how do you record sound in the states

[orre]

Hello, I´m wondering how you pros in the states record sound for feature films, some say that everything is recorded in a studio after the editing is done. (dubbed).
I´we also heard that the soundstudios are gigantic and a verry narrow microphone is used at a great distance.
Other says it´s only the exteriors.
Here in Sweden almost everything (sound) is recorded on set, and if it´s dubbed it looks and sounds awfull.

[Fergus Meiklejohn]

ADR is pretty standard these days in Hollywood, (and most other places).
I'm all for location recording myself, because the performances and ambience are different, but ADR is totally fine I think, essential sometimes

[Bruce Allen]

Orre, they do it the same all over the world.

Okay, that's not quite true - in Hollywood they have more budget for reshoots, ADR, fancy stages, etc.

But yes, the idea is to record the sound on set.

Personally I've found shoots in South Africa and LA to be pretty similar from a sound perspective. More ADR in LA but that's about it. We use the same mics ;)

Bruce Allen
www.boacinema.com

[orre]

Thanks, but whar do ADR stand for?

[Rob Worth]

ADR = Automated dialogue replacement

[Kevin Halverson]

ADR = Automated dialogue replacement

Like a lot of acronyms in this business, there isn't a single accepted meaning for this one either.
ADR can be either "automated dialog replacement" or "additional dialog recording". I have also seen it used to mean "additional dialog required".

[Zakaree Sandberg]

ADR= another douched recording

[Jim Hoffman]

The object is to get as much USABLE audio from the shoot as you can. There are a lot of different recording systems available but all made with the same idea... mic what you can... make everything as distinct as you can... As for how things are mic'd really depends on what you can get away with. Actors are usually set up with their own body mic - a boom is generally used - and creative placement on the set never hurts. BUT - audio is a difficult animal. It is very difficult to control your environment on set - and generally the director will go for what they see rather that call a reshoot because a car honked over the actors lines. ADR is a challenge for a mixer but the results when done right can be terrific. So much also depends on the actor. Trying to recreate the right mood/emotion/intensity while maintaining a visual match is an art in and of itself. As for the rest of the sound in the movie its what sound designers live for...

Bottom line - sound, in my opinion, can elevate or destroy a film. It takes a lot of time to create a good soundtrack and access to actors/recording spaces etc. can prove to be a budget killer - technology is making all of this more accessible - and with some planning and attention during production, POST will be so much easier and cost effective.

[laguun]

ADR= another douched recording

ADR= Actors double recorded

[Kevin Halverson]

ADR= another douched recording

I like that one!

[Ty Ford]

Bottom line - sound, in my opinion, can elevate or destroy a film. It takes a lot of time to create a good soundtrack and access to actors/recording spaces etc. can prove to be a budget killer - technology is making all of this more accessible - and with some planning and attention during production, POST will be so much easier and cost effective.

Sums it up very nicely. For anyone interested, there is a very detailed document simply called "The Letter" that was written by a number of soundies.

I have a copy of it on my site. http://home.comcast.net/%7Etyreeford/GoodSound.html

Regards,

Ty Ford