Bridge the Gap:A Beginner's Guide to Remote ADR and Source-Connect

Nikki Myers

A Thesis Submitted to the Faculty of the Sound Design Department in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Sound

Design at Savannah College of Art and Design

Savannah, Georgia

Published by Nikki Myers at Smashwords

Copyright 2015 Nikki Myers

Matthew Akers, Committee Chair

Stephen LeGrand, Committee Member

Robin Beauchamp, Committee Member

Smashwords Edition, License Notes

Thank you for downloading this ebook. This book remains the copyrighted property of the author, and may not be redistributed to others for commercial or

non-commercial purposes. If you enjoyed this book, please encourage your friends and colleagues to download their own copy from their favorite authorized

retailer. Thank you for your support.

For my parents, Dave and June Myers. Thank you, thank you, thank you. Your unwavering love and encouragement are the driving force behind everything I do. There are no words that can fully express how much I love you both.

And for my Granddaddy, the late James Ottis Thomas, whom I miss every day.

ACKNOWLEDGEMENTS

This thesis would not have been possible without the help my thesis

committee. My deepest gratitude goes to my committee chair, Professor

Matthew Akers, for being truly invested in my project and for giving me the

extra pushes I needed to make my thesis even better than I was anticipating. I

would like to thank Professor Stephen LeGrand for his unwavering support and

encouragement through all of my failures and successes. Without his

dedication, my thesis would not have been as impactful as it is today. Also,

many thanks to Professor Robin Beauchamp for constantly having my back and

for providing the support I needed to iron out all of the wrinkles I encountered

throughout this process.

I owe everything I know about automated dialogue replacement to Alexander

Markowski. I am honored to have been one of his students and to have been

given the opportunity to intern at Audio Kitchen Post. The experience changed

the course of my career and ultimately led to where I am today. I cannot thank

him enough.

Special thanks goes to Source Elements, for allowing me to use Source-Connect

Pro X 3.8 during the course of my research. I would also like to thank Charles

de Montebello of CDM Sound Studios in New York City, and Spencer Herzog of

Creative Sound Concepts in Atlanta, GA. It was truly a pleasure to work with

individuals of such professionalism, and their devotion to quality helped to

breathe new life into the dialogue of Troy. I look forward to the next time we

work together.

I would like to thank Yang Xiao for allowing me to serve as the ADR mixer for

his magnificent film. I would also like to thank Xiao Hou for taking time from

his busy schedule to take pictures during our Source-Connect session. Special

thanks goes to Dionysius Vlachos for being a remarkable supervising sound

editor and for sticking with me throughout the entirety of the ADR process for

Troy; we shared struggles and successes throughout the project, and his

support and understanding is forever valued. My gratitude also goes to Jai

Berger and Tommy Sarioglou for their willingness to help me with Source-

Connect experimentation and for constantly lending me their aid, even in

matters outside of this thesis; they will never know just how much their support

means to me. Ultimately, I would like to thank every single one of my fellow

graduate students for their encouragement and unwavering fellowship. I am

truly lucky to have these individuals as colleagues, and even luckier to be able

to call them my friends.

Finally, I would like to thank my family, my friends, my professors, God, and

the Savannah College of Art and Design.

TABLE OF CONTENTS

List of Figures

Thesis Abstract

Introduction

The History of the Craft

The ADR Crew

ADR Session Components

Remote ADR

Case Studies on Source-Connect

Remote ADR Workflow using Source-Connect

Conclusion

Appendix

Bibliography

About the Author

LIST OF FIGURES

Figure 1.1 – Playback dummies and recorders

Figure 4.1 – Telos Zephyr ISDN desktop and rackable interfaces

Figure 4.2 – Source-Connect Pro X 3.8 standalone interface

Figure 5.1 – Poster for Troy

Figure 5.2 – Source-Connect session with CDM Sound Studios

Figure 5.3 – Source-Connect session with Creative Sound Concepts

Figure 6.1 – Source-Connect Pro settings

Figure 6.2 – Source-Connect Pro X Inspector Window

Bridge the Gap:A Beginner's Guide to Remote ADR and Source-Connect

Nikki Myers

May 2015

This thesis focuses on the process of using Source-Connect to record automated dialogue replacement and voiceover remotely. This thesis addresses both the

technical aspect of setting up and configuring Source-Connect to run properly in a studio environment, and the collaboration between two studios operating in tandem to record dialogue to picture. The aim of the thesis is to gain a better understanding of how to properly conduct a Source-Connect session and to

leave behind a roadmap for others who may need to engineer remote ADR and voiceover sessions in the future.

Keywords: ADR, automated dialogue replacement, voiceover, looping, dialogue, Source-Connect, Source Elements, ISDN, Pro Tools, audio postproduction,

remote recording

INTRODUCTION

Since the introduction of synchronized sound into the filmmaking process, there have been issues relative to the quality of recorded production audio dialogue. Environmental conditions, technical issues, extraneous sounds occurring on set, and even actor performance can result in compromised or unusable recordings. When mixing and editing cannot repair damaged audio, automated dialogue replacement is necessary.

Certainly, the actor can come in and re-record the lines to picture and completely replace the faulty audio with a clean track. But what if the actor is not readily available due to location? Barring budget or scheduling constraints, the production company could spend the money to fly the talent back to run an ADR session locally, but what if there was a faster, more cost-efficient way to record these lines without displacing the actor for an extended period of time?

Since the mid 1980s, Integrated Services Digital Network, or ISDN, has been a solution to the challenge of recording remote ADR. In 2005, Source-Connect, which broke free from the hardware limitations of ISDN, was introduced as a software-based solution that can be easily integrated into professional digital audio workstation environments. It is still rather new in the postproduction sound workflow, and many engineers have yet to embrace it, instead favoring the more familiar ISDN method of remote ADR. It is the purpose of this thesis to enlighten beginner-level ADR mixers, or even voice actors who frequently work out of their home studios, on the process and specifics behind remote ADR, specifically using Source-Connect within Avid’s Pro Tools digital audio workstation. Before delving too deeply into the technicalities and logistics of ADR and remote ADR, it is advantageous to investigate the basics of the origins and workflow of automated dialogue replacement.

