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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> > Quality tape transfers -- even from hard-to-play tapes. >