Dialogue Editing

272 ADR
removed for ADR. Before moving to the next edit, audition this new construction
with both playback options:
Original dialogue → tone fi ll → original dialogue. Once the ADR is
added, this is the “normal” playback for when you want to use the
loop line.
Original dialogue → X track → original dialogue. This option will
result in the line in its original form.
It’s important that the fades for each option work properly, since you never
know which option you’ll use in the mix.
ADR Editing
Even on a small fi lm, you can easily end up with thousands of ADR takes.
Combine this with the fact that you rarely have enough time to edit, and you
begin to appreciate the importance of organized paperwork. There are many
ways to import, choose, edit, and manipulate ADR recordings.
Preparing for ADR Editing
Open a reel of your most current dialogue session and perform a Save As
with a new name. Beneath the active dialogue tracks (for example, Dial A →
Dial M), open four or more new mono tracks—label them “ADR A → D.”
These will be your fi nal, edited ADR tracks. How many depends on the
density of the ADR, the number of characters, and the preferences of the
mixer. Below the new ADR tracks add about ten new mono tracks, labeling
them “ADR Work 1 → 10.” 4 (See Figure 15-9.) These are the tracks onto which
you’ll initially open your ADR lines—safe places to work without endangering
the active tracks. You can delete them when you fi nish editing the
ADR.
Organize your note-fi lled ADR recording logs in fi lm order. (You had them
arranged by character for the recording session.) If specifi c characters haven’t
been recorded yet, remove those logs from the pile. Locate your dialogue/
ADR session to the timecode of the fi rst ADR cue. Note which takes were
indicated as “Hold” and “Buy.” Import these cues into your session.
4 As you saw in Chapter 9, I use a convention in which all tracks to be used in the mix—
the “active” tracks—are sequenced with letters (Dial A → M, ADR A → D, etc.), whereas
temporary tracks are identifi ed with numbers (junk 1 → 6, work 1 → 4, etc). This makes it
easier to identify tracks during editing and allows anyone who knows my system to
prepare my session for a mix. This isn’t a “standard” system, but it works well for me.