THE HISTORY OF THE CRAFT

Dialogue replacement is the process of replacing damaged production dialogue with a clean, closely-synced recording performed by the original actor in a studio during the postproduction process. In these recording sessions, the talent not only needs to be conscious of synchronization, but also needs to be aware of matching the emotion and pitch of the production audio. Veteran sound designer, Randy Thom, offers, “ADR is almost always delivered at a lower pitch because the actor doesn't have the energy he/she had on the set. In the excitement of the shooting set, the actor tends to talk louder and higher” (FilmSound.org). Dialogue replacement has been a vital part of film audio ever since the advent of the postproduction sound process, and its evolution has made leaps and bounds over the short span of less than a century. From looping on magnetic film stock to recording remotely over a broadband Internet connection, dialogue replacement has a rich history and its continuing development and ever-increasing ease of operation is still fascinating to observe.

Looping

Looping and ADR are two terms for dialogue replacement that are frequently used interchangeably, though a closer examination indicates specific differences in each process. Looping was the first iteration of postproduction dialogue replacement, and was so named due to the looping editor’s process of preparing the cues for the actor while working within the limitations of the existing technology.

The looping editor would sift through the picture and optical tracks to find the line to be looped, and would cut both tracks out in precise sync to prepare for the looping session. Before the introduction of the three-pop, a series of rhythmic preparatory beeps, it was common practice to draw a one-foot-long angular visual cue with a grease pencil that would be placed before the first frame of modulation [1] to help the actor time their delivery. These cues would then be spliced head-to-tail to create a string of multiple loops, due to the machines’ incapability of operating in reverse. Looping editors would also punch the start frame of the actual loop itself as a guide for the projectionist when having to load the cue into the projector in the dark.

The looping sessions would be run with the projector, “optical playback dummy” [2], and recorder interlocked in order for all equipment to run in tandem (see figure 1.1). As mentioned earlier, it was not possible to stop and rewind the machines in order to playback the previous takes, which is why the dialogue replacement session was referred to as “looping.” Recording multiple separate takes was not possible at the time. The actor would listen to and watch the cue, then repeat the line as many times as needed until the actor, director, and mixer were satisfied with the takes.

Figure 1.1 - Playback dummies and recorders; Sony Pictures Entertainment Archives; Web. 19 Apr. 2015

There is a non-picture variation of looping that was frequently used by loop-heavy studios like Universal who specialized in quick-turnaround television shows. The only difference to this process was the absence of the picture track, which saved time when creating duplicates in the lab, and also eliminated the use of visual cues which could cause performance anxiety in some actors. This allowed them to focus simply on acting rather than sync. This technique, sometimes referred to as “hear-say,” is still used in present-day dialogue replacement sessions. “Hear-say,” where the actor hears and then repeats the line immediately, can sometimes net a more natural performance than traditional dialogue replacement procedures while still remaining true to sync, as the actor is allowed to focus on the rhythm and musicality of the dialogue, as opposed to visual timing.

Automated Dialogue Replacement

“In the mid-1970s, with the advent of the ‘rock-and-roll’ system, where projector, reproducers, and recorders could stop, reverse, and roll forward again in absolute sync, the system of ADR came into being” (Yewdall 386). Historically, prior to the advent of digital audio, automated dialogue replacement involved the same process as looping, except that the mixer could finally record and label each individual take separately and run playback of previous takes while on the stage. The term “automated dialogue replacement” (ADR) originated from the process of programming the automation equipment with the precise number of feet and frames of film, marking the start and end of the cue. The machine would then ready itself for the recording by rolling up to the cue, slowing down, and parking a certain amount of feet before the start of the cue.

Mixers continued to employ the three-pop to help the actor time their delivery. These 1 kilohertz (kHz) beeps would be placed exactly three feet before the first

frame of modulation, and where the fourth beep would occur, the actor would begin to speak the line. This is the method used most widely in present-day ADR recording, though some studios also incorporate visual cues, streamers, and/or subtitles. After the actor had finished a take of the dialogue replacement, the automation equipment would reset itself to the beginning of the three-pop and either the next take could be recorded, or the director could listen to playback of the previous take.

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[1] The "first frame of modulation" refers to the exact frame where the actor's production dialogue begins to propagate a visual waveform. [Back]

[2] The playback dummy was a "term used for a play-only machine that slaves to other machines" (Yewdall 384). [Back]

THE ADR CREW

The roles of the crew members on the ADR stage included the mixer, recordist, and supervisor. The size of the ADR crew and distribution of responsibilities varied between studios based on production budget and manpower. With the emergence of digital audio workstations, some roles have been condensed, but the original workflow is still used by a few studios. For example, according to Greg Crawford of Crawford Media Services in Atlanta, GA, veteran ADR mixer Doc Kane of Walt Disney Studios utilizes two ADR recordists. One records into Pro Tools and another records backups on a separate device, while Kane mixes the session on the console. Many student films can only spare one person to record, mix, and supervise the ADR simultaneously. Either way, the process and responsibilities remain the same, regardless of how many or how few bodies occupy the control room.

The ADR Mixer

The ADR mixer must be a master at quickly recognizing differences in microphone frequency response and colorization. He or she controls the mixing console during the session, adjusting EQ in order to blend the ADR with the existing production audio seamlessly. The mixer must be able to discern the proper microphone choice and placement to match production. He or she must also facilitate smooth playback, allowing the production track to run before the previously recorded ADR take, smoothly bringing down the production and leaving the background fill to audition how well the ADR fits into the scene, and seamlessly fading up the production afterwards. Ultimately, according to David Yewdall, “the ADR mixer must be a politician, knowing when to guide and handhold and when to remain quiet and step back” (Yewdall 406). Great ADR mixers are comfortable with their equipment, adept at remaining diplomatic with the talent, and capable of running smooth ADR sessions without issue.

