mic for ADR/dialogue looping
- Thread starter kiyong
- Start date
SMuir
Well-known member
If you want the ADR to match the production sound, then you'll probably want to use the same mic model that was used during the shoot.kiyong said:
Well... yes, you can... but why would you want to? The same factors that make certain mics ill-suited to production sound recording generally make them just as ill-suited to ADR recording.kiyong said:
If your budget permits, find yourself an experienced ADR recording mixer. Hiring a seasonned professional often saves both time and money in the long run.
Noiz2
Sound Ninja
There are two schools of thought on mics for ADR. The first is you use the same mic in as close to the same position because it will match the original. The second is you use the best mic you can get and make it match after the fact.
Personally I don't buy the first one for two reasons. First it will never "match", it's a different space, different environment etc., second it limits your options, and you will often end up using a shotgun in a small room - not usually a good choice. I buy it a bit if you are not going to do any sound post, ie ti's all in FCP. Then it's never going to match anyway and #1 will get you closer. This also made more sense before DAW's.
So I personally go with the second school. I get the best sound I can and then do what I must to get it to match. Usually it's not much more than you would have to do if it were recorded with the "original" mic and sometimes even less.
YMMV
Personally I don't buy the first one for two reasons. First it will never "match", it's a different space, different environment etc., second it limits your options, and you will often end up using a shotgun in a small room - not usually a good choice. I buy it a bit if you are not going to do any sound post, ie ti's all in FCP. Then it's never going to match anyway and #1 will get you closer. This also made more sense before DAW's.
So I personally go with the second school. I get the best sound I can and then do what I must to get it to match. Usually it's not much more than you would have to do if it were recorded with the "original" mic and sometimes even less.
YMMV
wabbit
Evil has Ears
Noiz is right but I fall on the other side. If you are recording in good studio then the same mic will give the same characteristic effects of that mic, especially proximity effect, that you got in the field. In a perfect studio set-up (or one of those poor man's tricks) the shotgun will be fine indoors. I feel it saves time and has better chance of matching the original. It takes a lot of practice and a trained ear to match audio. Plus, most low-budget film-makers already own whatever mic was used so it saves them the $$$ of getting another mic.
But I can't argue with Noiz's opinion either. Although that will involve getting a pricey microphone.
But Smir has the best point, hire a pro to do it for you. The studio space, the proper equipment, and MOST important someone who knows how to do it are worth $150 an hour (your prices may vary). What they can do in an hour could take you months and still not get it right.
If this is a serious project I would get the money to do it right. If this is a learning tool for you, read the books, browse the web, buy the necessary software & hardware, take a whack at it and then realize how valuable these guy's services are.
Cheers
But I can't argue with Noiz's opinion either. Although that will involve getting a pricey microphone.
But Smir has the best point, hire a pro to do it for you. The studio space, the proper equipment, and MOST important someone who knows how to do it are worth $150 an hour (your prices may vary). What they can do in an hour could take you months and still not get it right.
If this is a serious project I would get the money to do it right. If this is a learning tool for you, read the books, browse the web, buy the necessary software & hardware, take a whack at it and then realize how valuable these guy's services are.
Cheers
Noiz2
Sound Ninja
Wabbit make two very good points. First I like my side of the fence BUT I am doing sound post. If your not doing a real sound post and you have the original mic use it. And of course that might be "the best mic I (you) can get".
Second, get some one who knows what they are doing. It will probably save you money and it will definitely sound better. Sound is not something that you can read a few things and buy a box and do well. 90% is experience and having made tons of mistakes. We used to have a sticker that said "we've made the mistakes so you don't have to". A lot of learning is making mistakes and finding out what you can fix and what you can't, and LEARNING from those mistakes. So find some one who has made a lot of mistakes (and has avoided making the same one over and over).
Second, get some one who knows what they are doing. It will probably save you money and it will definitely sound better. Sound is not something that you can read a few things and buy a box and do well. 90% is experience and having made tons of mistakes. We used to have a sticker that said "we've made the mistakes so you don't have to". A lot of learning is making mistakes and finding out what you can fix and what you can't, and LEARNING from those mistakes. So find some one who has made a lot of mistakes (and has avoided making the same one over and over).