ADR

What this is about

The actor watches the cut scene on a loop, hears the original line, and speaks it again until timing and performance land. Afterwards the new recording has to be worked into the scene: matched in tone, placed in the room, blended with production sound around it. That second step is where ADR succeeds or fails — a dry studio voice against a lively location track betrays itself instantly. ADR exists for noise, changed lines, and unreleasable takes; nobody books it for fun, because actor, studio, and editor all bill for it.

A term only helps when everyone on set means the same thing by it — so what follows is how it is used, not a dictionary definition.

What runs differently here

In planning terms, that means:

• Budget ADR per line, not per scene — actor availability is usually the bottleneck
• Matching the room is post's job: reverb, EQ, and the surrounding production track
• A production-sound pass on set is always cheaper than the session it prevents

With TillyGen

Review rounds in TillyGen surface lines flagged as unusable early, so the ADR list is known before the actor's calendar fills up.

Change one constraint and the consequences travel through the whole plan: affected shots are flagged, the call sheet is regenerated, and nobody keeps working from yesterday's version.