Thank you, this was very helpful. I just recorded ADR for the first time for a college project (director picked out the worst location possible soundwise) and it went quite smoothly thanks to the shortcuts that I learned here. Thank you!
Hey Paul- I love how you deliver really great tutorials on a main topic but then drop in all these wonderful little tips along the way. Excellent stuff for those of us doing post.
Hey Paul, your channel is great. Thank you! Since Pro Tools keeps the last take in the main play list (in this case your sixth), your subsequent comps begin to lay over top of that final take. As your comps eventually cover that last take, it appears to have vanished from consideration. I'd suggest you begin moving that last take to its own unique playlist instead of leaving on a target track so that this final performance can remain in consideration. This is especially important when directors and producers are in the room. They often find they prefer many elements of the final take more than others. I also wish this was toggleable, or even a new standard operation, as I preserve that final take every time. Perhaps it is, and in my ignorance I've not yet found the solution.
Thanks a lot! I've been really busy recently but there will be more videos very soon. Let me know if there's anything in particular you'd like me to cover in a future video.
Hi Paul. Great video again. Useful for vocal comping not just ADR. Could you copy/paste the list of shortcuts shown at the end to the description for the video above? Would be very useful.
Hey, well, I do have a question: What preferences must you have on/selected for all this to work as per your video? Loop Recording creates Playlists automatically? What else, Layered editing?
How about mic to use? Would you just record ADR with a normal voice over mic or would you also have the lav that has been used on the set as well? So the sound mixer can then choose between two tracks? Cheers!
From my experience, we always used at least 2 mics - always good to give the mixer some options. But if trying to match exterior dialogue with ADR in a booth, it was more a question of finding mics that helped to reject room reflections! Having said that, we would aim to have one mic identical to the location one. So, sometimes we'd record 3 mics at once (this was for some TV dramas). Also, we used Keyboard Maestro software to create our own shortcuts and macros.
@@jonathanjenkins8630 3 mics??? You mean 1 boom mic and 2 lavs?? In my case, I think they used one schoeps cmit and one sanken cos11, so I should be good! ;)
@@tromsdalen5755 - not an extra lav; a common setup would be 1 lav, 1 shotgun, and 1 studio mic, like a U87. Sometimes the shotgun would pick up too many reflections, but a lot depends on the actor's delivery, and how loud they are, as to what will work well with the picture. Anyway, it's good to have options in the mix - most of the time...
@@jonathanjenkins8630 That's nice to hear! The acoustic of my studio is really descent to do all kind of recording within the same room, the only problem is that my video projector is a bit too noisy for that. I could of course take a tv monitor, but since I have one big screen, why bother? Is there any silent projector you could recommand me? Cheers!
@@tromsdalen5755 Well, the TV monitor is the answer really. We occasionally used the mix room for recording instead of the booth, due to the useful acoustic which matched some scenes really well. In that situation, we used a large TV instead of the projector. You have to check whether the TV night have a cooling fan in it as well though! If you have the space and budget, then the ideal thing is to mount the projector in it's own little booth, like we used to do with film projectors.
Automated Dialogue Replacement. It's the process of re-recording dialogue during post production. This is sometimes necessary due to location sound either being of poor quality of varying from one take to another. The majority of dialogue in feature films today is re-recorded as ADR.
