Auckland, New Zealand (November 19, 2025)―In recent years, New Zealand-based veteran production sound mixer Tony Johnson’s work has taken him deep into the fantastical realms of the Avatar franchise, where the demands on sound equipment were as extraordinary as the visuals.
Johnson has spent his career crafting soundscapes that transport audiences into the heart of the story for films such as The Piano, The Chronicles of Narnia and The Hobbit trilogy, and tends to stick to his preferred mics for them. “I’ve been using DPA lavs for about 15 to 20 years exclusively,” he says. “They just tick all the boxes.”
On Avatar: The Way of Water and Avatar: Fire and Ash, Johnson faced a number of challenges. Many characters wore oxygen masks, for example, their glass lenses removed for VFX. “We ran DPA 6061 lavaliers up through the masks’ air tubes, placing them perfectly to capture dialogue without obstructing the effects work,” he explains. “The mics were small and easy to hide, and the VFX team had no trouble painting them out if needed. We had 10 or 20 masks pre-rigged with lavs, ready to go; threading them on shoot day would’ve been impossible.”
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When filming Avatar character Spider—bare-chested, dreadlocked and constantly in motion—Johnson chose the DPA 6061 subminiature lavalier for its small size and featherlight weight. “With no clothing to conceal the mic, we secured the 6061 inside the wig so it sat naturally among the locks without shifting. The cable was carefully run along the wig’s interior and down to a Zaxcom transmitter tucked under the hairline. The placement kept the mic stable through stunts, avoided any body-rustle and delivered pristine, consistent sound all day.”
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Johnson’s main boom mic is the DPA 4017 shotgun, chosen for its reliability, resistance to RF interference and compact form factor. “The 4017 has an incredibly transparent off-axis response and low self-noise, so dialogue sounds clean and uncolored,” he says.
