Dialogue Editing and Playlists

[garret]

I think he means all ADR Alts not all sync audio alts right? Otherwise I'm with you Garnoil that is extremely unreasonable.

[lexaudio]

Well for one the OMF is guide.

Cutting production alts is part of the job of a dialog editOr. But a director wanting production alts for every scene says the director has no clue what he is doing.

Carrying ADR alts is also needed. Having them ready and available to audition is critical for your client

[Frank Kruse]

Originally Posted by Ray JB

Work tracks only.

Too easy to conform the session and forget to spill the playlists into view before the conform. Then you end up with a mess.

Agreed.

I never use them. Just too cumbersome (and prone to fatal errors) to maintain throughout a complex project. Especially once automation from a pre-mix has been written to a session and it needs to be recut. Then it gets even more mind-boggling.

Frank.

[lode]

Originally Posted by lexaudio

Carrying ADR alts is also needed. Having them ready and available to audition is critical for your client

Absolutely.

I only meant having all the ADR inside the session on separate tracks. Plus production sound.

Sorry for being unclear.

Seeing all the negativity around alternate playlists makes me wonder if that would be a bad path to go down.

[garnoil]

Originally Posted by garret

I think he means all ADR Alts not all sync audio alts right? Otherwise I'm with you Garnoil that is extremely unreasonable.

He may have meant "all ADR" alt takes, but even then, when I do ADR the director chooses master and slave on the spot. And yes, the director may request to review 'some' of the alt ADR but not all of them. This is why, I would put the alts on a junk track so that if the director wants to re-listen to a few it is accessible.

[garret]

Originally Posted by garnoil

He may have meant "all ADR" alt takes, but even then, when I do ADR the director chooses master and slave on the spot. And yes, the director may request to review 'some' of the alt ADR but not all of them. This is why, I would put the alts on a junk track so that if the director wants to re-listen to a few it is accessible.

In a perfect world the Director chooses the preferred ADR take and a couple of alts would be enough but i find more and more that they want to listen to ALL the alts if they change their mind about the selected take in the mix. Unfortunately its par for the course these days. So i always have the dial editor delivery me all the adr on inactive tracks.

[antonis]

Many thanks for the great insight all.

[Vedat]

I find auditioning alt ADR on solo'd playlist tracks much faster and more intuitive than dragging them off inactive tracks.
I never change the active playlist, just use them as storage tracks that are immediately available with all the routing and processing that needs to be there. And making comps is a breeze too.
Playlists used to suck, but I find them very useful now.

I agree on the conform dangers though, you need to be on top of it.

[lexaudio]

Interesting discussion, that's why I'm throwing things out there.

In my experience, what is decided in the ADR stage isn't always what ends up being the take used in the mix.

I have yet to experience during a dub where the director wants to hear the ADR solo'ed.
They usually want to hear it in the mix.

So if you have 8 ADR channels, each pair boom/LAV, you can switch between them very quickly in the mix.

Now if you have a playlist, and you treat the volume and EQ differently and go back, now you have to redo your automation everytime.

So you set level and EQ on Take 1 Boom, and then set level and EQ on take 2 and now he wants to hear take 1 again.
It doesn't sound the same and now you have to redo it.

Maybe there are 3 different performance takes. Each louder than the other. Your automation for each in the playlist won't stick.

[Vedat]

Originally Posted by lexaudio

I have yet to experience during a dub where the director wants to hear the ADR solo'ed.
They usually want to hear it in the mix.

Soloing a playlist track doesn't solo the track, it is a way to play the playlist track without bringing it up. So the solo'd playlist track instead of what's on the actual track plays in the mix.