ADR Dialogue Editor / ADR Mixer
ADR (Automated Dialogue Replacement)/Dialogue Editors ensure that all the required dialogue on film soundtracks is accurately placed, and of the best possible quality. On big budget films, the ADR Editor and the Dialogue Editor are usually two different technicians; on some very big films, there may even be one ADR and one Dialogue Editor for every reel of the film. On medium to low budget films, these two roles are usually carried out by the same person. ADR/Dialogue Editors may be freelance, or they may be employed by an Audio Post Production House. They are required to work long hours.
What is the job?
Dialogue Editors start work on a film well into the picture editing process, when they attend a spotting session with the other Sound Editors during which all sound issues are discussed and noted. All the lines of dialogue are carefully scrutinised for problems, either technical, e.g., the sound of traffic over an actor's line, or performance-related, e.g., an actor might mispronounce a word or be inconsistent with an accent.
ADR/Dialogue Editors review the original sound files to check whether these problem sections can be replaced with an alternative take. Working on a Digital Audio Workstation (DAW), using an editing software programme, ADR/Dialogue Editors cut between a number of takes (sometimes even using different syllables from each take) to create clean, crisp lines of dialogue. If this is not possible, Automated Dialogue Replacement is used.
During ADR sessions actors watch themselves on screen, and re-voice as accurately as possible, ensuring not only that their lines are synchronised with the pictures (lip-sync), but that the nuances of their performance match the original. Actors may also be called upon to record new lines for off-camera dialogue in order to help make difficult scenes work. During ADR sessions, ADR/Dialogue Editors make quick, accurate decisions about whether the performance is good enough, asking the actor to attempt another take if necessary.
These sessions are extremely expensive and difficult to co-ordinate because of actors' limited availability. The use of ISDN (Integrated Services Digital Network systems which allow voice and data to be transmitted simultaneously across the world using end-to-end digital connectivity) has made it possible for ADR recording sessions to take place with the actor in another location. However, for large amounts of dialogue re-recording, experienced ADR Mixers are hired to work closely with the actor(s) in situ, ensuring that they are relaxed, and creating a good working rapport that contributes to good performances.
After the newly recorded ADR has been edited into the original dialogue track, ADR/Dialogue Editors work to make all the background or ambient sound match up using frames or fractions of frames from other sound takes. During the Pre-Mix (the first dubbing session), all the dialogue and ADR is smoothed out (cross faded), and any mistakes are rectified. This is usually the end of most ADR/Dialogue Editors' work, although on big budget films, they may be involved until after the Final Mix.
Typical career routes
These roles require on-the job experience gained over many years. Most ADR/Dialogue Editors begin their careers working as runners in Sound Studios or Audio Post Production Houses, progressing to the Assistants' role, working with in-house Sound Editors or ADR Re-Recording Mixers. Working in junior roles in Audio Post Production Houses can also provide opportunities to make valuable contacts with freelance Sound Editors, who may employ Assistants on a film by film basis.
Essential knowledge and skills
ADR/Dialogue Editors must have an excellent knowledge of acoustics, sound recording and audio post production processes (analogue and digital).
Key Skills include:
Ability to manipulate and work sound for the moving image
Excellent aural skills
Excellent visual skills
Ability to work efficiently under pressure
Excellent communication skills
Good organisational skills
Ability to work to strict deadlines
Knowledge of the requirements of the relevant Health and Safety legislation and procedures
Training and qualifications
ADR/Dialogue Editors are usually graduates of Arts, Music, Electronics, Maths, or Sound Technology courses, who have also specialised in Sound at post-graduate level. Sound is one of the best served areas for film and television training in the UK with provision ranging from specialised short courses, to qualifications at HND, BA and post graduate levels.
Individual course accreditation in certain subject areas is currently being piloted. As part of Skillset's and the UK Film Council's Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film. For more information, please log onto the Skillset website.
Where to go for more information
Skillset is the Sector Skills Council for the Audio Visual Industries. The first sources of information for all jobs in the industry are the National Occupational Standards. For information about training, links to the Skillset network of training partners, and access to the comprehensive Skillset/BFI course database, visit the website www.skillset.org. Skillset Careers is the UK's only specialist media careers advice service; for detailed media careers information and advice, visit the website www.skillset.org/careers
Websites-
An invaluable resource for sound and film Film Sound
Sonic Arts Network sonic arts network
For innovations in sound recording technology zaxcom
The Institute of Broadcast Sound Institute of Broadcast Sound
The Association of Motion Picture Sound Association of Motion Picture Sound (AMPS)
The Association of Professional Recording Studios Association of Professional Recording Services (APRS)
The Audio Engineering Society, an US-based website with a thriving UK section Audio Engineering Society
Publications
Sound Design: The Expressive Power of Music, Voice and Sound Effects Cinema. Edited by David Sonnenschein (Michael Wiese Productions)
Film Sound by Elizabeth Weis and John Belton (Columbia University Press)
Audio-Vision : Sound on Screen by Michael Chion (Columbia University Press)
Sound on Sound magazine Sound on Sound
Music Tech magazine Music Tech Magazine
Audio Media magazine Audio Media Magazine
What is the job?
