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Mattias Larsen

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About Mattias Larsen

  • Rank
    Member

Profile Information

  • Location
    Berlin
  • Interested in Sound for Picture
    Yes
  • About
    Sound Design, Sound Art, Location Recording, Post Production
  1. Sennheiser G3 Faulty display?

    Thank you for the quick replies with your experiences! Sounds like it is worth getting a new screen then @Derek H Not sure. First two days were outside in a sunny area (but the unit worked fine). A colleague did the rest of the shoot mainly indoors so I don't think there were any extremes there really.
  2. Sennheiser G3 Faulty display?

    Hi all! After last shoot I got back my g3 iem with a faulty display. The display is not broken "black", but roughly half of the screen in the middle area is simply not displaying any black (only orange). What is a way to fix this? Will replacing the screen work or is there more damaged with this symptom? Has anyone encountered the same problem before?
  3. From Post to Field recording

    I have got a mixpre6 myself after hearing preamp comparisons, to me it sounds less brittle and more pleasing to the ears than zoom. Keep in mind that you will reduce the numbers of inputs on the F4 if you use the safety track feature. In addition, you can add metadata via a usb keyboard (I use a wireless logitech one) on the Mixpre and it helps when printing a sound report if you do. The limiter sounds really good on dialogue on the rare occasion you dialed in too much gain. F4 Is not bad, and have the upper hand with solo buttons (and TC if the unit is not turned off), but I much prefer everything else with the mixpre - it is really fun to use as it sounds on par with other SD gear (also the HP amp is sounding really transparent and is much more pleasant than the zoom one which have a slight hiss that you get used too - but It took me a while to realize that it was not the noise of a lamp or something that I was picking up when shooting with my friends f4). As for the other parts of your kit, I think both Ironfilm and Constantin have got some good suggestions. I use an Audix SCX1HC for interiors and I think it sounds good (but then I would love to get my hands on a mkh 50 if I find one for a good price), my friend uses an Oktava and it also sounds quite good. As for shotguns, I have to say that I have not used enough ones to say I have found one which I really love (and stick with a ntg2 till I know what to aspire for). I recently got a secondhand tram tr50 for my g3s (which by themselves does not even get close to lectros), but I feel like it was a worthwhile investment over the stock mic. cos11 aint bad either, but I am probably saving up for dpa 4060s (to double for ambient recordings) if I cant find another really good deal on a cos11. The wireless part is probably the least fun to invest in for me. g3s (and I have a sk2000 too) were found relatively cheap, but it is still a big chunk of money for something that is not 100% reliable and a boom simply sounds soo much better - but it is a tool we need, I guess.
  4. A question on MS recording for film

    May I ask how you recorded MS for the movie? MS on a boom, stand or the camera? I figured I would record undecoded MS for everything apart from when I did separate ambience recordings.
  5. A question on MS recording for film

    Thank you guys for your replies! I guess I thought of recording some static space on the side mic and getting a usual focused boom sound with the mid. I am glad that some of you replied so quickly that I didn't try it. Today we only shot outside and what I ended up doing was placing the MS combo in a blimp on a stand for the camera perspective (sort of) and boom as usual with a shotgun. That way the MS mics are in an usual array and I can ditch them altogether if it would phase with the shotgun. I am curious how to make the most out of the Emesser. On Sunday we are mainly going to shoot inside and as Audix is my only hyper, the setup will need to look a bit different. If you have any suggestions, please let me know. Can you elaborate on this? It is not set in stone yet, but I might end up doing the audio post for this project. I still want to at least cover the basics. If I then have a bit of experimentation that doesn't work out it is not a big deal this time, the director encouraged to experiment and give me creative freedom.
  6. A question on MS recording for film

    Hello all experienced sound recordists! I have an Audix SCX1HC and an Ambient Emesser ATE208 and today will be my first time using them together on a short film. If the camera is moving around a lot I guess I'll piggyback them. However, I am playing with the idea (especially if the camera is in a fixed position) to put the Emesser (sidemic) on a stand from the cameraperspective of L/R and then follow any action with the Audix (mid) from a boom. I have searched long to see if anyone had done such a thing, but I found very little information. I did some initial testing last night and it seemed to sound fine from what I could hear. Is this doable or is there anything to prevent this? Swapped stereoimage/phasing issues etc? Would I be better of piggybacking the emesser on the audix and swing them around?
  7. Sound Devices Mix Pre-3 and Mix Pre-6

    I was planning to shoot MS for a film in the beginning of next year. I am quite new to MS (and the Mixpre-6). I am running the fw 1.52, Is there anything that I should be worried about?
  8. DPA Slim or 4060/61?

    Hello everyone! I have a Sennheiser SK2000 and a G3 transmitter. I am debating weather I should get 4060s or 4061 to use with them. If I could also use them for ambient or sfx recording too, that would be great. Which mic would you pick? Would 4060 be too hot for the Sennheiser transmitters with the TX gain turned down, or would that potentially cause any other issues?
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