Despite the advancements in the technological aspects of ADR in film, the process still often requires many studio hours and a great deal of work. ADR recording takes place in ADR sessions in which an Actor (repeatedly) watches a scene they previously filmed while listening to the original production track on headphones to help guide them. Reviewing the material repetitiously directs talent on inflection, enunciation, and the timing they’ll be aiming to reach when it’s time to make the recording. They then re-perform each line to match the lip movement, wording, and performance.

Categorically, this process is separated into Visual ADR and Audio ADR. Visual ADR is when the actor only watches their performance and re-records their lines, while Audio ADR refers to the actor only listening to their performance on headphones. The needs of the production will dictate which form of ADR they’ll be using.

ADR is used across the filmmaking spectrum, from big, tentpole Hollywood films to lower-budgeted independent productions. The frequency and extensiveness of its use is entirely dependent on the needs of each individual production.

The reasons a production would need ADR can stem from a number of factors. Let’s consider a few of them…

A common reason for ADR in film is background noise. Shooting exteriors always presents its own set of challenges. City streets, beaches, water-based locales, and forests all have audio elements beyond any production’s control. ADR allows for a completely regulated (and otherwise silent) environment in which dialogue can be recorded cleanly.

If the talent’s original performance didn’t have the right nuances or vocal characteristics, re-recording the audio will fix the problem(s) and allow another take without having to film again. Bear in mind, this doesn’t solely apply to dialogue and words. Any articulated audio (think grunts, coughs, sneezes, etc.) can be improved with ADR.

Accents can be tricky. Sometimes, despite extensive coaching and training, an actor’s syntax on the day of filming doesn’t quite meet the needs of the project. An inauthentic or inappropriate accent is always something Filmmakers want to avoid, as it can jeopardize the credulity of a film. With ADR, an Actor can really take the time to do things correctly through re-recording.

Sound equipment, like any other mechanical device, can malfunction and break down. On the occasions when there is an equipment malfunction, ADR can be used to fix any problems that may have occurred during production.

Oftentimes during filming, dialogue can be challenging to keep clear. Sometimes, a scene will require that an actor be eating during a take, distorting their dialogue. Also, action and fight scenes often require actors to move a lot and breathe heavily, which can affect the pitch and clarity of their vocal performance. Individual words or entire lines may need to be replaced if the audio is unintelligible.

A change in creative direction is another reason for ADR. More often than not, there are revisions to a screenplay, as it is an ever-evolving document. Revisions happen before a movie is shot, during filming, and usually continue on through post-production.

This is where ADR comes in. New and/or revised dialogue is easily slotted in with the aid of ADR. Often, lines are added by actors when their character is immediately off-screen, or their face is turned away from camera, so as not to reveal the words an audience is now hearing were never actually spoken on set.

Film sets are kept as quiet as possible so the sound recordist can cleanly capture the speaking talents’ dialogue. But when the scene takes place near crowds or other (non-scene speaking) people, an audience needs to hear them or the entire film feels inorganic.

During production, background extras are often told not to speak or make any noise at all. Group ADR adds life to crowd scenes and helps to place the characters into the world. A group of voice actors assembled in a post-production studio to create the sound effect of a crowd is commonly called a walla group.

Some film distributors require alternate versions of a soundtrack without profanity, adult language or offensive phrases (different markets require different products, and for distribution to be a success, individual, specific requirements need to be met).

Sometimes these lines of dialogue are filmed during production and other times they’re not. In the instances when they’re not, ADR is used to record these alternate lines.

The ADR match-up between talent and picture needs to be exact, so the process can be meticulous and time consuming.

A cue sheet, complete with time codes of when to implement the newly recorded dialogue is needed. The voice actor then has to perfectly time their performance with the lip movements of what’s on screen. To achieve this, after repeated viewings of the (to be altered) footage, captions will sometimes appear on a monitor over the shot, (think karaoke), so that the actor can read along with it. Beeps are also used to ready the talent and cue them in to begin at the precise moment. Since the recording needs to be exact, there are often countless takes done until the live actor and their on-screen performance are seamlessly in sync.

When the Covid pandemic started, many productions switched to remote ADR recording. A number of actors went from being more than just talent; they became engineers as well. Under the zoom-assisted guidance of professional engineers, they were sent equipment and set up recording stations in their own homes. The practice is still in effect today.

Aside from a controlled, extraordinarily quiet room or enclosed space, there’s some equipment to consider to use ADR properly…

Far superior to the naked ear, headphones provide the greatest clarity for assessing performance.

Not all mics are the same. They’re each meticulously built for their own, individual purpose(s). Verify that you’re using equipment specifically designed for studio use. Also, always be sure that talent keeps at a specified distance from the receiver (usually it’s a small range). Too close or too far will leave you with a poor recording.

A preamp is a single piece of recording equipment designed to adjust audio levels accordingly. Using this requires some technical know-how, as it’s an essential tool of the recording process.

A digital audio workstation (DAW) is a type of application software that can be used for producing, recording, and editing audio files. DAWs come in a wide variety of configurations from an easy-to-use, computer-friendly single software program, to an integrated stand-alone unit, all the way to a highly complex configuration of multiple, computer-controlled components.

Regardless of configuration, modern DAWs have a central interface that allows the user to alter and mix multiple recordings and tracks into a final produced piece. When used properly, the result is nothing short of professional. Audacity and Garageband¹ are two popular editing software programs.

It’s crucial that the voice actor be able to watch playback of the scene they’re recording into so as to match their live words with the pre-recorded ones.

$52,878 is the average salary for an ADR Mixer. Typical salaries range from $37,489 and $67,947². Also take note, ADR mixers need experience to gain admittance into the union.

Knowing your way around a recording studio is the chief prerequisite for a career in ADR, although experience with dialogue editing or acoustics can also be helpful. Understanding as many elements about studios and the way they record would be greatly beneficial.

The majority of ADR recordists and techs begin as assistant engineers or runners in recording studios, audio postproduction houses, or sound studios. Getting an entry-level position at a recording studio isn’t always exciting, but it’s generally the first step towards attaining work in the ADR field. Finding consistent, upward moving work requires forming strong business relationships with dialogue editors and film production companies, as well as earning a reputation for competence, speed, and reliability.

Having patience and gaining a name for being easy to work with helps as well. As is common through nearly every aspect of the entertainment industry and film production field, networking is a necessary key in finding professional opportunities and procuring (steady) work. People tend to hire (and keep hiring) those they know and like.

ADR, or Audio Dialogue Replacement is a crucial element of filmmaking. If it’s shoddy or even slightly off, it can hurt a production. ADR can be an invaluable tool when it comes to rectifying and/or perfecting certain aspects of a movie’s soundtrack. More movies use it than not.

When ADR is done correctly, current technology enables filmmakers to seamlessly cover any audio blemishes and operate as though there was never even any issue that ever needed to be dealt with. Understanding ADR’s effectiveness can be lifesavers for a movie, regardless of its budget.