dialogue between invisible man and you
Answers
Even with the best Sound Recordists (who keep signal-to-noise or BG-to-dialogue) at a minimum and constant level, the NATURE of the sound of a river changes constantly.
When dialogue is cut together, the background cuts along with it, going sssssh, shoooo, sheeee, shooo, shaaaa, – if you can imagine that.
Doubly so because Masters, Singles and Reverse Singles are shot facing different directions as well as scenes shot over several days.
Movies shot near rivers? Deliverance.
Pretty much ALL of Deliverance is ADR. Scenes in cars, at home, on the road are not, but once we get on that river…
I often referred to Deliverance when Actors (or others) would complain that “you can always pick ADR”. My reply; “you can always pick BADLY looped scenes” and I’d go on to ask if they had seen Deliverance. (You can imagine the ensuing conversation). Often this conversation would take place just as we are starting an ADR session.
Of course, Deliverance being a Studio picture, all the infrastructure is there (that is, all the stuff needed) and it is a relatively simple matter to pass scenes for looping along the production line. Plus, back in those days, almost all the top techs were working inside the studios and all Actors expected to have to loop something. It wasn’t a “fix-it” technique, it was a Production Technique.
Here’s a question I like to ask movie professionals: Back when Fred Astaire movies were made, the audio technology was pretty basic – microphones hidden in plants etc. We know the sound of the music is ‘playback’ on set and not of sufficient quality for the final version. We know on those wide shots the boom must be quite a distance away from the performers. We know the location music track is replaced in Post. So where do the tapping sounds come from?
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