Well, just as there is no one right way to do things, there is no one basics article that covers everything, or every perspective. I look at it like a Venn diagram: you take multiple examples, and whatever overlaps between them is a good base upon which you can build your own experience (and, before any math nerds chime in, I'm using the diagram as a metaphor. So, compute that, you George Boole wannabes...).
Today's contribution comes from The Practical Art of Motion Picture Sound, by David Yewdall, veteran sound editor extraordinaire. In this extract from chapter 5, he talks about what he calls the "changing battlefield of production sound":
Here the ignorance and apathy of other production-unit department heads, usually consumed by their own contracted concerns, becomes apparent; they do little to help the sound-recording team in what should be a collaborative effort to achieve ideal production audio tracks during the shoot. Only seasoned directors and producers know the loss that occurs of both real money -- spent to ADR actors' lines -- and of the magic of on-camera performance, rarely recaptured and seldom improved.
Kids, I know that the tone of many of these posts about production sound tends to skew a little...bitter, but don't be put off by it. Production sound is a harsh mistress, to be sure, but it can also be very rewarding.
Just not, you know, financially.
No, it's great. Really. :)
Link to the article.