国内录音学生主要用的三本电影录音教科书都犯了同样的错误。

ADR的原文是Automatic Dialog Replacement. 或者Automated Dialog Replacement.

而电影学院的孙欣老师，误在教材中把他写为automatic dialogue recording,（见《影视同期录音》中国电影出版社 p24,最后一行），而翻印也直接翻译成了“自动对白录音”。

这个错误是非常致命的，直接导致了很多人不在同期录音，到录音棚里面配音。因为这个翻译省略掉了，replacemant的意思。其实我把ADR翻译为自动对白重置，意思是根据现场的录音进行对白的修正录音工作。这个工作的目的是为了弥补现场录音的不足，而不是要省略掉同期录音。

黄英侠老师在《5.1路立体声影视录音操作》中没有更改这个错误，在第95页没有对adr进行任何解释，一带而过，忽视adr的意义等于误导学生。

姚国强老师虽然在《电影电视声音录音技术与艺术创作》这本书中正确的写出了ADR的全名，但是却翻译错了，翻译为---录音棚录音，其错误程度不言而喻。（见此书p102页）

希望三位老师纠正这个错误，这个错误非常误导您的学生。希望你们能采纳我的翻译建议。

现场录的人声为什么不能用，是因为有环境噪音，而且这个环境噪音不是可控制的环境噪音。在录音棚里面，录音师会把在现场录的一段台词反复给给演员听，演员按照当时的语气，对上口形。混音师会根据现场声音所在的环境，给这个声音加上空间感，根绝当时远近调整距离感，运动感。
adr不是适用所有的场景，同期仍然是最好的，adr不是国内破电视剧的后期配音，按照国内给的价格是做不了adr的，真正的adr是传统录音价钱的6倍左右。
adr声带，和最终语言声带要提供给国际发型公司，配合国际声带做译制片处理。
现场ir采样的剧组在国内是没有的。但是我做过，并不成功，因为成本太高，意义不大。
ir采样是给后期提供一个可使用素材，但是说话的人是运动的，环境的运动的，ir是固定的，所以有时候ir也就是个参考文件。
如果你们要做ir现场，一个ir文件说明不了任何问题，最好还能有rta的数据记录。这才是有意义的现场数据。
另外一个经验是，这个数据得提醒场记或者录音助理每天整理，不然他会搞混。
下面的E文资料我不懂，转贴给懂的人看。
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ADR stand for "Automated" or "Automatic" Dialog Replacement.  

Dialog that cannot be salvaged from production tracks must be  
re-recorded in a process called looping or ADR.   

Looping originally involved recording an actor who spoke lines in  
sync to "loops" of the image which were played over and over along  
with matching lengths of recording tape. ADR, though faster, is still  
painstaking work.   

An actor watches the image repeatedly while listening to the original production track on headphones as a guide. The actor then re-performs each line to match the wording and lip movements. Actors vary in their ability to achieve sync and to recapture the emotional tone of their performance.   

Marion Brando likes to loop because he doesn't like to  
freeze a performance until he knows its final context.  
(People have said that one reason he mumbles is to make the production sound  
unusable so that he can make adjustments in looping.)  

ADR is usually considered a necessary evil but there are moments when looping can be used not just for technical reasons but to add new character or interpretation to a shot. Just by altering a few key words or phrases an actor can change the emotional bent on a scene.

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这是一个著名的录音师说的关于Adr的问题，注意其中一句，演员在录音棚里面一般是没有台词或剧本的。

Randy Thom:  

The way ADR is treated and approached is symptomatic of how little respect sound gets in the movies. You march the actor into a cold sterile room and usually give them no time to get into the character or rehearse. They are  expected to just start performing a few minutes after they walk into the room. The emphasis is almost always on getting the dialogue in sync instead of getting the  right performance. Of course the majority of the actor's brain is then occupied with whether his lips are flapping at exactly the same rate as they were on the day that the camera was rolling. It is no wonder that most ADR is not very good. In the final mix, directors almost always prefer the production sound, even if it is noisy and distorted.
One of the things you do with ADR to make it sound more like production sound is to pitch it up. ADR is almost always delivered at a lower pitch because the actor doesn't have the energy he/she had on the set.  In the excitement of the shooting set the actor tends to talk louder and higher. In an ADR session, the director typically has to push the actor to get them anywhere near the level of vocal performance that came from the set.  

If the recording of ADR were treated more like shooting the movie it would almost certainly be better.  Recording it in more authentic environments (instead of studios) tends to help the actors' performance enormously.  Environmental noise is a problem whenever you record outside of a studio, but well worth the trade-off in my opinion本主题由 admin 于 2019-4-24 12:42 移动