The ADR Recordist

The ADR recordist takes some of the workload off of the mixer by making sure that the equipment is operating properly and overseeing the technical requirements of the Pro Tools session. ADR recordists should be quick problem solvers; having a working knowledge of film frame rates is also a plus, as some deliverables are incorrectly labeled as drop or non-drop when they are, in fact, the opposite. The recordist’s primary responsibility involves physically engaging the transport controls during the recording session. He or she also performs organizational chores and handles paperwork, setting up the cue sheets for both the actor and the control room before the session starts. He or she will document the preferred and alternate takes on the designated cue sheet, allowing the mixer the freedom to focus on mixing and microphone balancing.

Lastly, the recordist is responsible for session delivery, which usually involves a File Transfer Protocol (FTP) [3] to the client, but could also entail sending the session to the transfer department to transcode the chosen takes into whatever format the editor requests.

The ADR Supervisor

According to Juno Ellis, a veteran ADR supervisor, “As the ADR supervisor, you spot the show with the director and film editor, examining the production dialogue to determine what needs to be rerecorded. There may be issues of sound quality, intelligibility, or performance” (LoBrutto 212). He or she is responsible for ensuring that all of the ADR cues needed in the film are recorded and that the actor and director remain at ease during the session. Many performers find the process of ADR to be daunting; replicating their emotional response and matching the rhythm of their performance in the sterile confines of the studio can be a challenge. Some actors might occasionally question the necessity of recreating a particular cue. With the ADR supervisor as the voice of reason in the session, the line can be saved by diplomatically explaining the decisions that governed which ADR lines should be performed. These decisions could be included, but not limited to, the production’s decision to film a take with no audio, a jet fly-by occurring over dialogue, mispronunciation of a word, and accidental microphone bumps. ADR supervisors must be able to maintain a balance between maintaining diplomacy and assuring the actor and director that their time is not being wasted, and management of the task at hand.

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[3] FTP, like Dropbox or Google Drive, allows a user to transfer files from a computer to a server, in order for another computer to access and download the files remotely. [Back]

ADR SESSION COMPONENTS

Paperwork

“The ideal time to record ADR is near the end of the dialogue editing process. Decisions about postsync [4] start when you spot the film with the director and picture editor, and they continue as you carefully go through the film looking for technical ADR calls” (Purcell 252). This gives the dialogue editor and ADR supervisor the opportunity to scrutinize the production audio for unsalvageable lines and allows the production company to more accurately estimate the amount of time needed for studio reservation [5]. Once the ADR lines have been identified, ADR cue sheets will be printed and given to the ADR recordist and the actor (see Appendices A and B). “The ADR cue sheet is the master document, containing all of the ADR lines in the film in chronological (film) order” (Purcell 256). The actor’s cue sheet is a plainly-written list of the lines required for dialogue replacement, while the recordist’s cue sheet has spaces for notes and includes a section of take numbers that the recordist can circle to denote the “print” [6] and “alternate” takes.

Another form of paperwork involved in ADR is the Exhibit G (see Appendix C). The Exhibit G is the actor’s time sheet, if the actor is a member of the Screen Actor’s Guild (SAG) and/or the American Federation of Television and Radio Artists (AFTRA). Upon completion of the ADR session, the ADR recordist or supervisor should log the in and out times for the actor, and have the actor sign the document in order for the talent to be appropriately compensated according to their hourly rate.

Microphone Setup

Shotgun and lavalier microphones are typically used for live action ADR sessions in an attempt to match the production microphones. Some studios have the microphone resources available for an exact match, whereas others will try to replicate the polar pattern and frequency response as closely as possible. The mixer might include a windscreen on the shotgun microphone to help match the frequency cuts caused by the obstruction, though a windscreen is clearly unnecessary in such a controlled environment.

In order to maximize efficiency in the ADR session, most studios will have multiple microphones set up in the stage area. These microphones typically include a lavalier microphone clipped to the talent’s clothing, a shotgun microphone positioned about an arm’s length away from the actor’s head and aimed at their chest, and sometimes a second shotgun microphone positioned even further away in order to facilitate the potential change in camera perspective and the coincident audio perspective. With two microphones in place, the mixer will not have to constantly walk onto the stage to adjust microphone placement. Another approach to emulating microphone perspective

changes is to move the actor accordingly. Doc Kane illustrates how he uses this method in his own workflow, “If there’s a mic angle change and you can hear it, if we’re listening to the actor and the actor sounds a little close-miked, we’ll move the actor in or move the mic in. And if in the next shot you hear a little more ambience, we’ll have the actor move back so we can match all the mic angles” (Jackson 75).

Pro Tools Session Setup

The ADR recordist must be efficient at renaming each take in order to keep track of the number of takes for each cue. The recordist may even record a slate at the beginning of each cue with the cue and take numbers. An example would be “MARCEL 101, take 4.” However, when working in a high-pressure and time-dependent environment, the recordist can easily become confused if proper documentation is not employed. Alexander Markowski, an ADR mixer based in Wilmington, NC, suggests his personal Pro Tools workflow as a way to most efficiently rename takes as quickly as possible:

The submitted guide track for the program must be the production track only. It is essential to have the production track in the timeline, as it allows me to match the waveform of the newly recorded line against the waveform of the production track. I always record new ADR lines to a track just below the guide track to compare them easily. I then drag each take down to an appropriately numbered track below, after a recording pass. I have tracks numbered 1 through 16 for takes 1 through 16 just below the record track. Simply naming and renaming the record track with the cue name allows me to keep track of each take as the prefix of _01 is added to the newly created audio file after recording one pass. Record again and _02 is placed. For example, the track name is 203 DAVID boom. After the third recording pass on that track, the audio file is labeled 203 DAVID boom_03. After each record pass I drag the track down to a track below that matches the take number. (Yewdall 420)

In order to denote the “print” and “alternate” tracks, Pro Tools does have the ability to quickly rate a take from 1 - 5. However, some mixers are known to label their takes with a P for “print” and ALT for “alternate.” Workflows differ between individuals, and as long as the print and alternate takes are clearly understood by the parties concerned, the method of designating those takes can vary.

