Love doing ADR ?? Want crappy sound ?

Thanks for posting. It's a good reminder to us all.

Shoot me a message when you get some test footage up. I'd love to see it. (And hear it

Here ya go.. some test footage

Im going to ADR most of this .... just testing.. final scene will have different angles and be lighter for all just seeing what can be done and will make it more appealing for all. Looks good ona big screen w/ lights out, but on a small screen too dark IMO

https://www.youtube.com/watch?v=gI7Dh_hFYbE

This one below was challenging, VERY windy and had to battle w/ wind hitting the mic ( had dead cat on ) and noise thru the trees. First lines will need ADR

https://www.youtube.com/watch?v=JizsHGS0aWw

Got the Girl's voice using Cam only, might ADR that

https://www.youtube.com/watch?v=0CSBlM8g2b0

IndieBudget said:

First lines will need ADR

Click to expand...

Don't ADR lines from a scene, do all the lines by all the actors for the entire scene. Even with the best actors and best audio post crew it can be very difficult to achieve consistent dialog tone/quality/performance.

You may not use it all, but better to have too much than not enough.

Alcove sounds fair, but I have a line or two from each scene that needs redone. Im not going to ADR the entire film. But if I can, I will get lines from each actor on every scene they were in on the final cut. I do see what you are driving at.

One issue w/ ADR I see is that a lot of talent will say it in a different pace and emotion when trying to re-record dialog later.

I see your logic, if you needed ADR on a line or two from each scene in a movie, you would ADR the entire movie ? That's dedication. I'm still the hack and will not be able do do that much on this project. I do see what you are saying if you have totally different acoustics on one line recording it later and in a different location it will sound out of place. I will have to deal w/ that. I have a wide shot in that scene and figure I can get a clean recording outside and then plug in a car driving by or something to mask the differences. The car wash scene was a nightmare, every hick in Texas with a loud motorcycle and truck was blasting by when I shot that scene. I was digging thru the trash for dialog on that one. I did come back and lay in the traffic noise.. a bit too heavy I see now.

Us hacks do learn audio kicking and screaming huh ? Thanks for the input.

Question.. How much ADR do you do on a project generally ? ADR can be good for after the fact making minor changes to the story if something needs to be changed up or whatever, adding new lines on Over the shoulder shots and cutways & the like.







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Keep in mind that my bailiwick is low/micro-budget projects. Every project is different. I've done over 80% ADR, and zero% ADR. It comes down to a bunch of different interlocking factors:

*How well the production sound was recorded - painfully obvious, but solid production sound usually means little ADR.

*How much I was able to mine out of the unused audio - the dialog from unused takes is much easier to blend into the on-screen dialog both sonically (it sounds similar) and visually (the sync is really close). It's especially good for fixing mumbled words, or replacing dialog from long-shots. Vocalign is a God-send in these situations; I've re-cut the dialog for an entire scene in this way.

*The budget - if there's no budget, there's no ADR. If there's a tiny budget we do the key scenes.

*How much time elapsed between the shoot and my receipt of the project - at that point the talent no longer available for ADR, and doing remotes is prohibitively expensive, so it becomes a moot point.

Big budget projects ADR almost the entire film. Believe it or not, it's done to save money and and preserve the cohesion of the film. The ADR is done almost immediately after shooting wraps - the talent is still available (so no expensive remotes) and is still in character (so the ADR performances are easier to blend into the dialog edit); in fact, dialog wilds are becoming more and more popular; the talent redoes all of the dialog while the crew is resetting. Dialog editors - and directors - prefer production dialog from an emotional standpoint. Dialog mining and dialog wilds are tried first. ADR is used for spots where nothing is salvageable. During the dialog edit preliminary decisions are made by the dialog editor, and alternates are put in place for the rerecording mixer(s). So even though ADR is done for nearly the entire film, on average only about 10% - 20% is used.