Dialogue Editors start work on a film well into the picture editing process, when they attend a spotting session with the other Sound Editors during which all sound issues are discussed and noted. All the lines of dialogue are carefully scrutinised for problems, either technical, e.g., the sound of traffic over an actor's line, or performance-related, e.g., an actor might mispronounce a word or be inconsistent with an accent.
ADR/Dialogue Editors review the original sound files to check whether these problem sections can be replaced with an alternative take. Working on a Digital Audio Workstation (DAW), using an editing software programme, ADR/Dialogue Editors cut between a number of takes (sometimes even using different syllables from each take) to create clean, crisp lines of dialogue. If this is not possible, Automated Dialogue Replacement is used.
During ADR sessions actors watch themselves on screen, and re-voice as accurately as possible, ensuring not only that their lines are synchronised with the pictures (lip-sync), but that the nuances of their performance match the original. Actors may also be called upon to record new lines for off-camera dialogue in order to help make difficult scenes work. During ADR sessions, ADR/Dialogue Editors make quick, accurate decisions about whether the performance is good enough, asking the actor to attempt another take if necessary.
These sessions are extremely expensive and difficult to co-ordinate because of actors' limited availability. The use of ISDN (Integrated Services Digital Network systems which allow voice and data to be transmitted simultaneously across the world using end-to-end digital connectivity) has made it possible for ADR recording sessions to take place with the actor in another location. However, for large amounts of dialogue re-recording, experienced ADR Mixers are hired to work closely with the actor(s) in situ, ensuring that they are relaxed, and creating a good working rapport that contributes to good performances.
After the newly recorded ADR has been edited into the original dialogue track, ADR/Dialogue Editors work to make all the background or ambient sound match up using frames or fractions of frames from other sound takes. During the Pre-Mix (the first dubbing session), all the dialogue and ADR is smoothed out (cross faded), and any mistakes are rectified. This is usually the end of most ADR/Dialogue Editors' work, although on big budget films, they may be involved until after the Final Mix.
Typical career routes
These roles require on-the job experience gained over many years. Most ADR/Dialogue Editors begin their careers working as runners in Sound Studios or Audio Post Production Houses, progressing to the Assistants' role, working with in-house Sound Editors or ADR Re-Recording Mixers. Working in junior roles in Audio Post Production Houses can also provide opportunities to make valuable contacts with freelance Sound Editors, who may employ Assistants on a film by film basis.
Essential knowledge and skills
ADR/Dialogue Editors must have an excellent knowledge of acoustics, sound recording and audio post production processes (analogue and digital).
Key Skills include:
Ability to manipulate and work sound for the moving image
Excellent aural skills
Excellent visual skills
Ability to work efficiently under pressure
Excellent communication skills
Good organisational skills
Ability to work to strict deadlines
Knowledge of the requirements of the relevant Health and Safety legislation and procedures
Training and qualifications
ADR/Dialogue Editors are usually graduates of Arts, Music, Electronics, Maths, or Sound Technology courses, who have also specialised in Sound at post-graduate level. Sound is one of the best served areas for film and television training in the UK with provision ranging from specialised short courses, to qualifications at HND, BA and post graduate levels.
Individual course accreditation in certain subject areas is currently being piloted. As part of Skillset's and the UK Film Council's Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film. For more information, please log onto the Skillset website.
Where to go for more information
Skillset is the Sector Skills Council for the Audio Visual Industries. The first sources of information for all jobs in the industry are the National Occupational Standards. For information about training, links to the Skillset network of training partners, and access to the comprehensive Skillset/BFI course database, visit the website www.skillset.org. Skillset Careers is the UK's only specialist media careers advice service; for detailed media careers information and advice, visit the website www.skillset.org/careers
Websites-
An invaluable resource for sound and film Film Sound
Sonic Arts Network sonic arts network
For innovations in sound recording technology zaxcom
The Institute of Broadcast Sound Institute of Broadcast Sound
The Association of Motion Picture Sound Association of Motion Picture Sound (AMPS)
The Association of Professional Recording Studios Association of Professional Recording Services (APRS)
The Audio Engineering Society, an US-based website with a thriving UK section Audio Engineering Society
Publications
Sound Design: The Expressive Power of Music, Voice and Sound Effects Cinema. Edited by David Sonnenschein (Michael Wiese Productions)
Film Sound by Elizabeth Weis and John Belton (Columbia University Press)
Audio-Vision : Sound on Screen by Michael Chion (Columbia University Press)
Sound on Sound magazine Sound on Sound
Music Tech magazine Music Tech Magazine
Audio Media magazine Audio Media Magazine
