Jesse Flaitz

I got a chance to do some audio post on Nobody Walks that premiered last Sundance, it was shot on super 16. I'm also of the mindset that while film will never be the main shooting format, it will still be around for a very long time. People are still releasing new albums on vinyl.

From reading specs most shotguns can handle between 110-130dB. If you are close enough to be breaking 120+dB that's kinda scary.

That seems to be by far the most common talk show type program mic.

Stipulating no one can get paid on these projects certainly has it's reasons (no one can just decide to drop a million to win), but that means the only way I would consider it, is if the whole group were people I knew very well. Kinda sucked seeing all these people looking for production sound people and none of them were allowed to pay =/. Maybe next time.

You are forgetting the potential $500 stipend (budget allowing of course)...

TBH, you probably won't have much luck asking to sit in on sessions unless you know someone who knows someone, or the post house sees it as beneficial to them in any way (like you being able to bring them work). If you have the ability to put in 1-2 days a week as an intern that's really the best way to go about it.

People use the term "award winning" rather loosely in Mandy/CL adds.

I had to do some of this at MTV summarizing interviews with people. About half the time they never recorded the mic the interviewer was speaking into... Made for some annoying google searches and lots of guesses.

I have the KE144CC because it was $250. It's noticeably heavier, but it works great and at the moment I need that extra $400 for other things.

I'm curious as to how much of our location extras (wild tracks, AMBs etc.) actually get used. When I'm working post we usually get the OMFs and spot/edit accordingly. It's not always easy to get the production sound files and even if I did, I wouldn't know what is what without also getting a copy of a production sound report (which I never have). I'm sure it's different on big budget projects, but it seems very rare to see a full AMB track in an OMF, and only a few added FX stuff that often doesn't sound like it's from location. This is just based from my very-ultra low budget experience, I'm just wondering if more professional projects incorporate more production sound extras. Thanks!

Works fine now, I don't know why it turned up 0 last time, whatevs. The gear is working great Steve thanks again. I'm slowly building the kit, I got two COS-11s in my sights next. EDIT: Ah, it's the www causing the problem. Makes sense.

I guess I'm doing it wrong, but I put in google search "pelican case site:www.jwsoundgroup.net" and I got a no documents found search result.

I did a quick scan and I didn't see anything on this. Would it be possible to set up a newbie questions section on the forum? I seem to have a million questions and I don't really want to make several threads in general or equipment discussion. Just a thought. Thanks!

Unfortunately I don't think there is a Credit Union in the city. I'm part of a HVFCU, a credit union upstate in the Hudson Valley area. I opened a Chase account for convenience, but I'll keep my CU accounts open for a long time.

Thanks to Jeff and everyone else on this site, I've learned more here than I could have imagined. JWsound is my homepage .

This forum is the best.

Punctuation FTW!! Although Stalin and tassels make an interesting mix...

This.

Of course I see this thread at the begging of June :'( , I still might get one lol. There have been way to many times when I hear "Let's just do it MOS", and I have to say something (once they wanted to do an MOS shot of an actor walking down the street...), would be nice to just have a hat, maybe shirt that says it for me.

I figured it would be a good idea for this particular instance because we had already gotten the other actors dialogue in a single, and the guy reading the lines with the actress wasn't even the same actor who said them. I'll definitely keep the "pick your battles" thing in mind though. I sometimes get carried away trying to get good sound, and forget there are other departments =P.

Definitely better than Herman Cain quoting the pokemon soundtrack.

I did this short film a few weeks back and there was a scene with the on camera actress was wearing a very unique/noisey necklace. The guy OC was reading his lines with her and in one spot she did a drastric necklace movement at the same time the OC guy is supposed to be saying something. It was low budget of course so I didn't want them to have to foley it. I asked the director if the OC guy could just mouth the one line so I could get good necklace movement sound and not worry about foley or sync later. Everyone was cool about it, I got great sound and all was good. My question is, on bigger productions where I don't know everyone as well, is it OK for me to ask for this? Or is it more important for the actors to do their thing and maybe I should just wild track it. Thanks!

Definitely sharing this one around.