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Sound Edit Workfl ows<br />
problems cannot? The performance is also an issue. Sometimes, the lines are replaced in an attempt<br />
to improve a weak performance. In this case the director and/or the producer need to be part of the<br />
process. Often, new off-camera lines are added.<br />
Cueing should take place in a pseudo-mixing room or even right on a dub stage. The person doing<br />
the cueing needs to be able to hear what is on the track in a critical listening environment. It’s also<br />
nice to have some basic mixing tools and noise reduction equipment like the tools that will be used<br />
in the mix to determine if a problem can be fi xed. There is no attempt to actually fi x any problems<br />
here, only decide what is fi xable. Cueing ADR is a diagnostic process.<br />
The lines to be replaced are listed by actor and time code. The exact line as used in the fi lm, not just<br />
from the script, is transcribed. Depending on the type of ADR computer, the cues can be entered into<br />
the computer, or the cue pops laid into tracks. The cue sheets need to be copied and given to the<br />
effects editor who is also cueing as the ADR is being cued. The effects editor will need to know<br />
which production tracks are going to be removed so they can cue proper effects and Foley in these<br />
areas. Foley are very specifi c sound effects (discussed further in the Sound Effects section that<br />
follows).<br />
In the ADR session, the ADR mixer, ADR editor, and actor are present. As performance is a big issue<br />
in ADR, the director should be there as well. It is important for the actors to put themselves into the<br />
scene. If they are screaming over a jet engine as fi re burns all around, it may be harder for the actor<br />
in ADR to re-create the performance from the set. They are warm and comfortable in a studio, not<br />
panicking on an aircraft carrier. Sometimes actors need to run outside and race around the parking<br />
lot to get winded and into the scene. Whatever it takes.<br />
The ADR mixer has a diffi cult job. He or she needs to record the line cleanly, match the sound of<br />
the nonreplaced lines, and keep the sound from sounding like it was recorded in the studio. Anyone<br />
can record clean audio; it takes an artist to record not-so-perfect, but nevertheless, just-right audio.<br />
Microphone selection and placement are the strongest tools of the ADR mixer. Some EQ can be used,<br />
but it’s best left to the dub later on. Many ADR mixers use two mics, one of which is the same model<br />
used in production. One mic is placed somewhat close (the actor is never right on mic) and the<br />
“production” mic placed at a distance.<br />
Usually two or three good takes are saved. This way, the ADR editor has some material to tweak.<br />
The ADR edit is all about using the right words from the right takes. Tweak until it fi ts. Everyone<br />
has noticed bad ADR in a movie. No one notices good ADR. The tracks are usually cut so that each<br />
character has his own track in the scene.<br />
Recording ADR in ProTools<br />
As we are not using an ADR computer, you will need cue pops. These can be cut from 1,000 Hz<br />
tone-generated with the tone Audio Suite plug-in. Edit three, one-frame pops about twenty frames<br />
apart and bounce these to disc. You will also need to set up a video monitor and headphones for the<br />
actor in the studio space if you do not already have that.<br />
Create three new tracks, fi le > new track. Name them ADR 1, 2, and 3, as seen in Figure 7.3. Check<br />
the input assigns and set them for the input and microphone preamplifi er that you are using for<br />
recording.<br />
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