Dialogue Editing

The Players 45
Dialogue Supervisor or Dialogue Editor
The dialogue supervisor (big fi lms) or dialogue editor (small fi lms) is responsible
for all production sound editing (i.e., if it was recorded during the shoot,
it’s the dialogue editor’s responsibility). Whether removing noises, replacing
bits of dialogue from alternate takes, organizing and smoothing tracks, or pre -
paring the track for ADR editing, the dialogue editor must create a seamless
track in preparation for the dialogue premix. On large projects, a dialogue
supervisor oversees a team of editors.
ADR Supervisor or ADR Editor
Inevitably, certain lines will need to be rerecorded after the shoot. Technical
problems, impossible recording conditions, new lines for story enhancement,
and a director’s yearning to “improve” an actor’s lines are but a few of the
reasons for bringing the talent into a studio to rerecord lines. The ADR supervisor
works with the director and picture editor, as well as the dialogue editor
and supervising sound editor, to create a list of lines in need of rerecording.
The ADR supervisor directs the actors in the recording session and creates
a plan for the ADR editor. It’s the ADR editor who matches the thousands of
takes of loop lines to the dialogue track, fi nessing for sync, delivery, pitch,
and attitude. On smaller fi lms, one person will usually be both supervisor
and editor. On microscopic fi lms, the dialogue editor wears all of these
hats.
ADR Engineer
ADR, or “postsync,” is recorded in a studio, but must perfectly match dialogue
that was recorded in a limitless number of locations. The ADR engineer
selects and places the microphones, manipulates the electronics, and positions
the actors for the best match to the original recording. He’s usually an
employee of the recording studio where the postsynchronization recordings
are made, but “ringers” are not unheard of.
Foley Supervisor
Every fi lm needs some help from Foley, which at the very least is used to
cover holes caused by ADR and fi x a few disastrous omissions of action. As
budgets increase, Foley can take on an ever escalating narrative role, adding
color, texture, and character. Any fi lm destined to be dubbed into foreign
languages requires Foley wall to wall. The Foley supervisor collects requests
from all of the sound editors as well as the supervising sound editor and the
director and picture editor, and then compiles the complex list of sounds and