Lectrosonics has introduced a new interruptible foldback (IFB) receiver dubbed IFBR1B, which has been redesigned to be half the size and weight of its previous model, the IFBR1a.
IFB systems are an easy way for filmmakers to listen to the program audio of a production while on set. You may hear them referred to as "Comteks," a name that has become synonymous with the functionality. The main differences between Comtek and Lectrosonics is operating distance, power output, tuning range, and cost. Sound quality is debatable. However, the Lectrosonics models tend to offer better RF performance, but usually costs twice as much as Comtek.
Let's see how the IFBR1B receiver stacks up.
Key Features
10 frequency presets
LCD interface
8 hour battery life
Dock chargeable
Lectrosonics IFBR1B and IFBR1a
The IFB1B will be replacing the IFB1a and some of its biggest changes include its size and programming interface. With dimensions of 2.8H x 2.4L x 0.8D" and weighing 3.4 oz, the new version is much easier to use. Lectrosonics has moved away from its rotary control and added its familiar blacklit LCD and buttons to provide menu access and tuning. This is a welcomed upgrade as the IFBR1a needed a tiny screwdriver to program the IFB. The number of presets sees a jump too from five to ten, which can be now saved with a push of the Preset button located on the front of the device.
There are five models of the IFB1B that provide different tuning ranges. Each is distinguished by a red, blue, or black top knob, which acts as the power button and volume control.
If you're wondering why the blue model doesn't include the full tuning range of 470-692 MHz, Lectrosonics says there's a trade off in either performance and cost. The sweet spot for analog receivers being around 75 MHz wide. The frequency steps for UHF can be adjusted in 25 or 100 kHz and 125 kHz for VHF.
The top of the unit has a mono/stereo 3.5mm input, which can power earbuds, headphones, or induction neck loops. There's also a battery indicator light and a RF signal LED that will light up blue when a signal from a transmitter is received. While on the subject of transmitters, the IFBR1B is completely compatible with existing Lectrosonics IFBT4 transmitters.
For future firmware updates or to mitigate any impact on the shrinking wireless spectrum, Lectrosonics has included an USB input on the bottom of the unit. It's also where to find the battery compartment, which has a sliding door for easy access.
Besides the smaller footprint, another difference between the two models is power. The IFBR1B uses a rechargeable 3.6V LB-50 lithium-ion battery, while the IFBR1a took advantage of an everyday 9V . The LB-50 touts 1000mAh and should provide around 8 hours of run time on the IFBR1B. Each battery costs around $45, but it's worth noting it's compatible with the Lectrosonics SSM transmitter. This is a smart move by the company–the more products that can be used with the same battery type the better.
Other features include much of what made the IFBR1a work so well, including a 20 kHz deviation and a Pilot Tone squelch that silences audio when there's no signal.
Along with the IFBR1B, Lectrosonics has introduced a dock charging system, the CHSIFBR1B to charge the LB-50 batteries. It's capable of charging up to four receivers or four batteries in any combination. The batteries of the IFB1RB do not need to be removed in order to be charged. The unit can be ganged in groups of four and charge up to 16 batteries on a single power supply. Oddly, Lectrosonics does not include the DCR5/9AU power supply with the charging station. It must be purchased separately. It takes about three hours to charge a battery with the docking station.
Price & Availability
The IFBR1B comes with a belt clip, battery, and velcro strain relief for $725. The CHSIFBR1B charging system is $599 and the DCR5/9AU power supply is $79. Expected release date is April 2020. There's also a single charging station (40107) for around $50 and a rack-mountable charging station, the CHS12LB50, that can charge up to 12 LB-50 batteries.
I read somewhere that there are only two best-case scenarios for a great screenplay—either it meets the expectations of the audience or it doesn’t. Either they sigh in relief or gasp out loud in shock.
Giving your audience what they want shouldn’t be difficult for a practiced writer. A character has a desire, and they achieve it at the end of the story. Boom! Expectations met!
But there’s something oddly satisfying about not meeting those expectations in a screenplay, leaving the audience shaken in disbelief.
Many compelling screenplays use something called misdirection—it's sneaky, it's intelligent, and it takes viewers somewhere unexpected. It's all about planting subtle clues that seem insignificant until a revelation forces us to reconsider everything.
Let’s examine how this narrative tool, when used thoughtfully, can transform straightforward storytelling into something more complex and satisfying.
What is Misdirection?
Misdirection is distracting the audience to mislead them, preventing them from getting on to your scheme of actions, until you finally reveal the truth. In essence, it is a style of storytelling, where the “audience proposes, filmmaker disposes.”
In misdirection, a filmmaker manipulates information, character(s), and their timing in the narrative while building the conflict, until everything falls into place to reveal an unexpected resolution that does not match the audience’s expectations.
Many times, the audience is also purposefully misdirected by exploiting their biases, prejudices, and gullibility.
Why Would Any Filmmaker Misdirect Their Audience?
A story is as interesting as its narration. Be it a bedtime story or Nolan’s Inception, if the narrative is linear and flat, it may be less engaging to your audience.
Misdirection is one of the finest tools that acts like a hook to your story. Misdirecting elements are thought-provoking, working with the audience’s psychology to throw them off guard.
Fiction gives you the freedom to alter realities, but even while misdirecting, it is important that the dots connect effectively by the end of the story. Information shouldn’t be irrelevant and without context.
