2. • When "ADR" is needed
• The recording process
• What "ADR" adds to the production:
five elements of a successful "ADR"
• ADR studios: acoustics & equipment
• Microphone Techniques: ADR & Voice Over
• Headphone mix
• Compression Setting during ADR tracking
• Cue sheets & Beep software
• ADR Recording example.
3. Replacement Lines: recorded lines of existing dialogue
Automatic Dialogue Replacement
• Noise interference: car horns, waterfall, voices
• Technical issues: RFI, mic-clothing rustling, rain
striking the zeppelin.
• Perspective & Voice quality: bad acoustics, comb filtering
bad place of the microphone.
• Acting
• Line changes: new text replaces the old
• Focus control: voice isolation from other sound of the scene
4.
5.
6. Adding Lines
• Story details: filling story holes (Dream of fields)
• Narration
• Background Voices & Walla
• Walla: Actors brought in studio during post production to add life
depth and occasional story detail to the soundtrack
Automatic Dialogue Replacement
7. The recording process
• The actor listens to his lines leading up to the line to
be recorded while he watches his sync picture on a
screen.
• He hears three beeps as his cue approaches. There
is also stream wiping across the screen from left to
right.
• On what would have been the fourth beep starts the
recording
• The actor speaks his lines hopefully in sync
Automatic Dialogue Replacement
8.
9. If the ADR is judged to be “good”, then it matches sync with the picture,
and approximates the aural characteristics of the original production
track, which may be used in the rest of the scene.
When ADR is judged to be unsuccessful, it can be painful to watch!!
10.
11. ADR can add something just slightly different from
the original quality, which can bring points out of
a scene that you never knew existed
14. Acoustics
• Silent room
• No sense of physical space between the narrator
and the viewer. (Intimacy)
• Match the original timbre of the production track
• Test the acoustics of the room-clean repetition is
preferred.
• Do not clap your hands. This is not the fr. spectrum
of speech.
• Find the sweet spot.
• Subtle rumbles and hiss affects the recording
• Low freq. air-cond.-elevator
16. Microphone Techniques for ADR
Two microphones in distance.
Better matching to the production track
Same mic as the mic of the production track
Find the right angle
24. Compression settings during tracking
Mid-high Threshold
Ratio 2:1, 3:1
Gain Reduction: 3-4 dB
Attack: fast – mid
Release: fast - mid
25.
26. Software for Beeps & Cue Sheets
• Standalone & Pro Tools
• MTC Generators
• Output DVI or S-video for Projection
• Read the script directly from the screen
• Better SYNC
• Less Editing
