How I Became a Consulting Editor "For A Few Zombies More"

Foley Kontakt

It seems like there's a healthy amount of Foley instruments for Kontakt nowadays. Here in the Pandora Machine we tend to use some instruments, some real Foley (making some sounds in front of a microphone), cut effects either from libraries or field recordings, and the ol' trusty -- actual production sound.

The Foley Collection is a fairly big set albeit with a lot of misspellings. It's 600 Euros.

The Edward Suite by Tovusound is $400, but there's a "light" version which is $79.

Big Fish Audio makes their Virtual Foley Artist available for the weird price of $226.24

Alejandro Cabrera has his own Foley instrument for free.

ADR setup part I

I'm sure I'm re-inventing the wheel here, but I need to make a template for the ADR scripts. We know that on our movie Oblivion, we have four characters who need ADR for every scene they did out-of-doors.
So my first question is whether this is a spreadsheet or a "document." I'm going ahead with spreadsheet even though those inevitably cause formatting issues.  I can't find any real and usable templates on the interwebs (there are a couple, but they didn't do anything for me) so I'm going to make one from scratch.

No, that's not it.

The other thing is that I'm planning on doing the actual ADR in Premiere rather than in Samplitude. Premiere's audio handling is less elegant than Samplitude's though. But we'll see if we can muddle through it.
One thing I'm planning is to have two mics on each actor for ADR. Or at least our lead. Hmm... Anyway, a small-diaphragm condenser in the sort of boom-mic position, and a large-diaphragm mic in, well, the same position (above the head). The reason I'm going for both these apostasies is that

• I believe that microphones should nominally mic people who talk or sing from above because that placement avoids "p" pops and breath hits and
• Some of the ADR will actually turn into voiceover and the large-diaphragm would be better suited to VO.

And since I'm gradually going further and further off-topic I think we should discuss the elephant in the room:


That is, why don't use a wireless lav for ADR? Because after all, that's what you'd use in the field if you were recording production dialog.
After many years of cogitating over this (taking time out for meals of course) I have come to an answer: I don't know.