editing ADR

[Cracker Funk]

Here's my ADR plan, for a couple scenes. Acceptable?

My resources: H4n. That's it; I don't have the mic anymore. Nor do I have access to a studio.

The actors in the scene are in two different locations, so I have to ADR in seperate places, thereby picking up two different room-tones. So, I was thinking I'd cram each actor into a closet, or maybe just the quitest room we can find, record the entire scene (one phrase at a time, of course). Actresses A and B are in Chicago, so I can record them in the same room. Actors C and D are in Richmond, so they'll be recorded in the same room. Then, I'll get "room-tone" from the location at which the scene takes place (outside, on a suburban street, for one scene, inside a moving car for the other scene. Finally, in editing, I mix all three room-tones on top of each other, so that we're not going back and forth between two different room-tones (Chicago room and Richmond room). With my scant resources, is that the best plan, or is there something different I should do?









Thanks, in advance, Alcove. With ROC gone, this is obviously primarily at you. I would've PM'd it, but I figure other people might also want to know the answer.

 

[Cracker Funk]

Cool. Lot's of good tips, stuff I wouldn't have thought of, otherwise. Thanks, everybody!

 

[Buddy Greenfield]

Depending when you come keep in mind the weather: coughs, stuffy nose, sore throat, forced air, clanky radiators, shovel scrapes, snow plows, people killing each other with plastic lawn furniture over parking spaces etc.

-Thanks-

 

[Cracker Funk]

Depending when you come keep in mind the weather: coughs, stuffy nose, sore throat, forced air, clanky radiators, shovel scrapes, snow plows, people killing each other with plastic lawn furniture over parking spaces etc.

-Thanks-

Sounds like my kinda city!

 

[Cracker Funk]

I did some test-recording with the H4n, on it's own. Wow, it picks up everything. It sounds like shit. And, I forgot that renting is actually kinda cheap. I've reserved a Sennheiser ME66. Anything I should know about that mic?

Thanks!

 

[polfilmblog]

Hey Cracker,

I picked up a Marshall brand shotgun mic for $114 delivered. Not a terrible option.

You can also get ADR right on the set. Then the background tone is perfect.

You can get some shots behind the head so matching lips isn't a problem.

 

[Cracker Funk]

Hey Cracker,

I picked up a Marshall brand shotgun mic for $114 delivered. Not a terrible option.

You can also get ADR right on the set. Then the background tone is perfect.

You can get some shots behind the head so matching lips isn't a problem.

Thanks, but this is post-production ADR I'm doing. Movie is already edited. Actors are no longer in the city where we shot.

 

[Alcove Audio]

The ME-66 is a bit crisp and brittle sounding to my ears. The extra "cut" worked great when it was recorded to analog Nagra machines, but in the digital age... I'm sure that 97.53% of the folks out there would not hear the difference between all the various mics, however.

If you can get it use the same mic - I mean the actual mic - that you used on the set. Barring that use the same model. After that the Sanken CS1 or an NTG-3 would do nicely, as would any more expensive model.

Do the ADR as if you were booming (above and pointed between the mouth and chest), that will help with matching the production sound. If the space isn't large enough and/or too ambient at the least put the mic off-axis. If you are doing the entire scene still keep the mic a bit off-axis to avoid the proximity effect (unless that's what you want).