Seattle, WA (January 20, 2026) — For Adam Berman, an award-winning cinematographer and the self-described, “Minister of Creation” at Berman Films, the success of a cinematic masterpiece often hinges on what the audience cannot see: pristine audio. Based in the Pacific Northwest, Berman manages high-stakes productions for Fortune 500 companies, technology start-ups, defense contractors, and government agencies, often operating under strict NDAs. To deliver unparalleled products in unpredictable environments, Berman relies on an extensive Lectrosonics digital kit featuring DSR4 Four Channel Digital Slot Receivers, DCHR and DCHT Digital Stereo Portable Receivers and Transmitters, DBSM Digital Transcorders, and DPR-a plug-on transmitters.
Berman’s foundation in the industry began in the late 1980s at the prestigious University of Southern California’s School of Cinematic Arts. While he initially focused on both cinematography and audio, his first exposure to Lectrosonics came years later during a sensitive project for world-renowned psychologists. “I didn’t own much audio gear at the time, so I borrowed a friend’s Lectrosonics UCR411 kit,” Berman recalls. “I loved how reliable it was and the fact that I never had to worry about it. That experience stuck with me.”
“About five years ago, we decided to go all in on our audio kit, and to invest in industry-standard equipment,” Berman shares. “We initially started with SMWB transmitters and SRC receivers, but the transition to the D2 Digital Wireless line changed everything. Once I bought a DCHR receiver and a DBSM transcorder, I loved them so much that I sold all my hybrid gear and went full D2 digital.” Today, his arsenal has grown to six channels of Lectrosonics audio, allowing him to scale from small two-person interviews to complex live events.
The power of this digital system was proven during a recent classical music concert at the University of Washington School of Music. With only ninety minutes to set up three cameras and eight channels of audio, Berman used Wireless Designer to coordinate his frequencies. “Everything was wireless except for two overhead mics,” says Berman. “I used four DPR-a and two DBSM transmitters. I left that venue feeling proud because despite the tight setup time, I had gorgeous recordings without a single RF hit.”
Berman also highlights the AES digital output capability as a major workflow advantage, especially when using his ARRI Cine Cameras. “I can take a DCHR, set it to AES output, and it trickles beautiful 24-bit audio directly into the camera,” he explains. “It’s not just a camera hop; it’s usable, perfect audio that saves an incredible amount of time in post-production.”
Ultimately, Berman’s loyalty to the brand comes down to certainty. “Reliability is the big factor, Lectrosonics is just rock solid. I know I have a reliable wireless system for any RF environment I may encounter,” Berman concludes. “But it’s also the company: The staff is very involved, and the service centers are in the United States. When you’re using high-end equipment, knowing the company has your back minimizes the variables that can go wrong on set.”
Connect with Berman Films and learn more about their services at www.bermanfilms.com.
About Lectrosonics
Well-respected within the film, broadcast, and theatre technical communities since 1971, Lectrosonics wireless microphone systems and audio processing products are used daily in mission-critical applications by audio engineers familiar with the company’s dedication to quality, customer service, and innovation. Lectrosonics received an Academy Scientific and Technical Award for its Digital Hybrid Wireless® technology and is a US manufacturer based in Rio Rancho, New Mexico. Visit the company online at www.lectrosonics.com.
