This may be the cheaper and faster one to try now. Doesn't always work, but often does. Sound Design: How to Make a Mix Sound Fuller. 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. Making ADR tracks sound like they're outside. Perhaps say, a park or something along those lines? Although the … But you’ll have to outfit it with some accessories to make it ideal for outdoor use. It mimicks the effect a compressor has on a real (noisy) outdoor production track. Nat sound should have been recorded on the location to help with this; If not, it's easy enough to get. But deciding if you should use ADR is entirely up to you. The closest to good outdoor ADR I can get quickly is to roll in a fairly dead room, mic not very close to talent (match production style recording off boom, use a lav if they did) then get into trying and tweaking IRs on convo reverbs to find a room (or place) than comes close. A little high-pass shelving may help. The reason ADR often sounds unnatural is because of the way people speak outside is different than the way they would speak inside. A little (or a lot...) of low-end rolloff goes a long way. If you want to have it sound like it is outside then go record some outside "ambiance" and put it under the ADR track. Many lavalier microphones these days are wireless and work with mobile devices. Feed ambience into the cans. 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. You should, of course, be very careful as there's not really much correcting for 'off-mic' audio whereas if you get a decent on-mic recording you can correct. I need to make it sound as though it is outdoors in a large snowy field, and in a bus. The reason ADR often sounds unnatural is because of the way people speak outside is different than the way they would speak inside. Outdoor dialogue is recorded as ADR every day in studios. http://www.zedfilmworks.com/films_interchange.php, How to write an effective developer resume: Advice from a hiring manager, Podcast 290: This computer science degree is brought to you by Big Tech, “Question closed” notifications experiment results and graduation, MAINTENANCE WARNING: Possible downtime early morning Dec 2/4/9 UTC (8:30PM…, Processing ADR to match interiors and exteriors. Our ears can have trouble deciphering where one sound ends and another similar one begins, but they’re incredibly forgiving when it comes to layered sounds. Is it a usual practice from pianists to remove the hand that does not play during a certain time, far from the keyboard? If the sound is off in your project, it will be hard to miss. Sound Design Stack Exchange is a question and answer site for sound engineers, producers, editors, and enthusiasts. How do I make “sound booth” sounding ADR sound natural? You usually get what you pay for, though. So if you're truly trying to 'MATCH' location sound, keep that in mind. How can layers of sound be distinguished, and therefore separated? In addition to all the great advice so far about mic technique and filtering, here's a cool trick: use your ADR track(s) to sidechain-trigger a compressor on your ambience track. 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. I found that a method I was hoping to publish is already known. Also there's often more ambient … You can always add ambiance later. This thread on DUC covers the main issues of ADR recording: http://duc.digidesign.com/showthread.php?t=270918. You can suggest that they are standing in snow by adding some foley cornstarch underneath, as if the actors are moving from foot to foot gently as they stand. rev 2020.11.24.38066, The best answers are voted up and rise to the top, Sound Design Stack Exchange works best with JavaScript enabled, Start here for a quick overview of the site, Detailed answers to any questions you might have, Discuss the workings and policies of this site, Learn more about Stack Overflow the company, Learn more about hiring developers or posting ads with us, Good point on the EQ.. the sound criticism has all been from film people - the laymen who have watched it have had no comment on sound (a good thing, I suppose!). When I add ambiance, sometimes I will put a compressor on the ambiance with the DIA fed to the sidechain. 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. 95 percent of the time it boils down to PERFORMANCE. before adding plugins and EQs I start recording the ADR with the same type of microphones and positioning as I would use in location sound, a Sennheiser 416 or MKH50 / 60 positioned above the head pointing the mouth or if you have have a boom operator for the ADR sessions is way better. When you speak louder, your voice naturally takes on a higher pitch. Either go out and record park/outside ambience and lay it under, or have the foley guys give you the ambience/background they recorded. Thanks. Here is a sample of what I'm working with (none of the changes listed below have been applied - these are the raw recordings): http://vcprod.com/testADR.wav. my biggest problem is EQing them to fit. Trying to identify a bunch of parts from sets I had as a child 20 years ago. Believe it or not, I once did ADR on a pretty big film and the post-super requested that outside ADR be recorded on a U87. StringMatchQ fails using Alternatives with complex pattern. We still wanted to keep the traffic bg, but obviously couldn't keep the production. The key of convincing ADR starts with acting, then spatial location (right reverb and EQ) and then sync, in my humble experience. 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. I'll track that down today and see if it improves the sound. Create a username and password below and an account will be created and your post entered. I got my money returned for a product that I did not return. First thing, how many Production Sound Mixers use a U87 in the field? The only space we were able to find was in a musician's studio with a sound booth. and remember--- location boom mics are not typically aimed directly at an actor's mouth, right? Think about it: indoor recording with a 'controlled environment' vs. outdoor more-distant boom position (or lav if that's what was used). You need an account to post a reply. I have not looked for a bus IR. http://www.zedfilmworks.com/films_interchange.php -check out the 7 minute mark... One trick I've found for AFTER is Pitch Shift. Is it important for a ethical hacker to know the C language in-depth nowadays? The thing about outside sound is that generally there is no early reflection content in it; if you hear any reflections at all, they will be more like slapback sounds (a distinct repeat), but they sound nothing like being inside a room at all. Some filmmakers loath it, while others swear by it, claiming it saved their films. It sounds good as voice over, but for natural sounding dialog, I cannot make it sound like it is in the environment. Hey there! For example in a large snowy field there would actually be a fairly minimal reverb. But when recording the ADR, you might want to use the lav/boom but also use a portable mixer pre, like a shure or sound devices. 1) Besides the equalization you may do, like cutting lower frequencies in several degrees, try adding an external ambience. The other option if you can access the bus would be to go record your own impulse... Hi, Concentrate on adding all of the sounds that you might hear within the bus. When you buy products through links across our site, we may earn an affiliate commission. A lot depends on what you are trying to accomplish. I also roll off the bass on the mic. I recently completed a short film that needed a full dialog re-recording. Thanks for contributing an answer to Sound Design Stack Exchange! If you can eq and do other things to make it sound like it was recorded outside what is the problem? Just a friendly reminder that political discussion, (including "offhand" and 'sideways' commenting) is. Solving T(n) = 2*T(n-1)+4 witht the Master Theorem.