Wireless Systems

Here is how this works in practice. Production wireless in Brazil starts with ANATEL — the federal telecom regulator. This covers which licenses each RF channel a set uses, from Lectrosonics and Wisycom mic transmitters to Teradek Bolt 6 LT + 4K wireless video, Preston FIZ and ARRI WCU-4 lens control, Lectrosonics IFB receivers, and Sennheiser 2000-series IEMs. We file short-term frequency sign-off during prep, scan each location at fitting, and publish a single integrated channel map so wireless mics, video village hops, focus pulls, and director IFBs share range cleanly.

Here is the breakdown. On the ground, brazil's three primary RF zones. São Paulo's dense TV white-space corridor, Rio's harbor-and-favela mixed terrain, and Brasília's federal-district airwaves — each have their own planning quirks. Amazon and Pantanal locations free up range but lose cellular fallback, so we provision deeper battery stocks and on-set RF spares. Carrier-side fallback uses Vivo, Claro, TIM Brasil, and Oi (5G in the major capitals), and Motorola walkies from the Manaus Free Zone factory keep repair turnaround tractable.

Here is the short of it. The integration discipline is best learned inside Globo Estúdios PROJAC, where Jacarepaguá's permanent telenovela infrastructure runs many wireless layers at once and trained generations of Brazilian RF technicians. We mirror that practice across Casablanca Studios São Paulo, O2 Filmes, Cinerent Brasil, and Cor & Som. The roster covers antenna distribution (Wisycom LFA, PSC Multi-SMA, RF Venue Fin range), filtered band-pass for Bolt 6 video, and dedicated lens-control bands separated from mic range.

Here is what that looks like on the ground. On the ground, For Carnival shoots inside the Sambódromo, dense crowd RF and stage-rig trouble get pre-scanned days ahead. Cristo Redentor and IPHAN-permitted heritage sites bring extra clearance steps. Productions from Tropa de Elite through Bacurau and I'm Still Here have run through this same wireless plan template, scaled up or down for each shoot — never improvised on the day.