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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
    Yes

Contact Methods

  • Skype
    dumtratt

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  1. From the start i didn't really like the Tesa 4965, but now I really do. It just works. Easy to remove. Attaches to skin, however I like to put it a piece of skin tape on the actor first and then the concealer . Pretty easy to remove the red plastic too.
  2. Ambitions are great! A challenge is always fun I'd say that if you strive for a natural sound, the choice of mics is far less important than the choice of location and its acoustics. If you allow for proper time and care before and during production you might achieve what you want in a beautiful friendship with set design and props dept, or the people/person who will be working with that. And then there's workflow: sound check and so forth. Sound dept, or the sound person would have to have a lot of time to get it right. Any artistic choice that would affect location sound is not just simply choosing the right microphone. I encourage the effort! That said, I really think the more traditional way of recording dialog would make for post to be able to recreate "natural acoustics". And also, I would go with schoeps mics
  3. Today we shot a scene with lots of twists and turns for the actors, emotionally. I asked my mixer how he thought the scene went. He replied "I have mixed emotions"
  4. I thought Mixer Out Smoking was the right one?. But I guess that makes no sense either; back then you would just probably be smoking on set... Joking aside, could it be this abbreviation, If even, could've come from another country and just sticked? The Wikipedia page is pretty funny: https://en.m.wikipedia.org/wiki/MOS_(filmmaking)
  5. Thanks for clarifying this thing has so many features I guess I got a bit carried away
  6. On the other hand, if you’re a professional sound mixer looking for a wireless system, you probably wouldn’t consider a 2,4ghz system just simply because it’s 2,4ghz. The marketing is just unclear. he makes a point that it states it is a professional system, and it is, if you count amount of features only and build quality, and also if you compare it to other products in the same segment, it’s MORE professional in that regard. But no professional mixer would buy into a 2,4ghz system hoping they would replace their current systems. Maybe someone would consider buying it for ONE of the features, like TC. That section of the video was confusing. I didn’t understand if the stamped TC on the files actually matched the audio recorder’s tc. To me it seemed like he was comparing the displays in the different devices only. But I sort of half watched it at that point, so I could’ve easily missed something.
  7. Since you mention "an older phone" or could be a compatibility issue with the adapter. IPhones are perpetually fussy about most things. I know for a fact that for some older IPhones, from iPhone 8 and older iirc, you need a powered USB hub to be able to use external interfaces, like the iRig devices. That could be the issue. Try it with a newer phone. Or a powered USB hub.
  8. Thanks Rick! The md21 is indeed odd. We 3d printed a part to just hold the mic, but there's no real way of hanging it in rubber bands or so. That said, 3D,printing might be a rabbit hole to venture into. Venturing into changing mics is probably even harder. And the mic is used in a boom during interviews or for OB. The backpack we use for broadcasting is pretty awesome tech, but that's another thread.
  9. Expensive, yes. And probably won't work the way we want it to. My issue here is obviously not the shockmount, but rather the mic itself. There are lots of reasons for having that particular mic..
  10. Thank you so much! That rycote suspension was on my mind, but I'm not sure about added bulk might add up to being too heavy for our reporters. But that first item is really interesting.
  11. So, the radio station that I work at are using MD21s for daily reporting. Due to a certain virus we mount them to a boom pole. It's not the right mic for sitting on a boom, I know, but Reporters like them and most importantly they are used to them. They don't break easily and a number of other reasons. Anyway. They screw on directly to the boom which is obviously making a lot of noise. My first instinct is to just put a mkh50 on it inside a zeppelin. But that'd be too heavy. And we don't have any 50s. Or any other good equivalent mics. Small Condenser mics and radio aren't really pals. Though they should. My question is if there's something like an Ambient floater? They are discontinued.. Or is there any other gadget I could use that I might have missed..?
  12. I, too, work in radio and we had a lot of issues with this. The way we did it was to. solder a trrs cable. It's not hard or expensive, and it works great. But you can't record the audio on the iPhone itself there has to be a mixer or recorder in between. Here's a rough schematic. The 4,7k resistor in the sketch doesn't need to be that exact value, but it needs to exceed it. The 12 ohm resistor I'm not sure about. It's needed but not sure if it has to exceed 12 ohm or if it has to be exactly 12 ohms. iPhonesladd.pdf
  13. Hah! Isn't that what communicating with aliens really is though? Lfo1 modulation output going to pitch change of vco1, lfo2 output going to rate of lfo1.
  14. I imagine putting a recorder on a product at this price, might be an indicator that its range isn't great.
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