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ADR <strong>Editing</strong> 275<br />
changed, drag the ADR region until it’s lined up with the original dialogue<br />
line, forgoing timecode.<br />
“Top and tail” the cue, leaving just the line and a bit of ringout afterward.<br />
Move this trimmed region to a track just below the dialogue element you’re<br />
replacing. You may have to temporarily rearrange your tracks.<br />
Sometimes you can align the beginning of the dialogue cue with its ADR<br />
replacement and begin making sense from there. Other times the initial<br />
attack isn’t suffi ciently clear to be used as a reference. In such cases, analyze<br />
both waveforms and look for notable landmarks. Plosive consonants such<br />
as B and P are usually easy to spot, as are stop consonants such as T and K,<br />
because they typically rise above the rest of the waveform, begging to be used<br />
as guide posts. Find common landmarks in the dialogue and ADR regions<br />
and align the two regions from either head or tail, whichever suits you. If<br />
they align well for their entire length, you can move the cue to the desired<br />
ADR track, “Get Out of Jail, Collect $200,” and consider yourself very lucky.<br />
(See Figure 15-11.)<br />
Listen to the reference and the ADR replacement and make sure the meaning,<br />
melody, and attitude of the loop match that of the original. Then watch the<br />
replacement line for sync. Watch it again. If you’re still happy, move on. In<br />
the ADR recording log, mark that the line is fi nished. Prepare the dialogue<br />
line to accept the ADR (discussed in the previous section), and remember<br />
that you got off easy this time.<br />
Combining Takes<br />
More than likely you won’t always be so lucky. Most ADR lines need editing,<br />
often necessitating a combination of takes, time expansion/compression,<br />
pitch shift, and other tricks. It seems a formidable task to compare numerous<br />
outtakes and combine them in a way that honors the spirit of the take that<br />
you or the director selected in the recording session. Yet with a standardized<br />
plan you can extract the best parts from each take without creating a soulless<br />
Frankenstein.<br />
Arrange your tracks so that just beneath the reference dialogue track is the<br />
target ADR track (ADR A, B, C, etc.) and below that are your ten or so ADR<br />
work tracks. (See Figure 15-12.) Compare the chosen ADR take to the original<br />
dialogue. Figure out why it was selected and why it’s not working. Is it a sync<br />
problem? If so, where does the ADR line fall apart? Does the ADR cue regain<br />
sync after the sync-defying irregularity? Find out how much of the chosen<br />
ADR take you can use and how much will need to be replaced from alternate<br />
takes. This will limit your search.
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