Appendix 1

Sound Edit Workfl ows
problems cannot? The performance is also an issue. Sometimes, the lines are replaced in an attempt
to improve a weak performance. In this case the director and/or the producer need to be part of the
process. Often, new off-camera lines are added.
Cueing should take place in a pseudo-mixing room or even right on a dub stage. The person doing
the cueing needs to be able to hear what is on the track in a critical listening environment. It’s also
nice to have some basic mixing tools and noise reduction equipment like the tools that will be used
in the mix to determine if a problem can be fi xed. There is no attempt to actually fi x any problems
here, only decide what is fi xable. Cueing ADR is a diagnostic process.
The lines to be replaced are listed by actor and time code. The exact line as used in the fi lm, not just
from the script, is transcribed. Depending on the type of ADR computer, the cues can be entered into
the computer, or the cue pops laid into tracks. The cue sheets need to be copied and given to the
effects editor who is also cueing as the ADR is being cued. The effects editor will need to know
which production tracks are going to be removed so they can cue proper effects and Foley in these
areas. Foley are very specifi c sound effects (discussed further in the Sound Effects section that
follows).
In the ADR session, the ADR mixer, ADR editor, and actor are present. As performance is a big issue
in ADR, the director should be there as well. It is important for the actors to put themselves into the
scene. If they are screaming over a jet engine as fi re burns all around, it may be harder for the actor
in ADR to re-create the performance from the set. They are warm and comfortable in a studio, not
panicking on an aircraft carrier. Sometimes actors need to run outside and race around the parking
lot to get winded and into the scene. Whatever it takes.
The ADR mixer has a diffi cult job. He or she needs to record the line cleanly, match the sound of
the nonreplaced lines, and keep the sound from sounding like it was recorded in the studio. Anyone
can record clean audio; it takes an artist to record not-so-perfect, but nevertheless, just-right audio.
Microphone selection and placement are the strongest tools of the ADR mixer. Some EQ can be used,
but it’s best left to the dub later on. Many ADR mixers use two mics, one of which is the same model
used in production. One mic is placed somewhat close (the actor is never right on mic) and the
“production” mic placed at a distance.
Usually two or three good takes are saved. This way, the ADR editor has some material to tweak.
The ADR edit is all about using the right words from the right takes. Tweak until it fi ts. Everyone
has noticed bad ADR in a movie. No one notices good ADR. The tracks are usually cut so that each
character has his own track in the scene.
Recording ADR in ProTools
As we are not using an ADR computer, you will need cue pops. These can be cut from 1,000 Hz
tone-generated with the tone Audio Suite plug-in. Edit three, one-frame pops about twenty frames
apart and bounce these to disc. You will also need to set up a video monitor and headphones for the
actor in the studio space if you do not already have that.
Create three new tracks, fi le > new track. Name them ADR 1, 2, and 3, as seen in Figure 7.3. Check
the input assigns and set them for the input and microphone preamplifi er that you are using for
recording.
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