Issue link: http://digital.copcomm.com/i/790371
36 CINEMONTAGE / Q1 2017 room sound," Dodd explains. "ADR is more of an intensive process, involving one or two principal actors, or a group; I need to make sure that my sound supervisor is happy with every take," she continues. "I like to deliver a flat track — but not always, since I have to match the sound of production dialogue, so EQ and ambience might be needed. But not too much, because I like to leave those creative options to the re-recording mixer, who will also balance ADR against dialogue, sound effects, music and other elements. I like to know whether the production track was recorded indoors or outside, or maybe in a car, so that my microphone choice will match and the result is the same, if possible, as that secured from the set." During a busy session, Dodd says that she needs to be at the top of her game. "I can never miss a take, because talent is expensive and we often need to work on a tight schedule," she confides. "I have learned when to speak up and when to keep quiet. It's a matter of psychology. For example, if the sound supervisor and actor cannot agree on a read, sometimes it's my job to move the session along by maybe suggesting, 'Let's try that one more time' or 'I think I can take a better pass on that line.' Anything to achieve our final result." Television and film projects bring a different