ADR-try to make a close mike sound like a boom

I am trying to edit a hobby film, and there are parts where they re-recorded some dialog with a close mike, but the original would have had a boom. These do not sound the same at all in FCP.

Are there any resources available that may help me change the close-sounding lav to sound like boom?

Thanks

Reverb, room tone and EQ. Not sure what you mean by a close mic, but if you're talking about a lapel, they would be quite different, as the lapel records sounds emanating from the chest, which is pretty bassy, while the boom would pick up a different set of sounds. The best you can do is get the ADR audio to blend in with the other mic. If you can, record the guy with the same boom or a good mic in a studio. Yea, it's Protools or Logic/Soundtrack Pro here.



www.strypesinpost.com

Soundtrack Pro has a match EQ feature you can try out.



www.strypesinpost.com

The original boom audio is trash in these situations where they re-recorded.
It has all sorts of wind noise that makes it unusable.

I know the lavs are a total different beast than booms,
so I guess i will play with sound track pro.

This movie was shot 8 years ago, and untill this point I had zero percent
input into sound, vision ,or direction.

But as an animator/editor/composer-doing an ADR of a boom with a lav
will drive me round the bend (to use the British term)


Thanks for your help.

strypes Wrote:
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> Reverb, room tone and EQ. Not sure what you mean
> by a close mic, but if you're talking about a
> lapel, they would be quite different, as the lapel
> records sounds emanating from the chest, which is
> pretty bassy, while the boom would pick up a
> different set of sounds. The best you can do is
> get the ADR audio to blend in with the other mic.
> If you can, record the guy with the same boom or a
> good mic in a studio. Yea, it's Protools or
> Logic/Soundtrack Pro here.

The problem with ADR is usually that it sounds too close and too dead. I still hear it all the time in even professional, big-budget TV shows and big-screen features. On the film where I worked with Skywalker Sound, they did such a good job that even I could barely tell that 50 per cent of the dialogue was ADRed.

Performance is #1. Stiff actors are unfixable. Then I'd look into dirtying up the sound, decreasing its presence. To my ear, reducing bass and lifting upper mids tends to help. And then you have to somehow place the dialogue into the ambience. Too much separation will give ADR away every time.

A lot of it has to do with the character of the microphone.

In this case, I'd rely much more on a neutral sound-monitoring system and your ear, rather than software features. It's really about feel.


www.derekmok.com

Thanks for the sagacious advice.

derekmok Wrote:
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> The problem with ADR is usually that it sounds too
> close and too dead. I still hear it all the time
> in even professional, big-budget TV shows and
> big-screen features. On the film where I worked
> with Skywalker Sound, they did such a good job
> that even I could barely tell that 50 per cent of
> the dialogue was ADRed.
>
> Performance is #1. Stiff actors are unfixable.
> Then I'd look into dirtying up the sound,
> decreasing its presence. To my ear, reducing bass
> and lifting upper mids tends to help. And then
> you have to somehow place the dialogue into the
> ambience. Too much separation will give ADR away
> every time.
>
> A lot of it has to do with the character of the
> microphone.
>
> In this case, I'd rely much more on a neutral
> sound-monitoring system and your ear, rather than
> software features. It's really about feel.