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POST-PRODUCTION TIPS: Smooth Sounds  By: Michael French One thing we have found is “picture perfect” isn’t always top priority. If you have to pick between a cut with good audio and a cut with good picture, go with the audio. Yes, in an ideal world, you want your picture to be beautiful. But viewers can be forgiving in that area…and can chalk up blurry or shaky shots to artistic choice. They will, however, lose patience and bail if they can’t make out what your actors are saying.  What happens if your only audio choice is not ideal? First, think twice before hiring that sound guy again (just kidding…it’s not always their fault…but then again, sometimes it is  🤨 ). Then, take a look at these three tips for smoothing out your sound. Put Ambient Sound To Work – Sometimes you have audio recorded in different locations, or with different mics, that you want to use in the same scene. In all likelihood, they will have different ambient sound in the background...

POST-PRODUCTION THOUGHTS:  Do You Foley Around With Man Or Machine?  By: Roberto Cardenas Tech is ever advancing, but still ain’t perfect. Mics can’t pick up everything, so we still need foley to make up the sounds we miss. The question is…with the advancement of technology, do we still need foley artists (the human kind), or can we use digital foley to fill in the audio blanks? Foley artists have been crucial to television and movie making since the end of the silent picture era, when people like Jack Donovan Foley (name sound familiar?) created techniques to replicate the unheard sounds they saw in the “talking pictures.” Over the past couple decades, the innovation in microphone, audio recording and editing tech has given foley artists the tools to be more precise, creative and speedy with their work. But it is also giving them a run for their money. Now there are digital sound creation tools and digitally created sound libraries that film and tv makers a...

(Photo from Production Hub article.)  PRODUCTION TRENDS:  Camera Stabilization & Specialization By: Michael French We may be a post-production house, but our clients head our way from the production side of things. So, at times we pass along industry news that will help you bring the most dynamic footage into post. And, today we came across an interview on Production Hub's website   with Alan Lennox, veteran Steadicam operator and, now, Camera Stabilization Systems Specialist at manufacturer ARRI. He discussed how our entertainment market, currently flooded with distribution outlets, production companies, and shows of every ilk and iteration, is also an opportunity for differentiating yourself. A newer trend for doing so is meeting the viewer’s demand for high quality camera work that has more movement, is more subjective and more involved with specialized cameras and motion. Check out the full article.