ABSTRACT

Along similar lines, it seems rare that filmmakers will have adequately captured ambience in a room or location. Indeed, they may have the engine running throughout their dialog shots in a vehicle. As you begin to edit the material, the tonal pitch of the car sticks out like a sore thumb as you cut from character to character, a veritable seesaw of engine revs and passing vehicles now there, now gone. The expensive dolly shots and jib arm moves are destroyed by a clattering cacophony of contradictory background noise.