According to Millie and Lorene’s schedule, it sometimes seems that they think the only thing that needs doing with sound is just syncing it with the footage and then dusting your hands for a job finished.
I guess this is a vaguely understandable belief to have if you’ve not worked with sound files or editing sound files before. However, I made sure that they do have access to exactly the same sound files as me. I know they are very focused on the visuals of the film and esp. the colour grading – which is fab, I love colour grading – but I wish they would stop treating sound as an afterthought.
This is very annoying. Especially when I had to fight so hard on set to capture decent sounds thanks to locals still being in the pub, and I had to pour so much work into Roll 6 (the main scene) in order to get the sound as crisp as possible with a controllable amount of background noise. To do this for every take will be a whole load of time thrown at it, which is something I don’t have while I still don’t have a cut of the film.
I’m sure they will realise once they hear the film synced with just the raw sound files, most of them completely untouched.
What I got from this:
- Working for someone else’s project can be much harder work than working alone, as the other people might not have a full appreciation as to the work involved and convincing then of it is hard and labour-filled. Perseverance and open communication at the beginning of the project as to what is be expected of each individual roles would save time and frustration later on and is a key aspect I’m going to remember for future projects.