commpost Posted October 28, 2012 Report Share Posted October 28, 2012 I was having dinner with a european producer last night and he was talking about a 2-mic proximity ADR technique? I have never heard of such a thing. Been looping dialogue for years, and sometimes of course the actor may distance himself from the mic for a proximity effect, but 2 spaced mics on a sound stage for a single actor? Can anyone give me some details on this, or was this guy talking through his hat? thx Commpost Quote Link to comment Share on other sites More sharing options...
jrd456 Posted October 28, 2012 Report Share Posted October 28, 2012 separate trks----choice J.D. Quote Link to comment Share on other sites More sharing options...
soundtrane Posted October 28, 2012 Report Share Posted October 28, 2012 trust a producer about these kind of things?? Quote Link to comment Share on other sites More sharing options...
greg sextro Posted October 28, 2012 Report Share Posted October 28, 2012 I often put a studio mic in front of an actor and a shotgun above. The studio mic actually keeps em from moving around too much from the sweet spot of the shotgun as they are more aware of the mic they can actually see in front of them. If doing voices for animation, a double mic system is often used, one for a safety (lower level) and further away for less proximity. Quote Link to comment Share on other sites More sharing options...
commpost Posted October 28, 2012 Author Report Share Posted October 28, 2012 But it would be nutzoid to mix the two mics together, no? This would introduce phase problems, and would probably sound weird and unnatural. But having a choice of levels or perspectives is the only sensible purpose of this. ~ Commpost Quote Link to comment Share on other sites More sharing options...
studiomprd Posted October 28, 2012 Report Share Posted October 28, 2012 " the actor may distance himself from the mic for a proximity effect, " they get closer for that effect... " nutzoid to mix the two mics together, no? " not no, yes it would be. Quote Link to comment Share on other sites More sharing options...
Geoff Tirrell Posted October 29, 2012 Report Share Posted October 29, 2012 I often put a studio mic in front of an actor and a shotgun above. The studio mic actually keeps em from moving around too much from the sweet spot of the shotgun as they are more aware of the mic they can actually see in front of them. If doing voices for animation, a double mic system is often used, one for a safety (lower level) and further away for less proximity. This was the first thing I thought of when I read the first post. In the spirt of disclosure though I don't do studio work so I am would not know. Quote Link to comment Share on other sites More sharing options...
Henchman Posted October 29, 2012 Report Share Posted October 29, 2012 I would say,that producer has been fooled by someone doing a dog and pony show, to look more interesting. ADR should be recorded the same way the production sound is recorded. A boom and a lab. The end. Quote Link to comment Share on other sites More sharing options...
Bondelev Posted October 29, 2012 Report Share Posted October 29, 2012 I use two mikes when the actor keeps leaning into the mike and getting too much proximity. I put the second further way and use the first as a dummy mike. Quote Link to comment Share on other sites More sharing options...
Mark Orusa Posted October 29, 2012 Report Share Posted October 29, 2012 I agree with Henchman. If the actors were recorded with a boom and lav during production, they should be recorded with a boom and lav during ADR. I've found that a lav in a studio sounds like a boom at a practical location. If you have a large, dead room then you can get away with another mic farther away to provide a sense of distance. The post mixer can then add reverb to match the shooting location. Mark O. Quote Link to comment Share on other sites More sharing options...
Olle Sjostrom Posted October 30, 2012 Report Share Posted October 30, 2012 A boom and a lab. The end. They do go well together. My labs always go boom. Typos aside, this is too true. I have done lots of ADR and doing it the same way as on production makes things a lot easier. I had a huge wide shot of two people coming down a staircase. Scene was dubbed due to the insane echo and bad lav placement to begin with. And we used lavs and boom on ADR, added reverb but couldn't get the foley right at all. Steps matched. Rustle didn't. We tried everything! And then at lunch I had an epiphany; a lav under my shirt! Put it on, walked the scene. Perfect. It didn't sound weird at all. So it's not just good in an ADR situation Don't do it my way though; hardwire to the mixer. Moving from room to room got... bad for the cable .P Quote Link to comment Share on other sites More sharing options...
Mobilemike Posted October 31, 2012 Report Share Posted October 31, 2012 I'm primarily an ADR mixer, and the vast majority of ADR I've done is recorded just like production - a boom and a lav, just like production, and I adjust mic placement to match the shot. However, I have had a few editors (mostly on TV shows) ask me to record an additional track with a second boom pointed off-axis from the actor, so they could more easily mix in perspective for off camera lines, etc. It seems to work well and provide a lot of control over the sound very easily, but the vast majority of the time its that main boom/lav that will be used. -Mike Quote Link to comment Share on other sites More sharing options...
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