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Exterior ADR
While the guns provide the flash and sizzle of the battle scenes, the editors and mixers placed equal attention on the “textures” of the field, perhaps most evident in the group ADR recording and mixing. The battles were by and large marked by civility, at least until the initial firing ceased and the hand-to-hand combat began. Military commands, therefore, were prominent. To add a level of realism, Hallberg decided to shoot the group ADR outdoors.

“We went up to the old Nike missile base in the Santa Monica Mountains,” explains ADR supervisor Chris Jargo. “Down a fire road and behind a mountain so we would be shielded from traffic. We placed 15 men [from the L.A. Mad Dogs loop group] about 10 feet apart down the road and had them run through a series of commands—everything from arms commands for Americans and Brits, to cavalry commands, marching commands, cannon commands. The way it works is that a commander barks out a command, and there are six companies in a battalion, so the leaders of those companies would parrot the commands. For example, if the command was, ‘Take aim!’ we would stagger the repeat with the 15 guys, so that the guys farther in back would be a little out of tempo, not perfectly chorused.

ADR supervisor Chris Jargo feeds the stage from his WaveFrame workstation.

“Then after the group commands, we would do individuals,” he continues, “which Kevin would then mix LCR, again staggered and offset. The individuals played with the 15 men to give it a real natural, rough sound. We did that for every command, in every battle, and we also did group grunting and fighting for the hand-to-hand combat.” Later, “free-and-clears,” or wild, individual lines, were recorded to add punch and poke through the group walla in the encampment scenes.

O’Connell broke out separate predubs—6-channel production, 8-channel principal ADR, and 8-channel group ADR (LCR-LS-RS, LCR)—for the Americans and the British, so that at the final he could have flexibility and not bottle up the center. “I like to make the commands and the group dialog as left and right as possible,” he says, “because by the time you put in the guns and music, you need that separation. Sometimes I’ll even put group in the left-surround and right-surround so that it feels like one whole side of the theater against the other side.”

The exterior group ADR sessions were recorded straight to two DAT machines, one set up double-mono (two tracks) and the other stereo (M-S miked, for LCR playback). The five tracks were then lined up in the WaveFrame so they could be played back at the same time. Close-up grunts and breathing, along with principal ADR, were recorded on ADR stages at Fox, Warner Hollywood and Sony.

Page 6: Foley

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