Comms Systems
Comms (communications) systems connect production team members through headsets and microphones so they can coordinate in real time.
Where we use this- Alongside the programme: every crew position on headsets and talkback.
- A show is only as fast as the call from the director to the operator.
- Comms on the same network as the programme. When one fails, both do.
What it means in live production.
Comms (communications) systems connect production team members through headsets and microphones so they can coordinate in real time. A director calls shots to vision mixers, mixers communicate with camera operators, graphics operators coordinate with mixers, and everyone stays synchronized across the distributed production.
On a distributed production, several venues plus a master control room, comms is critical infrastructure. The director in the main MCR needs to reach the vision mixer, audio mixer, graphics operator, technical director, and every venue supervisor, all at once. Professional comms systems handle this complexity with user groups (different comms channels for different roles).
How it works on a live production.
Comms typically use intercom (hard-wired, analog) or IP-based comms (digital, over network). Analog intercom is reliable and simple but requires running physical cables everywhere. IP-based comms integrate with network infrastructure and scale easily but require expertise in network design.
For large productions, we use combinations: primary comms might be analog intercom for core MCR team (immediate, reliable), with IP-based backup for arena supervisors and remote crew. This hybrid approach captures advantages of both.
Headset distribution matters. Main operators (director, vision mixer, audio mixer) have comfortable headsets worn for the entire event. Camera operators have lightweight headsets positioned for convenience. Talent in-venue might have earpieces so they hear cues (when to start speaking, when segment ends).
Talkback (one-way comms from control room to talent) is separate from intercom. Intercom is crew-to-crew (two-way discussion). Talkback is producer-to-talent (one-way instruction). These require different systems to prevent confusion.
Full event production
Every production we run has its own comms plan, with a fallback when the primary fails.
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ReadQuestions people ask about this.
How many comms channels do we need?
It depends on team size. A small event might use one channel (everyone hears everything). A large event uses multiple channels: primary channel for core MCR, secondary for arena supervisors, technical channel for IT/broadcast ops, talent channel for talkback to speakers. Too many channels creates confusion; too few creates information overload.
Can we use wireless headsets for comms?
Yes, but with caveats. Wireless gives freedom of movement but requires reliable RF coverage. Professional wireless comms are expensive. For stationary positions (control room, mixing console), wired headsets are more reliable. For roaming crew (floor directors, camera ops), wireless is valuable if RF is planned carefully.
What happens if comms fail during the event?
Immediate communication breakdown. If the director can't reach the vision mixer, mixing decisions are delayed or wrong. Backup comms (second intercom system, cellular phones with emergency numbers) are essential. We test failover before events to ensure team knows who talks to whom if primary comms fails.
How do we prevent crew members from transmitting accidentally?
Push-to-talk buttons (hold button to transmit, release to stop) are standard. Some comms systems require voice activation (sensitivity settings to prevent background noise from triggering transmission). Clear protocols about who talks on which channel prevent accidents.
Tell us the date, the venue and who is watching.
We scope every live production against its run of show, not a package.
CBA produces live event streaming services for conferences, launches and ceremonies across the Emirates and the GCC.