CHICAGO ― Capturing the raw energy and emotional intensity of FX’s hit series “The Bear” is no small feat, especially when the set itself is as hectic and unpredictable as the kitchens it portrays. For Production Mixer Scott D. Smith, achieving that level of authenticity meant leaning on DPA Microphones and Wisycom to deliver clean, consistent sound under some of the most challenging conditions of his career.
From bustling kitchens to chaotic dining rooms, the series often required Smith and his crew to manage dozens of inputs at once. For one specific standout wedding sequence, the sound team deployed an extraordinary setup, which included two mixing consoles, 32 microphones and a crew of eight—double the size of most sound departments.
“The biggest challenge was the scene where 16 actors were underneath a table,” explains Smith. “It was nearly impossible to boom, and lavaliers weren’t working because the actors were hunched over and moving around. After a couple of sleepless nights, the only solution was to mount the mics under the table, as they had to be hidden.”
To address this scene, Smith turned to DPA 6061 Subminiature Microphones, which offered the perfect combination of size, sound quality and consistency. “We tested about five different mics before deciding on the 6061,” he recalls. “In the end, not only did the DPAs sound good, but they were also the only brand that could deliver as many as we needed in the timeframe. The consistency between capsules was critical, since the actors were moving from one position under the table to another.”
The solution worked better than expected. “Honestly, I didn’t think it was going to be that successful,” admits Smith. “But the post team at Sound Lounge in New York told me they used every one of those tracks at some point in the final mix. They were very, very happy with how it turned out.”
Durability has also been a defining factor for Smith’s long-term loyalty to DPA. “I’ve been using the brand since it first became available in the U.S.,” he says. “The durability of the cables is a big plus, and the consistency in sound across capsules makes a huge difference. You can pull one out of the drawer and know it’s going to match the others. That’s not something you can always count on with other lavaliers.”
While DPA mics did much of the heavy lifting, Wisycom antennas also played a vital supporting role in tackling the unique challenges of the restaurant set. “That set is brutal—it’s steel everywhere, with only one or two walls that pull out. We even had to drill holes under the floor to run cables,” explains Smith. “To make it work, we positioned Wisycom ADB2 Wideband Omnidirectional Antennas above the ceiling flats. That setup allowed us to transition seamlessly between the kitchen and the front of house without losing signal. We had very few RF problems this season, which is saying a lot given the environment.”
Looking back, Smith credits both DPA and Wisycom with enabling his team to rise to the challenges of “The Bear.” “These products really helped us pull off some of the most complex scenes I’ve ever recorded,” he reflects. “From the durability of DPA’s lavs to the reliability of Wisycom antennas, the solutions gave us the confidence to capture every bit of chaos and nuance that makes ‘The Bear’ so compelling.”
Smith’s path to film sound was anything but conventional. “I made a wrong turn somewhere,” he laughs. “I started out in music, working in Detroit, then transitioned to film when I moved to Chicago. Most of my career has really been about film sound recording, though I still work on music projects with people I like.” That background in both music and film prepared him for the ambitious soundscapes demanded by “The Bear.”