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Jesse Flaitz

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About Jesse Flaitz

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    Jesse Flaitz

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

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  1. Thanks for the advice and experience from everyone. As it stands they will replace the damaged lav and pay for inspections/repairs at the factory. If it had been salt water I would have demanded replacement of all equipment full stop. As it was rain water, and I'd reasonably waterproofed the TX as best I could, I don't think I'll be able to justify the $10,000 to replace everything. I might be able to if I pushed really hard, but I'm not sure it's worth it in the long run. Probably $2000 total in repairs and replacements and production is paying out of pocket. I'm sending receipts with ACH info and will be paid via direct deposit. I offered to pick up the check in person and drop off the damaged COS-11, but I think they'd prefer I not come around their office hah.
  2. Thanks Philip, in addition to the COS-11 I'll have them send my transmitters back to be inspected just to be sure. Shouldn't cost them much. I will be in contact with camera dpt, they lost a camera and some monitors/teradeks Copy that, makes a lot of sense. Thank you.
  3. Added it to OP, critical content/quidnet Media
  4. I must say once again how impressed I am with the manufacturing quality of our sound equipment. Despite being sopping wet in 30 minutes of torrential downpours, after putting them on rice for 48 hours I only lost one COS-11. Everything else works fine. I only had nexcare tape on the TA5 and SMA connectors for sweat protection. ZMT and SMQVs working perfect, bravo to Zax and Lectro. At this point they'll just hand me $400 cash for a new mic and that's it. A bit underwhelming, kinda wanted some SMWBs
  5. So finally happened, Critical Content/Quidnet Media decided to keep shooting in the remnants of hurricane Barry in NYC. Torrential down pour with my wireless on talent. My company is a loss payee on productions insurance, but I've not filed a claim like this before and I want to make sure I do it right. I've run into serious friction with the production and I'm not trying to let them screw me out of replacement transmitters. After the most shit show of a day I've seen in a while I told production not to hire me again, and the next day they fired the main mixer on the show who brought me on in the first place. So I'm not interested in helping them out. 4x SMQV and 1x ZMT were in the rain. I've had the transmitters on rice for 48 hours (unplugged lavs, and removed battery doors) and I'm about to go through and test all the transmitters and lav mics. Regardless of functionality I'm pushing to have them all replaced. If there is the slightest issues I'm sending them back to Lectro and Zaxcom for repairs. As a loss payee on insurance can I file the claim myself? or do I still have to go through production? The PO is in NYC so worst case I can walk into their office and make them file the claim if I run into the smallest issue on my end, but I'd like to not have contact with them if I can help it. Any tips on insurance claims are very helpful, thank you much.
  6. Audio wireless has a new distro and shark fin set up that has selectable band frequencies from 470-1000. 4 modes that can isolate different spectrum bands. That being said, it should be set to 940 band or lower bands, using mode 4 (opens whole distro to 470-1000) would likely be problematic anywhere with remotely heavy RF interference. https://www.gothamsound.com/product/dadm226-diversity-antenna-distribution-module https://www.gothamsound.com/product/digitally-tuned-active-antenna
  7. Very true, I'm just stating my experience was without IFB functions. Didn't mean for it to sound like Zaxnet control wasn't possible, should have specified QRX200. I know more than one mixer with full zax wireless and 6 series SD and it all plays very nice. It is a bigger commitment than if the mixer already had a Zax recorder.
  8. I've use my ZMTs and QRX200 with a SD recorder and it works perfect. You do lose out on the benefits of Zaxnet but, in my opinion, it depends on the job and work flow whether that matters. I don't find it a big deal to manually adjust parameters on the ZMT. If you have a 16gb micro SD .zax files will record like 200 hours or something crazy so the lack of auto record function isn't a huge deal. The ZMT on the boom is just fantastic and I'd say worth it regardless of zaxnet functionality. Using ZMTs as bodypack TX would make me want zaxnet more than using ZMT as wireless boom to take advantage of sleep and remote gain functions.
  9. I have to say how impressive the Cosi is with my miniCMIT. I've only just picked it up but I'd say it's well worth the money. Not perfectly transparent, but easily an improvement over the rycote softie I had and more practical for day to day work than my pianissimo zep. The Ossix mounts are hard to weatherproof and the Cosi solves this problem well. I wouldn't use it for rain machine days or anything but a light rain is fine. The miniCMIT will probably live in the Cosi now with maybe few exceptions.
  10. Very impressive work. I don't currently have enough NP-50s to need this but soon enough I'm sure.
  11. I was just doing car to car driving through times square. 2 talent in back of a cab. I used two CMC641 with GVC swivel and used magic arms to rig the mics to the back of drivers and passengers seats. Ran the two mics into a SD MixPre and out to 2x SMQV at 250mw. I've used 4098s, CUB mics, lavs and MKH50s in cars and by far the Schoeps with the GVC are my favorite. It sounded fantastic considering the car was an old crown vic... not exactly without problems haha! Proximity wasn't even that great (~2 ft away from talent) since I didn't have much headroom above and they were shooting 2.4 anamorphic so the whole back seat was in frame.
  12. I have one and I’m getting more (going to use one as a master clock for my Nomad at the cart). The jb-1 is possibly my favorite product design of any sound gear to come out in the last few years. Really astonishing in its efficacy.
  13. Thank you for the straight forward response, this helped a lot. This was not the response I had received from tech support. I received what could be described as “uncertainty”, especially with the virtual fader issue. As if there was something that could be done about it, if only someone knew what it was. That is not an acceptable answer as far as I’m concerned. Edit: I don't even really mind the lack of return 3/4 pfl as the HP preset thing kind of works and I need those inputs so rarely. Again, it's just about being led to believe there was some solution to it when there wasn't. Much appreciated.
  14. I don’t mind so much the bugs or “features” that come along with large updates. What annoys me greatly is being told “oh I’m not sure”, or “ask other mixers about it on Facebook”. When these problems are KNOWN. Just tell me you don’t know what’s wrong or you’re working on it, don’t pretend like there is some solution I missed.
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