Dialogue Editing

Organizing ADR Paperwork 259
what about longer text, say a whole paragraph? Remember what you’re
doing. The actor needs to memorize the line and its rhythm, so the
spotted lines shouldn’t be unduly long. However, overcutting results in
an unnatural recording process and can be very time consuming. Plus,
you lose the text’s fl ow if it’s been recorded in very tiny bits. There are
a few rules of thumb to remember when dividing text for ADR:
– Break at the end of a sentence.
– Break lines at breaths. Unless an actor is a pearl diver, a breath pause
is a pretty natural place for a break.
– Break at an infl ection. Most sentences are composed of clauses offset
by changes in infl ection. Read the sentence aloud and you’ll usually
know where to break it.
If a line isn’t sync but rather off-camera, behind the back, or in another
such hidden place, you can usually spot a longer ADR replacement.
Most actors prefer to record complete sentences if there’s no concern
about lip sync. Plus, you’ll likely save time in the session.
The Actor’s Script
Each actor will need a list of his lines in fi lm order. Of course, you could
merely provide a sorted copy of the ADR call sheets, but these aren’t the
easiest things to read, especially in a darkened recording studio. It’s better to
provide a stripped-down version of the ADR calls, with a minimum of clutter.
(See Figure 15-2.)
ADR Recording Report
You have to take notes and keep track of your takes during the ADR recording
sessions. Period. If you don’t, you’ll face a Herculean ADR editing task.
And, since there’s no time in the session to prepare for effi cient note taking,
you have to enter the studio ready to write. That’s where your prepared ADR
recording reports come into play.
Here you’ll mark all acceptable takes (the ones at least worth considering
when editing) with “Hold,” and for the best take or takes, you’ll check “Buy”
(or whatever term your local fi lm culture uses to indicate the take). In the
comment region for each take you can indicate things like “good ending” or
“middle section OK” or “director likes this, I don’t.” At the bottom of the page
is a section for notes to the editor (even if it’s you), where you can explain
complicated combinations such as “Use fi rst three words from TK 7; middle
section from TK 1; end with TK 2.” (See Figure 15-3.)