Prolost by Stu Maschwitz
Dear companies that make production audio gear,
I love filmmaking. I love shooting. I love everything about the on-set experience.
Except recording audio.
When I’m filmmaking like a grown-up, I have someone else—an expert—handle dialogue recording. But often, it’s just me. Me and my portable audio recorder and expensive microphones and absolutely no frigging idea what I’m doing.
I’m a pretty smart guy. I truly get, in my bones, that poor production audio is the quickest way to sink an indie production. So I’m motivated to learn more about audio. I’ve tried, and tried. But it doesn’t stick.
My shotgun microphone has a little switch on it. That switch has two positions. One is the right one, one is the wrong one. You know what? It would be easier to just re-write this short to have no dialogue.
You’re probably thinking that I’m a lazy idiot. You might be right, but I think there are others like me too. Production audio is one of those fields populated by experts who have long forgotten what it was like to ever not have a complete grasp of hypercardioid patterns, phantom power, and 60Hz hum. To those experts, we who scratch our heads at those terms must seem so thickheaded. But trust me guys, this stuff you know forward and back is actually quite maddeningly opaque from the outside. read more...