Issue link: https://digital.copcomm.com/i/6359
Mention the term "independent film" and you're likely to think "low budget." In many cases, you'd be right, but the audio pros we spoke with this month don't let budget constraints stand in the way of delivering a high-end product. Andrew DeCristofaro, a supervising sound editor at Soundelux, says he quickly learned that a low- budget film should not automatically be handed off to a junior member of the studio's audio team. "I see people making this mistake," he notes."They think,'I'll put a junior guy on it because it does- n't cost as much as a senior editor,' and you think that's going to save you money. I've found out [that], I want the most experienced people.They are going to know what things are important to get to, and know how to do it the first time.When I work with a green editor, half the time it takes me three times longer and I'm re-cutting the stuff myself.You think you're saving money, but you're not." Zach Seivers of Snap Sound says his studio embraces independent filmmakers. He sees their work as having an impact, and wants his studio to have a reputation for contributing to meaningful films, re- gardless of their budget. Here's a look at a number of studios that are helping independent films sound like their big-bud- get counterparts. Crazy Heart's final mix took place at Todd-AO Hollywood on Seward St. Dub Stage 2. Audio For Independent Films Low budgets challenge audio pros with delivering high- quality soundtracks for the big screen. By Marc Loftus