Issue link: http://digital.copcomm.com/i/1316380
M OT I O N P I CTU R E S O U N D E D I TO R S I 13 Sync lines are a bit harder to do "at home." An actor would need to cue up the scene, see and hear it a few times (or put headphones on to hear the original recordings), and then record it onto something, their phones, or a recording device. A cheap solution is to either ship the actor a recording device (like a Zoom mic) or rent a setup with someone coming over (safely) to set up a recording session with a proper mic. There are also mobile ADR studios that are becoming more prevalent. Some recording studios are coming back "online" for safe recordings though, as an ADR supervisor myself, I've had to turn down some work because the director wanted me to be in the room with both the actor and himself for an eight-hour session and I didn't feel safe enough to do that. As an off-shoot of the restrictions during this pandemic, I've gotten two projects that involve remote recording over Zoom. One will be using the recorded voices for a sock puppet series. The other was for an audio book that, because of lockdown, the narrator had to use her ear buds to record in her bomb shelter basement in Israel. That involved a lot of noise reduction and manipulation. Then Israel opened up and she was able to book time at a proper studio so now, I get to re- edit everything all over again. I also just finished an animated series for Alabama to encourage young Black women to vote. Each woman recorded herself and sent me the files. I used a bit of noise reduction to deal with the different recording environments to try and match the various recordings. I added some music and sound effects and it came out pretty good! For the puppet series, the actors got their recording setups at home and sent me samples of their recordings for me to hear the quality. After we made some adjustments, they then did an eight-hour Zoom recording session per SAG Short Film Agreement. I received hours of recorded material—one take that went straight through the 30-minute script to use as a guide and then the director, still over Zoom, did a series of various reads with each of the eight actors. I'm currently creating a session with all the "stacked" reads lined up with the 30-minute take. I have 81 tracks as most actors did anywhere from 10 to 15 takes of each of the 300 lines! Next is to figure out how best to have the director choose the reads. She doesn't have Pro Tools so I can't just send her a session. Do we listen to reads over Zoom? Do I have her come over and sit with me while we choose?? What is safest? This is a new world we're dealing with so we're all figuring it out together. As far as recording sync lines and if the budget is decent, I suggest either a mobile ADR studio or a studio that is COVID-prepped just for the actor. The director, recordist, and ADR editor can be remotely protected. If the actor still wants to record in their own home, I suggest they get proper recording equipment with good sound-proofing and a good microphone. Unless the original scene was shot in a reverberant room, I like to suggest they record in their clothes closet if they don't have baffling. The biggest problem with recordings is that they tend to blow over the mic creating POOFS. Takes a bit to fix those—better to have them monitor themselves if they can. Some phones don't have headphone inputs anymore but they are wireless. My mantra of sound has always been and continues to be: If it sounds good, it IS good! A "poofer" is best (see picture below, also known as a pop screen) to try and prevent blow-outs. Do a trial session. If all they have are their ear buds, try that. Try different mic placements to reduce the poofies. If they have a podcast mic, try that. Again, make them aware of how they blow across the mic with their "Ps, Ts, Ds, Ks," etc. If they have a lav, have them try that placed near the top of their rib cage or on a bra if a woman. Have them hold their cue sheet either on something where they don't have to look down or on a stand. If the actor looks down at a page, they tend to blow out the lav mic because it's right there, under their mouth! Don't hold the paper (it will rattle!). Put it on a music stand with a towel under it to reduce the metallic reflection. If anyone has other ideas, please send them in. My friend Terri said she attaches her cue sheet to her husband so she actually acts with a living person! Clever, Terri! This is a time when we're all figuring this out. Some have asked me about how we do "group" ADR at this time. I haven't had to do this yet but I imagine it's much like singers being together on a Zoom call with each of them also recording themselves at home and then the editor would have to sync it all up later using the good recordings (not the Zoom sound, of course!). I contacted my friend Terri Douglas (www. terridouglasadrvoicecasting.com) who is a voice actor and voice caster for Group ADR. I asked her how she was handling the pandemic work dilemma. She said she is busier than ever! She's been doing remote recording for about 10 years already—recording voice-over and—on-camera auditions but until now, has never done remote "group" ADR. This is what she said: "I have been working virtually with my loop group since April this Some of her voice actors recording a recent session.