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Jon Ailetcher

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About Jon Ailetcher

  • Birthday January 1

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  • Location
    Los Angeles, CA
  • About
    I'm a sound mixer in Los Angeles

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  1. Drew at Audio Dept and I collaborated and he built me a cable that some of you might like to see. It contains a 5 pin to 5 pin Lemo for the Alexa. Everything else works from any red to any green.
  2. When I joined L695 in 1998, I was a member of L480 in New Mexico. I was told by our then interim Business Agent Ken Ross that I HAD to withdraw from 480 in order to join 695. I didn't know then what I know now and withdrew. By the time I found out that I didn't have to do it, it was too late to go back to 480 to be reinstated. Too bad. At this point, it would've been nice to be a dual card member.
  3. Since I'll never have a PHD or MD after my name, CAS was the only thing I was qualified to have.
  4. I bought one of the Fisher Booms that Warner Brothers were selling and then had it rebuilt at Fisher. We use it several times a week on my single camera show. Whenever my boom operator can roll it in, he's got a smile on his face. At this point our crew is used to it and we don't get the "Wow, what's that thing" anymore.
  5. I bought one of the 16 foot Fisher Booms that Warner Brothers were selling and then took it to Fisher for a complete rebuild.
  6. Vin, I have always used Lectrosonics wireless. I attach a Um400 to a Denecke power supply that my boom operators wear on their belts.
  7. Ok, I guess it's my turn here. I have been using wireless boom exclusively for about 7 years now. I have never thought of myself as someone that compromises quality. I have just moved forward with technology. I feel that the equipment can stand on it's own if it's set up properly. I have NEVER had one producer, editor or even re recording mixer call and ask if I was using a wireless boom in my tracks. I do however stay in constant contact with all of them to make they are getting what they need. When I did season 4 of Weeds, I used 2 wireless booms 100% of the time. That season garnered me an Emmy award for Sound. As for the dinosaur in the group that doesn't agree with the method I use, Well I don't agree with yours either. Maybe it's time to get out of the prehistoric times and move forward with the technology that's being offered. I'm sorry if this seems a little angered but some of the comments about quality have really hit hard with me. Jon Ailetcher
  8. I am currently working on Cougar Town and we are using Joe's ADR setup. It's a pretty cool room. I'm not sure all the equipment that's in there because I'm usually on set when they are doing the ADR. It's right outside the door of our stage in it's own room. They bring in the dialog editor and a pro tools operator every week to do the necessary lines, which I'm happy to say are mostly just add lines. The actors just pop in between setups and take care of whatever they need. They do have a sound proof booth in there with the monitor and mic. If anyone is interested, I can get some of the specs of the equipment the next time they come in. This is also the same setup that they used at the hospital on Scrubs. Scrubs then came to Culver Studios and was on a few stages next to ours.
  9. I did and it's not something that's ever been nominated for. Just wondering why the Emmy's have a category for half's but CAS doesn't.
  10. Richard, Do you know if there has ever been a half hour show that's nominated for television series? If not, maybe it's time for a category to honor half hour shows.
  11. Congratulations to all for jobs well done.
  12. That is one of the funniest things I've seen in a long time. I'm sure it was staged but it's still a crack up.
  13. If you really need a battery operated delay, I would suggest going to Guitar Center or a store like that and get a Boss DD-20 Giga Delay. It's about $200 and runs on 8 AA batteries. It's very easy to use. I did a pilot a few years ago and used it.
  14. I did a series last season called Carpoolers. I had to wire all the actors before they got to set each time. All they did was ad lib. It was some of the funniest days I've ever seen on set. The entire cast and crew were laughing all the time. They would call cut when one of the actors lost it. The hardest part for me was to keep the crew as quiet as possible.
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