Sound Advice, Indeed
Hey Guys:
Christian D here stopping by to say hello. I wanted to take the opportunity to chat with you guys about some Post Audio.
As you filmmakers out there know, post sound can either make or break your film. Even if you have the most gloriously trendy cinematography, a gripping, indie-flavor script, and pretty faces filling up the screen, that buzzing behind the dialogue and random car alarm in the middle of your medieval epic will flat out ruin your movie. There is no escaping the fact that sound is one of the most important components of filmmaking there is, and in my opinion it makes up at lease half of the film itself. It's so important, that even master cheapskate director Robert Rodriguez (that guy who did the 7k budget El Mariachi long before Sin City) says you absolutely can't skimp on the sound budget.
Here at Engine Room, Post Audio is not just what we do, it's what we are. Here are some tips on getting the best bang for your buck (and your resources) when it comes to doing sound for that film of yours:
1) Good sound starts with good ears, a clear direction, and a filmmaker who understands its importance. That's you... Right?
2) Don't make the mistake of hiring one guy to take care of all of the post audio when you can hire a team. Four ears are better than two, just as two brains are better than one. I can't stress enough the importance of keeping a fresh perspective.
3) The amount of money you spend on your location sound recorder will save you three times the amount of money in post. Not only will it save you money, but I hate to break it to you all but..ADR NEVER SOUNDS BETTER THAN THE REAL THING! Anyone seen Indiana Jones?
I have seen way too many directors get into the very bad habit of thinking ADR is the solution for everything.
4) On set, your sound person should be acutely aware of what's going on in the environment. Hone in on all the sound. The sound recordist must be someone whose present. A bad sound recordist won't notice an airplane who went by and end up costing you a fortune later on. Remember, good sound starts at the source.
5) When looking for a sound designer, look for someone talented and hungry, someone fresh, someone with experience, but most of all, someone you vibe with. Remember, good sound doesn't come from a facility, it doesn't come from the equipment, it most certainly comes from your designer and from what's between his ears.
6) As a filmmaker it's very important to find a Supervising Sound Editor who understands your process, your vision and how to work within your budget. He is the guy, or gal, that will see you through the whole post audio process. They are considered the "Directors of Sound".
7) Your choices in post can make the difference between sounding like a Youtube video and sounding like a blockbuster. It's about talent and competency, not about how much money you can save.
Some words of wisdom for ya! See you in the trenches..... or behind the faders!
-Christian Dwiggins
Christian D here stopping by to say hello. I wanted to take the opportunity to chat with you guys about some Post Audio.
As you filmmakers out there know, post sound can either make or break your film. Even if you have the most gloriously trendy cinematography, a gripping, indie-flavor script, and pretty faces filling up the screen, that buzzing behind the dialogue and random car alarm in the middle of your medieval epic will flat out ruin your movie. There is no escaping the fact that sound is one of the most important components of filmmaking there is, and in my opinion it makes up at lease half of the film itself. It's so important, that even master cheapskate director Robert Rodriguez (that guy who did the 7k budget El Mariachi long before Sin City) says you absolutely can't skimp on the sound budget.
Here at Engine Room, Post Audio is not just what we do, it's what we are. Here are some tips on getting the best bang for your buck (and your resources) when it comes to doing sound for that film of yours:
1) Good sound starts with good ears, a clear direction, and a filmmaker who understands its importance. That's you... Right?
2) Don't make the mistake of hiring one guy to take care of all of the post audio when you can hire a team. Four ears are better than two, just as two brains are better than one. I can't stress enough the importance of keeping a fresh perspective.
3) The amount of money you spend on your location sound recorder will save you three times the amount of money in post. Not only will it save you money, but I hate to break it to you all but..ADR NEVER SOUNDS BETTER THAN THE REAL THING! Anyone seen Indiana Jones?
I have seen way too many directors get into the very bad habit of thinking ADR is the solution for everything.
4) On set, your sound person should be acutely aware of what's going on in the environment. Hone in on all the sound. The sound recordist must be someone whose present. A bad sound recordist won't notice an airplane who went by and end up costing you a fortune later on. Remember, good sound starts at the source.
5) When looking for a sound designer, look for someone talented and hungry, someone fresh, someone with experience, but most of all, someone you vibe with. Remember, good sound doesn't come from a facility, it doesn't come from the equipment, it most certainly comes from your designer and from what's between his ears.
6) As a filmmaker it's very important to find a Supervising Sound Editor who understands your process, your vision and how to work within your budget. He is the guy, or gal, that will see you through the whole post audio process. They are considered the "Directors of Sound".
7) Your choices in post can make the difference between sounding like a Youtube video and sounding like a blockbuster. It's about talent and competency, not about how much money you can save.
Some words of wisdom for ya! See you in the trenches..... or behind the faders!
-Christian Dwiggins
posted by Engine Room Studios at
12:06 PM
0 Comments
