Marc Wielage
Well-known member
Some very good advice above, especially from Mr. Winokur. 
If you're going into wet areas, I would recommend the Lectrosonics WM series waterproof transmitters:
http://www.lectrosonics.com/Transmitters/wm.html
The Countryman B6 mic is one of the few out there that's water-resistant, but I also find they're a little more susceptible to wind noise, which could be a problem outdoors.
This won't solve the problem of receiving the transmissions when you're getting wet, but at least if the subjects of your shoot are getting wet, you have a chance of the equipment surviving. (Note that on some harrowing documentary projects, like Deadliest Catch, they routinely throw out and replace all the sound gear and a lot of the camera gear due to sea water getting into the circuits.)
I also think you can't overlook the need for a boom. And you're going to need a dedicated sound person to keep on top of all the tracks, check the batteries, check the levels, and handle the boom -- if not a dedicated boom person as well (which I generally recommend).
I would also recommend doing some test runs to make sure all the gear works and to test your workflow, to make sure it all comes together correctly in the edit bay.

If you're going into wet areas, I would recommend the Lectrosonics WM series waterproof transmitters:
http://www.lectrosonics.com/Transmitters/wm.html
The Countryman B6 mic is one of the few out there that's water-resistant, but I also find they're a little more susceptible to wind noise, which could be a problem outdoors.
This won't solve the problem of receiving the transmissions when you're getting wet, but at least if the subjects of your shoot are getting wet, you have a chance of the equipment surviving. (Note that on some harrowing documentary projects, like Deadliest Catch, they routinely throw out and replace all the sound gear and a lot of the camera gear due to sea water getting into the circuits.)
I also think you can't overlook the need for a boom. And you're going to need a dedicated sound person to keep on top of all the tracks, check the batteries, check the levels, and handle the boom -- if not a dedicated boom person as well (which I generally recommend).
I would also recommend doing some test runs to make sure all the gear works and to test your workflow, to make sure it all comes together correctly in the edit bay.