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[4] According to Purcell, "postsync" is another term for automated dialogue replacement that is used widely in the United Kingdom (251). [Back]

[5] Most ADR studios will suggest booking an hour of stage time per ten cues. [Back]

[6] The "print" take is the preferred take for each particular cue. The term originates from the era of film, when the director would call for his or her chosen take to be printed. [Back]

REMOTE ADR

For almost three decades, professional ADR studios have had the capability of recording ADR remotely. Remote ADR is a cost-efficient method of recording talent who are not locally available, as it allows the production company to eliminate travel costs. All that is required is a studio reservation near the actor’s location and a studio or screening room where the director and supervising sound editor can be present. The ADR can be recorded and transferred to the production company’s ADR editor within minutes.

Integrated Services Digital Network

The initial technology used to facilitate remote ADR was Integrated Services Digital Network (ISDN). “ISDN…is an all digital communications line that allows for the transmission of voice, data, video and graphics, at very high speeds, over standard communication lines” (protocols.com). ISDN was developed in the 1980s during the telephone communications industry’s upgrade to fibre-optic cables from analog lines.

Figure 4.1 - Telos Zephyr ISDN desktop and rackable interfaces; Telos Alliance; TelosAlliance.com; Web. 19 Apr. 2015.

Fibre-optic cabling was an expense most were unwilling to pay, and the ISDN standard was changed to run on copper wiring, which was more cost-efficient. However, ISDN was more expensive than dial-up, and despite the fact that ISDN ran at a higher speed than dial-up and allowed the user’s telephone and computer to occupy the same line simultaneously, telephone companies had trouble selling ISDN services. At present, due to the growth of the digital subscriber line (DSL) and the fact that Internet services are mainly offered by cable television companies, ISDN never gained wide popularity among home users. It is still used by some businesses, however, including radio stations and postproduction sound studios.

With regard to remote ADR, the ISDN line is connected to the studio’s recording system through a piece of outboard hardware, such as the Telos Zephyr interfaces (see figure 4.1). The ISDN workflow operates similarly to the average

telephone call; owners of an ISDN line are assigned a number that the remote studio will dial in order to connect sessions. Once the other studio “picks up” the call, the sessions are interlocked and the talent and engineer on the other end can be heard. The ISDN session is set up so that the studios can transmit two channels of audio simultaneously: the talent’s microphone with the occasional talkback feed from the engineer, and timecode. The timecode channel interlocks two digital audio workstations and keeps one computer running in sync with the controlling studio’s session.

Skype

When running a remote ADR session, many studios will record the talent’s dialogue locally and deliver the files to the production company via File Transfer Protocol (FTP). Because recording the audio on the director’s end of the session is mostly unnecessary, some studios will suggest using Skype as an easier, more cost-efficient, monitoring-only alternative to ISDN. This allows the director and supervising sound editor to monitor and direct the talent without the need for a Pro Tools session and a studio setup. Sessions such as this are very simple to set up, and can even be run on a laptop in the director’s living room, if so desired. The advantages to using Skype as a remote ADR solution are that it is easy to operate and is budget-friendly, as Skype is free to download. Audio can be fed through the Skype application through basic routing within the application itself, and picture can be seen through methods including Skype’s screen-sharing capability.

Source-Connect

Though ISDN is still widely used, constant increase in Internet bandwidth and processor efficiency has led to a software-based solution to remote ADR recording. Source-Connect, developed by Source Elements in 2005, operates similarly to ISDN, with the exception of the necessity for outboard hardware (see figure 4.2). “Source-Connect…is a standalone application…that supports high-quality recording and monitoring of audio signals over the Internet and allows for input and output directly into your DAW [7] of choice” (Source-Connect Pro Extended 3.8 User Guide 4). Source-Connect runs completely within the studio computer as software and can be inserted into a Pro Tools session as a Real-Time AudioSuite (RTAS) or Avid Audio eXtension (AAX) plug-in [8] (see Appendix D).

Figure 4.2 - Source-Connect Pro X 3.8 standalone interface with Remote Transport Sync feature.

Rather than assigning numbers to be dialed prior to connection, Source-Connect uses two methods of establishing a two-way connection between computers. One method is similar to Skype’s method - a username is chosen by the studio and is shared with anyone who needs to connect to that studio via Source-Connect. In this method, Source-Connect operates over the User Datagram Protocol (UDP) [9] and the designated username tells Source-Connect which user’s computer the studio wants to “dial.” This is the most common way that Source-Connect is used. The second method is to connect to another computer using the Virtual Private Network (VPN) Mode, which utilizes the Transmission Control Protocol (TCP) [10]. In VPN Mode, both studios exchange IP addresses in order to establish a connection, but the computers are required to reside within the same network. If a network has not been set up for the user’s computer, then Source-Connect supports the use of LogMeIn Hamachi [11]. This method is used when utilizing the UDP protocol is impossible, such as a school campus

where network firewalls would be common. This also provides a more secure connection, as VPN Mode can be configured to avoid connections to external IPs.

Like ISDN, Source-Connect transmits two channels of audio through the Source-Connect application: a channel for talent and talkback microphones, and a channel for timecode. Source-Connect transmits timecode through Se ReWire [12], and handles Pro Tools transport interlocking with the Remote Transport Sync (RTS) feature (see figure 4.2). Once the sender and the receiver of the timecode has been designated, as long as the sessions are record-enabled, the sender can run the session by using the Overdub Transport located within the Source-Connect application, rather than using the transport in Pro Tools.

With Source-Connect, there is minimal signal loss during transmission. Rather than streaming, Source-Connect uses packets to transfer audio through the Source-Connect application and into Pro Tools. As the audio is sent through Source-Connect, it is broken down into a series of packets, which are more easily transmitted bits of data. These packets are unpacked as complete audio files at the receiver’s computer with full resolution and quality. However, there is a risk of packet loss [13] when working with an unstable Internet connection [14]. When this happens, the approach to a solution will differ based on the version of Source-Connect being used. Source-Connect Pro features an Auto-Restore and Auto-Replace function that sets up a temporary FTP where all of the session’s audio is stored, and allows the receiving computer to communicate with the sending computer to attempt to restore the packets lost during the network dropout. All other versions of Source-Connect do not have this feature, and another take of the audio may be necessary if the files are not going to be delivered after the session is finished.

