ADR: RE20, Oktava
- Thread starter Sage
- Start date
recordingwhiz
Well-known member
the top end will be drastically different on those two mics not just proximity.
Sage
Well-known member
Drastically different? Can the difference be accommodated for (eq rolloff, pinch)? Have you used both?
The lack of proximity effect on the RE20 is what sets it apart for avoiding any room coloration (superior adr)..
Sage
Well-known member
To avoid any room reverb - the omni capsule of the MK012 has no proximity effect (omni) but would be less ideal than the RE20 close mic ability in this regard.
???
So... all the production dialog was recorded with an omnidirectional mic? Are you going to ADR the entire thing, then, or do you have any usable production dialog? This can make a difference in mic selection for ADR.
Sage
Well-known member
It hasn't been shot yet - its going to be MK012 hypercardioid capsule for the production (indoors). And if and when the ADR can't be done on location, I want to be sure that it will be perfect where it can be done.
Steve House
Veteran
Some folks tend to mix terms that in reality aren't synonymous. ADR means dialog replacement and it should be able to smoothly intercut with other cuts from the same scene. Let's say we have a sequence of a medium shot of Joe saying "Let's go downtown today," cut to Mary looking puzzled, and then back now to a CU of Joe saying "I want to buy you that ring I promised." The sound got screwed up on the CU so we need to replace that line ... we want it to intercut with the previous line so we don't disturb the illusion of being in a certain location. In that case we probably want to record the replacement line with the same mic as we used for the first line so the two lines will have the same timbre. OTOH. the next shot is the two of them opening the garage door and Joe says in voice-over "...and that's when we learned the car had been stolen!" Now that is a comment outside the actual location seen on the screen, directed to the audience rather than to Mary, and as such not only can it have a different timbre, it probably SHOULD have a different sound to it and using a different mic would be no problem, indeed might even be desirable.
Sage
Well-known member
I remember reading somewhere on the net a post of yours; though I can't remember what it was, it was informative.
What I would like to do is actually go back to locations and record ADR there with portable video looping - same mic, with the actor in the same physical position etc. But in the case that the actors have to be recorded at their convenience in a reverberant environment, it would be great if I could use an RE20 for max isolation. Is it the case that these two beautiful sounding mics would be too different in character to match (given post eq/lexicon reverb match etc)?
Steve House
Veteran
I would say they are different enough that it would be disconcerting to anyone really paying attention. The illusion that we're eavesdropping on an alternate reality as we view the scene is a fragile one and it's very easy for sound discrepancies to shatter it.
I remember reading somewhere on the net a post of yours; though I can't remember what it was, it was informative.
What I would like to do is actually go back to locations and record ADR there with portable video looping - same mic, with the actor in the same physical position etc. But in the case that the actors have to be recorded at their convenience in a reverberant environment, it would be great if I could use an RE20 for max isolation. Is it the case that these two beautiful sounding mics would be too different in character to match (given post eq/lexicon reverb match etc)?
Okay, so you have the hypercardioid capsule and it will be used in production... why did the omni capsule even enter into the equation?
If you are recording true ADR, you're better off using the exact same mic as used in production even if the space isn't the same. And if the space isn't the same, you should be recording in as dead an environment as possible so that you have the ability to match the rooms natural reflections in post with careful use of a convolution reverb.
Allan Black
Veteran
Sounds like you're new at this? If it hasn't been shot yet, worrying about ADR at this stage could take time away from other concerns.
Follow best practices on your production and see what you come up with, any problems could be entirely different.
One thing to do is, if some dialogue gets screwed, get the actor to immediately repeat it, same mic, same location.
It's an old trick, by briefing the cast prior it can take some pressure off.
Cheers.
Sage
Well-known member
This is what I'm afraid of... if I do try this, I'll be recording a separate track with the original mic as well.
By priority:
1 Original sound
2 Wild lines
3 Return to location for ADR
4 ADR in a treated room
5 ADR convenient for actor
Extensive preparation will make it unlikely that it go any lower than one. But I know what to expect if it should be five
There will be a cost.
Sage
Well-known member
Omni = no proximity effect, minimized plosives (ideal for high gain-before-feedback)
Sage
Well-known member
Chaos & the unexpected is a given. Mitigation, the approach