Audio
If there is one cardinal rule in audio, it is this: never,
ever use the onboard camera mic! If it is at all possible,
beg, borrow, or… okay, don't steal...maybe bribe
to get an external mic. The problem with on-camera mics
is that they usually don't pick up what you want them
to (dialogue) and do pick up what you don't want them
to (ambient noise like traffic, an air conditioner, or
even the operational sounds of the camera itself). For
future films, read our article, 'Audio
Tips That Every MIcrofilmmaker Needs', for more detailed
suggestions for using shotgun mics and placing them properly.
Another
thing that is noticeable is when the sync is off. Like
a crooked picture on a wall, it is extremely distracting
to the viewer if the audio (especially dialogue) is off.
I noticed this mostly with Daddy's lines, and it seemed
that the parts that were off had been re-dubbed in post.
This may be able to be fixed by simply readjusting the
sync in your non-linear editor or by running it through
SychroArts Vocalign software. (Of course, if you've tried
those two alternatives and still can't get it synched,
then you'll need to re-record the ADR lines. We will be
doing an issue on ADR in a couple issues.)
The
music used for the credits was awesome and very catchy.
My only wish was that there had been background music
in at least some of the film as well. Background music
is extremely powerful in setting the overall mood of a
film; it can let your audience know if something is supposed
to be serious, amusing, horrific, etc.
