Dialogue Editing

270 ADR
something, typically room tone and motion. Say the shot you’re replacing
consists of one person sitting quietly in a chair or standing still. Since there’s
no movement, there’s no need to fi ll the space with motion from alternate
takes (footsteps, clothing rustle, loose coins rattling in a pocket, etc.). Just add
a bit of clean room tone and you’ll be fi ne.
However, if the shot that was replaced included body motion, talk to your
supervising sound editor about whether it will be replaced with Foley or
whether you should try to fi ll it from alternate takes. In general, replacing
the missing action with dialogue elements will give you a better fi ll.
Because a successful dialogue premix depends on fl exibility and your ability
to move quickly back and forth between the original line and the ADR
replacement, you can’t simply fi ll the hole in the dialogue track with room
tone (see Figure 15-7). Such a layout affords no fl exibility. Instead, you have
to construct the tracks so that original dialogue, tone fi ll, ADR, and X are on
their own tracks and you can calmly switch between them during the premix.
(See Figure 15-8.)
In Figure 15-7, notice that all material removed from the dialogue tracks is
placed on the X tracks (X, Y, and Z), which are used exclusively for material
Figure 15-7 Incorrect same-track tone fi ll. The hole caused by moving the original
line to an X track was fi lled with room tone on the same track. This provides no
fl exibility and will ultimately cause problems.