CHAPTEReleven
ADR

What Is ADR?

ADR is automated dialogue replacement. It’s a part of the sound design. ADR is not dubbing voices into another language. ADR is done in the original language. When an animated film, or any film, is in postproduction, often some of the voice track needs to be replaced. Maybe the quality of the sound wasn’t good in places on the original voice track. Maybe the director didn’t like one of the voices. Maybe some parts of a dialect aren’t acceptable. Perhaps a celebrity must be impersonated when he’s not available for dialogue replacement. Perhaps a show must be sanitized for a network buy when it was originally recorded live or it originated on cable TV or maybe some new animation was added. Whatever the reason, the original actors or new actors may be called in to make the changes. If one of the original actors is off on another project, then a sound-alike must be found to record the voice. The ADR may involve only a few lines or it may involve an entire character’s role. There is little difference between a high-quality television ADR job and one for feature animation. This chapter discusses the Loop Group, walla sessions, research before the recording session, sample call outs and conversation starters, and getting work.

Actors watch a portion of a scene on the screen. Often a small section is looped. That used to mean that it had been looped together physically so that it played over and over again. Today with digital formats, a section can be replayed over and over without being looped physically. Usually, one line of dialogue is recorded at a time. Sometimes the actor has a script. Sometimes the actor is expected to lip read a few words. He watches and speaks aloud until he can lip sync the words. This is called working to picture.

The actual recording may be done with a system of beeps, flashing lights, or a video time code on the picture to warn the actor when the exact spot comes for speaking the lines. The beep cue is a system of three beeps in a rhythm. This is the warning. The actor comes in precisely on the fourth imaginary beep, just as a musician would do with the advance: “And a one, and a two, and a three.…” With another system, streams of light come across the screen, and the actor speaks when the light gets to a designated place on the screen. With a third system, four different light bulbs light up in a rhythm (like the beeps). The actor speaks as the fourth bulb goes out. If the actor is asked to use a time cue and come in at a certain spot while watching the picture, then the actor watches for the precise fraction of a second time on the time code at one corner of the picture and comes in at precisely that spot (for instance, at: 6.05.11. That’s at six minutes and five point eleven seconds). Around the world still different but similar systems are used (such as a single slash crossing the screen where the actor must begin speaking).

Usually, the actor wears headphones. Sometimes there is a rehearsal before the first take, but not always. The goal is to do a good take in a couple of tries, not fifteen or twenty.

The typical day for ADR for film involves a nine-to-six shift with an hour for lunch. The editor usually tries to do the ADR for an entire film in one day to stay on budget. Television ADR may involve shorter days.

The Loop Group

ADR also includes new dialogue that’s added in postproduction crowd scenes where we don’t actually see the individual characters talking. This involves a loop group of up to twenty people recording walla or wild lines (call outs). Looping work is wild when it’s not necessary to sync it with a specific mouth. Both walla and wild lines are improvisational, centered on one subject—what is happening on screen at the time the lines will be used. The walla is general background noise and may include conversations. The sound editor will lay down a bed of overlapping sound. The call outs are short improvised single lines, recorded individually (“Bring it over here, Joe!”). These are normally used for exteriors. Call outs should be short and belted out with no overlaps. Some actors prefer to place their hands up on either side of their face (palms forward and fingers extended out to either side to really belt out the call). If you choose to place your hands up, be sure that they are to the side of the face so as not to obstruct the sound. Call outs will be layered later on top of the bed by the editor. They can be placed anywhere in the crowd scene. Walla may be used in any kind of group situation where we hear the voice but never see the face of the speaker.

