Jesse Flaitz

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About Jesse Flaitz

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    Jesse Flaitz

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    NY
  • About
    I do what I do while I'm doing it.

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  1. I use iPowers 9v 520mah and usually get at least two full days on a charge in my Comteks.
  2. Having spent a decade or so watching Knoxville and crew antics, I'd recommend confirming L&D policies with production. Equipment on those shows must get destroyed on the regular. IDK the availability of replacement transmitters/lavs in your area, but be prepared to to lose a lot of stuff to damage.
  3. Pluraleyes works great when other, better modes of sync aren't accounted for or available. I can't think of a single editor who wouldn't prefer, in addition to scratch audio for waveform sync, proper slating procedures and time code sync. Again, if production doesn't pay for/account for any type of proper syncing protocol, as long as there is some type of scratch audio they can make it work. Pluraleyes breaks down in a lot of situations however. Noisy locations where the audio waveform might vary significantly from your audio recorder and the camera mic nullify almost any advantage of waveform sync. Scratch audio from your mix to camera is the best way for Pluraleyes to work.
  4. VER

    Haha, it always comes to this.
  5. VER

    I have a "work with my equipment only" policy. It's been over three years since I worked a day without my own equipment (boom op days as an exception of course). The last time I worked with productions gear, they wouldn't pay me a labor rate for checkout so a PA picked it up. They sent all the wireless units without antennas... Never again. I've found that if I calmly explain that due to the careless use of rental house equipment I can not guarantee the functionality of said equipment, and therefore will not be responsible for it, it only makes sense for me to work with my equipment. Also, I paid tens of thousands of dollars for it, and it's about 1/3 of my total day rate, and I'm vastly more efficient working with it, etc.
  6. I found the 12cm softie to be just a tiny bit too large. I ordered the 10cm Rycote softie and it fits perfectly. The 12cm is listed for the CMIT 5U, but the short body length of the mini makes it a less optimal fit. I tested the miniCMIT against my MKH 50 two days ago. I had to use much more gain on my Nomad 10 for the CMIT than the 50. I was sitting around +18 for the 50 and up to +25 for the CMIT (circle dolly wide shot, had much more headroom than I'd like). That was high enough gain to start getting slightly noticeable thermal noise. The people talking weren't exactly great at projecting their voices, but the room sounded good enough to carry the signal. The noise was likely more noticeable in the CMIT due to the pick up pattern. My 50 was picking up much more of the office AC noise that the CMIT was rejecting. It was minimal enough to not effect the tone when mixing between the two, but definitely noticeable when soloing back and forth. I really love the low profile nature of the mic and, of course, it sounds amazing (tiny noise floor issue notwithstanding, also something I've noticed with other hypers).
  7. I like where their head is at but... yeah. Fail.
  8. That is the noisiest noise floor this side of a zoom recorder. And at a $10,000 goal for an indiegogo campaign, there is no way they could manufacture something like that for less than 20x their goal at the very least. Also, part of what makes the Soundfield so great, is the post processing. The directionality was very limited when spinning that video around, whereas the Soundfield has a very pronounced ambisonic space.
  9. Just ordered one from Gotham. Can't wait to use it in the field. I assume the softies that work for the 5U work for the mini? Gotham wasn't sure about it, but the interference length appears the same.
  10. $100,000 camera package $3,000 for sound package Something doesn't make sense here. Try budgeting closer to $15,000 and you could put together a decent basic sound kit of two lavs, boom and mixer/recorder. I don't think you'll find too much assistance from this forum in building a "kind of good enough" kit.
  11. There is no easy solution here. Waves are very difficult because they are broad spectrum and fluctuating. Some Izotope/de-noise work and automated eq will do something, but ADR is probably your best bet.
  12. I see that somewhat frequently when I'm jamming Arris from my ERX. The warning will blink a couple times then go away. I'm wondering if it's the same reason that jamming my TS-C from my Nomad will occasionally show a SYNC ER 24, but still sync the timecode fine. Never had complaints from post about sync issues when it's happened.
  13. I can't give a proper comparison, as I've not used the PSC. All I can say, is I'm extremely happy with the performance of my ALP 620s, and I find them well worth the price (which is still very reasonable IMO). Though I've yet to have them get run over by tanks, I have shot several of my SM series at them with a potato cannon and so far I've only damaged my reputation in the neighborhood ;).
  14. This may be true in some sense, but if you change 744T to 633, there are a myriad of reasons to choose the 633 over an F4 (and F8 as well). While Zoom has clearly upped their game with the F8, the F4 not so much. Though if you read the comments, some people may disagree. No serious audio professional will use a Zoom in any capacity as their premier recording device. Long term it's just too limited. If all you do is single person talking head interviews, direct to camera in a studio for corporate work, maaaaaaybe you could get away with it I guess. But Sound Devices, Zaxcom, Sonosax, etc. are kings of the industry for a reason.