Got some ADR recorded last night. I remember when I did this 2nd film project, I did not like ADR. I thought I would prefer the bad audio and good performance over the over-clean audio with all it’s lack of noise. God I was stupid. ADR is essential. Good, clean audio will trump everything if the sound sucks. 
There’s also a great deal of editorial power in ADR. If the actor’s back is to camera, you can re-write scenes. Completely change the dialogue and meanings of what characters mean. It’s a 3rd or 4th chance to “fix” your script after the writing, the shoot, and the edit. Too many filmmakers are too in love with their own stuff to not see that you can always do better. I know I have been in the past.
We bought one of the Zoom H4N recorders and it came in handy for ADR. Using it as a separate recorder while I used the editing machine to loop the performance for the actor to read to was incredibly handy. I know lot of high end audio guys hate this little thing, but I love it. Nice, 192Khz uncompressed audio with a lot of functionality for the price.
I also really love the MK319 microphone I have in New Rossdonia. It has a really nice warm, round tone to it. ADR can be very hard to do. Matching your lip movements and more importantly performance ain’t easy.
Vladimir Jack Bauer yet again tried to assist as board operator. It wasn’t easy, but I did get his fur out of the spit guard eventually. Did I mention that I love being productive again? Getting footage cut together and creating things lifts my spirit, much like it did before my depression of the last few years. Hell, even cutting corporate videos feels decent right now. Using my limited skillset as an editor raises my attitude.
I’m alive again. Work set me free.
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