycom into his production workflow.

DPA On The Set Of Paddleton (Quelle: DPA Microphones)

DPA Microphones and Wisycom enabled McCoy to succeed as a one-man sound crew on the set of the Duplass Brothers’ production. In today’s ever-changing landscape of film and cinema, the paradigm has shifted to where many projects, such as Paddleton, have more of a documentary formula and require reliable equipment with a skeleton crew that can work at an efficient pace.

You can 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 creates a harmony of vocal and ambient sound. The actors’ dialogue blended seamlessly on top of the sounds of real neighborhoods, towns and driving. Now it is possible to capture crisp, clean vocal audio over all that background noise and still get incredible fidelities you can hear in the film. All thanks to Sound Supervisor McCoy.

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. The exceptional RF range will ensure a perfect capture every time. For this project McCoy 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. 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 they provided.


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