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Dialogue Editing

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262 ADR<br />

Automating ADR Paperwork<br />

If you don’t have a typing maven for an assistant, it’s not hard to see the<br />

advantages of computerizing your paperwork. Find out what commercial<br />

ADR management programs are used in your fi lm community. Failing that,<br />

Use Excel or create a custom database, with FileMaker or another database<br />

program, that will spit out all the forms you need. 3<br />

The ADR Data-Entry Page Figure 15-4 shows the data-entry page I use to<br />

program ADR. After compiling an ADR wish list with the supervising<br />

sound editor and director, I fi ll in pertinent information about each line.<br />

Then I can report what’s there in any number of ways to provide lists for<br />

the engineer, the actors, and the production company. I also use this information<br />

to create the ADR recording logs. Much of what’s on the form is<br />

automatically entered, so data entry isn’t as overwhelming as it appears.<br />

Other important information you’ll want to keep track of:<br />

Sync. I like to know if a shot is sync or not. Even before seeing the<br />

picture during the recording session I can start planning whether to<br />

record the shot wild or to picture. Knowing the balance between sync<br />

and wild shots for a recording session can aid in scheduling, since the<br />

off-camera lines inevitably take less time.<br />

Location. If the ADR recording engineer knows in advance the<br />

locations he’ll be matching into, the session is more effi cient. Many<br />

ADR studios have wet (reverberation possible) and dry (no reverberation<br />

possible) areas to match interior or exterior locations, so the<br />

engineer may want you to sort the list by location to make for a slicker<br />

session.<br />

Microphone. The ADR engineer likes to know what microphone was<br />

used during the shoot to be able to better match the texture of the<br />

production dialogue. You can usually fi nd this information in the<br />

sound reports. If not, ask the production mixer.<br />

Whether by hand or on the computer, you’ll need to produce one set of ADR<br />

call lists sorted in fi lm order and another sorted fi rst by actor and then by<br />

fi lm order. (See Figure 15-5.)<br />

3 To perform timecode calculations in FileMaker Pro, you’ll need the “Timecode for<br />

FileMaker” plug-in. This shareware product is available from Belle Nuit Montage (www.<br />

belle-nuit.com).

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