I've been a "spectator from the inside" twice, in 2009 and 2010. The first time I joined halfway through it and edited, the second time I was booming and doing some other sound stuff...

This is typically the kind of project where you thank yourself for having this colorful palette that is your sound library. We had guys composing original songs both times, and I believe it really helps breathing the right life into your movie when you obviously can't afford to Foley anything.

I reckon it is preferable to have two sound guys at least so the production can go on while you do the post work, as the production can be happening miles away from the where the post stuff is being done. You can't really afford to waste your oh so precious time on the road going back and forth between the shoot and the HQ.

On such a tight schedule,

One lesson I imagine it's preferable to work with a simple workflowgot out of it is:

1. Shoot THEN

   Sync your clean audio with to every video shot THEN ONLY

2. Edit picture with the sound synced THEN
3. Add before the touchespicture gets edited!

   You also want to have the techie stuff worked out prior to starting: what video format you are shooting at, have spare memory cards so you can keep shooting while other cards are being downloaded. Say you work in FCP, have a sequence ready with the right settings, know how you will export (Compressor is blazing fast and efficient at encoding H264it, just throwing that out there...)have ready made settings in Compressor... Actually try and prove your workflow, ideally with the equipment you'll be usingif possible, make sure it just works, it gives you a chance to iron out the kinks.

   Again, you want to sync your sound to every single "rush" before any editing begins or it'll be hell to sync it manually afterwards. By doing this, you ensure your clean sound will be edited along with the picture and the picture editor is doing the big work for you. While this is being done, you have time to work on some more advanced sound stuff, like sound design or just finding the right sounds.

I've been a "spectator from the inside" twice, in 2009 and 2010. The first time I joined halfway through it and edited, the second time I was booming and doing some other sound stuff...

This is typically the kind of project where you thank yourself for having this colorful palette that is your sound library. We had guys composing original songs both times, and I believe it really helps breathing the right life into your movie when you obviously can't afford to Foley anything.

I reckon it is preferable to have two sound guys at least so the production can go on while you do the post work, as the production can be happening miles away from the where the post stuff is being done. You can't really afford to waste your oh so precious time on the road going back and forth between the shoot and the HQ.

On such a tight schedule, I imagine it's preferable to work with a simple workflow:

1. Shoot THEN
2. Sync your audio with every video shot THEN ONLY
3. Edit picture with the sound synced THEN
4. Add the touches

You want to have the techie stuff worked out prior to starting: what video format you are shooting at, have spare memory cards so you can keep shooting while other cards are being downloaded. Say you work in FCP, have a sequence ready with the right settings, know how you will export (Compressor is blazing fast and efficient at encoding H264, just throwing that out there...). Actually try your workflow with the equipment you'll be using if possible, make sure it just works.

Again, you want to sync your sound to every single "rush" before any editing begins or it'll be hell to sync it manually afterwards. By doing this, you ensure your clean sound will be edited along with the picture and the picture editor is doing the big work for you. While this is being done, you have time to work on some more advanced sound stuff, like sound design or just finding the right sounds.