Job profiles ADR mixer/ Foley mixer
in post production
The jobs of ADR and Foley mixers include dialogue recording and Foley recording in a studio.
Field of activity
Dialogue recording (ADR)
- Replacement of production sound recordings with lip-synced re-recordings in a studio to match the tonality of the original recordings.
- Recording of background conversation and special recordings such as singing to compliment the dialogue sound track.
- Recording of off-screen lines, for example voice-overs, narration, comments and announcements in the adequate tonality needed.
Dialogue recordings are usually carried out by the ADR recordist in collaboration with the director and ADR editor. A boom operator may also be employed. The particular skill of an ADR recordist is to find an audio characteristic for the recording which suits the image, scene and production sound. Furthermore, he supervises the quality of the recording and its tonal continuity, which is of particular importance in the non-linear work process. An assessment of the quality includes technical aspects of the recording on the one hand, and technical aspects of the result, such as clarity of dialogue on the other hand. As the technical aspects of the output are closely intertwined with the vocal-emotional expression of the recording, the ADR recordist needs outstanding skill and sensitivity in his interaction with the actors and the director.
- Image related recording of human or non-human sounds for the dramaturgical design of the audio track of a film and/or for the creation of an M&E track (music and effects mix).
- Recording and sound shaping of atmospheric, not necessarily image related backdrop sounds and background sounds.
- Recording of special sound effects or base material for further sound design.
Foley mixers work closely with Foley artists who create the sounds by using props and their own body. The sound of the material to be recorded is worked out together. Foley artist utilise of the means of microphone placement, filtering and dynamic processing to shape the sounds. The recordings serveeither as a complete redesign or as a complement for the original sounds. In the latter case, a tonal and spatial adaption to the production sound is paid special attention to. The respective creative approach is used in consultation with the sound designer / supervisor. Ideally, Foley mixers are experienced as a sound editor / designer too, so they knows about the possibilities and conditions of the integration of noises in the overall sound of a film.
- Creativity and imagination
- Knowledge of film and sound dramaturgy
- Impeccable hearing abilities
- Ability to concentrate over extended periods of time
- Skills in the handling of recording technology
- Abilities to communicate and work in a team