Wireless Systems

Here is how this works in practice. Wireless systems on a Peruvian production aren't only about the boom and lav chain — they cover wireless video links between A-camera and video village, wireless lens control for the focus puller working a remote head on a Ronin 2, IFB feeds to the director and script supervisor, intercom networks across grip and electric, and the audio hops that move multitrack from the cart to a producer's bag-rig.

Here is the short of it. Our inventory sets up Teradek Bolt 4K and Vaxis Storm wireless video transmitters sourced through Audiovisual Project Perú and Cinesphere Rentals, Preston FIZ and ARRI WCU-4 lens control systems with their dedicated 2.4 GHz range, and Tilta Nucleus-M for the smaller commercial and documentary jobs working out of Lima or Cusco. Intercom runs on Riedel Bolero and Clear-Com FreeSpeak II for ensemble drama where AD comms have to cover a multi-block Centro Histórico de the capital night exterior or a Sacred Valley unit base spread across multiple sets.

Here is the breakdown. Our team handles MTC frequency licensing — Peru's Ministerio de Transportes y Comunicaciones needs permits for the high-power wireless video and dense intercom counts that global productions arrive with — and runs a full RF survey of every shoot location before day one. Frequency allocation is documented across all departments: wireless audio in the MTC-licensed bands, wireless video on 5 GHz with regional channel selection, lens control on 2.4 GHz set up against any WiFi infrastructure, and intercom on the dedicated DECT or 1.9 GHz allocations.

Here is what that looks like on the ground. RF monitoring continues through the shoot day, with on-call technicians handling re-coordination when a Lima broadcast neighbour fires up a competing signal mid-take. The same coordinator manages the Manú jungle schedules, the Cusco altitude shoots, and the the capital coastal productions across the schedule.