Behind the scenes at Berman Films: Capturing flawless audio with Lectrosonics digital wireless

For Adam Berman, an award-winning cinematographer and self-proclaimed “Minister of Creation” at Berman Films, the true power of a cinematic masterpiece often lies in what audiences never notice: flawless audio. Based in the Pacific Northwest, Berman leads high-stakes productions for Fortune 500 companies, technology start-ups, defence contractors, and government agencies, frequently working under strict NDAs and in unpredictable environments. Headliner discovers how he depends on a comprehensive Lectrosonics digital setup, including DSR4 four-channel digital slot receivers, DCHR and DCHT digital stereo portable receivers and transmitters, DBSM digital transcorders, and DPR-A plug-on transmitters in order to meet those demands.

Berman’s foundation in the industry began in the late ‘80s at the University of Southern California's School of Cinematic Arts. While he initially focused on both cinematography and audio, his first exposure to Lectrosonics came years later during a sensitive project for world-renowned psychologists. 

“I didn’t own much audio gear at the time, so I borrowed a friend's Lectrosonics UCR411 kit,” Berman recalls. “I loved how reliable it was and the fact that I never had to worry about it. That experience stuck with me.”

“About five years ago, we decided to go all in on our audio kit and to invest in industry-standard equipment,” Berman shares. 

“We initially started with SMWB transmitters and SRC receivers, but the transition to the D2 Digital Wireless line changed everything. Once I bought a DCHR receiver and a DBSM transcorder, I loved them so much that I sold all my hybrid gear and went full D2digital.”

Today, his arsenal has grown to six channels of Lectrosonics audio, allowing him to scale from small two-person interviews to complex live events. 

The power of this digital system was proven during a recent classical music concert at the University of Washington School of Music. With only 90 minutes to set up three cameras and eight channels of audio, Berman used Wireless Designer to coordinate his frequencies. 

“Everything was wireless except for two overhead mics,” says Berman. “I used four DPR-a and two DBSM transmitters. I left that venue feeling proud because, despite the tight setup time, I had gorgeous recordings without a single RF hit.”

Berman also highlights the AES digital output capability as a major workflow advantage, especially when using his ARRI Cine Cameras. 

“I can take a DCHR, set it to AES output, and it trickles beautiful 24-bit audio directly into the camera,” he explains. “It’s not just a camera hop; it’s usable, perfect audio that saves an incredible amount of time in post-production.”

Ultimately, Berman’s loyalty to the brand comes down to certainty. “Reliability is the big factor; Lectrosonics is just rock solid. I know I have a reliable wireless system for any RF environment I may encounter,” he enthuses. 

“But it’s also the company: the staff is very involved, and the service centres are in the United States. When you’re using high-end equipment, knowing the company has your back minimises the variables that can go wrong on set.”