ISDN Bridging

There are still some recording studios that have yet to make the transition to Source-Connect. Some individuals, including some voice actors who work out of their home studio, either cannot afford the expense of ISDN or it may not be available in the actor’s area. Simply put, there is no guarantee that the studio on the other end of the session is going to have the hardware or software required for a direct connection. Fortunately, ISDN bridging can resolve this issue quite easily.

ISDN bridging involves the use of a third studio to “bridge” a Source-Connect client to an ISDN studio. There are several companies around the world that offer ISDN bridging capabilities, such as ISDNBridge in Chicago, Out of Hear in California, Sounds Fresh in Germany, and 80 Hertz in the United Kingdom. The Source-Connect client simply connects to the ISDN bridging company of choice with its designated Source-Connect username, and gives the other studio the ISDN dialup numbers for the ISDN bridge. The Source-Connect client’s audio is

routed to the destination studio via ISDN, and vice versa. The only additional concern with ISDN bridging is the added hourly rate of the bridging company [15], but otherwise the session is run the same as if no bridging was involved.

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[7] A DAW is a "digital audio workstation," like Pro Tools. [Back]

[8] Source-Connect also offers a Virtual Studio Technology (VST) plug-in for DAWs other than Pro Tools, such as Nuendo, Ableton, Cubase, etc. [Back]

[9] UDP is a simple transmission model, most commonly used with instant messaging, where the connection is set up over an Internet connection, rather than connecting within a network. [Back]

[10] TCP is used mainly with server-based applications such as email and file transfer protocols. [Back]

[11] "Hamachi is a free, easy-to-use VPN. It runs on your computer in the background and it enables you to make a secure, private connection to any other Source-Connect Pro user" (Source-Elements.com). [Back]

[12] ReWire plug-ins link Pro Tools to other applications. In this instance, Se ReWire needs to be instantiated on an empty audio track within the session in order to sync the transports. [Back]

[13] Packet loss, in this case, refers to missing bits of waveform that may fail to propagate in the receiving session. This results in what sounds like short, periodic silences, or audio dropouts. [Back]

[14] Source Elements strongly suggests that Source-Connect sessions should be run over an Ethernet connection, rather than WiFi, in order to avoid this potential problem. [Back]

[15] An example rate would be ISDNBridge (Chicago, IL], which charges $35 per hour for ISDN bridging. [Back]

CASE STUDIES ON SOURCE-CONNECT

The purpose of these case studies is to illustrate a basic workflow when using Source-Connect to run a remote ADR session with another studio, utilizing Pro Tools as the DAW of choice. These case studies examine two ADR sessions that were conducted for Troy, a live-action short film directed by Yang Xiao (see figure 5.1), and involve an actress based in New York City and two actors based in Atlanta, Georgia. The sound crew was given a $1,000 budget for postproduction. Consequently, flying or driving the actors back to Savannah for their respective ADR sessions was not an option. Instead, the solution of using Source-Connect was proposed and approved. After paying the actors' and studios' rates and Source-Connect fees, the production only came in slightly over-budget at $1,025 total spent on ADR sessions. The following sections will analyze the two remote ADR sessions in detail.

Figure 5.1 - Poster for Troy.

Case Study #1 - CDM Sound Studios, New York City

The first ADR session involved Mary McMaster, an actress based in New York City, who was the lead female character in Troy. She only needed to record eight cues, so one hour of studio time was reserved with CDM Sound Studios. The first cue required a recording of her breathing normally, as her first appearance in the film is a close-up of her face that was recorded MOS [16]. Five of her cues involved exterior scenes, where the background ambiences changed so frequently that an acceptable dialogue edit was nearly impossible. Also, the exterior scenes were shot day-for-night [17], which meant that the insects recorded with the dialogue during production were actually inaccurate for the intended time of day. The last two cues took place in an interior setting, but involved moving camera shots that required the camera crew to walk around her or follow her action through the set, causing disembodied footsteps to be printed with her dialogue in the work track. A Source-Connect recording session was necessary for this actress because the production company’s budget did not allow for the expense of travel from New York to Savannah, in addition to housing and actress pay. Because access to the Savannah College of Art and Design’s facilities was not possible during the scheduled studio booking, the session had to be conducted in the author’s living room over a WiFi connection (see figure 5.2).

Figure 5.2 - Source-Connect session with CDM Sound Studios, conducted in the author's living room. Supervising sound editor, Dionysius Vlachos, is also

pictured.

Case Study #2 - Creative Sound Concepts, Atlanta

The second ADR session was scheduled with Atlanta-based actors Christian James and Ben VanderMay. Both actors were instructed to arrive at Creative Sound Concepts simultaneously in order for the studio booking to be considered as one session. This allowed the production company to save $100 on an additional Source-Connect fee, since the actors were merely swapping out of the booth instead of both engineers having to disconnect until the next booking.

Christian James was the first actor in the studio. He required ten cues, only one

of which involved an interior setting. The necessity for recording these cues was the same as with the majority of McMaster’s cues: there was too much variance in the background ambiences to accomplish a smooth dialogue edit. Also, there were ambiences printed on the production audio tracks that were not conducive to creating the soundscape for the intended time of day. Source-Connect was necessary for James because his schedule did not allow for the time required for travel to and from Savannah.

After James finished his cues and was allowed to leave, Ben VanderMay came into the booth to perform his ADR. VanderMay had the most ADR of the entire cast, clocking in at 16 lines. Two of his cues were shot in an interior setting, and the other 14 were exterior. The exterior cues, again, contained a wide variance in background ambience and the inaccuracy of those ambiences contradicted the intended time of day. However, there was one exterior cue that needed to be replaced because of feedback received from the Troy test audience concerning that particular line of dialogue. The original line was, “There’s this wormhole in remote space that sends this burst of energy to a point near Uranus once every four years.” The test audience felt that a different planet name would sound better, and the line was rewritten to say, “There’s this wormhole in remote space that sends this burst of energy to a point near Saturn once every four years.” Luckily, VanderMay was off-screen when delivering the portion of the line containing the planet name, so the discrepancy in word choice is indecipherable, as lip-sync was not an issue.

