I had an experience yesterday that really scared me.

I had to ADR a ton of my dialogue in a movie because it was filmed in the woods, and there was too much ambient sound. I could tell when I listened to the playback from the season that I was just saying them, and it wasn't organic the way they were when I did them on set. Maybe it's just me noticing this, but I am worries that when I see the finished film, am going to hate my dialogue.

Unless you've got a "creative control" clause in your contract, why is this different from any other factor in making a pic? Film is a director's medium, not an actor's.

quote:

Originally posted by CSilvera:
Unless you've got a "creative control" clause in your contract, why is this different from any other factor in making a pic? Film is a director's medium, not an actor's.

CSilvera, your response is 100% accurate, but I suspect that the original poster may actually be wondering if anyone has any advice or pointers to help with the entire ADR experience. I realize that was not stated, but it does make for an interesting topic. There are films done where the dubbing was so awful as to merit repeated mention in reviews (A recent example was a really bad straight to DVD release featuring some schlocky action star [Stephen Seagal]) which was almost universally laughed at for the awful AVR results. Even if one limits the reviews to those who are normally are not aware of AVR, viewers noticed. The film was called "Attack Force.")

How can one best try to re-create the emotions and the intensity and the nuance of a performance on set, even while trying to also concentrate on the timing, and the lip-syncing?

I am a newbie, and I do not have the answers. Does anyone who has done this have any advice to offer?

No offense intended to anyone,

-Bruce