I enjoy doing ADR. Sometimes on a set there's too much going on and ADR gives you a chance to perfect your acting because the setting is way more intimate.
That was fun to listen, I've done my portion of ADR work, along with the Production Mixing, of course not same level films, but in that case size of production doesn't matter in a sense of quality of work nowadays. Smaller film can sound as good as a huge production, if all the audio peeps work is done proper. But I do agree about most of point about ADR, for sure you have to help actors to get back in to the mood and etc, to perform ADR the best way possible delivery wise. It's interesting that they'd require U87 to a matching mic from set. But at the same time U87 is such amazingly truthfully sounding mic that you could perhaps "mold" virtually same sounding dialogue in post EQing and etc. Thanks very interesting video.
My opinion : Welcome to the real world, high caliber professionals sharing great information that other wise we would not have, those of us in the VO Business. So they are not speaking of the Rode NTG5 or the NT1 or some other low grade mics. Real life experience is telling us that Professional studios who are handling (budgeted projects) im sure and not asking just for what your budget can afford. Lots of folks giving some really bad advice on professional grade equipment to do professional jobs and the thing is lots of folks follow along just to resell the equipment down the road. Thank you very much Michael and Greg for such great video.
Great Video ! Good work, very interessting. Did i get it right? He always uses the COS11 Lavalier ? the rest (shotguns) he rents ? i thought normal you have a boom as standard(like MKH416, MKH60, KMR81,..) and add a lav ?
Hi René Kornfeld, It’s my understanding that they have most of the common mics used on set on hand and only rent specialty mics. The COS11-D is a pretty common mic, but so is the DPA’s, B6’s etc. I think matching is a very common practice, And sometimes microphones are specifically requested from the ADR recording facilities from post production.
Thank you for this video! Some useful information there Greg, cheers! I knew about loop groups before but not to this extent. Would be lovely to know more about the psychological aspects of ADR and the tricks you use to keep people happy and engaged.
Great stuff. Just wondering, what mic polar patern used for dialog ? I saw many ADR artist, placing the mic over their head/even bellow chest. Is omnidirectional commonly used ?
Hi Erikson, great question. Typically an ADR recording stage will have a choice of short shotgun, super cardioid, and omni directional lav mics. Often times the production sound mixer will provide a mic list to the studio, matching is key. A common interior mic used has a super cardioid pattern.
![Hugh Jackman Doing ADR For Logan [Must See]](/img/1.gif)
Hi Everyone, Special thanks to Greg Crawford for coming on the channel! Looking forward to your comments!
I enjoy doing ADR. Sometimes on a set there's too much going on and ADR gives you a chance to perfect your acting because the setting is way more intimate.
Greg is one of the best! Every time we do a remote connection with him, we know it's going to be fun and great! Awesome video. -Ryan, from WB ADR 3.
Absolutely! Thank you Ryan Young!
Very kind of you, Ryan. I learned most of what I know about ADR from the staff at WB. Great session today, by the way.
That was fun to listen, I've done my portion of ADR work, along with the Production Mixing, of course not same level films, but in that case size of production doesn't matter in a sense of quality of work nowadays. Smaller film can sound as good as a huge production, if all the audio peeps work is done proper. But I do agree about most of point about ADR, for sure you have to help actors to get back in to the mood and etc, to perform ADR the best way possible delivery wise. It's interesting that they'd require U87 to a matching mic from set. But at the same time U87 is such amazingly truthfully sounding mic that you could perhaps "mold" virtually same sounding dialogue in post EQing and etc. Thanks very interesting video.
All Really great points, Thanks Kirill Belousov!
My only complaint is that I wish it was longer. Thank you very much for the video, Michael.
My pleasure João! Noted.
My opinion : Welcome to the real world, high caliber professionals sharing great information that other wise we would not have, those of us in the VO Business. So they are not speaking of the Rode NTG5 or the NT1 or some other low grade mics. Real life experience is telling us that Professional studios who are handling (budgeted projects) im sure and not asking just for what your budget can afford. Lots of folks giving some really bad advice on professional grade equipment to do professional jobs and the thing is lots of folks follow along just to resell the equipment down the road. Thank you very much Michael and Greg for such great video.
