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ADR -- the greatest blemish on otherwise good movies. My ear picks it up
almost every time, and I have taught others to do so too (and they hate me
for it). My friend Nelson Stoll, a "production sound" recordist, estimates
that 90% of film dialog is ADR. Actors hate the post process because they
have to return to the (clinic-like) post-pro studio and re-act parts that
they had left weeks of months earlier. Some are good at it though, a
definite talent. I'll just mention Tom Cruise.

Television on the other hand is almost always original sound, when
it's filmed before a "live studio audience".

Perhaps I should add here that I've developed means to make the best of
both worlds -- production sound and post-pro. And it doesn't involve "noise
reduction" of any sort. Trouble is, I don't know where to take it.
Hollywood is a monster.

clark

On Thu, Apr 26, 2012 at 10:23 AM, Richard L. Hess
<[log in to unmask]>wrote:

> On 2012-04-26 9:46 AM, Bob Olhsson wrote:
>
>> It was recorded using a separate machine that was often located in a
>> central
>> building on the lot but very much at the same time. When I was working in
>> film during the '90s I was told dialogue replacement in the original
>> language is a recent development having to do with the introduction of
>> very
>> portable cameras and a declining number of sufficiently quiet production
>> locations.
>>
> Hi, Bob,
>
> When I was studying media/communications at St. John's University in NYC
> in the early 1970s, we went to many NYC media venues. I can't, for the life
> of me, remember the name of the mixing stage we went to in Manhattan. I
> recall it on the East Side but would have to guess as to what
> streets...midtown-ish is the best I can do (34th to 72nd).
>
> At this mixing stage we got to see ADR being done. Over and over and
> over...
>
> I am not certain what the production was...it might have been a
> documentary, which was what we saw being mixed if I recall correctly, or it
> might have been an ADR session even for a commercial. I was more interested
> in the process than the content, but it seemed the norm at that facility
> even in the early 1970s.
>
>  I recently saw a number of very early sound pictures and was floored by
>> how
>> little has actually changed in the way movie sound is done. It was almost
>> all invented within a very few years.
>>
> I have the 1938 second printing of "Motion Picture Sound Engineering...A
> series of Lectures presented to the classes enrolled in the courses in
> Sound Engineering given by the Research Council of the Academy of Motion
> Picture Arts and Sciences, Hollywood, California" New York, D. Can Nostrand
> Company, Inc. 1938.
>
> This book as been made available by AMPAS and the Audio Engineering
> Society links to it and other resources at http://www.aes.org/aeshc/
> The direct link is http://www.oscars.org/academy/**
> posters-books/books/pdf/mpse.**pdf<http://www.oscars.org/academy/posters-books/books/pdf/mpse.pdf>It is 40 MB
>
>
>  -----Original Message-----
>> > From Don Cox:
>> Am I right in thinking that the dialogue in classic Hollywood movies was
>> almost always recorded separately - that is, not at the same time as the
>> images were recorded ?
>>
>>  When I toured Hollywood sound stages in the 1980s and 90s, I did see a
> LOT of Foley and some ADR going on.
>
> http://filmsound.org/**terminology/adr.htm<http://filmsound.org/terminology/adr.htm>
>
> Cheers,
>
> Richard
>
> --
> Richard L. Hess                   email: [log in to unmask]
> Aurora, Ontario, Canada           (905) 713 6733     1-877-TAPE-FIX
> http://www.richardhess.com/**tape/contact.htm<http://www.richardhess.com/tape/contact.htm>
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