If you are feeling brave go to a bus terminal and record an impulse response in a stationary bus, and then gently add the convolution reverb to the ADR track. EQ the way you would hear it outdoors by chewing at the top and bottom. Our ears can have trouble deciphering where one sound ends and another similar one begins, but they’re incredibly forgiving when it comes to layered sounds. To learn more, see our tips on writing great answers. Only if you're in the middle of the desert. Specifically, what do you do to make ADR sound natural in its environment, and what suggestions would you have for better dialog re-recording in the future? How do you guys make ADR sound like it was recorded outside? How can layers of sound be distinguished, and therefore separated? I got my money returned for a product that I did not return. Particularly far-away noises. This thread on DUC covers the main issues of ADR recording: http://duc.digidesign.com/showthread.php?t=270918. It's critical that the room be taken out of the equation, but since in a lousy or boxy room this sometimes requires very close miking, the proximity effect can ruin the sense of distance. I also roll off the bass on the mic. Feed ambience into the cans. Click here to login, The ability to reply to and create new discussions, Access to members-only giveaways & competitions, Interact with VIP industry experts in our guest Q&As, Access to members-only sub forum discussions, Get INSTANT ACCESS to the world's best private pro audio, Promote your eBay auctions and Reverb.com listings for free. Thanks for the link! Think about it: indoor recording with a 'controlled environment' vs. outdoor more-distant boom position (or lav if that's what was used). How to say "garlic", "garlic clove" and "garlic bulb" in Japanese? When I add ambiance, sometimes I will put a compressor on the ambiance with the DIA fed to the sidechain. Obviously, hi and low cut filters, and often a cut around 1-2k, where much of the close presence of the voice exists. If you can eq and do other things to make it sound like it was recorded outside what is the problem? When you buy products through links across our site, we may earn an affiliate commission. The key of convincing ADR starts with acting, then spatial location (right reverb and EQ) and then sync, in my humble experience. If I take it out, it sounds thin. Concentrate on adding all of the sounds that you might hear within the bus. Try and be gentle with the EQ as the audience rarely wants to listen to reality, they are more concerned with clarity and 'not being distracted' by the sound. How do I make “sound booth” sounding ADR sound natural? In order to get the actor to project correctly, I fed a loud traffic ambience into his cans, which he was able to project over. I have not looked for a bus IR. Are Van Der Waals Forces the Similar to Van der Waal Equation? If the sound is off in your project, it will be hard to miss. Thanks. Is it a usual practice from pianists to remove the hand that does not play during a certain time, far from the keyboard? Getting it just right can make or break the film's success. I need to make it sound as though it is outdoors in a large snowy field, and in a bus. How do I make whispering in ear sound convincing? For yelling or loud passages try changing the microphone axis and if the sound "colors" the voice try a different booth or placement of the talent in the room, if he yells facing the glass you always will get those harmonics changing the natural timbre and destroying the illusion of outdoor. This may be the cheaper and faster one to try now. I like it best when the compressor's working pretty hard -- maybe 6 or 8 dB of reduction -- with a fairly long release time. But deciding if you should use ADR is entirely up to you. Oh, and I've got ambience layed underneath the track, but the voices STILL sound like they were recorded close up. Convert x y coordinates (EPSG 102002, GRS 80) to latitude (EPSG 4326 WGS84). A lot depends on what you are trying to accomplish. A little (or a lot...) of low-end rolloff goes a long way. The ambiance and SFX outdoors and in the bus sound right, the dialog is the last unnatural sounding element. EQ is usually necessary. What does it mean by "Selling one’s soul to Devil"? A lot depends on what you are trying to accomplish. When you speak louder, your voice naturally takes on a higher pitch. Perhaps say, a park or something along those lines? In my old times I had the chance to mix several recording techniques, so I think I can provide some tips on making ADR sound very much like it was "recorded outside". Eliminate Wind Sound. Some filmmakers loath it, while others swear by it, claiming it saved their films. The reason ADR often sounds unnatural is because of the way people speak outside is different than the way they would speak inside. How do you create the deadliest sounding gunshots? With regards to the snow, it is highly absorbent as it is mostly air, so it should be acoustically dry. 95 percent of the time it boils down to PERFORMANCE. I really appreciate it. First thing, how many Production Sound Mixers use a U87 in the field? You can suggest that they are standing in snow by adding some foley cornstarch underneath, as if the actors are moving from foot to foot gently as they stand. Affordable LDC Microphone With Multiple Voicings, Already have an account? So if you're truly trying to 'MATCH' location sound, keep that in mind. I've used the DIGI TimeShift in Mono, to subtly (less than a semitone) pitch up a voice to make it "fit" better. This sometimes mimics the portable mixer limiter sound that you get with an outdoor recording. Not being able to see what the visuals are it is hard to give advice. I like it best when the compressor's working pretty hard -- maybe 6 or 8 dB of reduction -- with a fairly long release time. If I need to have Adr recorded for the exterior scene, I would: Also try a tiny bit of phasing on the highs. Is it important for a ethical hacker to know the C language in-depth nowadays? rev 2020.11.24.38066, The best answers are voted up and rise to the top, Sound Design Stack Exchange works best with JavaScript enabled, Start here for a quick overview of the site, Detailed answers to any questions you might have, Discuss the workings and policies of this site, Learn more about Stack Overflow the company, Learn more about hiring developers or posting ads with us, Good point on the EQ.. the sound criticism has all been from film people - the laymen who have watched it have had no comment on sound (a good thing, I suppose!). I'm in a tight deadline now, but I will give a listen to your files next week to see what can be done in this case. The closest to good outdoor ADR I can get quickly is to roll in a fairly dead room, mic not very close to talent (match production style recording off boom, use a lav if they did) then get into trying and tweaking IRs on convo reverbs to find a room (or place) than comes close. Here is a sample of what I'm working with (none of the changes listed below have been applied - these are the raw recordings): http://vcprod.com/testADR.wav. In addition to all the great advice so far about mic technique and filtering, here's a cool trick: use your ADR track(s) to sidechain-trigger a compressor on your ambience track. You can always add ambiance later. If the actor is hearing themselves in the cans loud, they'll often speak quieter. You have less to worry about than you think, as you are not having to match the ADR with production dialogue. Any Pitch Shift that allows you to pitch while keeping the formant constant should work. The talent should try to act naturally not only with his voice but using all his body, just as he/she does in front of a camera. I've always struggled with making any sound feel "outdoors" and can't seem to dial in the right reverb to make the dialog on the bus sound right. Sound Design Stack Exchange is a question and answer site for sound engineers, producers, editors, and enthusiasts. This makes them more flexible than ever. Also there's often more ambient sound outside a person has to speak over. Have any other US presidents used that tiny table? Asking for help, clarification, or responding to other answers. However a person would talk much louder, because they are A) outside and B) usually farther away from the person they are speaking to then they are in a room. Nat sound should have been recorded on the location to help with this; If not, it's easy enough to get. Trying to identify a bunch of parts from sets I had as a child 20 years ago. before adding plugins and EQs I start recording the ADR with the same type of microphones and positioning as I would use in location sound, a Sennheiser 416 or MKH50 / 60 positioned above the head pointing the mouth or if you have have a boom operator for the ADR sessions is way better.

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