In some scenes, the complexity of the spacesuit costumes worn by the main cast members and the need to remove space helmets to fit in with the storyline meant that up to three microphones were needed to capture the sound.
“We would put one d:screet™ 4061
in the front of the space helmet with the cable inside the helmet’s foam supports and a small transmitter positioned in a cavity in the helmet,” Osmo says: “A second 4061 was placed below the locking ring in the space suit, with the transmitter inside the suit, then a d:fine™ Flex Omnidirectional Headset Microphone
was dressed under a cap and in shot as a practical talk back prop. The transmitter for that microphone was mounted under the back pack, alongside the Lectrosonics IFB R1a receiver.
“This set up allowed the cast to start the scene with their helmets off and then put them on while the camera was rolling without having to stop the dialogue. Having the three body mic alternatives gave post production the option of using whichever microphone was most suitable. They also had the sound from the boom mics. Once the cast had their space helmets permanently on, we found that the d:fine 66 Headset Microphones were the best option.”
Working alongside Osmo on Alien:Covenant were Key Boom Operator Shanti Burn, Boom Operators Tod Moore and Mark van Kool (also in charge of radio mics) and Ben Yeadon, who was in charge of Cable/Utility.
“Shanti did a great job in pre-production, liaising with the costume department and getting them sew special pouches into the costumes for both the Lectrosonics SMV and SMQV radio mic transmitters and the IFB1Ra receivers,” Osmo says. “Tod set the transmitters, receivers, mics and in-ear pieces off set with the costume department as the cast were being dressed. Later, when Mark joined the sound crew, he replicated the setting up of the radio mics but also added his personal stamp on rigging the DPA mics in the costumes.”