If the sound is off in your project, it will be hard to miss. Affordable LDC Microphone With Multiple Voicings, Already have an account? In certain locations, such as in alleyways and thick forests, there will be a very, very small amount of echo (delay), otherwise, no effects should be needed if the ADR is clean. I really appreciate it. 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. A lot depends on what you are trying to accomplish. A lot depends on what you are trying to accomplish. 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. We still wanted to keep the traffic bg, but obviously couldn't keep the production. Thanks for contributing an answer to Sound Design Stack Exchange! Getting it just right can make or break the film's success. 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? By clicking “Post Your Answer”, you agree to our terms of service, privacy policy and cookie policy. Making ADR tracks sound like they're outside. 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. Three-terminal linear regulator output capacitor selection. I've used the DIGI TimeShift in Mono, to subtly (less than a semitone) pitch up a voice to make it "fit" better. 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. 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. How can layers of sound be distinguished, and therefore separated? Are Van Der Waals Forces the Similar to Van der Waal Equation? 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. It mimicks the effect a compressor has on a real (noisy) outdoor production track. Create a username and password below and an account will be created and your post entered. There is absolutely NO reverb outside so if you want to do that in the studio have the talent in a good room that is heavily damped so their is no room sound. 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 you choose the wrong mic then you have to work that much harder to make it sound realistic... For me it all depends on the scene of course. Think about it: indoor recording with a 'controlled environment' vs. outdoor more-distant boom position (or lav if that's what was used). It sounds good as voice over, but for natural sounding dialog, I cannot make it sound like it is in the environment. Hey there! I did an ADR session where the characters were on a pedestrian overpass, and there was a TON of traffic. I found that a method I was hoping to publish is already known. If the actor is hearing themselves in the cans loud, they'll often speak quieter. This makes them more flexible than ever. The ambiance and SFX outdoors and in the bus sound right, the dialog is the last unnatural sounding element. 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. Making statements based on opinion; back them up with references or personal experience. Any Pitch Shift that allows you to pitch while keeping the formant constant should work. To subscribe to this RSS feed, copy and paste this URL into your RSS reader. Outdoor dialogue is recorded as ADR every day in studios.