Kit

Sound Devices 688
Sound Devices 644
Sound Devices 633
Sound Devices Mix Pre 6

Zaxcom TRXLA3.6 Transmitter x 10
Zaxcom TRXLA5 x 3
Zaxcom TRXLA3.5 x 3
Zaxcom QRX200 x 6

IFB200 Zaxnet Transmitter

Zaxcom CL4 - RX200 Stereo Camera Hop

Zaxcom URX100 IEM x 3

Zaxcom ERX3TCD IEM/Timecode x5

8 x Zaxcon ZFR300 Recorders

The Zaxcom system not only offers great quality audio over RF, but also the ability to record locally on the transmitter. Ideal for multi camera reality or observational documentary productions. The IFB200, working on 2.4ghz, constantly jams timecode and allows for remote gain and frequency tweaks whilst shooting.

The URX100 is preset with the frequencies for all transmitters and camera hop allowing production team members to dial in directly to which ever cast/contributor/Recordist they wish.

ERXTCD’s are there for simpler IEM. The mixers master audio is sent via the IFB200 giving the IEM output but being on the “Zaxnet” network means they can be used as Timecode locks for cameras. Or. When using something like a A7s or FX3, timecode AND mix feed can be an output option. The camera can then have guide audio on one channel that matches the master mix (rather than an atmos mic, as on a tentacle TC unit) and on the other Timecode.

ZFR, simplify the RF field as they act as body worn recorders rather than adding more RF to any congested field. They are another element in the Zaxcom system that locks into Zaxnet. Working again with the IFB200 you have the ability to tweak gain as well as jamming timecode to avoid any drift or offset.

DPA 6061, DPA 6060, DPA 4061, DPA 4060, DPA 4097
DPA Microphones draws on more than six decades of world-class microphone design experience. This history starts back in the 1950s, when their predecessor, Brüel & Kjær, developed the first, precisely accurate measurement microphones. Today, sound superiority and technical innovation is still at the heart of everything they do.

Sanken COS11
Sanken COS11 have become something of a staple in the documentary and features world for the past 25 years. Very small and easy to hide they manage to couple high fidelity with robust build quality.

Countryman B3
To put simply, when you need a mic to do something silly and sound good this is the one.
Its found it's way into my kit bag for it reliability in conditions where other mics failed. From surfing to skiing. The mic is going to need to be hard as nails and come out sounding great, this what goes on the talent.

Wisycom MCR54 Rx
MCR54 is a quadruple true diversity wireless microphone receiver system in a modular stand alone or slot in configuration

Wisycom MCR42 Rx
MCR42 is a camera receiver designed for best-in-class performances. Four receivers are internally coupled by two in a real TRUE DIVERSITY CONFIGURATION. Its front end has a chain of microcontrolled-driven movable filters to allow BROADBAND OPERATION up to 240 MHz with great selectivity.

Wisycom MCR51 Rx
MPR51-ENG is a compact wideband receiver designed for professional ENG, broadcast, and field production applications.
This receiver features a real TRUE DIVERSITY configuration along with a unique wide-band tuning range of 230 MHz of bandwidth.

Wisycom MTP60
MTP60 currently has the widest tuning range of any wireless transmitter on the market (from 470 to 1075MHz).
It is equipped with a Bluetooth Long range module which allows to adjust parameters in real time via mobile device apps.
It offers embedded recorder to record directly on the MTP60 memory card and an integrated Linear Time Code decoding.

Wisycom MTP40
MTP40S is an extremely small and light pocket transmitter specially designed for professional wireless microphone applications

Zaxcom Micplexer 2 antenna distribution

Audio Wireless Antenna Distribution DADM266
Audio Wireless Diversity Fin Antenna
Betso "Bowtie" Antenna
AW TRANSMITTER POWER BOOSTER MODULE

Sanken CS3-E (Shotgun Mic)

Sennheiser mkh8060 (shotgun mic)
Sennheiser mkh8050 (Cardiod mic)
Sennheiser MKH60 (Shotgun mic)
Scheops CCM41 CCM8 Stereo Pair

Sennheiser G4 IEM's x 13
Sennheiser G4 Scratch Track (Channel 38) x 3
Relacart IEM x 3

Timecode System Wave (Master Unit)
Atomos Ultrasync One
Ambient Digislate
Betso TC ReadOut Slate
Tentacle Sync E 

ICOM F2000 x 20 

CEDAR's DNS (Dialogue Noise Suppression) technology eliminates traffic noise, air conditioning, wind, rain, babble and general background noise from audio signals. It will also help to compensate for unfavourable acoustic conditions and will even suppress excessive reverberation.

The 2-channel DNS 2 is designed specifically for portability and extreme simplicity of use, it's suitable for use in all situations - location recording, live-to-air broadcasting, live sound in venues such as theatres, concert halls, conferences venues, and places of worship, as well as studio work and post.

I’ve used the DNS2 on projects from Obs Doc to Commercials (https://vimeo.com/513405458, https://vimeo.com/504867626, https://youtu.be/VuUBJoTZ3X0 ) with the “on location” processing of the CEDAR being used on the final project rather. Both the CEDAR processing and original recordings are provided to production in a Timecode locked .WAV file. Whilst not being a silver bullet to all “Bad Locations” for sound recordists this amazing hardware does allow you more latitude for filming.

Sound Devices 633

Sound Devices Mix Pre 6

DPA 4097 x 4
Sanken CUB x 2
RF dual channel Receiver (as required)
IEM TX (sennheiser G4 or SK5212)
Audio Wireless Tx Power Booster
Magmount Hero Car Tx aerial
Magmount Tracking vehicle RX Aerials - AW Diversity Fin/Yagi antenna
Hague Suction Mounts
Manfrotto Magic Arms & Super clamps
Safety Chains