It's something that has stuck with me ever since, and the idea was reinforced during my three-year stint as a student employee of my university's recording studio. Time and time again, I saw low budget films where the audio was the first thing to go, though CG effects were still on at full force. Even now, if you take a look at this year's crop of student films, and you'll see what I mean. Some of the award nominees for NYC's local festivals sound like they were recorded on a walkie talkie.
This is a pitfall that I will avoid! The Robin Danger soundtrack will be crystal clear, colored with ambience appropriate to each shot, and will be completely non-distracting to the viewer. In fact, if we do our job right, nobody will ever even notice the audio. To that end, I have enlisted the help of the enchanting Miss Sonja, a woman of many talents whose linguistic background makes her an ideal choice to be my waveform wrangler. Also to that end, I have enlisted one of the rooms in my apartment to serve as a temporary recording booth. It doesn't seem to mind.
And now, to demonstrate how professional we are being, I present to you shots from our first recording session:
Do you see that? That's a Behringer B-1 Microphone taped to a pole. Nothin' but high class here, folks. Though seriously, it might not be the Neumann U-87, but this mic packs a pretty big punch for its price. And a bunch of mattresses and spare sheets make for an excellent soundbooth. I think our audio sounds pretty swank so far. You can be the judge when the animatic comes out!
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