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Jesper Magnusson

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Everything posted by Jesper Magnusson

  1. Me too. I accidentally put my mp3-player with a sandisk card in it throug the washing machine. The mp3-player came out stone dead, as expected, but the SD card worked without any problems.
  2. Thank you everyone for your answers. It seems to be more or less like I thought, which is good to know.
  3. Hello! Just something I was curious about; my impression is that most people leave their mics inside their shockmounts and blimps, even when they're not in use (but maybe I'm wrong about this). If this is correct, I was wondering if those of you who have done this for many years have noticed any negative effect on certain kinds of suspension? Thanks in advance! Jesper
  4. I just read through this thread. I don't mean to "revive" it now that it seems to finally be at rest, as I think the most relevant information have been said many times over. I just thought I'd respond to a question a ways back and mention that Final Cut Pro 7 and X do support subframe editing of audio (up to 1/100 of a frame), though I don't know if this has any relevance when the files are imported, or only after. Does anyone have information about or experience with working on a program other than Avid, and do they have the same issue? Is this only a problem with Avid?
  5. It sounds like you should rent a mk4 and/or mkh40 and compare them to your mk41. It might be just what you're looking for, but it might not - as Mr. Wielage said, sometimes you do need two booms (or a plant mic). It would be interesting if you compared the mk41 and a cardioid, and see how much difference there is between going close with the cardioid, and backing off a little with the mk41 to get a similar pickup area (closer should be better, but...).
  6. Really nice. I hadn't thought about giving in this way, and I could definately see myself doing something very similar in the future, so thanks for the idea. Great initiative, and I hope you'll get tons of work!
  7. Unless there's a breakthrough in nanotechnology or similar, I wonder how much smaller these things will get? Of course, the computational parts will keep on getting smaller every year, but the analogue parts must put some definite restraints. One thing I'm wondering is why they all still use several full-size XLR-inputs and outputs, instead of TA3? Shure, it's practical with the bigger XLR, but at this pricepoint and for use in a bag, most use custom cables as it is. Maybe there's a difference I don't know about, or that it just doesn't have a big impact on size at this point, so practicality wins. For me, the biggest difference bewteen the two units right now, is the fourth preamp and neverclip on the Maxx, vs the two additional inputs on the 633 (and to a lesser degree, the powersafe function).
  8. That's surprising to hear. In sweden, we have to pay taxes (25% + customs) for everything bought outside the EU if it's above a certain cost (about 600 usd), wether by shipping it in or traveling there and back. I thought this was the case for all EU countries.
  9. Another +1 for smaller pots on 1-3 (though take in mind I haven't had one in my hands yet). The zaxcom maxx seems to be just what you describe.
  10. I think the joystick seems like a logical choice since it takes up very little space, and I can imagine it being easy to work with when wearing big gloves.
  11. From a glance, it seems to be what so many have always asked for - a 302 with ISO. Roughly the same size and weight of a 702/744. Just a small detail I like; the headphone out is 1/4, not the flimsy 3,5mm
  12. I think this is the problem too - you might be overloading the input of the transmitter, so it doesn't matter how much you turn them down; you're just lowering an already distorted signal.
  13. I get the same thing (usually around the nails from all the velcro), and it only takes 2-3 days of work for my fingers to start bleeding. I either wear thin, comfortable gloves, or use some skin-friendly tape loosely around my fingertips. Works alright.
  14. Using a prop is the best bet. If that's not an option, then I've heard that dry beech wood is among the most quiet.
  15. I had a similar problem on a scene in a run-down factory with a lot of debris on the floor, all shots a little wide with steady cam. I solved it by putting two layers of a soft blanket/rug onto their feet, and as long as they didn't drag their feet it worked very well. As mentioned above though, some are very picky about their shoes, and a few drag their feet purposely to get smoother movements.
  16. As you say, that wasn't my original concern, but it's good that you brought it up. Changes in clothing often means different scenes, and as far as I've experienced, consistency in sound between scenes isn't as important as in one and the same scene. If you rely on the lav for large parts of several scenes though, then making them sound similar would be desirable.
  17. This was actually one of the things that made me think of consistency. In a wide single-shot scene I had three actors with quite different clothing: One guy had a thin sweater, so I simply taped it to his chest. One girl a thick sweater and a scarf, so I hid it in the latter as low as possible to get away from the throaty area. The second girl had two thick sweaters and a cap. So I had a choice: Underneath one or both of the sweaters, so it's more like the others (though the thickness might make it sound dull), or in the cap, which often sounds very clean. In the end, I hid it in the cap since I knew it would give a good result, and I wasn't sure the sweater would in fact give a similar sound as the others. Anyways, thanks for all the replies so far - really good stuff!
  18. I just finished working on a short film where I had to rely on lavs much more than I have previously (many wide shots and noisy locations). I've always based the positioning of lavs on the individuals clothing, body build and movements, trying to find a place that was free of clothing and cable noise, without having it sound awful (usually when they turn away their head or it's too close to the throat). As such, the tonal differences between actors could be quite big (sometimes unavoidable because of what they wear), but it's never been much of an issue as they only served as a backup to the boom. For this project then, I started to think more about consistency of tone when it came to the lavs, and I was wondering in what degree others let that affect their choices? Do you try to get the same tone between actors (which often means similar positioning and possibly the same model of lav), or do you trust that it will be fine with some EQ in post?
  19. I also use an Olympus LS-5, and it's a very nice little device for quick recordings. I've used several other handhelds, and the internals on the LS-5 is in my opinion among the better ones, but I do often find the self-noise a bit high. I would estimate that most handhelds have a self noise around 25-28dBA. The two quieter (except possibly nagra) are the Sony M10 at 17dBA (though it uses omni mics, so the stereo width is lacking) and the Sony D50 at 20dBA.
  20. I haven't had the chance to use them myself, but I've heard several raw recordings made with them on both acoustical instruments and FX, and I thought they sounded great for the price - very natural. I've heard them compared to pairs of KM184 and even Schoeps (one of the SD, forgot the model), and I thought they held up fine. I don't know about the details of those recordings though, so it may have been due to placement, source etc. They have a 16dBA self-noise and only 6mV output, so they may be a little noisy on quiets stuff.
  21. An alternative to the NT5's for those on a tight budget, could be a pair of Line Audio CM3. They are subcardioid mics with a quite neutral sound, and great quality for the money. Seing as they are subcardioid though, the placement might be a bit more tricky than just an ORTF.
  22. I wonder if they can give the Sony MDR-R10 a run for it's money? 2000 of them was made and they go up used for comparative prices... I'd love to try any of these, but if I had that kind of money to spend on headphones, I'd rather go for a smyth system. I hope the technology will be cheaper some day.
  23. I've heard this before, that a dynamic mic would somehow pick up less background noise than a condenser, but I haven't found any tests or technological explanations to support it. I'd like to learn about it if someone knows more.
  24. I agree with betting on getting something good with the 416, with possibly a plant ready to deploy if you have the time and need for it. I'm not very familiar with these competitions, but if you'll be working from a finished script, see if there isn't a storyboard done and how many shots have more than one actor speaking in it, and if you'll be able to use dialogue from close-ups to cover some tricky ones. Have your boom-op start practicing. Good luck, and try to be calm and have fun!
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