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01_Lecture 04
This document discusses Automatic Dialogue Replacement (ADR), including when it is needed, the recording process, and what it adds to film productions. It outlines five elements of a successful ADR session: sync, pitch, tone, emotion, and rhythm. It also covers ADR studio acoustics and equipment, microphone techniques, headphone mixes, compression settings, cue sheets, and software for ADR.
01_Lecture 04
- 1. Film Sound ADR © GeorgeMilioris
- 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: recordedlines 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
- 6. Adding Lines • Storydetails: 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
- 9. If the ADRis 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!!
- 11. ADR can addsomething just slightly different from the original quality, which can bring points out of a scene that you never knew existed
- 12. = Actor’s Energylevel Sync Pitch Tone Emotion Rhythm
- 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
- 15. Essentials Proper script stand Properlight Proper monitor Water Pen to mark script notes and changes
- 16. Microphone Techniques forADR Two microphones in distance. Better matching to the production track Same mic as the mic of the production track Find the right angle
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- 19. Microphone Techniques-Voice Over Sweetspot of the microphone
- 20. Avoid nasal sound– air coming from mouth and nose shouldn’t hit the diaphragm directly Microphone Techniques-Voice Over
- 21. Avoid nasal sound– air coming from mouth and nose Shouldn’t hit the diaphragm directly Microphone Techniques-Voice Over
- 22. Avoid nasal sound– air coming from mouth and nose Shouldn’t hit the diaphragm directly Microphone Techniques-Voice Over
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- 24. Compression settings duringtracking Mid-high Threshold Ratio 2:1, 3:1 Gain Reduction: 3-4 dB Attack: fast – mid Release: fast - mid
- 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
- 27. Software for Beeps& Cue Sheets
- 28. Software for Beeps& Cue Sheets
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