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Olle Sjostrom

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About Olle Sjostrom

  • Birthday 03/26/1985

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  • Location
    Stockholm, Sweden
  • About
    Ex boom operator, sound mixer from Sweden. Nowadays I work with national public radio in Sweden, occasionally taking jobs in the movies
  • Interested in Sound for Picture

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  1. You could try a contact mic on the back of the canvas or even on the frame. That will give you the brush sounds but they won't sound natural. You could use that track however as a guide track. But this is more a solution to a problem that requires a different solution, as stated above. You need to change the place. EDIT: DanielDH beat me to it, great minds (?!) think alike
  2. Also.. badly chosen name (or maybe appropriate troll name) - Samurai, could refer to Kantana ( which in turn is a misspelled Katana, the sword of a samurai, I think...), which are mentioned in another thread. Or just a coincidence.. I'm not a conspiracy theory person. -
  3. I wrote a whole thing about this but threw it away thinking you probably already know it. However, reading your posts again I realize that you're missing out on a few things and I think I know a way to help you get your head around sound and recording. I'm sorry if this reads as mansplaining or "guy teaching another guy because he's a guy", I Truly want to help you. And I actually work with teaching sound to people who don't know the first thing... Anyway, take this for what it is, It's not meant to be cruel or angrily received, I genuinely want to help you. Ok so basically (bare with me): Our eyes, and the sense connected to our eyes; vision, are not very good. We have a limited view, eyesight can easily be manipulated by things. We can close our eyes, which means we can turn that sense off whenever we want. Of course our eyesight is important and useful, but it's kind of limited and we need to process what we see a lot. Vision is easily tricked. We can't see the car on the road so the road is empty, a tree is blocking our sight. Our ears, and the sense connected to our ears; hearing, are very very good. We hear things 360 degrees, hearing is not very easily manipulated, unless you stick things into your ear or cover your ears, but you can still hear things. Even with headphones on blasting music, we can pick up small cues that inform our decisions. We can't really turn that sense off. Our synapses are ultra quick with sound an hearing. We might not see the car on the road, but we can hear it, so therefore we are cautious when crossing the road. The camera is an extension of the eyes. It is superior to our eyes in many ways. It can enhance our vision. It can zoom in or zoom out, it can look behind objects. It can focus on a single leaf on that tree that's blocking the road. If you want a close up picture of a far away animal you can use a tele lens and zoom in on that animal from pretty much anywhere. The microphone is a bad version of our ears. It is far inferior to our ears in many ways. It cannot filter out the sounds of the leafs rustling on that tree. The car will come through. In our brain however, we can focus on the rustling leafs. Even if we are 1mm away from the rustling leaf it's never going to be just the sound of that leaf. So my point is: Don't let the fantastic invention of the camera fool you into thinking that microphones have the same superpowers that cameras do. They're not the same. And that's a concept that's actually quite hard to wrap your head around. Our hearing is just so damn good and always on, that we just take it for granted. So. In order for you to get close ups of sounds, you need to be close with the microphone, and as isolated as possible. There is no zoom button. And gain is not the same as distance to your source. The air in between does not move. It's physics. A parabolic microphone (or more correctly, a parabolic dish with a mic) is the closest thing, but what it actually does is it amplifies certain frequencies where you aim it. So you won't get a full range sound from a parabolic mic, more like a thin sound. So let's say you want to record birdsong, that's pretty easy because the birds make sounds that are high pitched, i.e high frequencies, a parabolic dish with a mic is perfect for that. If you want to create a soundscape, you can use a collaging method of recording close up sounds of things and mixing them in post. If you want just a raw stereo sound of a place, ORTF or wide stereo mic placement is great. But you won't be able to zoom in on sounds in post. And high gain won't help you. I'd say you're better off without the FetHeads in recording, and just gain up in post if your levels are low. Most mics and recorders these days don't make very much noise. I'd venture that the FetHeads actually give you more noise than you need, they might actually be more trouble for you in post. I hope you found this a friendly post, and if you DID know all of this, please just ignore. It's hard to know what people actually know.
  4. another synth really , but more instrument like and playing/performance focused rather than sound design and knob turning. sounds awesome
  5. Well it depends on the wind
  6. ...and to record the thud of the stand falling down from a wave or a gale.
  7. But the tent might make unwanted noise... Get yourself a used blimp of any kind, surely there's a craigslist or the likes. I bet there's even a movie equipment renting facility somewhere in your region that might let you rent a blimp.
  8. You should def try Supertone Clear. Supertone Clear It's the best "CHEAP" no nonsense plugin I've heard so far. Izotope is bloated I think. The other option is the plugin Hush Hush | AI-powered tools for dialogue repair (hushaudioapp.com) Which honestly I've never tried, but the demos sound AMAZING.
  9. They don't make them look like this!?
  10. Yeah you read that right. The part of the mixer bag hooks on the EasyRig made me revisist an idea I sent to K-tek (even EasyRig actually..hmmm) a decade ago where the general idea was a rigid waist belt with some way to hang the bag on, instead of having to clip carabiners or whatever. The idea came from me having a child that refused to be carried in any other way than on the stomach, like a Babybjörn, and I really enjoyed the satisfying feeling of attaching those hooks, so I kinda wished those hooks were on sound equipment, but I guess those hooks are super patented. Anyway, waist belts work better for me, I'm tall (6.4 feet) and skinny, so no harness has ever suited me. Small bag or not, I've always preferred having a girdle like thing on my waist to hold the bag. I can see a product from any company with this idea for a waist belt: sturdy, nice supporting belt with just that very simple hook design, the bag itself doesn't really need securing unless you know you're gonna be running frantically all day. Maybe EasyRig can create a harness that you could actually take apart, so one part is the actual boom rig and the other is the belt with the hooks. I dunno... I can dream. And most of the times I think that people using that EasyRig contraption will be taking it on and off depending on space issues. And if you're on a scripted shoot you'd have a dedicated boom operator who wouldn't also carry the bag while booming... On reality shows, sure, you could be booming and mixing, but not likely all day with an easyrig. Not even camera operators use an EasyRig for every single shot. It depends. Hah.
  11. Possible de-rail but also, I think, interesting: which one is more explosive? Fuel or battery powered generators?
  12. I just liked the way the mixer bag hung off of the hooks. Imagine a thick belt or girdle you wear around your hips, and you'd hang the bag on that instead of having straps over your shoulders, so no harness per se. I don't know if it'd actually work but it seems like a nice solution. I think I'd buy it
  13. I mean, for longer scenes outdoors or large interiors this is great. I was even more excited by that mixer holder, I wish they'd release just that part like a belt where you just hang the mixer. Great stuff. Proud swede. Great accent
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