Wow thank you V O! Glad to have you hear on the channel!
Very interest indeed. Thank you for doing this interview :)
Thanks for watching Pierre!
If I could sit for a day and watch this guy work...
Great info - thanks Michael and Greg!
Thank you Curtis! It was a real pleasure being on your channel today!
A very informative Video.Thank you Michael.
Thank you Dp Kundu!
Great stuff! Thanks for making this!
Thanks Fiore!
Great Information!
Thanks Gregg! Was a pleasure to speak with Greg, I learned a lot!
Fascinating. Great interview. Thanks.
Thank you Bill!
Thank you Greg and Michael very valuable information.
Thank you kteruya!
@@MichaelWynneCAS Keep it up. Sound is so important. 💯🔥
You are simply the best. Can't thank you enough for all the informative videos!
Thank you Matt!
Great Video ! Good work, very interessting. Did i get it right? He always uses the COS11 Lavalier ? the rest (shotguns) he rents ? i thought normal you have a boom as standard(like MKH416, MKH60, KMR81,..) and add a lav ?
Hi René Kornfeld, It’s my understanding that they have most of the common mics used on set on hand and only rent specialty mics. The COS11-D is a pretty common mic, but so is the DPA’s, B6’s etc. I think matching is a very common practice, And sometimes microphones are specifically requested from the ADR recording facilities from post production.
Great info brother thank you
You bet, thanks for watching Madhab!
Thank you for this video! Some useful information there Greg, cheers! I knew about loop groups before but not to this extent. Would be lovely to know more about the psychological aspects of ADR and the tricks you use to keep people happy and engaged.
thank you for this, great work ;)
Thank you pitassa!
Very interesting conversation! Thank you for sharing!
My pleasure Daniel, thanks for watching!
Excellent !
Thanks !!!
Thanks jGd!
Excellent info.
Thanks RallenMan. Greg is an excellent resource for our community!
Love these videos Michael. Keep it up!
Thank you Blaine!
He has a great voice!
Great vid - can't believe it doesn't have more views.
Thanks I Love Filmmaking!
Amazing video, super informative and straight to the point!
Thank you Garen!
This was absolutely fantastic....loved this!!
Thank you Black Steel Tv!
@@MichaelWynneCAS Can i ask what gear you used to record this...lavs/recorders etc??
Black Steel Tv sure thing. Just a couple of Sanken COS-11D’s into a 633 mixer and good ole fashioned auto mix!
@@MichaelWynneCAS Many thanks for the info....those Sound Devices are fantastic....i watched your review on the new 8 series....wow!!
Thanks Micheal! love
Thanks Grn Nrd!
I learned a lot from this, thank you! Could you please clarify what the "50" microphone is? Is it a Sennheiser MKH 50? thank you!
Thanks James, yes that’s the one!
@@MichaelWynneCAS thank you!!
Great stuff. Just wondering, what mic polar patern used for dialog ? I saw many ADR artist, placing the mic over their head/even bellow chest. Is omnidirectional commonly used ?
Hi Erikson, great question. Typically an ADR recording stage will have a choice of short shotgun, super cardioid, and omni directional lav mics. Often times the production sound mixer will provide a mic list to the studio, matching is key. A common interior mic used has a super cardioid pattern.
@@MichaelWynneCAS awesome. Thanks for your answer. What are common interior mic ?
How to mic a loop group,if 5 to 6 people talking together,, separately Recording them will be time taking process
Greg spoke about Loop groups, your absolutely right most always done together.
VALUABLE !!!
I like your video very much. It's really great. I'll keep an eye on your channel. I am your fan and I will support you.
is there an online course on adr mixing?
Hello, now that I'm aware of or any that I would endorse directly.
Lol, grab an "S".
Sometimes it's the little things! :-)
@@MichaelWynneCAS I like a big "S".