Figure 5.3 - Source-Connect session with Creative Sound Concepts, conducted in Hamilton Hall's conference room. Supervising sound editor, Dionysius

Vlachos, is also pictured.

The two interior cues required of VanderMay needed replacement due to production effects that occurred on top of dialogue. The first, which took place inside a spaceship construction laboratory, was necessary because the actor was unscrewing the cap off of a prop water bottle during line delivery, causing the unwanted sound to print onto the production dialogue. The second, a line

which was delivered in a boardroom, needed to be replaced because the actor slammed down a folder of papers onto the table while delivering his line. Again, the effect was printed onto the dialogue, creating the need to replace the line completely. Source-Connect was not actually necessary for VanderMay, as he was available to drive back to Savannah if needed. However, James was already going to be in the studio for his Source-Connect session, so it was determined to be more time-efficient to have VanderMay record his ADR at the same time. Because the total studio reservation was three hours, the session was conducted in the Hamilton Hall conference room, where access to Ethernet connectivity was available (see figure 5.3).

____________________

[16] MOS means that the shot was filmed without production sound. What MOS originally stood for is still a point of debate. "Motor only sync," "minus optical stripe," and "mit out sound" are a few of the terms proposed by some. [Back]

[17] Day-for-night shooting involves applying various filmmaking techniques ranging from utilizing special light bulbs to applying visual effects to simulate nighttime when the scene was actually filmed during the day. [Back]

REMOTE ADR WORKFLOW USING SOURCE-CONNECT

Based on the experiences gained with these two case studies, a basic workflow of a Source-Connect session was developed and can be easily implemented by anyone getting started with recording remotely, whether they are entry-level ADR mixers or voice actors conducting an audition out of their home studio. The following sections will illustrate the different stages of the Source-Connect session, with references to the case studies as examples.

Booking the Session

Reserving Source-Connect time with a sound studio is a fairly easy process. For Troy, booking the ADR studios comprised gathering a group of people from the production company together to complete the process as a team, rather than relying on one individual to handle all of the details alone. The producer and director of Troy were present in order to provide accurate actor availabilities and negotiate the hourly rate, while the ADR mixer and supervising sound editor discussed logistics for the session.

When booking the ADR reservation, information about the microphones used during production will need to be provided, as this allows the studio to choose the microphones that will match the polar pattern and frequency response of the production audio. The studio will typically designate a specific protocol for cue sheet and Pro Tools session delivery, depending on the file sizes. For larger files, some studios will have a secure FTP set up for the session, to which they will provide the client a password for access. Other studios are fine with using free cloud-based file transfer services such as WeTransfer if the deliverables are less than two gigabytes. If the latter protocol is used, the studio will specify an email address to which the files should be transferred. This was the method used by both CDM Sound Studios and Creative Sound Concepts.

The studio will also want to indicate what method of payment they require for the studio reservation. CDM Sound Studios requested that the payment be issued by credit card prior to the session, while Creative Sound Concepts was willing to accept payment by credit card after the session had been completed. For simplicity’s sake, the production company paid both studios prior to each session.

Lastly, a preliminary test session will be scheduled between both engineers. These test sessions are vital to ensuring that the session will run smoothly once the actor is inside the recording booth by allowing both engineers to iron out any technical issues before they become a costly problem. More about these preliminary test sessions will be detailed in a later section.

Paperwork and Hardware

As previously mentioned, the paperwork required during an ADR session includes cue sheets for both the engineer and the actor and an Exhibit G. For both case studies, the Exhibit G was unnecessary, as none of the actors are members of SAG or AFTRA. Both studios did, however, receive cue sheets. (see Appendix E).

The hardware for the studio in which talent will be recording is the same as used for any ADR session. Depending on the production microphone choice and shot perspectives, the studio’s microphone setup may vary. However, it is most common for an ADR session to utilize a shotgun microphone that closely or exactly matches the production boom microphone, and a wired lavalier microphone clipped onto the talent’s shirt to reproduce any production audio recorded with a wireless microphone. In the Source-Connect session, the engineer will typically only send the shotgun microphone feed through Source-Connect, unless otherwise requested. All other outboard processors, talkback microphones, loudspeakers, mixing consoles, and computer accessories may vary between studios.

There is much less hardware necessary for the studio receiving the audio. All that is required is a computer that is capable of running Source-Connect and Pro Tools simultaneously, a talkback microphone, an external monitor for the video feed, and either near-field monitors or studio headphones. An audio interface is typically necessary for the talkback microphone. However, a USB microphone can be plugged directly into the computer, eliminating the need for the extra hardware. During the session with CDM Sound Studios, near-field monitors were used for monitoring the incoming audio, but caused an issue with feedback due to the fact that talkback to the actress was being fed through CDM’s studio loudspeakers, causing all audio channeling through Source-Connect to be fed back into the actress’s shotgun microphone which came through the receiving studio’s near-fields and back to CDM via the open talkback microphone. This issue was resolved for the Creative Sound Concepts booking, as the session was conducted in the Hamilton Hall conference room, which has no studio loudspeakers. In this case, headphones were used instead.

The talkback microphone used for both of the case studies was the Blue Nessie. This microphone was chosen due to its low cost, ability to connect via USB in order to circumvent the need for an audio interface, and inclusion of a mute switch with a visual indicator. A trackball mouse and a wireless keyboard with a numeric keypad was also used during these sessions, but this was simply due to personal preference and the necessity for quick access to memory location key commands.

Setting Up Pro Tools for Source-Connect

The Pro Tools session setup for Source-Connect may differ based on the equipment involved, the role the studio is playing in the ADR session, and

personal preference. However, the first steps remain the same for every setup. Open the Source-Connect standalone application before opening Pro Tools, navigate to the Settings tab, and make sure that both the input and output under Audio I/O are not set to Avid Core Audio or HD Native (see figure 6.1). If this is not adjusted, then Pro Tools will not be able to utilize the correct playback engine.

Figure 6.1 - Source-Connect Pro settings.

