Jesse Flaitz

Very cool! I'm not a 788 user, but I know some who are. I'll send them to this thread once the software is available. Thanks for your time and effort to put this together.

De-noising is primarily a post activity, but I am very happy with the SDNX plug-in on my 888. It's great for consistent hums and drones, but it's not so effective with clicks/scratches. I use about -3db of noise reduction on the mix track and leave the ISOs unprocessed. Most of my work doesn't go through audio post, so doing some noise reduction on the delivered files can be a big deal for those who notice.

LOL

I loooooooooove my lightweight mixpre/waist belt rig. But it is "heavily" dependent on the weight of the bag. A 633 kit is pushing what I would want to waist mount. My Mixpre10T II bag is just the mixpre, 2 dual RXs, a G4 tx, and 1 NP1 battery. It's a dream not having it hang from my shoulders. But I don't use it much given the limitations of the setup, but it's clutch for when it works. My experience is with the Orca waist belt, I've not used the Ktek one.

Nice build as always. Must be the shows kit? I always thought you were a Zax man. But I also hear Wisycom is the king of range so maybe that's a factor?

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

LOL

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.

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.

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.

Got my new rig built out for the next decade (hopefully) of sound work. AES out of each receiver for minimal cables.

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.

Filled, thank you.

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

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.

Wow! This is a great find. Thanks!

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!

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.

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.

Lavs only as far as I know.

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.

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.

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.

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.

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.