ADR for one of the most Iconic characters in Dragonball Z. This was a one take wonder!
Ambient Recording
The first bit of ambient recoring, what a lovely day!
Choosing the right microphones
After experimenting with different microphones, I have narrowed my choices down to 2 different microphones for ADR. These will be the AKG 414 and the Neumann U-87. I have also taken note from Beauchamp's Sound Design for animation the approximation distance and recording tips for ADR.
The field microphone will be the Rode NTG-2.
Keeping things organised
To keep my productivity and workflow to a maximum, I've decided to say what all my recordings are at the beginning of each take if possible, then renaming them before I import it into my library of effects. The sound recorder will always be set to 48 kHz before going to to record.
Researching the sound for similar titles
I came across some interesting sound design for the making of Hacksaw Ridge. The film is a war film which would help me vastly to make Mad Max. They bring up topics about having to keep it authentic and how the sound of breathing can take you inside the characters mind!
There were many problems with planes flying over, rigorous ADR for better performances and energy. Most of the dialogue became unusable because of bombs and shooting guns. The last battle had to be redone completely. This is the same case for Mad Max, where the entire movie was redubbed
Created a Cue Sheet for my Projects
Created a Cue Sheet for Mad Max: Fury Road, Dragonball Z: Battle of Gods and The Raid: Redemption