LONDON, ENGLAND― Set in the 72 hours leading up to D‑Day, “Pressure” is a tense historical drama starring Brendan Fraser as Supreme Allied Commander Dwight Eisenhower and Andrew Scott as British Meteorologist James Stagg, whose conflicting weather predictions shape one of the most consequential decisions of World War II. To capture every detail of the film’s intricate dialogue, atmospheric environments and explosive action sequences, Production Sound Mixer Nadine Richardson relied heavily on DPA Microphones and Wisycom wireless technology.
From bustling operations rooms to chaotic beach landings, DPA Microphones played a central role in meeting the demands of the film’s dynamic environments. To start, Richardson selected the brand’s 6060 and 6061 Subminiature Lavaliers, which provided the discreet size and superior sound quality necessary for this production. “The 6000 Series microphones are very good at hiding in very small places, without any visibility; they’re perfect for that,” she says. For scenes involving shouting or explosive action, Richardson also incorporated 4061 Loud and 4062 Extreme SPL Omnidirectional Miniature Microphones, which “offered additional headroom and clean handling of high‑SPL moments.”
For interior scenes in the forecast and operations rooms, and other booming applications, Richardson turned to DPA 4017 Shotgun Microphones. “The DPA shotguns sound lovely and mix incredibly well with the radio mics,” she adds. “The mics also provided the clarity and consistency needed to capture the film’s dense meteorological discussions and the energetic hubbub of the operations room.”
Richardson also relied heavily on 4018 Supercardioid Microphones with active cables in plant miking setups, for the compact size, durability and diffused, mix‑friendly sound. Hidden within telephones and around maps and military equipment, the 4018s helped capture authentic environmental detail throughout the production. “We planted the mics into vehicles, and they dealt with vibrations and humidity incredibly well,” she continues. “The 4018s are very durable; you can place them wherever you need to, and they work great.”
Together, the mics provided the flexibility, durability and clarity required to handle everything from quiet, intimate dialogue to high‑SPL battlefield action, all while maintaining a consistent sonic character that supported seamless mixing in post.
To support the DPA microphones, Richardson used Wisycom MTP61 Miniature Bodypack Transmitters across the cast, MTP40 Bodypack and MTB40s Plug-on Transmitters for plant mics and MTP60 Miniature transmitters on booms, along with an MRK16 Modular Wireless Microphone Receiver System with LFA Wideband Active Antennas for multizone coverage. “The reliability of the transmitters and the wide tuning range is incredibly helpful,” she says. “We were always able to get all our radios into our frequency list without any intermodulation. The Bluetooth control module inside the MTP61 also proved invaluable on set. We could connect to the device without having to touch the transmitters, and the actors absolutely love that.”
The compact size of the MTP61 was another standout advantage. “They’re half the size compared to the MTP60, which made the costume department very happy,” Richardson adds. Furthermore, for scenes involving shouting, gunfire or explosions, like the Utah Beach landings, she relied on Wisycom’s 32‑bit float recording capability. “You’re not going to get any clipping. It can deal with high sound pressure levels incredibly well.”
Wisycom’s MRK16 receivers, LFA filtering and multiple antenna zones ensured stable, long‑range performance across large sets. “The main benefits are the confidence and stability, knowing that it’s just going to work.”
Beyond dialogue, Richardson used both DPA and Wisycom gear to capture extensive on‑set sound effects, from teleprinters and telephones to motorbikes, landing craft and military vehicles. “We had original military trucks, Jeeps and amphibious landing crafts, and we miked everything we could,” she explains. “We deployed a 4062 with an MTP61 on a vehicle, and off it went. The mic placements specifically provided excellent flexibility.”
Richardson’s meticulous sound work, supported by DPA and Wisycom, helps bring authenticity and emotional depth to one of history’s most pivotal moments on screen. For Richardson, the combination of DPA microphones and Wisycom wireless systems was essential to delivering the clarity, durability and adaptability that “Pressure” required. “I was really happy with the sound we were able to obtain,” she says. “This included stable operation, good range, no intermodulation and incredibly usable dialogue and effects. The post team said everything we recorded was an absolute joy to use.”
“Pressure” is currently playing exclusively in select UK and European cinemas and is available for streaming in the U.S. and other territories.