LOS ANGELES—Geronimo Creek Lighting specializes in location‑based work, such as commercials, television, film and short‑form projects where we’re constantly moving. Some days we’re shooting promos on a helipad while on other days we’re in vans heading to Santa Monica Beach. Sometimes we’re bouncing between stages with no time to set up a traditional comms network.
On modern film sets, communication is more spread out than ever. Camera assistants who used to stand beside the operator now sit further away, adjusting the focus remotely. In these situations, we need a lightweight and reliable professional communication system that is truly plug‑and‑play. Pliant Technologies’ MicroCom XR fits that workflow perfectly and has become the comms solution I rely on.
The Professional Alternative
I’ve been working in film and television since 2001, and in that time, I’ve seen on-set communication shift toward cheaper, disposable wireless systems. These systems work in a pinch, but they create an undisciplined, constant‑talk environment and they’re not designed for professional production or long, demanding days.
For our crews, reliability matters more than price. I need something that sits between large‑scale matrix systems, which are too big for our footprint, and inexpensive, unreliable radios. Pliant Technologies MicroCom XR is that middle‑ground solution: It’s the lightest-weight system I have found that still offers professional-grade headsets.
MicroCom XR requires no infrastructure and performs consistently in environments where cheaper systems struggle. Even without a centralized antenna, the range is excellent; I can move from one stage to another without losing signal. The 900 MHz frequency penetrates walls better, so the audio stays stable even when you step away or move into another part of the building.
Because the antennas are customizable, MicroCom XR can also adapt to unconventional setups. On one production, I needed coverage across multiple stages without a network. The system’s flexibility allowed us to maintain stable communication without adding hardware or engineering support.
Even without a centralized antenna, the range is excellent. Headset fatigue is another issue we face that often gets overlooked; people don’t realize how exhausting it is to carry gear for 12 hours straight. Pliant’s lightweight headsets make a noticeable difference. Location filming can feel like a contact sport, so having gear that doesn’t drag you down matters.
Critical Production Workflows
As a gaffer, I use comms to stay in sync with the lighting programmer, especially during complex setups. The grip departments also use comms for camera movement involving jibs, techno cranes or detailed dolly shots—a small kit of four to 10 beltpacks is perfect for these situations. Having multiple channels helps keep the communication clear. It’s not about having everyone talking at once, but about clear, disciplined communication that supports the work.
We use the Microcom XR series comms to support our field crews for Season 36 of “Dancing with the Stars”—on location, in dance rehearsal halls, on Hollywood stages and on location for more promotional shoots. MicroCom XR’s range and portability allows our grip, lighting and camera teams to stay connected without setting up a networked comms system. It’s exactly the type of production where a midsize, professional solution makes a measurable difference.
For me, the value of Pliant comes down to reliability, build quality, headset comfort and ease of use. It’s robust, dependable and appropriate for the television and film industry. Whether it’s a reality show, large commercial shoot, or a short‑form project, MicroCom XR offers a scalable, professional alternative to consumer‑grade systems.
More information is available on Pliant’s website.
