Some great answers!
My own personal favorite:
Good Sound Design of a movie begins after we are finished shooting and the film has been edited.
I personally believe that having good sound design begins with the script and a scriptwriter/director thinking with sound design throughout the whole pre-production and shooting process.
A myth I used to personally believe myself before I started doing more and more recordings with these little critters is:
Lavaliers sound horrible. Don't use them at all. (I do agree with choosing a boom over a lav but when it's all you've got, it can be sufficient!)
But, they really do work if you know what you're doing and you spend a bit of time learning how they work and what they sound like and where they sound best on the person. Like all microphones, there are poor quality ones and good quality ones. The COS-11 I've been using sounds great when used correctly.
I used to never think of using them and only using the boom (which I still do use most of the time) but when it's not feasible to record with one like in a cramped room or outside in a wide shot, they actually do work when you use them correctly. I was shocked to discover that most of the dialogue in The King's Speech was recorded with lav's. I had no attention on the voices in that movie - they sounded great!
Just about anyone can do the boom oping. Use the PA - he's just standing around doing nothing.
So not true. It takes incredible skill and timing and attention to do a superb job of boom-oping. I've seen a poor boom-oping job done by an inexperienced person who meant well but just didn't have any training and the director thought "anyone could do it" and it ended up costing about $10,000 extra dollars for ADR recording and editing fees. From what I've experienced in the indie film scene is that more often than not they give the job of positioning the microphones for their movie to someone with very little if any experience and it bites them later.
A beefy gun sound comes from ONLY the closer microphones. You don't need to record from farther away.
Almost true, closer mics sound great, but you should always get a long perspective because from my experience some of the beef of a gun comes from the echo rather than the direct sound. For example, try recording a whip crack in a dead room. It sounds like you're snapping a pencil on your finger. You need some acoustical support to make something sound huge and natural, IMHO. This is definitely true in music recording and mixing.
All actors perform perfect ADR. They're actors, right? So if we book them for an hour to do 80 measly loops, they should finish before the hour is up and we can all go get a drink.
In my humble experience, I've found that the actors who are the best at ADR have a strong sense of musical timing and ability to duplicate pitch and tone. Not everyone can do this.
Good ADR is close-miked and noiseless. When you close-mike a voice (2 inches from mouth), you can just roll off the low-end and add reverb and it will make it sound farther away!
As always, depends on what your source material is, but in my experience when someone has told me this and we've done it that way the closer, deader mic is always the toughest one to match in with production dialogue. Put the mic back a foot or even 2 feet - the proximity effect is the arch nemesis of matching ADR to production sound.
I was so sure you audio guys could fix this interview audio where the hiss is louder than his voice, the interview was done next to the waterfall, and the auto-gained track, so I didn't bother to consult you about the audio quality before we went ahead and edited the video. Here you go. Needs to ship tomorrow - I told the producer you guys are FAST!