Pro Moviemaker Summer 2018



Sounds amazing! The Olympus LS-P4 is the latest in a family of products that’s taken the capture of audio to the next level. ByronWijayawardena explains why it’s the perfect partner for his Olympus OM-D EM-1 Mark II

T he first thing you notice about the LS-series of audio recorders from Olympus is how exquisitely tiny they are, and the LS-P4model continues the tradition. Measuring just 108.9x39.6mm and weighing 75g (including battery), you can genuinely tuck it away in a pocket and take it everywhere. Despite its diminutive form factor, it still delivers incredible sound, better than CD quality. The LS-P4, like its siblings, is also completely self-contained, featuring a built-in TRESMIC three-microphone system for expanded frequency response in stereo sound, with the opportunity to record and play hi-res FLAC format up to 96kHz /24bit. This allows users to achieve the same quality as PCM but with up to 30% smaller recording file sizes. Besides Bluetooth connectivity and in-device sound normalisation, the LS-P4 now features easy fade-in/fade-out as well as overdubbing editing directly via the recorder menu. One of those who has been a long- time user of the PS-series for his audio requirements is filmmaker and educator ByronWijayawardena, and he moved across to the LS-P4 from the LS-P2 following the new product’s introduction earlier this year. “I chose to work with this product since it was designed specifically to work with the Olympus OM-D EM-1 Mark II,”

microphone system, which enables high- resolution audio recording that mimics the function of human ears. Meanwhile the Bluetooth functionality makes it possible to control the device from a smartphone via an app, while an on-board editing facility o¡ers still more functionality. “I’ll often use the LS-P4 to record high-quality audio connected directly to the camera,” says Byron, “while if I record the audio separately I’ll sync it to the video in post using NLE software such as FCPX, Premiere or DaVinci Resolve. In that case I’ll use the audio recorded on-camera as a reference track tomake sure I canmatch everything up. There’s an old adage that, in filmmaking, the audio is half the picture and that’s totally the case. It’s a craft in its own right, and not only is there the need to record the actors, but there’s also Foley, sound e¡ects, sound design and the music to consider. All the best films have great audio, and the LS-P4 is a tool that will help you to be on top of it.”

he says. “Although it would also pair perfectly with any filmmaking camera, it’s a great partner to the EM-1 Mark II; it sits neatly in the hotshoe adapter and can be connected directly to the camera from there. The whole set-up is just so compact and integrated, and it’s great for run ’n’ gun work. “Alternatively, the recorder is so small that it can fit into an inside pocket of an interviewee and you can plug in an external lapel mic to record good clean audio. It’s simple to use and you can record directly to the recorder’s internal drive or to a micro SD card. I love the fact that the LS-P4 has a built-in USB connector so you can plug it in to your Mac or PC to download audio files.” Recording in the field For Byron, what really sets the LS-P4 apart, along with its size, is the fact that it’s one of the first linear PCM recorders to be compatible with recording in the FLAC format. He also values the device’s three- “It’s simple to use and you can record directly to the internal drive”

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