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Olle Sjostrom

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About Olle Sjostrom

  • Birthday 03/26/1985

Profile Information

  • 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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  • Skype

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  1. I did the same thing in a staircase going up it, pulling backwards. I just flipped over the cart and no injuries other than me looking like a fool. No equipment was harmed, except some plastic boxes that were crushed under the weight of the cart and the 80s mixer
  2. With training you just get a sense of everything, and nowadays whenever I see a camera or lens I just instinctively try to imagine what the camera is seeing and steer clear of that field of view. Every time I see someone taking a selfie.. yeah so eventually in movies you try to assess what the DP wants and sort of framing. Knowing your lenses is crucial! I try to imagine like an invisible cone coming out of the lens, to help me. Maybe a weird way to think of it, but it’s helped me a lot of times.
  3. Hmpf. We had a big debate here in Sweden over a TV series where some critics said the dialog was mumbled. I had no problem hearing the dialog at all, and it wasn't really that important. The story was told in other ways I feel, but another issue people have is: too small speakers that sit behind the TV, against a wall, in a big undampened room, with the potato chips and popcorn in your mouth, and the phone in your hand. Basically. My parents are hard of hearing. They sit quietly in front of their iMac in a kind of dampened room. They never have an issue with audio. It's interesting that people claim they can't hear dialog. I am constantly amazed over how good shows and movies sound, dialog wise. And how tricky the shots are and whatnot. Anyway. AI can problably help here. But I bet the Christopher Nolans and others might have issues with Amazon using an AI to tamper with your already mixed and perfectly crafted soundtrack.
  4. Well, again I think there are situations where skates are useful, and some where they’re obsolete. And that’s the way it all works. One part of the world uses one workflow, and another uses another workflow. I bet there are huge differences between producers even; they’re used to working one way and if that way has been proven successful over and over, they will choose that way even though the other way would be just as our even more successful. I don’t think there is one correct way. however, there are cameras that don’t have built in mics, and they can’t take audio signals. Like film cameras. And sometimes you might forget to turn the mic on if there are a million cameras. So waveform syncing is not 100% always either. But then again, no workflow is. And sure, we could record everything onto cameras. But they’re not built for that, can’t really carry metadata unless the DIT is up for naming tracks and the likes . It’s not all just sound.. even if it sounds great regardless of the media, the handling and monitoring is so important in a multi camera operation, and the responsibility for sound…anyway. It seems you have one way of working and you seem to not drift away from your way, but I could be wrong, I don’t know you. But there are millions of different workflows and niches, and some want slates. Even if they’re for show. That said, I don’t think new slate, like the recently announced tentacle timebar , feels very innovative or useful. But again, it doesn’t fit MY workflow perhaps.
  5. But really, NASA is planning to add 4G to the moon. https://edition.cnn.com/2020/10/18/tech/4g-network-moon-trnd/index.htm
  6. I I ddon't have Reaper in front of me, but can't you make polyfiles as takes? I mean you can view each channel as a separate take? So that in one track you could have 8 channels, and select the channel you want as a take... This might be a dream I've had Nope. Not a dream. And maybe not the thing you're looking for, but if anyone's interested, here's how you do this thing: Import your poly-file to a track, Right click, choose "Item Processing > Explode multichannel audio or MIDI items to new one-channel items" The files will appear below your original poly file as a folder track with the names of the channels as track names and the original poly file muted Now you can select the separate mono files Right click, choose "Take > Implode items across tracks into takes" I see this being useful for dialog editing, where you can easily just choose the channel you want very easily. The way Reaper uses takes is excellent IMHO. And you can easily make a macro (Custom Action as it's called in Reaper) where you do all of this at once.
  7. Well the time code slate is a tool, and tools have different applications. This tool does not seem to fit your workflow or your general needs. there are plenty of people who actually use them and it works for them. And the same may be true for post. The same material may be edited by a few different people, and they might all have different workflows and needs. A TC slate provides a pretty fool proof way to sync different devices. There might be an old film camera (dunno why but hey you never know) mixed with gopros and/or Alexas or other cameras with or without sound. Point is: you do you and don’t use a tc slate if you don’t want to, but people have been and are using it because they like that way of working, and it's proven effective over decades. I work in the radio and we have a software for editing which is designed for people who used to edit tape, and it’s excruciatingly slow and old-timey in its features. And there are plenty of people wanting it gone, and there are plenty of softwares that could do exactly what this software does but better and faster and cheaper, but it’s too rooted in the ecosystem on this company to change now. It would take years to train people to a new software again.
  8. If the intended use is for broadcast and streaming, then I wouldn’t need a scrolling feature either
  9. Not having used this, since I'm not a mac user, I'm wondering if you can somehow scroll the graphs and have them timestamped? One of the things I love about Reaper is that you can get this report after rendering where you can actually see peaks and clipping points and have them timestamped. I don't know if that's available on other DAWs.. I've also used Youlean Loudness which I like, and the reason I like it is because the graph is scrollable Very helpful!
  10. I totally agree. 32 bit is good for those who either don't have the time to learn proper gain staging or don't care. And for us, who can use 32 bit as a sort of backup system. There'll be some years now where people are trying to wrap their heads around 32 bit and how to get a good workflow, just like I imagine people did when the RED camera came out and people started having to use RAW footage in NLEs, and all the conforming ... I dunno. In a few years there'll probably be an AI that will level everything and take out any noise before the files are even imported in to a computer. Or even before it's recorded.
  11. No I’m not, I paid cus I’m not a person who leeches. But I mean it’s not technically freeware, but you CAN use it freely if you are morally willing to do it. I’m not. Others might used cracked software or otherwise. And I’m not endorsing anyone to not pay for software they use to make money. But for someone just starting in the business, it’s great to know that reaper IS able to be trialed freely for someone just starting in the business for example. So yes you are correct, it’s not freeware per se.
  12. Nope, and yes it is, if you want it to be; you can endlessly trial it. It eventually you’ll want to pay for it since it’s so cheap.
  13. I have never ever used compression on recorded sfx, only normalizing (if the levels are inconsistent) and possibly EQ (equalizer, which can diminish or amplify sound levels at specific frequencies). Your best tools are your ears. The general rule is: if you think it sounds good, it sounds good.
  14. Well then find a dense enough pine tree in a forest, they are usually very dry at the base. And just place your microphones so that you catch that general ambience. You could try pointing the mics up towards the treetops
  15. Hi! There are no stupid questions, only stupid answers. First of all, what microphones are you using? The characteristics of your microphone will affect your sound. So if you want a specific point or area of the rain, you’d need a more directional microphone, like a shotgun or a hyper cardioid. But proximity of the sound source is more important. You have to later sound sometimes. if you’re trying to achieve a sound where you only hear raindrops “cleanly” you could fake it. As in, you go out on a night in a silent area where you have your surface, where you want the rain to fall, and you set up your microphone and then you pour your “rain” from a can or something, a hose might do. That way you get a clean sound and in post you can as the larger background rain. Layers. There is no one sound that can sound like they do in the movies.
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