Walla is the sound of many people speaking at once, like you’d find in a restaurant, rock concert, baseball game, party, etc. The loop group splits up into smaller conversational groups. Gary Hall, who has headed postproduction at Fox and worked in postproduction at other companies as well, often likes to hear women’s laughter in the background. He likes to hear some specific conversations. He may record two tracks and overlap them. One track may be nonspecific to the scene with specifics added. But the walla in the bed may be so soft and low that you won’t be able to understand it in the final mix. Some producers prefer more distinct walla and some like walla that is more subtle. Usually, nothing should stand out too much, no clichés. These decisions on walla are often made by the associate producer. Actors hired to record walla improvise real and appropriate conversations. In a large studio, the voices will probably be loud. It’s important to create relationships with one person asking a question and someone else answering it. “Do you see Charlie?” He’s still over at the Ferris wheel!” What would you hear, if you were placed in that situation? That normal everyday conversation is what is needed. The sound should be evocative of the place and situation. One method of recording walla is the use of donuts (also called walk and talk). These conversations approach and fade away. The group splits up into singles, doubles, and triples before lining up behind the microphone. As each group approaches the microphone they go into their conversation and then stop after they pass. Only the group in front of the microphone talks, with the conversation fading in and back out as they pass. There is silence between. It’s important to walk quietly. Often actors take off their shoes. There should be no rustling of clothing, jewelry, or keys.

Specifics may be specific conversations in a crowd or other lines assigned by the group leader to singles, pairs, etc. These are usually cued to a certain place in the time code. Specifics may overlap within the small group. Often the leader conducts, like leading an orchestra, with the last of the sound thinning out (like pulling spaghetti). Specifics also include things such as hospital pages and police radio calls. Specific revoicing is replacing lines for a specific actor who may be unavailable or revoicing a performance that the producer/director didn’t like. Actors may also be asked to lip read and match the lips of an on-camera character who was not heard in the original track.

For the call outs actors line up behind a single mic, quietly, without making a sound. One at a time, they come up to the mic, improvise a call out line, and move on so that the next actor can follow in rhythm. These lines need to punch out. The editor can always tone them down in the mix. When each actor has said his line, he goes to the end of the line and waits for his next turn. Actors must have their improvised line ready to go when it’s their turn at the mic so that the process goes smoothly. Sometimes the actor immediately before you uses your line so you have to quickly think of another. Coming up to the mic and having no call out ready is reason for not hiring an actor again. The lines will be inserted over the conversational bed as punctuation by the sound editor.

Typically, loop groups are available for all kinds of ADR, not just animation. One group may be called in to loop an entire feature, so the group needs to be very flexible with actors that can handle many types of characters and voices, ages, and dialects. In one day they may do walla, specifics, call outs, replace dialogue for some of the principal actors, do the exertion sounds in a couple of fights, some animal noises, and more. ADR artists, who belong to SAG, get residuals.

Postproduction executive Gary Hall casts by the type of project that is in post. Some projects require as many females as males; some may require all males. When he’s finished with the editing, he’ll lock the show. This is the final editing of the show. A tape or digital copy with a time code will be sent to a loop group leader of Gary’s choosing. An executive may override Gary and request a specific loop group. He tries to send the footage about a week in advance of recording, but sometimes the group leader only has a few days. There is no written copy sent for the actors (unless there is a revoice). The same loop group may be used for a whole television season. The leader will make notes about where the walla will go. She needs knowledge of sound in order to direct the group, bringing the volume up and down in the right places. The group leader usually does the casting.

Six to twelve actors are usually used, depending on the project and the budget. The associate producer of a television series usually lets the loop group leader run the session. The director of a movie or television pilot may direct the session himself. The group leader usually does all the paperwork at the end. Gary’s looping sessions for an hour television show generally run about four hours. There are not many successful professional loop groups. Gary has six in his phone list.

Gary suggests that actors interested in doing ADR take improv classes and then practice with a rented film with the sound turned off. Try to get nonunion experience on graduate films. Most college filmmakers could use a loop group leader, as they won’t know how to lead a group themselves.

One versatile performer, who did ADR on hundreds of titles, worked with actors in forty languages, including authentic U.S. regional dialects. The cultural background is important in ethnic actors as well to tap for an authentic feel. A loop group may impersonate as many as ten different celebrity sound-alikes. They may do vocal effects. Loop groups are usually closed, tight-knit groups. They are based on talent and personal relationships.

