No worries. Glad to help.
Those radio recommendations from our forum hosts at buytwowayradios.com are solid recommendations. The only thing to remember is they are all business-class radios, intended to operate on assigned frequencies. This means you will need to apply for a frequency and a licence. Plus, licences are not transferable from country to country, so when you go overseas, you will need other licences and frequency assignments. Depending on the country, this can be a bit time-consuming and costly to get a licence unless you are going to be using walkies long term.
Those cheap Chinese-made amateur (HAM) radios are actually reasonably good quality for the price. The problem is that HAM radios are not intended for business use. I will wait for people more experienced with HAM radios to weigh in here, as I am not an expert in amateur (recreational) radio.
Technically, you can program some of those Chinese-made HAM radios to send and receive common frequencies such as MURS, FRS or GMRS but it is not legal to do so (except in an emergency.) While it might be tempting to give it a try, thinking the chances of getting caught are slim, consider there are lots of regulatory agencies listening, and they may not be so concerned about a couple of kids using common frequencies for their airsoft toy games, but they will be very concerned about heavy business use from a film set. Fines are quite steep.
And, let’s not forget Sarah Jones, and what happens when filmmakers break the law and try to “sneak around.” I was being very serious about professionals using professional equipment.
Plus, if you program them for FRS, MURS or GMRS channels illegally, you are still going to have to contend with every kid and every drive-through in a five mile radius interfering with your communication.
Regardless of your choice, there is no guarantee whichever radio you choose will be legal to use in another country - or even in another location beyond the bounds of your radio licence anyway.
If I were you, I would investigate the cost of obtaining your own licence. It comes with your own dedicated frequencies, so there should be no interference from anyone else when used in your licence area. How much this costs and how you go about it varies by country, so investigate the rules of the country you are in. Once you have that licence, then look at those suggestions from buytwowayradios. They are good folks and they know their stuff.
If you decide to go the licence-free business-class radio, then MURS (if you live in the U.S.) or DTR (if you live in Canada or the U.S.) are the choices.
These are the ones I would recommend for licence free:
As far as the DTR radios, yes they are expensive but they will last for years. I would skip the DTR410 and go straight to the DTR550. It has slightly better range, a replaceable antenna (you can get a shorter stubby antenna for a more compact package) and a high-speed (one hour) charger.
With the DTR series, you get the advantage of a digital radio, with very clear sound. You can program them with “groups” so that as you get larger, your “net” can expand with you. For example, everyone can be on one common frequency - sort of the equivalent of channel one. But you can program each department with their own subgroup. Any radio can talk to everyone; can call up any subgroup (transport, props, camera, costume, office, grips, etc.); or can call up any individual radio. There is no need for a channel two assignment, as anyone can talk to anyone else privately, anytime they want. Programming the DTRs can be a daunting task, and it takes a bit of time to teach people how to use them properly, but digital radios have many advantages on a film set.
When I am on the big sets, I own my own headsets (the ones I described to you) and attach them to our rental radios. When I am on a small set, and end up being the one to provide the radios, I have my own personally-owned net of DTR550 radios. I now have half a dozen of them, and would buy a few more if I could afford it. (The reason I invest that much money in my own radios is due to the unique nature of my job on film sets, and the need for high safety standards in what I do, no matter the size of the budget.)