Dialogue Editing

The ADR Recording Session 267
If you’re responsible for directing the actor, remember that you’re not directing
a movie; you’re mechanically replacing lines. It’s about listening to the
guide track—really listening—and getting the actor to mimic it. Rarely do
you need to provide method acting instructions, although at times it does
the trick. Give the actor specifi c, detailed instructions, usually referring to
the guide track. Very often an actor can’t hear the nuances of the original
performance as well as you can, so you’ll occasionally have to remind him
to listen again. Point out the details of the original performance he’s
missing.
Working with the Recording Engineer ADR recording engineers can require
a bit of work, too. Of course, they take it seriously and, yes, they’re pros. But
it’s not their fi lm, so they can’t be as enthusiastic as you are. Don’t be afraid
to coax them along. When you question a microphone position or the exactness
of a sound match, don’t give up if the answer is “Oh yeah, it’s fi ne.” The
engineer is likely to know more about recording ADR than you do, but it’s
your dialogue.
Never be impolite or behave inappropriately, but if something is telling you
that it’s still not right, listen. Trust your gut, even in the face of a more experienced
engineer. He may prove that everything really is all right, but don’t
give up too quickly. Tomorrow, he’ll have another fi lm to work on while you’ll
be back in the cutting room, kicking yourself for having accepted a microphone
position that you knew was inappropriate.
Working with the Director If you’re recording a loop line because the director
wants a different reading, it’s best for him to be around. If not, make sure
you have a very good understanding of what’s wrong with the original dialogue
and what he wants in its place.
Recording Takes
When you start a new scene, test how well the new ADR fi ts into the production
dialogue. Record the fi rst line. Once you have a good take, tell the actor
to relax for a few minutes. Ask the ADR recording engineer to sync the buy
take and fi ll the hole in the production track with room tone from the guide
track. Now play the dialogue section against the picture. Listen to the way
the ADR “sits” in the dialogue. If necessary, ask the engineer to equalize the
line or add reverb to improve the match. Decide whether this recording setup
will work or whether you need to move the microphone, change the acoustics
in the room, move the talent, or change the mics.