Don't 'Fix It In Post': Sound Should Be Perfected On Set, Not Just Designed Later

Look, as a location scout, I'm often the first one hearing a space, and I've heard too many sound designers lamenting 'fixing it in post' when the problem shouldn't have left the set. The core of excellent sound design and mixing begins with capturing pristine audio on location, making the post-production stage about enhancing, not salvaging. The idea that we can simply 'design' our way out of poor production sound is a dangerous myth that costs time and money.

I’ve been on shoots where a simple boom pole adjustment, a more strategic mic placement (perhaps an MKH 50 instead of a rushed 416) or even just delaying a take to let an airplane pass would have saved days in a mixing suite. We need to prioritize excellent source recording. My locations often have unique ambient textures, and when a sound mixer captures those accurately with an 833 and proper gain staging, it provides an invaluable foundation. You can’t 'design' the organic creak of an old wooden floor or the subtle hum of a distant ocean into a scene if the on-set audio capture is buried under HVAC noise or shoddy dialogue.

Now, some argue that today's sophisticated plugins and software can recreate or even invent superior soundscapes. While tools like iZotope RX are miraculous for clean-up, they shouldn't be the crutch for lazy on-set practices. You can't replace the genuine, physical acoustics of a location. A V-RAPTOR XL might get you stunning visuals, but if the accompanying audio is garbage, the whole experience suffers. Doesn’t anyone else feel like relying too heavily on post-production sound design fundamentally compromises the organic authenticity achievable with meticulous on-set capture?