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ADR costs in 2017?


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#1 Samuel Berger

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Posted 02 November 2017 - 02:20 PM

What the current cost for ADR in a studio? Like, we shoot MOS and then need to loop somewhere.

What is it that we need to book, exactly, other than studio time and an engineer? How do we prepare the session?

 

Thanks, all.


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#2 Macks Fiiod

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Posted 02 November 2017 - 07:16 PM

Not sure on cost, depends on how good the guy you go to is. Could be $100/hour and over.

 

It's important to rehearse the ADR lines with your actors beforehand to ensure they're taking up as little booth time as possible. Get them used to looking at a screen and re-performing a scene.

 

I don't know if you were looking for something more specific.


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#3 Samuel Berger

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Posted 02 November 2017 - 09:57 PM

I wouldn't even know where to start budgeting for this, Macks. Still in early pre-production. We'll be recording scratch tracks that can't be used due to the mixmaster blender camera noise.


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#4 Macks Fiiod

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Posted 02 November 2017 - 10:28 PM

Let me know if you're ever looking to hire an ADR mixer, I work with people based on their budget. I can help with prep as well.


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#5 Samuel Berger

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Posted 02 November 2017 - 11:10 PM

Let me know if you're ever looking to hire an ADR mixer, I work with people based on their budget. I can help with prep as well.

 

Thanks, Macks! Sounds great!

 

We'll be recording ambient sound with a Nagra 4.2 when the blender, er, camera isn't running and use that in the mix. I imagine we'll need foley as well but one step at a time.


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#6 Macks Fiiod

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Posted 02 November 2017 - 11:55 PM

I can take care of foley as well. I work digital but I have access to people who can run the final changes through tape if you need it.


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#7 Samuel Berger

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Posted 03 November 2017 - 12:05 AM

Sure! Everything is digital in the end anyway. With 2-perf these days you need a DI. I don't imagine there will be a film print unless the (theoretical) distributor orders one.


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#8 Macks Fiiod

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Posted 03 November 2017 - 12:15 AM

Please personal message if you wish to discuss my end in detail further.


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#9 Richard Perrine

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Posted 04 November 2017 - 04:22 PM

Sam....sounds like your shooting film with an un blimped camera.....make your job easier.......use a barney on the camera to reduce camera noise....or actually build

a box to enclose the camera (leave room for about 2" of foam around it.....seal any holes to reduce noise)....with glass in-front of the lens..

Or the next thing you can do is to design the shots so that many of them can be shot wild....then sound efx or voice overs added later.

Then finally,.....use a shorgun Mic...with a narrow pattern so that the mike rejects off axis noise.

I've used an Shenn 816 for this a lot when recording.

As a general rule ...don't use the low end roll off in he Nagra unless your in a small room where those low frequencies bounce around.

Hang a packing/moving blanket up on a couple of light stands to help eliminate the bounce sound (sound blanket)

They can be filtered out later.

 

Let you audio mixer do the final EQ on the dialog track.....if you change a lot of things with EQ while recording dialog tracks will start sounding different

when you get to the mix.


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#10 Samuel Berger

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Posted 04 November 2017 - 04:54 PM

Hi Richard, thanks for the reply. Yes it's an unblimped camera. Everything about my Arri is non-standard due to extreme customisation over the years so  there isn't a chance of placing it into an existing blimp like Arri or Cine 60. That's the sad truth of it.

If I want to have a blimp I'd have to build one myself. Richard Boddington had some instructions on here somewhere that mentioned the needed materials. I'm thinking about it, that's for certain. It's been an uphill climb with this camera.

I'll look up the Sennheiser 816.

In this Youtube video they just used telephoto lenses and hid the microphones near the speakers:

 

 

However that would never work for interiors.

 

I'll have to look up low end roll off. I've owned this Nagra for some time but have yet to really start learning how to use it. Too much time spent on the camera.

 

Thanks again


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#11 Samuel Berger

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Posted 02 December 2017 - 07:31 PM

I thought I'd post this article because it has been of help to me.