Open a Pro Tools session and adjust the bit depth to either 16 or 24. Make sure the sample-rate in Source-Connect (also found under the Settings tab) is the same as the Pro Tools sample rate. After everything is adjusted to the correct setting, do not close out of Source-Connect. At this time, it is a good idea to create two mono busses in Pro Tools, labeled “SC Send” and “SC Receive.” The continuing process of optimizing the Pro Tools session will vary based on the studio’s needs. Normally, the client will prepare the Pro Tools session for the talent’s studio, though this is not always the case. The following steps were used during the case studies.

Studio with Talent

• Import production track, video, and three-pop as usual.

• Create one auxiliary track and instantiate the Source-Connect Link plug-in, found in the “Other" inserts menu. Take note of the Plug-In ID number provided, as this will be important in a later step. The input of this aux track will be “SC Send,” while the output will be the main output.

• Create one mono audio track for each talent microphone.

• Create a mono aux track for engineer talkback, if an external talkback microphone is being used.

• Multi-output [18] the talent’s shotgun microphone and the engineer’s talkback to SC Send in addition to the main output. If the client wants to hear both of talent's microphones, then the number of channels specified in the Source-Connect Settings tab will need to be changed to “Stereo” [19].

• Create one mono audio track and instantiate the Se ReWire plug-in, found in the “Instruments” inserts menu. The input and output of the track does not matter, but there does need to be an active selection for each. Do not select “No Input” or “No Output.”

• Navigate to the Source-Connect standalone application and open the Settings tab.

• Under Audio I/O, select the dropdown menu next to Input, select Link, and select the Plug-in ID number provided. Do the same for the Output. This will route all incoming and outgoing audio through Pro Tools. This way, talent can hear the director through the Source-Connect output.

• Make sure that the frame rate of the video in Pro Tools and the “SMPTE fps” found in the RTS tab of Source-Connect are matching.

• Connect to the remote studio via Source-Connect.

• Once connected, under the RTS tab in Source-Connect, select “Send.” The other studio should select “Receive” at this time.

• When running the session, record-enable the talent’s track and the Pro Tools transport, but be sure to start and stop the playhead with the Overdub Transport controls in the RTS tab of Source-Connect. This will send accurate timecode information to the remote studio.

• Be sure to slate each take before recording so that there is no confusion as to which takes have been completed.

To see a visual example of the Studio with Talent Pro Tools session, see Appendix F.

Studio with Director and/or Supervising Sound Editor

• Import the production track and video. No three-pop is necessary on this end.

• Create one auxiliary track and instantiate the Source-Connect Link plug-in, found in the “Other" inserts menu. Take note of the Plug-In ID number provided, as this will be important in a later step. The output of this aux track will be “SC Receive,” while the input setting may differ.

• If using an external talkback connected via audio interface, either set its microphone input as the input under Audio I/O in Source-Connect, or create an aux track for this microphone and route it to the Source-Connect aux track. The input of the Source-Connect aux track should be changed to “SC Send” [20].

• If using an external talkback connected via USB, set the USB input for this microphone as the input under Audio I/O in Source-Connect. No input needs to be designated for the aux track in Pro Tools.

• Specify the output of the Audio I/O in Source-Connect as Link, and then select the appropriate Plug-in ID number.

• In Pro Tools, create a mono audio track to which the audio received through Source-Connect will be recorded. If both talent microphones are desired, then create a stereo audio track instead, but do not forget to change the number of channels in the Settings tab of Source-Connect. The input of this audio track will be SC Receive.

• Create another mono audio track to host the Se ReWire plug-in. Again, the input and output of this track does not matter, as long as they are active.

• Make sure that the frame rate of the video in Pro Tools and the “SMPTE fps” found in the RTS tab of Source-Connect are matching.

• Connect to the other studio via Source-Connect.

• Under the RTS tab in Source-Connect, select “Receive.” Control of the Pro Tools session has now been surrendered, and the only thing left to do is to make sure the Record track and the Pro Tools session are both record-enabled.

To see a visual example of the Studio with Director and/or Supervising Sound Editor Pro Tools session, refer to Appendix G.

Preliminary Test Sessions

When booking studio time, the remote studio will request that a short test session be scheduled sometime prior to the actual ADR session. These sessions normally range between 5-15 minutes each, as they are very simple to conduct. The Pro Tools sessions and cue sheets should be sent to the studio prior to the scheduled test session. The main purpose of the test session is to ensure that talkback microphones are transmitting audio and to test the Remote Transport Sync’s functionality by confirming matching timecodes. This is the perfect time to ask questions about the studio’s microphone choice and placements, confirm matching session parameters, establish which studio will be sending timecode, ensure that the deliverables have been received and downloaded successfully, and - most importantly - to establish a working relationship between the studios and the engineers.

In these case studies, there were no technical issues during the test session with CDM Sound Studios, so the call only took five minutes to complete. There were issues with Creative Sound Concept’s talkback microphone, which were unrelated to the Source-Connect call, but caused the test session to extend to approximately 20 minutes in duration. CDM Sound Studios stated that they were utilizing Source-Connect Standard, while Creative Sound Concepts had just recently upgraded to Source-Connect Pro, and both studios confirmed that they wanted to send timecode. It is actually more efficient for the studio with the talent to send timecode and control the session because the engineer can physically see whether the talent is ready and more immediately realizes if there is a microphone issue, and can stop and start the session accordingly.

The Source-Connect Session Process

The actual Source-Connect session is run no differently than a regular ADR session; there are simply more people listening. The engineer controlling the session will usually start by slating the take. It is at this point that it is imperative to record-enable the Record track and the transport for the session if they have not already been adjusted accordingly. If the client’s engineer is late in record-enabling their tracks, the talent’s engineer may roll the take and the client will need to pull the recording from an FTP session later. This may be likely to happen, as some engineers are faster with their workflow than others, and they will not know when the client’s engineer is ready before rolling the take.

