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ADR to Picture or Wild
Old 3rd January 2011
Gear Nut
Mister_T's Avatar

ADR to Picture or Wild

I'm by no means an ADR specialist, but when I have had to do it I turn off the monitor in the booth. The way I was originally taught was to have the actor watch/listen to her line, then beeps and they say it with picture.

One problematic session we turned off the monitor in the booth and had the actor listen once, say it thrice. The sync, performance, and tone were all way better when the actor didn't have to watch herself on screen and just focused on the sound of her voice. Every time I've engineered ADR sessions I've done it this way and the results have been pretty good.

It'd be nice to hear from some seasoned ADR folk on this method.
Old 3rd January 2011
Lives for gear
eoats's Avatar
What ever works.

I know with some big stars who are too busy to come in to a studio there are people who've had to go with one Nagra to playback & another to record to get 'Loops'. Now days a laptop can PB & Record with pix.

Children have been tough to get too, so many times just getting them to repeat the line is the best that can be hoped for - picture is just a distraction.
Old 3rd January 2011
Lives for gear
santacore's Avatar
It depends on the actor, it depends on the line. Sure I've turned off picture many times over the years to grab certain lines. That said, most actors are self regulating and will tune out picture when they think it helps. At the end of the day, do whatever it takes to get the performance with that actor.
Old 3rd January 2011
Lives for gear

When I first started actors seemed to want and work better with pix. Nowadays, at least on the films I've done, all the technology seems to get in their way and make them self-conscious. Many find even the headphones distracting--they'll listen a few times then take them off when they speak.

phil p
Old 3rd January 2011
Gear Addict

I find the listen and say it back to be approach to be most useful when tricky pauses or stu-tters are involved. With that said most actors will slow down the delivery while matching the cadence this way, but that's usually not too much of an issue.

I also find that beeps are most useful when the actor needs to react to something or someone. If context is key to the line then beeps are usually the way to start. John's right in that most experienced actors will self-regulate when to watch screen vs when to watch script or to close their eyes.

Also, as mentioned the technique can vary from actor to actor and line to line. Some actors are very confident working with beeps and to sync. Others much less so. The best ADR actors will read and breathe into the line even before the beeps, but this requires a fair amount of comfort and confidence in the process.

I have personally found that kids are generally very good at ADR, as they are natural mimics. Especially at the ages of 6-12.
Old 3rd January 2011
Lives for gear
Jfriah's Avatar

Originally Posted by eoats View Post
What ever works.
End of story.

a) whatever works.
b) whatever method your ACTOR is used to using to get best performance/sync
if you can provide that with the tools and techniques at your disposal.

Some folks are parrots and that's great. Kids, especially, I 'loop' or do 'play it / say it' and get great stuff. Slide it back in sync, done. Or old school looping if you set up your system and just go for 3-5 takes straight without any distracting 'chatter and comments' after every take. I know some actors really hate being so-distracted by engineer/supervisor/director/producer. A fave ADR quote is "quicker, slower, louder, quieter, early, late. Use one of those after we do a take and let's go right back in and do this a few times before we do a thesis on every take, okay?"

Many actors get 'too occupied' watching the poor-quality image / bad angle / bad lighting of themselves and sync goes out the window. Someone at some point 'told' them they have to look at the screen to get their lips to sync. Pretty much always late if you're watching the lips to move.

I've done ADR many ways: with picture, without picture, with guide, without guide (one actor would listen, listen, listen, then drop the guide in the cans while they looped because they didn't want to hear the overlap), parroting, wild...

I find that 'Wild' works for one, maybe two-word utterances or reactions. Your actor has to be very consistent for anything more than that. One actor on a series who was one of those 'too busy to come over for ADR' delivered some of the best takes of ADR I've ever had to deal with. Then again, ALTing his dialogue was also fairly easy. Good or bad thing for the director to have that many consistent takes of a line read, hahahaha.

Good luck.
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