All of the ADR was recorded in India, Los Angeles, and New York and it’s being mixed close to where I live here in Burbank.”Īvoiding flat, lifeless ADR is always a challenge. On set, they would set up a shot, film the scene in the first language, and then, once they got the takes they needed, they’d film the same shot in the other language before repositioning the lights and cameras for the next shot. “I’m currently working on a bilingual Indian film that was filmed in Hindi and Tamil. If an actor in India can’t do ADR well, then they are considered a bad actor. In terms of ADR usage in other countries, Walker says, “As far as I know, India is one of the few, if not the only, country that uses one hundred percent ADR regularly. That is not enough time to mix an hour-long show in my opinion.” I know of several reality shows that are formatted for an hour in length, but due to lack of budget, the re-recording mixers are only allowed one day to mix. It’s possible that the sound edit and mix was rushed due to lack of resources, but it’s hard to say exactly without knowing specifics. Walker says, “Those types of programs often have very tight budgets with even tighter sound budgets. We observed that some made-for-cable TV movies have audio that sounds almost artificial, as though all of it was recorded on ADR. The director plays a major role in approving ADR, both in deciding which takes to use and whether or not they prefer the original lines over the ADR.” I add those performance ADR cues to my list only if the director explicitly mentions that they want to re-record it. “There may also be the occasion where the director isn’t satisfied with the way the actor delivered a line. “A typical example would be a scene where there is a phone conversation and we hear the person talking through the phone receiver. They do this often when there is a need to change or add a line of off screen dialogue. “On the creative side,” Walker says, “it is common for the picture editor to record his or her voice as temporary ADR that is intended to be recorded later in the ADR process. ruined by crew noise from creaky dolly shots, footsteps from Steadicam shots, or a crew member bumping into a C-stand.buried in noise from loud locations or production effects.scratchy-sounding from cloth movement on lavaliere mikes hidden under wardrobe.In an ADR project, Walker looks for dialogue lines that are: Walker says that “Since ninety nine percent of my work with dialogue and ADR editing is technical, I almost exclusively look for those types of lines to prep for ADR sessions.” “The need for ADR recording,” he says, “is split between technical and creative purposes, and there are many possible factors that would determine why ADR would be used.” Specifically, we asked if the use of ADR was dictated largely by the work itself, or by the director’s preference. We talked to ADR pro Justin Walker about how the ADR (Automated Dialogue Replacement) process works in film and television.
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