272 ADR removed for ADR. Before moving to the next edit, audition this new construc- tion with both playback options: Original dialogue tone fill original dialogue. Once the ADR is added, this is the "normal" playback for when you want to use the loop line. · Original dialogue X track original dialogue. This option will result in the line in its original form. · It's important that the fades for each option work properly, since you never know which option you'll use in the mix. ADR Editing Even on a small film, you can easily end up with thousands of ADR takes. Combine this with the fact that you rarely have enough time to edit, and you begin to appreciate the importance of organized paperwork. There are many ways to import, choose, edit, and manipulate ADR recordings. Preparing for ADR Editing Open a reel of your most current dialogue session and perform a Save As with a new name. Beneath the active dialogue tracks (for example, Dial A Dial M), open four or more new mono tracks--label them "ADR A D." These will be your final, edited ADR tracks. How many depends on the density of the ADR, the number of characters, and the preferences of the mixer. Below the new ADR tracks add about ten new mono tracks, labeling them "ADR Work 1 10." 4 (See Figure 15-9.) These are the tracks onto which you'll initially open your ADR lines--safe places to work without endanger- ing the active tracks. You can delete them when you finish editing the ADR. Organize your note-filled ADR recording logs in film order. (You had them arranged by character for the recording session.) If specific characters haven't been recorded yet, remove those logs from the pile. Locate your dialogue/ ADR session to the timecode of the first ADR cue. Note which takes were indicated as "Hold" and "Buy." Import these cues into your session. As you saw in Chapter 9, I use a convention in which all tracks to be used in the mix-- the "active" tracks--are sequenced with letters (Dial A M, ADR A D, etc.), whereas temporary tracks are identified with numbers (junk 1 6, work 1 4, etc). This makes it easier to identify tracks during editing and allows anyone who knows my system to prepare my session for a mix. This isn't a "standard" system, but it works well for me. 4