![]() ![]() ![]() Actors need to be able to hear their lines clearly and this can’t be done when the guide track is covered in music where they need to record a line of ADR. If you are not provided with a split guide and there is time before your session, send it back and ask for one. For Feature Films, depending on what stage they are at in post, this guide can actually be stems from the temp (temporary) mix. For most dramas, the guide track will just be a mix from the picture edit. Usually you will be provided by an embedded Quicktime with a split guide track. You can click on the image to see a larger version… Finally I have a stereo record track and 2 mono playback tracks, one for the boom and one for the clip.Īll this can be seen here. I also create a mono dials (dialogue) track, mono sfx (sound Effects) a music track and a fill track. Another tip is if you find you are are really pushing the the input gain on your mic preamp and on your fader then it’s a clear sign your actor isn’t projecting enough. I’ve found that generally if the studio I’m in is using a Mic Preamp like the Focusrite Red which will only allow you notch up the input gain by notches of 8, having another opportunity for volume control before it reaches the record track comes in handy and can allow me to increase the level just slightly with the fader as opposed to adding another 8dBs of gain. 2 Aux tracks with no compression or EQ, one for my boom mic in and the other for my clip mic. I usually start with 5 Selected Takes tracks and 20 Take tracks. Once you know your delivery spec the basic set up is easy. The only variable when recording and delivering a session for a film is if the dialogue editor would like all reels recorded in the one session or multiple sessions, this you always ask in advance. Selected takes at the top of the session with all other takes below and everything else removed from the session you deliver them. Stereo tracks with Boom on the left and Lav (Clip) on the right, The majority of Dialogue Editors I have worked with all ask for a fairly standard session delivery… In this article I go through the basic steps I take before every session which can then be expanded on by a session by session basis. The honest answer is practise and experience but a reliable session template is a good place to start. What format should tracks take, stereo or mono? Why use a fill track? What is a good way to cue up your session efficiently before starting? How do I deliver the session once completed? In this article Emma will answer these questions and you can download her Pro Tools ADR Template too. ADR Recordist and Editor Emma Butt gets asked a lot of questions by people starting out about how to do ADR. ![]()
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