Issue link: https://digital.copcomm.com/i/1538091
16 FA L L 2 0 2 5 I C A S Q U A R T E R L Y production recording. It also becomes a trust factor between the mixer, actor, director, and editor. A big part is having to work fast, edit on the fly, and use all the tools we have, depending on the comfort level of the actor. I will use a sampler to do a play and repeat so the actor does not always need to do it to picture. It goes back to the original days when "looping" was literally a piece of mag tape that was cut together so it would loop over and over on a film dubber, and the actor would jump in and match over the original lines or say the line right after they heard it played back. For me, it's always about the team. If everyone in the room is willing to collaborate and trust each other, then you really can get some amazing outcomes. The editors today are so talented that, as long as we can match pitch, perspective, and projection, they can cut syllables and small pieces that they need to preserve the original production as much as possible. In the end, the goal is to keep the original production and just fix sections. Can you discuss some of the techniques you use and when they may be helpful? One technique I was taught many years ago by my friends in London was to fill in the sections of ADR with background tone from the same scene. When we record, we literally have seconds to do this process, but it is extremely important because when we do a playback, having that background fill, adding some reverb, EQ, and tucking the ADR into the track gives the best chance of hearing how it may be in the final mix. There are some shows that will send us background tone and music (M&E). This helps so much in the playback of a loop,