Location Sound Packages

Location sound packages in Italy must take on the kind of day a feature DP hands the sound department — a morning Sky Italia drama interior on a Milano Bovisa stage, a midday move to a Mediaset Cologno Monzese exterior, and an evening pickup on a Roma centro storico cobbled lane with vespa traffic that nobody can lock.

Our team builds kits around Sound Devices 8-series recorders, with the 833 and 888 for multi-track narrative work. MixPre series units cover smaller documentary jobs, and Zaxcom Deva and Maxx systems come in when the design needs a recording-capable transmitter chain. Wireless count scales from a single Lectrosonics lavalier rig up to dozens of set up channels for ensemble drama, sourced through Aroundsound, EM srl, and Microphone Italia. We hold both sound bag and cart setups in inventory, so the kit matches the shooting style instead of forcing it.

Each package is prepped and frequency-coordinated before delivery. We run location RF scans against the post-700 MHz AGCOM allocation table and log clean channels for the mixer, the boom op, and the wireless video department before day one. You can add AITS-affiliated Italian production sound mixers trained at the Cinecittà sound stages to the booking. Italian boom operators who know CCNL Cinema Audiovisivo schedules run the cart alongside them.

Backup transmitters, receivers, and recorders travel with longer schedules, and tech support stays on call across the shoot day. We deliver same-day from our Roma base, next-day to Milano, Torino, Bologna, Napoli, and Firenze, plus set up transit to the Dolomites or the Cinque Terre when the unit moves regionally.

Each package is shaped to the way a shoot actually works. A run-and-gun documentary unit gets a light bag rig built for fast moves. A narrative drama gets a full cart with multi-track mixing and more inputs. We scale the track count and wireless channels to the cast and the scene. A small interior crew and a large ensemble exterior draw very different kits. That fit keeps the sound department lean without leaving it short.

Sound never works alone, so every kit is built to tie into the wider set. We sync timecode to camera and the DIT cart, so audio and picture line up clean in post. Comms and IFB feeds slot into the same RF plan as the wireless mics. Outputs are configured for the video village and any live mix the director needs. That keeps the whole chain talking, from boom to broadcast reference.