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Post production dialogue

I'm currently working on my first feature and i want to ask you guys if recording and adding every line of dialogue in post production is a good idea and what kind of problems will i face.

Most of the film is spent outside on city streets and the whole film is seen from the perspective of a quiet man who has given up on everything and continues to live on only to serve his master.

He doesn't care about nothing around him so the whole world is silent to him and apart from some tidbits of music and sounds like him doing some wood cutting or pressing a doorbell the audience will hear nothing except the little dialogue there is.

So in this case is dubbed dialogue a good idea ? Isn't it goona sound too amateurish ? I'm looking for a kinda of dreamlike vibe.


IndieTalk's Resident Guru
ADR can be necessary and it is often a good idea. You will face some problems. My advice
is to record all the dialogue as you shoot. Then do a rough sound mix as you are editing.
If you don't like the results then you can record all the dialogue and add it in post production.
That way you have BOTH choices. Use the sound mix that works best for you.

Alcove Audio

Business Member
The biggest issue is that ADRed lines rarely have the passion/performance of on-set production dialog, which is why you should make every effort to capture great production sound. The second biggest issue is to keep the ADR from sounding artificial and blending it in with the other dialog. Oh, BTW, you will have to do complete Foley any time there is ADR present in the mix.

If there are chronic noise issues with your location you can also do dialog (DX) wilds - having the actors perform their lines off-camera immediately after finishing the scene. They are still "in character" and have the pacing of the dialog fairly well set.

When I'm doing a dialog edit I use production sound first, then the DX wilds (if there are any). After exhausting all those possibilities then I go to ADR.

Just because your protagonist is "disconnected" from the world doesn't mean that the sounds in his world disappear, they just take on a different perspective. So instead of silence use differing aural perspectives that relate to the character.
As has been stated, the performance can suffer if you do it all in post and you should try to capture it while shooting. That said, often times, espcially on a first feature, you're wearing many hats yourself. You're the director, the cameraman, the editor. You may not be able to afford audio gear or a person who can run it and capture good sound. In this case, yes, I believe ADR is a viable option. I would disagree about recording wild. While the actor may still be in the moment, and the tone of the recording will sound great, I've found that the timing is almost always slightly off and can cause sync issues in post. The way around this is to re-edit to accommodate the recording, but I don't believe this is a good idea. Sure, you can mix wild and ADR, but unless you're really good at mixing audio, there's going to be a noticeable difference between the two. Again, I'm coming from the angle of you have no money and you're doing most the jobs yourself. If you've got access to audio guys that know what they're doing, everything I've just said can go out the window.
Well it's true that i'm doing everything by myself but i may get some help regarding the sound department.

I think i'll record dialogue on location and also wild but my first choice will still be ADR.

I'm not aiming for the film to be silent with just dialogue on top, that would sound horrible. Im looking for a mix between what coppola did in Rumble Fish and complete silence.

Each place the character finds himself in is going to sound different, if it's nightime we may hear crickets in the background, if he's in the bathroom or kitchen we hear constant dripping... stuff like that. Always following some kinda of rhythm.