A Detour from Scoring to Record ADR
Working in film audio always leads to someone asking if you do something that’s a little outside your regular comfort zone, but that you know you can manage, because of the skills you possess.
That was the case for the month of March 2025, when I opened the LemoncelloMedia Studio doors to the actors, director, and producers of the action film “Hierarchy,” which is due to be released in theaters in August.
Directed by Russel Reed, and produced by Chiderah Uzowulu, Russel Reed, and Xavier Alvarado, this throwback to the 90s heist and action films will reawaken your passion for this genre. Excellently shot and produced, the talent that went into this film is undeniable.
ADR is notoriously one of the most difficult things to get “right” in post-production, as a good ADR recordist will aim to match the setting (room reverb environment), performance, and mic type/placement of the original production audio well enough that it can be seamlessly integrated into the production dialogue without noticeable changes in tone, timbre, background noise, etc.
I’ll be detailing some of the techniques we utilized recording for “Hierarchy” in a later post, but suffice it to say, you’ll be hard pressed to hear which lines in the film are original and which were recorded in my studio.
Working with Sam Zarrin at Legion Post, Abby Austria as Dialogue Editor, and Dean White as the film’s mixer, we’ve crafted an experience that can only be said to set a new standard for ADR quality in the industry.
Check out the film when it hits theaters close to you in August of 2025!
