Issue link: https://digital.copcomm.com/i/1521235
18 M PS E . O R G depending on the flow. But since time on the ADR stage is critcal, I felt it was important to have each line programmed so the mixer wouldn't have to stop and find the beginning of each line. My time used to program properly always saves time on the ADR stage. Even with the captions, Hilari had to ensure the voicing matched the timing and inflection of the ASL, as well as the naturalist feel of dialogue between each voicing actor. Her goal was to make it sound like a radio play if you accessed the play without picture. We literally had ONE day on the ADR stage to record nine actors with a total line count of more than 800 lines of dialogue. Since there was no lip sync to deal with, other than the timing for captions, we could record at a pretty fast rate. Since each actor had a stand-alone story interspersed with the dialogue of the ensemble, we were able to record their monologues first. Fig. 1 is a sample of one of my ADR cue sheets. This was my "all in one" cue sheet. You can see that I programmed Lyle's monologue with DEAR DIALOGUE DETECTIVE Once the new translations with the corresponding English captions were worked out, Hilari re-wrote the voicing parts. She also had to re-cast several of the voicing actors for various reasons, and had more than 800 actors submit for consideration. One of the biggest challenges that I had was figuring out how to program this hour and 16-minute film! "Normal" ADR involves programming each line or sentence—sometimes combining a few lines or sentences, translations. Translation is a complicated linguistic process that had to happen on the fly for the stage production, but with a locked film production and the luxury of time during post, the translations changed to more accurately reflect the ASL, rendering a high percentage of the previously recorded voiced performances unusable. Hilari made the call to re-record all of the eight voicing actors to follow the new captions. Fig. 1 Fig. 2 Fig. 4 Fig. 3 Fig. 5 Voice actor Ian Castulo Guerra in the Iso booth. Recording mixer Stiv Schneider in the booth. Vickie Sampson during the recording session.