Every field recordist has had problem sounds trample on their recordings.
Maybe you're recording a dawn chorus when aircraft interferes. Or perhaps that location you're forced to use is soaked in buzz.
It's common. The first instinct is to demand complete perfection from sound effects. As field recordists we often expect this. It was certainly on my mind when I recorded fighter jets and protest crowds.
I wrote last week that sound effects perfection is overrated. Expecting perfection risks recording sterile sound fx. When field recording, it can cultivate procrastination and rigid, technical sessions.
And while we're not looking for perfection, we definitely are looking for quality.
How then do we judge quality in sound effects? How do we get around the problem of perfection?
There are three ways:
- redefining quality
- thinking about recording sound fx appropriate to your goal
This week I'll write about redefining quality. I'll start describing perfection pitfalls when looking at quality, then offer new ways of thinking about sound effects value. I'll wrap up with suggestions to avoid quality perfection pitfalls.
Next week I'll finish this series by writing about the benefit of knowing your goal when field recording, and why Steve Jobs and 'shipping' is essential to sound effects success.
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