The audio is the glue that holds it together and sells it as a professional production. It will be perceived as the Director’s “artistic choice” even though shots are out of focus and flaying around.
Great visuals with crappy sound screams - “I am an amateur!” Conversely, lots of blurry, handheld, whip-panned footage with pristine dialog and a full soundscape can be completely acceptable. To paraphrase the always edifying Vashi Nedomansky, in his excellent post on the subject, "garbage in, garbage out," i.e., what you get on location is what you have to work with in post, therefore, there is only so much "fixing it in the edit" that you can actually get away with. One of the most important steps you can take is, while shooting, to be sure that you capture quality sound. For many filmmakers, sound is something to be turned over to, and handled by a professional, and this is definitely the best bet if you can afford it, but if you can't (and even if you can), it still pays to know a little about how to manipulate the soundtrack of your film, because as an indie filmmaker you should be a jack of all trades, and sound is a big trade in the picture show business. All of your levels are good, nothing is peaking or clipping (sounding terrible) and you are working on your edit on your NLE of choice. And with the concomitant proliferation of audio technology (specifically DAWs, or Digital Audio Workstations), there's no excuse for an indie filmmaker not to educate themselves in the art of noise. Click through for five tips on EQing sound, for filmmakers! The art of manipulating sound is an occult practice, mysterious and daunting to outsiders, though in reality, like almost everything, a little education goes a long way and the information is out there if you look for it since many filmmakers, though, are taught from the beginning (at least I was), to shoot MOS and concentrate solely on the visual, with sound a distant second, it can be a blind spot in their skill set, but a vital skill.
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