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Jesse Flaitz

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Everything posted by Jesse Flaitz

  1. For production sound I highly recommend Patrushkha Mierzwa's two books. There's no more comprehensive resource I think: Behind the Sound Cart: A Veteran's Guide to Sound on the Set (All Art is Technical: Sound for Motion Pictures and Television): Mierzwa, Patrushkha: 9781736290002: Amazon.com: Books Beneath the Boom Pole: The Art & Science of Boom Operating for Movies & TV (All Art is Technical: Sound for Motion Pictures and Television): Mierzwa, Patrushkha: 9781736290040: Amazon.com: Books
  2. 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.
  3. 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.
  4. 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.
  5. Got my new rig built out for the next decade (hopefully) of sound work. AES out of each receiver for minimal cables.
  6. 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.
  7. 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
  8. 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.
  9. 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!
  10. 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.
  11. 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.
  12. 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.
  13. Shark fins will drastically increase the range of your reception, especially if your experience with SRcs is similar to mine... That being their range and quality of signal is terrible. For narrative cart work I wouldn't work without an antenna distro and shark fin antennas. I've attached shark fins to my bag several times, so it's no big deal if you have to go bag mode, but another solution is to use SNA600 dipoles attached to the RF multi in the bag. They aren't as good as shark fins, but they are better than whips and you can space them how you like.
  14. I've yet to find a piece of truly professional hardware that has the word "Pro" in it. Rode makes some good stuff, but I can't imagine this will hold a candle to any of the pro-fessional wireless systems already available.
  15. Ambient is the way for me. They are a little on the heavy side, but the action of extension/retraction and the feel of the knuckles is best in show as far as I'm concerned. I have 2 ambients and 2 kteks. As a boom op I prefer the ambient in basically every situation. With the exception of one boom op I worked with (who was sponsored by ktek), every other boom op has preferred Ambient when given the option. Ktek is very good tho. I don't like the knuckles on VDB poles, but they are the lightest of the bunch. I hear good things about Panamic, but I don't see them much in the wild. Length depends on a lot of factors. If you're doing narrative, which is where most boom ops live, I would suggest 15ft. minimum and preferably 17ft. I wouldn't go much beyond 19ft tho, save your back.
  16. Never had an issue with either of my 641s in the NY area. My miniCMIT succumbed to humidity once, but I've never had an RFI or humidity issue with the 641s. I've never had humidity issues with the 50 either, but RFI yes, and on several occasions. And welcome to NY when you arrive. It's beyond slow right now, but hopefully next year will pick up significantly. shoot me an email when you get in town if you want to get a meal somewhere, randomsoundny at gmail dot com. This is also an excellent microphone IMO if you want to save a couple hundred $$. I don't have extensive experience with it tho, so I can't speak for humidity/RFI issues.
  17. The MKH-50 is a beautiful sounding mic. I don't think it matches with the 416 well as I find the 50 accentuates the low end, while the 416 the high end. But that's just my ear. I also found the 50 to be sensitive to RFI. I got rid of my matched pair of 50s in favor of Schoeps CMC6 with the MK41 capsules. I like the Schoeps because I feel they match better with my COS-11s. I didn't find the MKH-50 matched well with anything because it sounds so good, nothing else sounds as good haha. Take that for what you will, but I personally think the beautiful sound of the 50 works paradoxically as a kind of detriment to it. The CMC series are also versatile capsule wise if you're into that type of workflow. The CMC1s are very compact as well. And they have the MK8 fig 8 pattern capsule. I don't personally like the Audix. I find the high end falls off hard at any useful distance, but I haven't used it in many years at this point so I may not remember it well.
  18. I've worked like 25 days this year... So yeah, some work, but not really. Definitely the slowest year for me in my 12 years of sound work. All good though, this industry is prone to boom/bust cycles, and 2021/2022 were big booms for me. I'm hoping I can ride out this slow spell without too much damage to my finances.
  19. This type of silly complication is always hilarious to me. Using playback tracks instead of a script supervisor or some such person to read lines on set causes so many unnecessary problems for so many people. Mostly sound department. But anyway... I've used a TRRS on several occasions to send audio to an iphone mic input. The problem is that most newer phones need a lightning adapter now, and that adapter (as far as I remember) renders the TRRS cable useless. That being said, if you have an iphone 8 lying around, or an off-brand android phone maybe, you can run a cable into one of those. The TRRS cable does work on macbooks, so maybe a facetime call from a macbook would work as well. I feel your pain. I would personally suggest hiring a playback operator with a Phonak earpiece to handle this whole thing, but maybe thats not an option for you budget wise. IDK.
  20. Hey Jon, I haven't worked extensively with Wisycom but I have a lot of experience with Shure and I must say they are my favorite wireless systems right now (I own Zax, and Lectro mostly, but I'm going for 4 channels of ADX series now in the bag). The ADX1s have insane range and battery life, tho they are bulky. The ADX1Ms are very pricey, and weaker than most range wise, but not having antennas is amazing for placement and hiding in wardrobe. Depends a lot on the type of work you do. I've been on big shows rocking Lectro, Zax and Shure and they've all performed well. There's benefits and issues with each. However, I'd say Shure is top dog in the sound for picture game right now IMO. They really nailed it.
  21. This is not a comprehensive scientific test, just a fun experiment I did with my new Shure wireless kits to show their excellent reception. It's not a real world test, but impressive nonetheless. My setup was just a Lectro ALP620 and an SNA600a directly to the SMa connectors on the ADX5D. The receiver antennas were attached to my sound bag, not elevated or anything. ADX1M was set to 20mw output, the ADX1 was set to 40mw. This photo/video was the distance I got before the ADX1M started to drop out, the ADX1 was still holding no problem at about half strength. IMG_1566.MOV Edit: I'm not sure why the video is so enormous hahaha. All good tho, it illustrates the point.
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