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Since some time, I try to get my ADR sound perfect. But it feels like I am missing out something. Do you know what equipment professional studios use for off-takes in TV adds an on-takes in movies. And also how do they treat their Recording-Booths?

Thx for your help!

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key things:

  • large, super dead, super low noise floor recording space
  • good quality shotgun and lav
  • shotgun far enough away to match positioning on production
  • good performance (louder than they think they need to speak, give them good context, headphone mix affects performance, sync needs to be dead-on)
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  • Those are the exact same things I would say. The only thing I would add is some way to cue the talent, either a beep file spaced out correctly or video wipe.
    – coaxmw
    Nov 1, 2013 at 15:46
  • Ahh ok, until now i used a small dead dry vocal booth with a large condenser mic for commercial voice-overs. What are great shotgun mice to use for ADR. Right now i have a sennheiser mk 416 and a rode ngt2 on hand. I really like those for booming dialogue. Nov 1, 2013 at 17:29
  • Would you go for a dead dry sound with lots of absorbers, or would you go for a room with lots of diffusion? Nov 1, 2013 at 17:29
  • 416 will work great. dead dry with lots of absorption. The acid test is matching into exteriors with zero verb or only slap reflections from buildings. Never works if you have room verb recorded into your track. Shotgun mics hear the walls off axis to them strangely too, hence the need for a larger space.
    – Rene
    Nov 1, 2013 at 21:18
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I aim to use the same microphone that was originally used in the film (if not one similar) and the same positioning. I also ask the actor to copy the movement on screen if they have to (for example tilting their head down or left and right etc.

I'd use a dead room and hope that there is an IR recording of the location to load into my reverb. If not I'll try my best to make it match OR record the ADR in a similar sized room.

I would also record it clean with no reverb, compression etc.

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