Audio for Short Films Part 3: Post-Production Sound

One aspect of filmmaking that has taken me quite a while to get a good grasp of is post-production sound. Great audio is filled with its own subtle challenges. Just as many talented people dedicate their livelihoods to working in cinematography, editing, lighting, set design, visual effects, and any of the many other specific areas of the filmmaking process, there are plenty of reason why individuals do the same with sound editing and mixing. The truth is, you may have a great picture, but if your sound isn’t very good, audiences will quickly become annoyed and either emotionally or literally abandon your film. That’s never a good thing.

Audio for Short Films Part 2: ADR and Foley.

So now that you’re in postproduction, your film has all been shot, the crew sent home, what happens if you need more sound? Let me assure you that this is naturally part of the filmmaking process. In fact, as nice as it might be to gather every single extra sound effect you might need for your film during shooting, most of the time the schedule simply does not allow for this (especially on indie films). In fact, in some situations stopping everything just to grab what are called “wild tracks” of sounds during shooting may indeed be irresponsible use of the crew’s and actors’ time. Often, these sounds, referred to as Foley, are something that you or someone else can go off and record on their own once shooting has wrapped.