ADR

We had a couple noisy locations on this picture and there really wasn't any option other than some ADR to deal with them.

Sarah Schoofs doing ADR in the studio.

 I've been using an Oktava 012 microphone -- the same we'd be using on set (except that this movie was almost completely recorded with wireless lavalier microphones). And there's a bit of distance on the mic (you can't even see it in the picture above.)
It seems that for most people, seeing the picture while they record isn't terribly helpful. So we've abandoned having a picture monitor in the booth. I'll play the line three times and then go into record. No bloops or leader or anything.
I think this makes it easier. You just need to memorize the cadence of the original and you're not distracted by picture.
I do try to line up each line for sync immediately after they record the line. Just to, you know, make sure.
There's a standard impulse response in Samplitude -- a 1.1 second "garage" reverb. I've been using that to give a bit of controlled distance and room on the ADR. Honestly I've lost all perspective -- literally and figuratively -- but it seems like the right sort of sound for ADR. The tail of the reverb doesn't do weird things the way the tail of a reverb which is more appropriate for (say) guitars and pianos would be.
We have two more actors we need ADR from. And then (hopefully) we will deliver final picture.