Producing Dialogue–Videos

Posted on October 15, 2010. Filed under: Audio, Microphones, Radio, Sound, Speech | Tags: , , , , , , |

ADR. What is ADR? Automated Dialogue Replacement

Automated Dialogue Replacement

EXTRAORDINARY Webdoc 10: POSTPRODUCTION – ADR Voice Overs

Post Synchronization

1. Influences of nonverbal speech on meaning include accent, pace, patterns, emphasis, inflection and mood.

2. The principal challenge during production is recording dialogue that is clear, intelligible, and as noise-free as possible.

3. Dramatizations on radio involve creating a “theater of the mind,” using sound to impel the listener to “see” the action.

4. To create perspective using one microphone n radio dramatization, performers are positioned at appropriate distances relative to the mic and to one another, as the dramatic action dictates.

5. Using the multimicrophone technique in radio dramatization, perspective is created in the postproduction mix.

6. For stereo radio dramatizations, coincident or near-coincident microphone arrays are usually employed. Coincident miking positions two microphones, usually directional (or s stereo mic), in virtually the same space, with their diaphragms located vertically on the same axis. Near-coincident miking positions two mics, usually directional, horizontally on the same plane, angled a few inches apart.

7. A main difference and advantages of surround-sound miking radio dramatizations is being able to position performers much as they would be on a stage and recording them from those perspectives or recording them conventionally and creating those perspectives in postproduction.

8. Recording dialogue on the set of a multi- or single-camera production usually means employing a boom, body-mounted wireless, or plant microphone, or a combination of the three. The microphones of choice are usually the mini- and shotgun capacitor mics.

9. The main sonic difference between the boom and body-mounted microphones is perspective. The boom better reproduces the mic-to-source distances that are relative to the shots’ fields of view. This helps maintain acoustic perspective between sound and picture. on the other hand, the body-mounted mic always picks up dialogue that is clear and present with a minimum of background sound, but sonic perspective remains the same regardless of a shot’s focal length.

10. Miking decisions are made in preproduction planning during blocking, when the movements of performers and cameras are worked out.

11. The challenge in operating a boom is to maintain aural perspective while simultaneously keeping the performers in the mic’s pickup pattern and, of course, the mic out of the frame.

12. Care must be taken when using a body mic to ensure that it is inconspicuous and that it does not pick up the sound of clothes rustling. Cotton does not make as much rustling sound as do synthetic fabrics.

13. Plant, or fixed, microphones are positioned around a set to cover action that cannot easily be picked up with a boom or body mic.

14. Preproduction planning is essential in any production, but especially so when working in the field, away from security and resources of the studio. Preproduction planning involves selecting a location; determining how to deal with unwanted sound; preparing, in advance, prerecorded material; and anticipating all the main and backup equipment needs.

15. In production, recording the clearest, most intelligible noise-free dialogue is the primary challenge of the production recordist, regardless of a director’s intention to use it or redo it in postproduction.

16. Dealing with unwanted sound on the set is an ever-present challenge to the audio crew. But being aware of problems is not enough–ou have to know what, if anything, to do about them.

17. Be wary of employing signal processing during production recording. It affects the dialogue audio throughout postproduction.

18. The value of noise reduction throughout the production process cannot be overemphasized, especially in relation to dialogue and field recording.

19. If the director enlightens the entire picture-producing team on how to avoid or minimize audio problems, it goes a long way toward audio efficiency and economy, not only in production but in postproduction as well.

20. Production recordists can be of considerable help in giving sound editors flexibility by how they record dialogue on the set.

21. In automated dialogue replacement, dialogue is recorded or rerecorded in postproduction so there is complete control over the acoustic environment in which the dialogue sits. Any background sound, ambience, or sound effects are added to the dialogue track(s) later.

22. ADR is done in a dialogue recording studio, a relatively dry room with a screen and a microphone.

23. ADR frees picture from sound and gives the director more flexibility and control. On the other hand, it involves re-creating a performance, which is not as natural or as authentic as the real thing.

24. The five elements generally considered to be most important in ADR are pitch, tone, rhythm, emotion, and syn.

25. In scenes calling fo background voices, called walla, loop groups are used.

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