Wireless Microphone Systems

Here is how this works in practice. Wireless microphone systems on Australian productions run from a tight three-vendor core: Lectrosonics Digital Hybrid (SRc receivers with SSM, SMQv, or DBSM transmitters) for narrative features, Wisycom MCR42 dual receivers and MTP41 body packs for ensemble talent loads, and Sennheiser Digital 6000 in four-channel rack form for tentpole television.

Here is the short of it. Cameraquip in Sydney and Melbourne, Lemac across Sydney + Melbourne + Brisbane, Filmplus in Alexandria, and Light & Sound Industries in Brisbane each stock matched-pair packages with calibrated antennas — Lectrosonics SNA600, PSC RF Multi, or Wisycom LBNA — for distribution across stage and exterior builds. Lav choice splits between DPA 4060 / 6060 subminiature for high-end features, Sanken COS-11D for everyday narrative work, and Countryman B6 for hidden costume work on Village Roadshow Gold Coast period pieces.

Here is the breakdown. ACMA — the Australian Communications and Media Authority — controls all UHF range allocation under the Radiocommunications Act 1992. We pull temporary apparatus licences against the 520-694 MHz UHF band. This sits within the active broadcast TV bands operated by ABC, Seven, Nine, and Ten — meaning Sydney CBD, Melbourne CBD, Brisbane, Gold Coast, Adelaide, and Perth each have distinct windows of clean range.

Here is what that looks like on the ground. The post-2020 600 MHz repack removed the 694-820 MHz band from production wireless, so all today's kit operates below 694 MHz with intermod coordination via Shure Wireless Workbench or Lectrosonics Wireless Designer. Heritage builds at the old Fox Studios (Matrix, Star Wars II + III, Moulin Rouge!, Wolverine) and recent Village Roadshow features (Aquaman, Thor: Ragnarok, Elvis, Furiosa) all ran the same Lectrosonics / Wisycom / Sennheiser triumvirate. Cross-border NZ kit ships from Auckland in three Qantas hours; LA arrivals via 14-hour direct cargo through Australian Border Force ATA carnet.