How to Record ADR Dialogue | Filmmaking Tips

Summary

Highlights

• ADR techniques can save unusable audio recordings. 🎧🎙️
• Setting up an ADR track helps actors get familiar with the script. ✂️🎭
• Recording in a 'dead' room minimizes echoes and enhances sound quality. 📢🔇
• Even polished ADR requires additional editing for natural sound. 🎛️🎚️
• Adding environmental sounds to ADR creates an immersive audio experience. 🌟🔊

Key Takeaways

• ADR is your audio savior when on-set recordings fail! 🎤🔧
• Always aim for the best on-location sound before relying on ADR. 🎬🔊
• Setting up an ADR track in your editor is a crucial first step. 💻🔍
• Consistency is key! Use the same mic for field and studio recordings to match sound quality. 🎙️✅
• Layer ADR with environmental sounds and soundtrack to enhance realism. 🌿🎶

Overview

Chapters

• 00:00 - 01:00: Introduction to ADR In the introduction to ADR, Ravi Janae from Shutterstock Tutorials explains the importance of ADR (Automated Dialogue Replacement). Sometimes on-location sound recordings are not ideal due to external environmental noises. This necessitates the use of ADR to enhance audio quality by re-recording dialogue in a controlled setting. This chapter sets the stage for understanding and implementing ADR to improve the overall production value of your audiovisual projects.
• 01:00 - 02:30: Setup for ADR Recording The chapter "Setup for ADR Recording" explains how Automated Dialogue Replacement (ADR) can be used to salvage unusable audio. ADR is a process where existing audio recorded on set is dubbed over with new audio recorded in a controlled environment, such as a studio or offset location. This technique is particularly useful when original audio quality is poor, as it eliminates concerns about environmental noise or other issues encountered during on-set recording.
• 02:30 - 04:00: Recording ADR The chapter 'Recording ADR' discusses the technique and considerations for adding additional dialogue recording in post-production audio processing. It suggests using ADR when capturing clear dialogue is challenging, such as with wide shots. The text mentions positioning the boom mic close to the actor's mouth to obtain clear audio, as demonstrated when the narrator records audio using a boom mic placed overhead.
• 04:00 - 06:00: Editing and Finalizing ADR The chapter titled 'Editing and Finalizing ADR' delves into the importance of capturing high-quality sound on location to minimize the need for ADR, which is a time-intensive process. It advises prioritizing good location audio to streamline post-production work. The chapter explains the initial steps in the ADR process, starting with creating an ADR track in your NLE (Non-Linear Editor) of choice.
• 06:00 - 07:00: Conclusion and Tips This chapter provides practical tips for preparing dialogue for dubbing. It suggests splitting the dialogue into segments for easier digestion and creating an ADR (Automated Dialog Replacement) sequence by copying the first segment multiple times. This repetition helps the voice actor familiarize themselves with the audio before recording. Additionally, the chapter advises creating a countdown for the voice actors using bars and tone clips. By trimming these clips to 2 frames and spacing them 15 frames apart, a visual cue is established, thus aiding actors by providing a countdown. It also recommends using a text title segment to enhance visualization during the process.

