Microphone for post ADR

Noiz2 said:
My point wasn't that you should use an RE20 for ADR but that going out of your way to match the production mic is probably a waste of effort. The more work you are going to do on the ADR the less it matters ,providing that the ADR mic has at least as good a spectrum as the production mic.

So for instance if some crazy person with a body builder boom op used a large diaphragm condenser for production you are not going to get away with a small thin sounding mic for ADR. But the reverse can work fine IF you really edit/ mix the sound in post.
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I think it depends oin why you're doing the ADR to begin with. If you're going to replace the entire speech then matching is not an issue. But if you have one bad line out of an entire speech that was ruined by someone dropping something on the set so your ADR is one sentence that needs to be intercut within a dozen others by the same character, then matching timbre and tone becomes very important.
 
Steve House said:
I think it depends oin why you're doing the ADR to begin with. If you're going to replace the entire speech then matching is not an issue. But if you have one bad line out of an entire speech that was ruined by someone dropping something on the set so your ADR is one sentence that needs to be intercut within a dozen others by the same character, then matching timbre and tone becomes very important.
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Yes getting the sound to match is important but that takes a lot more than using the same mic. The space sounds nothing like the set, usually, the performance often doesn't match very closely, the actors voice often doesn't sound the same (drank more less coffee, have a cold, aren't exhausted...) the mic position isn't the same, the clothes are not the same, etc.

So IF you are just going to drop the ADR in and hope it fits then yes anything you can do on the record side to make it closer is a big plus. If you are going to have an editor cut it and make it really fit and then mix it so it's a cohesive track it's not that big a deal. I'm going to be EQing and mucking with the ADRed lines anyway to mimic all of the other parts that don't match and adding a match EQ for the mic (if it's needed) is not a big deal.
If you have the mic then it might get you a bit ,or maybe not. Unless you booming your ADR then the actor being recorded with a Hyper (or worse a shotgun) is going to have to stay on mark or they will start to get off axis timber changes. If your using a cardioid then you might actually match closer because they can move a bit (perform) and still be on axis.

It all depends on your work flow.

I only brought it up because the "use the same mic" get tossed out as THE solution to making ADR match and it doesn't actually get you very far. It also gets tossed out as "what the big films do" and in my experience with big films it's not what has been done. Maybe it is on other films but it certainly isn't "the rule" for folks who would have no problem using the same mic.

So I feel it's kind of a side track. If you want ADR to really fit in it takes a lot of work, there isn't a "trick" other than time and skill.
 
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Noiz2 said:
Yes getting the sound to match is important but that takes a lot more than using the same mic. The space sounds nothing like the set, usually, the performance often doesn't match very closely, the actors voice often doesn't sound the same (drank more less coffee, have a cold, aren't exhausted...) the mic position isn't the same, the clothes are not the same, etc.

So IF you are just going to drop the ADR in and hope it fits then yes anything you can do on the record side to make it closer is a big plus. If you are going to have an editor cut it and make it really fit and then mix it so it's a cohesive track it's not that big a deal. I'm going to be EQing and mucking with the ADRed lines anyway to mimic all of the other parts that don't match and adding a match EQ for the mic (if it's needed) is not a big deal.
...So I feel it's kind of a side track. If you want ADR to really fit in it takes a lot of work, there isn't a "trick" other than time and skill.
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I hear that, no disagreement. Even heard of folks that have recorded impluses on location so they can recreate the acoustics of the space with a convolution reverb if it turns out in post they need ADR.
 
Steve House said:
I hear that, no disagreement. Even heard of folks that have recorded impluses on location so they can recreate the acoustics of the space with a convolution reverb if it turns out in post they need ADR.
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I think that is getting more common. On K19 they wanted to do Foley on this sub they had use of but it was too problematic (too much other sound) so they ended up just getting IR's from al over the boat.
 
RichT said:
Just out of interest, why LD dynamic mics? Is it because of their lower sensitivity?
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For me, it's because it sounds very good on voices, is less susceptible to bad mic technique (and actors are notoriously bad with microphones) and because they tend to drop off fast at a distance they are also good for recording in locations. I can do ADR in a room that matches what the set looks like and pick up some room feel with out picking up a lot of other sound.

And as a side benefit you almost cant clip them with a human voice.
 
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