How Do You Misdirect Your Audience?
You can use any story element to misdirect the audience, but the most commonly used are characters, sound, props, plot points, strategic information reveal, and the time of the incident of any event.
Examples of Misdirection in Great Films
Gone Girl by David Fincher
Misdirection by unreliable narrator
This is one of those stories that is completely narrated in misdirection.
The film opens through husband Nick’s (Ben Affleck) perspective, who becomes the prime suspect in the disappearance of his wife, Amy (Rosamund Pike), on their fifth marriage anniversary. As the investigation and media frenzy take over, we are let into the lives of our two main characters and led to believe that Amy might actually be dead.
We learn about their failing marriage and Nick’s extramarital affair. Thus, when Nick lies through his teeth about his loving relationship with Amy to the police, he instantly becomes an unreliable narrator in the story.
Thus, even though his alibis are believable, you cannot trust him and can’t take his word. Rather, you, with the police, start suspecting him.
This automatically shifts all your trust to Amy instead, even though you know even less about her than Nick. Wonderfully, you have begun rooting for her now.
What you might not realize is that you have been misdirected to dislike Nick as a character, so that you automatically take Amy’s side right from the beginning, until it is revealed that Amy is alive and purposefully in hiding.
This is one of the many misdirections in the film.
By regulating how the audience judges the characters, their morality, and their intentions, a filmmaker often shatters the expectations of the audience with misdirection to give them a more surprising resolution than expected.
The Sixth Sense by M. Night Shyamalan
Misdirection by character
Just by establishing a character in a certain way and revealing information about them strategically, a filmmaker can determine the character’s impression on the audience.
This is what M. Night Shyamalan does in The Sixth Sense. The magician of misdirection keeps both the characters and the audience engaged, looking for the ghost, all the while narrating the events through the ghost’s perspective!
The beauty of a nuanced misdirection lies in the clues left throughout a film’s events, leaving you both frustrated and delighted at the same time that you didn’t pick up on them!
Money Heist by Álex Pina
Misdirection by sound
In the Spanish drama series, Money Heist, the makers use a powerful misdirection but with a genius twist. This misdirection is not only for the audience per se, but for the main character—the Professor (Álvaro Morte), too.
In the Season 2 finale of the drama series, the Professor and Raquel (Itziar Ituño), the love of his life and newly minted partner-in-crime known as “Lisbon,” are sprinting through a dense, shadowy forest. The air crackles with urgency as police hounds close in, their shouts breaking the eerie silence of the forest.
Eventually, they are forced to separate, with a radio as their only mode of communication. Raquel ends up taking refuge in a barn, but not for too long. The police arrive, and she is completely surrounded. A gun to her head, she is ordered to compromise the Professor, but she’s steel-willed and denies the police any information.
All the while, the Professor is on the radio with her, frightened and worried, begging her to tell them everything in exchange for her life. The Professor frantically runs through the forest to reach Raquel, when… bang! A gunshot rips through the radio.
The Professor stops dead, the forest swallowing his anguished cry. But as the episode races to its close, the fog clears. The shot? A cruel ruse. She’s alive and in police custody. The Professor’s despair was their bait, and he bit—hard.
What I love about this particular sequence is that the filmmakers don’t use misdirection as a generalized cliff-hanger of “what happens next.”
Instead of revealing that Raquel is alive in an upcoming episode of the next season, they make a choice to reveal it at the tail end of the same episode.
Raquel is a crucial character in the series at this point, so to lose her in the narrative would have been a huge plot twist. At times, thrillers do go for the cheap surprise, whether it makes sense or not. But in Money Heist, the reveal elevates the value of the misdirection because now the audience knows things are going to change forever—for better or worse.
Final Destination 5 by Steven Quale
Misdirection by props
The sequence leading up to Candice’s fall in Final Destination 5 is a series of brilliantly crafted misdirections that keep us on the edge of our seats until the mishap finally happens.
The misdirections also seem to be symbolic, as the death of poor Candice (Ellen Wroe) is a sharp irony. Throughout the scene, we keep worrying about the loose screw in her gymnastic apparatus but how she is killed by it in the end is absolutely unexpected—just how a nuanced misdirection should be.
Psycho by Alfred Hitchcock
Misdirection by casting
Killing the heroine halfway through the film was a risky but brilliantly used misdirection by Alfred Hitchcock in Psycho, especially considering the film dates back to the ‘60s.
An actor’s face value is as important as their acting skills. Big actors usually have strong plot armor and are expected to survive the story.
In Psycho, when a star like Janet Leigh is killed off midway through the movie, the audience is thrown off guard and does not know what to assume, whose story to follow, or what to expect next. This amplifies the shock factor of the plot twist.
Misdirection can turn your story into a fun experience with plenty of unexpected twists and turns. When done well, a reveal should prompt viewers to think, "Of course! How did I miss that?" rather than, "That came out of nowhere!"
The audience hates being deceived. So, not meeting audience expectations doesn’t mean you lie and fill the screenplay with deceiving information, revealed in an untimely way, aiming for a plot twist in the climax that feels isolated and seemingly unmotivated.
Also, be careful not to clutter your narrative with forced misdirections.
For a better understanding, check out the examples in the article—how each misdirection is a strategic literary device, not just a stylized form of storytelling.
Lectrosonics IFBR1B and IFBR1a