Professional demeanor is important. So is thinking on your feet. A leader points to you and you have to come up with appropriate lines, instantly. Time is important, as an ADR booth costs money. Actors must be able to read time code, as the leader may tell an actor where to jump in by time code. Time code is registered in hours (two digits), minutes (two digits), seconds (two digits), and frames (two digits). Film is shot at twenty-four frames per second, and video is shot at thirty frames per second. Some directors suggest that you bring in a notepad and a pencil for jotting down the time code. Usually the last four numbers are all you need. Other directors expect you to memorize the time code, as writing takes extra time and paper can make unacceptable noise in the studio. It’s important to refrain from using brand names, curse words, or anything else that might cause problems from the standards and practices or legal staffs.

Some loop group leaders have a stable of as many as forty actors that they can pick and choose from. Some may not do voices themselves, but just lead. Some may have a coleader for overlapping sessions.

Research

Actors who do ADR need to have research on hand. What kinds of shows are they likely to be called to do, not only for animation but for live action as well? They need to have historical information available and the proper vocabulary for animated films that are set long ago. They need the jargon or lingo of other countries and of various fields (apartment = flat; bathing suit = bathing costume; cabriole; pirouette; gastrotomy, mitral valve). They need to be familiar with the technical terminology used in crime shows, scientific dramas, hospital shows, etc. This means that the actors need to be able to ad lib the technical terms that would be used in these kinds of situations (operating rooms, crime scenes, courtrooms, etc.). ADR actors typically keep books or files of this specialized terminology and have memorized enough of it to be able to use it when needed. Sometimes a project involves special quick research after the call from the coordinator. Research time is unpaid but absolutely necessary.

I was a member of a loop group that did ADR on an animated feature about the life of Mohammed. The crowd scenes required historical and religious research for us, as none of us were Muslims. We had to discover what villagers in the Middle East might have talked about at the time that the film was set. What were they doing in their everyday lives? What were the taboos there and then that we don’t have here at this time? How would their language then translate into English today?

Sometimes actors need to prepare ahead a list of typical lines that they may need to use for call outs or walla.

Sample Call Outs (for a Scene at a Fair)

Sample Conversation Starters for a Walxla Scene (Diner Scene)

Sample Improvised Conversation

To Practice

Rent a very talky DVD or tape a film on your DVR. Pick a short scene between two characters and watch it until you know the lines pretty well or transcribe them into a short script. Then turn off the sound and try to fit the lines into one character’s mouth. If you feel confident that you’re doing well, tape yourself replacing the lines and play it back in sync with the video to see how you did.

Work on accents, foreign languages, and different voices, including the voices of kids and celebrity voices.

Getting Work

An ADR editor, hired by a sound editor, may turn to an established loop group he knows. The loop group may be hired instead by a producer or director who will be directing the session or they may be hired by a supervising postproduction executive. Usually, he’ll call the loop group coordinator or leader and give her the information about the session. She’ll call as many members of the group as needed for the job. Sometimes an ADR editor calls actors he knows directly. Occasionally, voice-over agents are called for recommendations instead. There are no agents who handle voice actors specifically for ADR. Since actors, who do ADR, work on both animation and live-action projects, there may be more men in a loop group than women, as more men are needed in the average ADR project: hospital and crime shows.

You may need to work for free until you are ready to work for pay. Find college students who need actors for their student films and volunteer to work for the experience. One way to break in, after you feel you’re ready, is to find a loop group and ask if you can sit in on one of their sessions. After the loop group coordinator gets to know you and your talent, you may be asked to participate. If this is a union loop group, then normally only SAG or AFTRA actors can work in the United States. However, actors are allowed to work a union job once without joining a union. After that a producer must be willing to sign a Taft Hartley waiver stating that your services are unique and required, and then you must join the union.

Loop group coordinators typically cast actors from age three to eighty years old. Those who work most have a vocal range of about ages twenty-five to fifty. Some speak other languages as well as their native language.

Union and Nonunion Work Available

Typically, the best work in the United States is union with union benefits. But there is nonunion work out there, as well, for less experienced actors.