I was really looking forward to your input. Are you the only audio post person on IT these days?
Nope, there are a few others. You just have to remember that as working professionals we don't always have the time to critique things. I was waiting for a client to show up (he got stuck in the horrendous Tri-State traffic), so I had a few minutes .
Can I ask what you watched it on? I got a pretty terrible low rumble when watching on my phone (Samsung S
that I didn't get with any other phone, laptop, or desktop when I tested the final cut.
I have some really nice computer/media speakers (hey, I'm an audio guy) hooked up to the computer I have connected to the world. (My DAW system in my studio is not connected to the internet and is used exclusively for audio purposes.)
I didn't find the audio "rumbly", I just thought that there was too much low end in the score. Without bringing it into my studio I might have rolled off the lows at about 100Hz, maybe notched a bit out in the high hundreds to 1.5kHz range Hey, audio is an entire skill-set in and of itself, and it takes time to develop those skills and techniques, as well as developing your "ear".
When I used to freelance at other studios I would always bring my copy of "Aja" by Steely Dan, probably one of the most perfectly recorded and mixed albums ever released (IMHO). It sounds great on just about every playback system, and I used it as a reference to acclimatize my ears to the new listening environment, so I'll know if the sound is "tinny" or "honky" or "boomy".
I think you just talked me into getting the rest of Adobe's suite (my wife and I are photographers so we have that) so that I can edit my sound in Audition since the tools in Vegas felt clunky (or maybe it is Vegas itself).
You can use whichever DAW you want, as long as you are comfortable with it. I personally use Pro Tools and sometimes Digital Performer. I haven't used Vegas in many years. (Did you know that Vegas started out as a MIDI/DAW program?) Just as important is your audio interface, and even more important are your speakers and your listening environment. Audio professionals use speakers that are very "flat" in terms of audio frequency response; consumer speakers tend to have exaggerated frequencies. Audio pros also have very balanced listening environments, which can be a VERY pricey proposition, although budget solutions are always possible.
All of the sounds you heard are foley except when my actress speaks and you hear her footsteps. There were other sounds I created, they just felt terrible using. Again, just trying to mix those sounds in using Vegas's tools felt clunky. I would make changes and it didn't sound like anything changed.
Okay, first off, it's
Foley with a capital "
F". It is named after Jack Foley, the father of the craft. He may not have created the process, but he codified it and expanded it far beyond anyone before him. He was a fascinating guy, and a bit of a joker. You may be interested in this article:
As with all film crafts, Foley is a true art form. I'm not a Foley walker/artist by profession, but I do Foley on most of the projects that come into my studio.
So, here's lesson #1 - The props you use do not necessarily need to be what you see on the screen. Let's face it, a cotton towel doesn't really make much sound. I may have tried corduroy or canvas or who knows what else, and, once I found the sound that I wanted, it may have taken a half dozen or more takes to get the "performance" that I wanted.
Lesson #2 - Sounds should be a bit bigger than you think they should be so they have more definition when pulled back into the mix. To quote Randy Thom "If you need a pistol, use a rifle; if you need a rifle, use a shotgun; if you need a shotgun, use a mortar; if you need a mortar, use a cannon; if you need a nuke, drive down the highway at 80mph and stick a mic out the window." Not 100% accurate, but gets the point across.
Just as important is your mic and preamp. What are you using currently?
You may want to check out "The Foley Grail" by Vanessa Ament, a very solid overview of history and basic techniques.
And a couple of videos to get you started:
: it's ... short! Yet almost 60s of credits for 1m28s of action. 
Of course, it's a darn sight easier to correct a bit of skew in a still. On my screen, the right side of the doorframe (as seen on screen, so on Chad's left) is about 2° off vertical. In the opening clip, the left is almost perfectly vertical, but very slightly bowed ; in the second, it's about 1° off vertical, but more markedly bowed, exaggerated as the camera tilts up. My first thought was that it was lens distortion, but perhaps the correction in post contributed?