 

Say it Again: How to Do No-Budget ADR for Independent Films

http://filmmakermaga...ependent-films/


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#12 Macks Fiiod

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Posted 02 December 2017 - 08:17 PM

For the most part this article is helpful but seems to gloss over the extremely specific process of reverb matching if one doesn't have access to the original room (very common), and doesn't mention EQing in general.

 

Also the percentages are a hefty subject of debate in my experience. Guys who learn about ADR through video production claim ADR is lower like 10-50% while guys who learn about ADR through audio engineering tend to claim 60-100%.


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#13 Gregg MacPherson

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Posted 02 December 2017 - 09:56 PM

Did anyone chase down the real trailer for Veer!...


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#14 Samuel Berger

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Posted 02 December 2017 - 10:25 PM

Did anyone chase down the real trailer for Veer!...

 

Yep, it's on the iMdb page for the movie. http://www.imdb.com/...3?ref_=tt_ov_vi

 

Seems only some of it was shot on film, most of the color parts were shot digitally with some Super 8 cut in. The original short "Veer!" from 2009 was shot on Super 8.


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#15 David Peterson

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Posted 06 January 2018 - 10:44 AM

We'll be recording scratch tracks that can't be used due to the mixmaster blender camera noise.

What camera are you using?

Is rather surprising if your sound recordist can't get usable audio because of the camera you chose. 

Edit: ohhhhhhhhh........... you're shooting on film! I see. Sucks! :-(

Why can't you go with a different film camera that works? As many many many *many* shoots have been done with film cameras which simultaneously capturing good dialogue too.

Otherwise you are going to have to place a heavy importance on the actors being able to repeat their performance again accurately. You don't want rookie amateurs for this. 

And you still want to get as good scratch tracks as you can (I've heard of horrifying ADR experiences where they had to GUESS at words! As their so called "scratch track" was so bad). 


Edited by David Peterson, 06 January 2018 - 10:48 AM.

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#16 Giacomo Girolamo

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Posted 06 January 2018 - 07:01 PM

What the current cost for ADR in a studio? Like, we shoot MOS and then need to loop somewhere.

What is it that we need to book, exactly, other than studio time and an engineer? How do we prepare the session?

 

Thanks, all.

 

 

What the current cost for ADR in a studio? Like, we shoot MOS and then need to loop somewhere.

What is it that we need to book, exactly, other than studio time and an engineer? How do we prepare the session?

 

Thanks, all.

You usually pay by hour in the studio, and usually the studio has a sound engineer that works in there. If is not a complicated thing, they can do it (and probably do it before).

 

Not sure the price by the hour in your area, but just email or phone to some studios and figurate out.


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#17 Landon D. Parks

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Posted 06 January 2018 - 07:24 PM

We charge $50/Hr for all live recording, $200 daily minimum. It's the going rate in this area. 


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#18 Chris Burke

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Posted 13 January 2018 - 06:27 PM

You can also record audio with the camera rolling and immediately after your camera take, do an audio only take. It is important to do this right away, that way the actors will match their performance very closely, if not identically. Compact flash or hard drives are much cheaper than film, so doing extra audio isn't that big of a deal at least in a indie, low budget setting. For a feature film, this might not be the way to go, but for a short.....


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#19 David Peterson

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Posted 06 February 2018 - 03:20 AM

 

 

We'll be recording ambient sound with a Nagra 4.2 when the blender, er, camera isn't running and use that in the mix. I imagine we'll need foley as well but one step at a time.

Was it a RED? :-P 

 

 

You can also record audio with the camera rolling and immediately after your camera take, do an audio only take. It is important to do this right away, that way the actors will match their performance very closely, if not identically. Compact flash or hard drives are much cheaper than film, so doing extra audio isn't that big of a deal at least in a indie, low budget setting. For a feature film, this might not be the way to go, but for a short.....

 

 

Agreed, very handy for indie shorts (or even features). These are called "wild takes" (as the audio has gone wild.... without picture!! Oh noes).

Audio is only a few gigs here or there, thus not a big deal to fill up a bit more card space. It isn't like you have to deal with extra 4K raw files!


Edited by David Peterson, 06 February 2018 - 03:23 AM.

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