Issue link: https://digital.copcomm.com/i/1075515
C A S Q U A R T E R L Y W I N T E R 2 0 1 9 37 The actor can choose selects and it will be noted in the .Wav filename. The beauty of the design is that only the actor has to use PhADR and anyone on the post crew can update the .Mov filename to adjust ADR start and end timecodes. Originally, I wanted to do file sharing using FireBase, however, I perceived privacy issues would arise. Actors are used to having a manager or agent acting as their intermediary so PhADR, basically, can replicate that privacy procedure. What is your hope or vision for this technology? First off, my preference is that the actor goes to an ADR stage and works with an ADR mixer that adapts to the individual's acting method. Failing that, let's try to get the best performance possible with PhADR. Our goal is to create a fast and easy way of recording ADR that helps the post producer get the actor's ADR recorded from anywhere in the world. Hopefully, it's a quiet, dry room with no reverb. [PhADR does come with a READ ME file that does make recording space and recording technique suggestions.] And finally, why "PhADR"? I assume it is pronounced "Fader." That was obvious and easy: PhADR = Phone + ADR. Hopefully, I can help the connotation used with those two words to be less derogatory for post sound people. an ADR stage, trailer, and remote control microphone robot. ADR was an extension of my love for recording sounds. After my sister's passing in May, I was in a bad place and shelved a half-dozen projects that I had in development. In November, Kurt Moritz, a post producer, said he needed to record in the Maldives and Kathmandu. This request re-inspired me to resume PhADR; after all, it was Kurt's show Rosewood that caused me to create Absentia DX. I should add that I lean heavily on Larry Benjamin for feedback on everything I do, he's a prince. A bigger thanks goes to Luciano Del Zoppo. We have a yin and yang thing going on, his strengths with details complement my weaknesses perfectly. Your instructions recommended the use of a non-reverberant space and a compatible condenser microphone. You have recommended the Shure MV88 and the RODE Me-L, why? The RODE Me-L (Lightning) is simple and better for actors. It's a miniature directional shotgun that sounds good. The MV88 sounds better to my ear but the actor would have to install the Shure app and set the microphone to the narrowest direction. With any product, it's best to make things simple and obvious. I love how you can receive audio files, audition them to the video, and choose selects as easily as you can record to sync. Is it your intention to have clients receive recordings from talent remotely, import them, and use the software to make select notes as well? The intention of the email workflow: Pix Asst (.Mov) > Manager/Agent (.Mov) > Actor (T/C. Wav) > Manager/Agent (T/C.Wav) > Pix Asst/ADR Editor (T/C.Wav) > Mix Stage. Keep your eyes and ears open for the release of PhADR at the Todd-AO website: https://toddao.com/ •