It is also imperative that the engineer and/or director remain engaged with the actor. Physical separation between talent and director during remote recording can create moments of misinformation. Silence after a take can be interpreted as an indication that the performance was unsatisfactory. It is important for the engineer or director to remain actively engaged with the talent to ensure that the performance is optimized. It is difficult enough for an actor to perform ADR for live-action films; it is even more challenging when the performance is broadcast to a group of disembodied voices from across the country. It is also counter-productive to allow the actor to become disengaged due to long pauses during

the recording session, as this can also affect performance.

Due to various network issues and other technical problems, Source-Connect may have some problems with latency, causing the recordings on the client’s Pro Tools session to be out of sync with the picture. In this instance, the client can request playback of the previous takes from the talent’s engineer, which will be in sync because the talent’s engineer will run playback in the Review/Mix Sync Mode [21]. It is also possible to quickly create a custom nudge value in Pro Tools and nudge the tracks back into place based on the approximate amount of offset, but Source-Connect sessions typically move so quickly that this is a problematic solution.

Technical Considerations when Using Source-Connect

There are a few technical specifics to keep in mind when running a Source-Connect session in Pro Tools while linked to another computer across the country. The Source Elements website provides a technical specifications checklist in order to ensure that Source-Connect runs smoothly, no matter the particular studio setup. The following are the solutions to some of the most frequently encountered technical problems when using Source Connect:

• Do not use pre-roll or post-roll.

• Be sure the session start time is a 0:00:00.

• Do not have Delay Compensation enabled. This will not work properly with RTS.

• If Pro Tools 10 is used, then make sure that “Open in 32-bit mode” is checked in the Source-Connect application’s Inspector window (see figure 6.2). It is still required for Pro Tools’ bit depth to be set to 16 or 24, however.

• Set the Hardware Buffer in Pro Tools to 512 or 1024.

• Set your DSP voices to 48 or lower (32 or lower seems to work the best).

If any of these solutions do not solve the potential problem with Source-Connect, then it is possible to schedule a Source-Connect call with the Source Elements support team, who are always willing and able to help.

Figure 6.2 - Source-Connect Pro X Inspector Window.

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[18] In order to send one track to multiple outputs in Pro Tools, hold Control and click on the second output. [Back]

[19] Source-Connect Pro X is capable of sending and receiving up to a 7.1 surround mix. [Back]

[20] If the input is routed directly into the Source-Connect application input, then no input needs to be specified for the Source-Connect aux track in Pro Tools. [Back]

[21] Review/Mix Sync Mode involves controlling the timecode with the Pro Tools transport. Controlling timecode with the Source-Connect transport is called ADR Mode. [Back]

CONCLUSION

Automated dialogue replacement workflow has evolved quickly since the introduction of looping into the postproduction process. It is important to note how quickly remote ADR is developing and improving. There are no signs of the slowing of progress, especially with new possibilities such as the cloud-based real-time session sharing capabilities proposed by the recent beta release of Pro Tools 12. With the multitude of remote recording capabilities ranging from ISDN to Skype, the task of running an ADR session with a remote studio may seem daunting to the entry-level ADR mixer or voiceover artist. However, regardless of his or her budget or experience level, anyone can conduct a remote recording session, especially with a cost-efficient software-based solution such as Source-Connect. The workflow of all remote ADR and voiceover technologies listed in this thesis follow the same basic structure, therefore any of these processes are not difficult to implement once the fundamentals have been mastered. With this thesis serving as a roadmap to guide ADR mixers through their first remote recording sessions, or voiceover artists performing their first remote audition, perhaps the learning curve will become even less steep.

APPENDIX

APPENDIX A: ENGINEER’S CUE SHEET

APPENDIX B: ACTOR’S CUE SHEET

APPENDIX C: SAG-AFTRA EXHIBIT G

APPENDIX D: SOURCE-CONNECT LINK AAX PLUG-IN IN PRO TOOLS 11

�

APPENDIX E: AN ENGINEER’S CUE SHEET FOR TROY

APPENDIX F: STUDIO WITH TALENT PRO TOOLS SESSION EXAMPLE

APPENDIX G: STUDIO WITH DIRECTOR AND/OR SUPERVISING SOUND EDITOR PRO TOOLS SESSION EXAMPLE

BIBLIOGRAPHY

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Crawford, Greg. “ADR Workshop with Greg Crawford.” Savannah College of Art and Design, Savannah, GA. 28 Mar. 2015. Lecture.

"ISDN." Protocols. RADCOM Academy, n.d. Web. 09 Apr. 2015. http://www.protocols.com/pbook/isdn.htm

"ISDN | Communications." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 19 Apr. 2015. http://www.britannica.com/EBchecked/topic/289670/ISDN

Jackson, Blair. “Dialog Replacement 101.” Mix Magazine. November 2006: 74-78. Print.

LoBrutto, Vincent. "Juno Ellis." Sound-on-film: Interviews with Creators of Film Sound. Westport, CT: Praeger, 1994. 211-218. Print.

Purcell, John. Dialogue Editing for Motion Pictures: A Guide to the Invisible Art. Burlington, MA: Focal Press, 2007.

Robles, Paso. “ADR: Hollywood Dialogue Recording Secrets.” Creative COW.net. n.p., 2009. Web. 29 Oct 2014.

Sapien, Mike. Mastering ISDN. Hoboken: Sybex, 1996. Print.

Smith, Garth. “Source-Connect for Voice Over.” ProComm Voiceover Weblog. ProComm Voices, 8 Aug 2012. Web. 29 Oct 2014.

Source Elements. Source-Connect Pro Extended 3.8 User Guide. 2014. PDF file.

Yewdall, David Lewis. Practical Art of Motion Picture Sound. 4th ed. Waltham, MA: Focal Press, 2012.

ABOUT THE AUTHOR

Nikki Myers is a freelance sound editor, ADR and VO recordist/consultant, composer, and recipient of a Master of Fine Arts degree in Sound Design from the Savannah College of Art and Design. Her hobbies include creating audio dramas, playing video games, reading comic books, and quizzing herself on

English accents.

Thank you for reading my thesis! I have worked very hard on this document and I hope that you have gained something during our time together. If you have any

questions or comments, please feel free to connect with me using the links provided below. Thanks again!

Visit my website: http://www.nikkimyerssound.com

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