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Jesse Flaitz

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  • Location
    NY
  • About
    I do what I do while I'm doing it.
  • Interested in Sound for Picture
    Yes

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  1. I think it's a beautiful set up, but my personal preference is flexibility. I'd prefer two CMC1 pres with MK41 capsules to a fixed ORTF rig.
  2. I'd strongly suggest looking into the Aaton Cantar mini. It's a bit pricey, but it has certain functions like Play Record that would be fantastic for music recording IMO. It's a magnificent piece of machinery.
  3. I love Shure wireless, but they are certainly not perfect. The ADX1Ms are very expensive and the range on whips is very mediocre (with a distro and shark fins the range is good, but not quite great), however they are the best TX for narrative IMO due to size and lack of antenna. I keep one around for specialty circumstances. Battery life is 5-6 hours. The ADX1s are cheap and the range is fantastic on whips (even better with a distro and shark fins). However they are bulky and mediocre for hiding if that is a factor for you. Battery life is 7-8 hours The ADX3 is heavy, but roughly comparable in weight to an HMa. Battery life is 4-5 hours. My biggest gripe is the fact that each TX has it's own proprietary battery. That is great in one sense, the battery telemetry is minute accurate. However, I also have a separate charger for ADX1M, ADX1, and ADX3 batteries. Thats annoying, but far from deal breaking. I do mainly commercial/corporate/branded content. So hiding TXs is not a big priority. I like the battery life, range, and cost of the ADX1s a LOT. Not having to set gain at the TX is amazing. YMMV, but for me Shure is the way no doubt.
  4. Got my new rig built out for the next decade (hopefully) of sound work. AES out of each receiver for minimal cables.
  5. TS-C and JB-1 for me. I've used my TS-C for a decade and the JB-1s are the best on camera TC solution IMO. I don't need continuous sync solutions when the solutions available are frame accurate for 12 hours. JB-1s are one of my favorite pieces of gear full stop, they are beautiful and simple and they just work.
  6. Greetings! The Sound Collective is a NYC based group of sound mixer professionals with many years of experience at all levels of the field. We are starting a mentorship program to be fully launched beginning of March 2024 with the goal of supporting new professionals in the industry. We are currently looking for one person to mentor, with the goal of adding a second member later in the year. We will be providing expertise, connections, equipment and guidance to one individual selected by mid-February. The goal is to get our mentees fully self sufficient within a year or a year and a half, then start fresh with a new person after the previous mentee is established. For a full breakdown of the program and what we have to offer, please email: randomsoundny@gmail.com. Applicants should provide us with their experience level, goals for themselves, and what they hope to achieve within the program. I look forward to hearing from whoever is interested in what we have to offer. Best regards, Jesse Flaitz
  7. Depends on the kind of project if it's even worth the effort. You can make a case against them, but honestly you're most likely going to get nowhere with it. Even within the US copyright claims take way longer than the timeline of most content and you're just gonna spend time and money with no result.
  8. Oh cool, I just assumed the lav would be more consistent in most cases given placement, and since there's no hiding the mic there's no worry about clothing noise. Nice for a boom op to have a job tho!
  9. My immediate reaction to these exoskeletons from my experience as a boom op is basically: hell yeah, but also no way. Hell yeah in some situations (exteriors for instance where there's lots of room and I'm rocking a zeppelin), but realistically they would get in the way so often as to not be useful. I've never seen one used in a professional environment and I don't really expect to. It's one of those ideas that's fun, but not really practical IMO.
  10. The ADX5D range stability with ADX1 is insanely good, the ADX1M range stability is good not great. Showlink does tend to bug out with the ADX5Ds, but nothing a reboot can't fix. It's kind of annoying tho to be sure. Comparing to my ZMT3 and QRX200, I'd say zax wins for stability and range against the ADX1M pretty clearly, but loses against the ADX1. However the ADX1 is much more bulky than the ZMT3, but the ADX1 has an 8 hour battery life... So lots to compare and contrast. The rack units with showlink network and shark fins are definitely the way. Back up frequency hopping is sooooooo good.
  11. I've usually done 23.98, but it shouldn't matter since there's no TC sync to the iphone, just to the smart slate. Since theres no .1% pull down as in transferring film to digital, a second is a second. I'm very open to being wrong.
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