How to Record ADR Dialogue | Filmmaking Tips Transcription

• 00:00 - 00:30 hi my name is Ravi janae with Shutterstock tutorials and today we're teaching you how to do ADR cuz sometimes when you're out in the elements it's gonna sound like this today we're diving into how you can control your audio with ADR let's get started [Music] so you've recorded something on set but that audio that you captured is
• 00:30 - 01:00 completely unusable now please don't hunt down the sound engineer there's a way to save this wait really yes really it's using a technique called ADR automated dialogue replacement ADR is the process of dubbing over existing audio recorded on set with the audio recorded in a studio or offset offset that's dumb this secondary reporting is controlled you don't have to worry about the elements like you would on set so when would you use ADR well if your audio sucks then ADR is an excellent
• 01:00 - 01:30 option in post audio se puede yodel is a peridot browser gona's linguist and better clueless you might also use it if you have a wide shot that you need dialogue audio for but you have no real way to capture clear sound doing that we have a close-up shot in an actor you can get the boom mic really close to their mouth and get good audio I'm recording my audio right now with a boom right above my head the farther I move it away from the subject so before we dive into
• 01:30 - 02:00 the wild world of ADR there's one thing that I should mention you should always always try to get the best sound you can on location ADR is an arduous process that can take days or even weeks to complete so your first priority should be capturing good enough location audio to use in the final product alright let's get into it to start off your ADR process you got to create an ADR track in your NLE of choice this is what it looks like and today we're teaching you how to do ADR take your clip that you would like
• 02:00 - 02:30 to dub over and split the dialogue into digestible segments now create another sequence and copy your first segment from the timeline paste it 4 or 5 times in your ADR sequence this will help your voice actor get familiar with the audio clip before recording to lead your actor in you should create a countdown for them just create a new bars and tone clip and drop it into your timeline size down that clip to 2 frames and duplicate it four times now just spaced out the hits to about 15 frames apart to help the voice actor visualize the countdown create a text title segment to count
• 02:30 - 03:00 along with the hits you've now got a countdown sequence that you can just copy and paste for the rest of your clips now repeat the ADR sequences for the rest of your clips now that we got the ADR tracks ready to go it's time to start recording the ADR I recommend using the same mic that you used in the field because if you want to blend your field recordings and your ADR you want it to sound pretty much the same try to record in a dead room or a room with this little echo and reverb as possible it makes it a lot easier to manipulate the audio later
• 03:00 - 03:30 my office has soundproofing panels on them which help deaden the sound if you don't have panels like mine you can also invest in a vocal recording panel this will prevent any vocal reflection during recording try having your actor in the same body position as they were on the on-screen tape sitting and standing changes the way your voice projects out of your body alright when you're all set all you have to do is press play on your ADR timeline and let the actor voice along with the track it may take 2 or 3 times to get the right take so have some patience with it well that was our first session
• 03:30 - 04:00 obviously I'm gonna need a few to get through some good ones there might be a whole day that it takes to get good audio out of it but it's worth it and also you can maybe sing some tight tunes while you're in the studio that's the shortest actor tub you know yeah captions dr. Yeoh good but you got a missed it once recording is done unfortunately you are not done yet net raw audio is not going to sound
• 04:00 - 04:30 natural at all we're gonna have to put some work into it so what I usually do is go to my timeline and also like the first clip now I'm gonna drag over the parametric equalizer effect open that effect up and since sound recorded in outdoor spaces doesn't have a lot of bass to it we're gonna take down the low levels just a bit that's gonna cut down that really bassy sound that you get when recording in a studio no matter how perfectly you edit the ADR dialog it's still not gonna sound natural without environmental sounds this is where we
• 04:30 - 05:00 employ the magician's code distraction is your friend illusion is your lover when the audience's eye is drawn to something else magic magic magic son of them magic comes to play [Music] this is your card just say it's just say it's your card
• 05:00 - 05:30 it took me 30 minutes to do that trick okay the point is whenever working with ADR you should layer it with other sounds to make it seem more natural you should layer in any diegetic sound that may appear in your footage now pop in some outdoor tone and to wrap it all up maybe a soundtrack when you put all these layers together it can create a distraction from the possibly unnatural
• 05:30 - 06:00 audio you recorded in the studio now the ADR track has a nice little audio bed to get comfortable in there you go buddy so there you have it ADR without having to rent a studio or strangle the sound engineer because apparently you can get prison time for that so dope I mean this is the method that the pro is used we have some people in our office that have recorded with the big studios before and this is the process that they do so try it out see if it works and hopefully it can save your skin one day whenever the
• 06:00 - 06:30 sound engineer forgets to put an SD card in the audio recorder I mean it's happened before what it wasn't me it was me anyways like sub share felt you know the drill so away go [Music]