Whether it's in the controlled environment of a professional studio, or deep in the woods covered in mosquito netting, we're still getting great sound.
An outdoor sound recordist has to be patient, determined, and love what he does in order to keep going year after year. Staying quiet by wearing the right kind of clothing (wool) and being able to hold one position can be exhausting, especially during long 20-30 minute ambience recordings. A comfortable and portable stool can be luxurious on long hikes, but usually a dry rock or log will have to do. The gear needed to get great sound isn't small or light, even in these days with digital equipment. Keeping it dry is another issue. It all has to be carried along, so this job isn't always a pleasant walk in the park.
ADR must be done right to look right.
How many times have you watched a movie and noticed bad lip sync? Or you can tell that in the surroundings of a scene, there's just something off about the sound, but you can't quite put your finger on it. Most likely the problem is with sound inconsistencies. A good sound job lets you become completely carried away by the story; it all just works. That's the life of a sound professional. When you've done your job well, nobody notices.
When the dialog has to be replaced with ADR (Alternate Dialog Recording) due to noise during production or for creative purposes, the goal is to get the sound right with similar-sounding microphones, and most importantly to get the performance from the actor to be as close to what it was the day on the set. When done correctly, it can't be distinguished as ADR.
Know how to work with the pro's.
Bringing your prepared tracks to the mix has to be done right. Sample rates have to match, track layouts need to be consistent, and having a qualified sound supervisor to get all of the material corralled at once and on time is essential to having a good dub.
Working at the final mix can be smooth and painless, or incredibly frustrating and expensive. Re-recording mixers are experts at mixing your sound, adding appropriate reverbs and equalization to make the smooth transitions between production and ADR, while adding ambience and FX from high-end sound libraries to make your film, show, or commercial the best that it can be. To do all that on a budget that fits your needs is essential to the process. Make sure to have a trained and qualified professional at your side to feed these mixers properly and efficiently!
To learn more about pro sound, go to the website www.mixonline.com
To get listings of studios in the Los Angeles area go to www.variety411.com