Side note, that back in the days of film, this loop was created using actual film stock from the scene. I set up A-B loops of each section of dialogue on my computer so Micah and I can listen and try to match the vocal performance a bunch of times. It’s a controlled environment with acoustic padding, etc. I used my condenser mic, connected to my digital recorder in my office. It was close enough so I can move on to the ADR portion of the process. Which is good since my 10 month old was really interested in getting his say while we shot. In this case, it’s considered reference sound since we will be replacing it later. I used the R0de Videomic for sound since I knew we were doing ADR. How I did ADR for this projectįirst, we shot the scene, doing Micah’s parts first and then doing mine in the reverse shot. But what you might not have noticed is that the ENTIRE scene was using the ADR process. We specifically wrote part of the scene to emphasize the use of ADR. Now the sketch we did at the top of the show is an example of blatant ADR use. When ADR is seen as part of the necessary process, it can free up the director to focus on getting great camera moves and performances, and worry less about whether that random airplane passing by ruined the best take. It’s a tool to get the best possible quality audio as opposed to being an annoying process that they avoid at all costs. Eventually I’m going to get tired, stop paying attention and will probably miss some important message you are trying to deliver.ĪDR is usually part of an actor’s contract in the bigger budget films. You can get away with this for a few minutes, but over the span of an hour or more… If still have to work to hear your dialogue it creates more ear fatigue. The viewer doesn’t want to work really hard to hear that moment in your dialogue where the main character whispers something important to his love interest. It seems obvious but one reason you lose them is because when the dialogue isn’t clear, you are creating fatigue on your audience. We’ve often said that if you have poor audio, then you lose a large part of your audience. Also, most short productions, like this one, don’t have the time or need for ADR.īut I’ve seen enough independent films where real time and money is spent, and the end result is great visuals, camera moves, story but the audio isn’t up to par. Especially if you don’t have the budget or time to do an ADR session after. Now don’t get me wrong, recording quality sound on set is essential. You ever watch a scene in a movie where the actors are in a wide or extreme wide shot outdoors but the audio is still clean as Mister Rogers criminal record? Even if you mic your talent with hidden wireless mics, there will probably be extra noise like rustling of clothes or ambient sound that will negatively affect it. But this isn’t always possible in the field. As we’ve said before in our video ( ) “What Mic to Buy” the key to getting good audio is getting the mic as close to the source as possible. Let’s look at it from a technical standpoint. This is sometimes called “looping”, “dubbing”, “post-synchronization” or something that I would never want to do because it’s a waste of my time and just proves that the production wasn’t able to get good audio on set!īut did you know that most big budget feature length movies use ADR on 80%-100? The Technical Reasons Why?īecause having to do ADR usually means getting all your talent together again, in a controlled recording environment, playing the video and slowly re-recording all the dialogue required by the scene. It’s something they want to avoid like the plague. Most low budget and no budget filmmakers see ADR as an awful process to go through. It is the process of re-recording dialogue by an actor after the filming process to improve or replace audio quality or reflect dialogue changes. ADR stands for Automated Dialogue Replacement.
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