Re: How To : The ADR Gospel
 

Good call!

Also, preparation (another P-word) can be a key element for a successful session. If you are the dialogue supervisor, make sure the ADR cues are well organized and that the paperwork is all in order. For the ADR mixer, taking some time before the session to program all the cues into markers can tremendously speed up the setup time between cues. For the ADR editor, preparing alt take tracks and splitting tracks for perspectives will speed up the job for the mixer, especially when they deal with clients that like to listen to several takes of lines at the final mix.

Hey Marti, great thread!

-Justin

Re: How To : The ADR Gospel
 

Marti, if you ever decide to write a book, I'll be the first customer... it would be on my reference shelf right next to Purcell's book!!!!

Not only is Marti a monster with the amount of stuff he knows, he's also extremely generous with his knowledge and experience... stand up guy all the way around.

Thanks as always Marti!!!

Re: How To : The ADR Gospel
 

I wish I could convince a lot of actors to turn of their video monitor, I think it mesmerizes them to look at themselves.

I've been working with a lot of pre-teens lately, they are the best at ADR. I still haven't decided if it's because they're not acting, or they can only read it one way. But whatever it is it works . . . by the time their in their teens, they're not nearly as good at it.

Re: How To : The ADR Gospel
 

When mixing ADR for an interior, sometimes, if not most of the time, it is necessary to add some room refection to match the recorded dialog. Please make the verb you are using mono to match. I can't tell you how many times I hear this done incorrectly. I like using Altiverb with one of the classroom settings or one of the living room settings. Mono of course.

:)

Jim

Re: How To : The ADR Gospel
 

If some one is recording ADR for me, and they use any reverb, they wont get hired for the next job. That's the rerecording mixers job.

Re: How To : The ADR Gospel
 

To be clear I was talking about mixing ADR not recording ADR.

Jim

Re: How To : The ADR Gospel
 

Back in the mid 80s I did some ADR sessions for a very old-school dialog editor using actual 35mm mag loops with no picture. I would play the loop through the stage monitor 3 times, and then mute it and record the actor saying the line in rhythm. We kept repeating this over and over without stopping the loop until the actor got it right. It was incredibly fast and the actors wound up matching the original rhythm and reading perfectly, but it's no good for changing the performance. Also, my recordist was exhausted at the end of the day from loading all those loops on the dummy.

Re: How To : The ADR Gospel
 

Ahh. Much better. You had me worried.:o

Re: How To : The ADR Gospel
 

In my experience, if you don't have Performance, everything else is immaterial.:( And I totally agree with the concept that you either get the ADR process immediately, or you never will.

Re: How To : The ADR Gospel
 

I might want to add three things which dramstically improved the quality of my ADR:

- This one is obvious: Get exactly the same mic(s) the location sound guys used.
- Get a boom operator !!!
- If possible and budget and times allow for it: Record on location.