Olle Sjostrom

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About Olle Sjostrom

  • Rank
    Hero Member
  • Birthday 03/26/1985

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  • Location
    Stockholm, Sweden
  • About
    Swedish location mixer, sound designer, foley artist and music composer.

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  • Skype

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  1. Hey wandering, definitely speak to Börje or Jan at Visono media. They're quick and good, not cheap though. Your other option would be to get in touch with Ljud & Bildmedia, www.ljud-bildmedia.se. You do have a fixer though, right? He/she should know this. Anyhow, have fun and enjoy Stockholm if you can. I'd buy you a beer if I were around and not having small kids
  2. Sooooo... Better or worse noise wise? The only thing I miss is the respect for the takes, and the concentration shooting film requires.
  3. Those motors sound a lot too.... Oh well. I'm glad the pullers won't have to put on any more boxes than they have to. I bet Steadi-ops will be happy too
  4. Impressive, as always. But, the audio we're listening to never changed, so unless the 4017B sounded EXACTLY like the lav he wore in the video, we didn't actually hear the ZMT Phantom.. Not a big thing just saying... Or am I wrong?
  5. Been requesting this for several years too It's on Zooms and Tascams
  6. Might be jinxing it now, but I hope I'll be able to come this year! Crossing my fingers
  7. So is it a Fuji battery then? Awesome video, esp the ending.."That was slow"
  8. You're making the right decisions based on your experience coupled with what your ears like. If you trust your hearing and have the experience to tell whether a line recorded in harsh conditions will be OK or will have to be ADRed, you're automatically (probably) making the right decisions. After a few years that feeling is in your guts. And if you can make a location sound good with the equipment that you're comfortable working with, then hooray! Some people just prefer Schoeps over Röde based on THEIR experience. They're confident that they can make the right decisions based on their hearing with the right mics, lavs, txs, preamps and (hopefully) boom operators. They probably could get real good results with lesser gear, but they're have to relearn that new equipment and that takes focus and concentration, and as you know, those are two very precious assets on set that has to be deployed very carefully. Looking at numbers... I don't really see it that way in this community of mixers for film and TV, although in music and PA I can reconize it. Several people here use Zaxcom txs and txs which sound amazing and are spectacular tech and feature wise, but the sample rate of the system is actually 32khz if I'm not mistaken. That's just one example. I know of many rerecording mixers and sound designers who use Zoom or other small handy recorders for quick FX recordings... And yes, a sound person on set not reading in the general feeling on set (as you say a crying scene for example and they bluntly go "go again there was a car") is just... Sad. I've had that experience several times with mixers as a boom operator, and it's really hard on the whole team. To not just let go that time.. Then that person probably just thinks too hard or is very hard on him/herself..
  9. Cable error? Is your cable bi-directional?
  10. Oh yes another thing. I want the idea I sent to K-tek a few years ago to happen: A real rigid waistbelt where, instead of strapping the bag with carabiners or the likes, you HANG the bag on with Babybjörn like pegs. That would greatly increase speed in mounting and unmounting the bag when on a waistbelt. Maybe there are some physic law limitations, but imagine a rigid enough waistbelt to hold a full bag of gear with a simple hang on construction instead of having to muck about with your carabiners and straps. I dunno. I'd love that.
  11. A control surface, like a CL-9 (but with more everything) for the PIX, that was also back compatible with the 7 series. Maybe it could even be a third party modular system ...and also the ability to auto mute certain outputs on 7 and 6 series recorders, when stopped. That's probably just a software thing
  12. Thinking strictly bag work. On large productions like commercials or fiction it's obviously totally unnecessary ; there's probably a DIT on set. And usually on those types of productions the post team is a lot more knowledgeable. Where it's be really useful is on small scale ENG productions where you, the camera person and maybe another person is the only team. Usually those kinds of productions have very fast turnarounds and very newbie post team. Very newbie everything, except the sound and camera people... I totally get that it's a niche market, but still. A feature, or even add-in on a mixer. The PIX is great but not handy in a bag. And the union thing, well I'm totally oblivious there.
  13. We have a lot of old gear in my radio station in Sweden, no help to you obviously, but in thinking maybe radio stations in the US also keep old stuff? Just a top of mind late night thought
  14. Video recording on a 688 or the likes. Not kidding. Have had too many projects saying they can't record separate with timecode cus I'll be too much of a hassle in post (BS, yes). With a video recorded on my mixer with all the tracks synced up, there'd be no such discussion. Only problem i can see is that there would need to be a cable. But it's not really a problem, seeing as those shows would rather have me be tethered with än audio cable with a halfassed stereo mix (boom and mix at the same time) than have separate tracks. It would be a good feature IMHO. Video would still be recorded on camera obviously, but I'd be the only person actually delivering anything to post.
  15. You could build one with an arduino or RPi with an external sound card... cheap but not easy