Bedazzled the movie popped up on my recommended Youtube feed. I didn't realize the Elizabeth Hurley version was a remake.

So I'm sitting here watching it and I've always wondered why the dialogue from this time frame sounds like it was recorded in a studio. Did they shoot the film and then have the actors redo their lines in a recording studio? Or anybody know what's up with the sound of the dialogue?

Here's a link to the movie in questions:
https://www.youtube.com/watch?v=_cCUvGfvbDM

quote:

Did they shoot the film and then have the actors redo their lines in a recording studio?

I thought that they did that with every film. That's why they have problems when an actor croaks before they've recorded the actual soundtrack.

Dubbing in dialog post production is a very common practice in film making. A number of reasons- the vocal quality is better studio recorded, the film set is difficult to make silent due to crew, street noises, actors too far away from microphones, etc.

And then there are the foley artists, who are experts at re-creating all ambient sounds like footsteps, car crashes, fights, etc.

It's called ADR or "Looping". I was reading about a western TV series from the 1960s where they had to studio re-record all their dialogue for all the exterior location scenes.
Common practice back then.
Looks like it's still pretty common!

https://blog.frame.io/2018/06/...0picture%20playback.)

Orson Welles looped sound on most of his films. Drives me crazy, because it's not subtle at all. Very distracting.

Sometimes it's necessary because the sound recorded during filming is inadequate in some way- excessive noise on location, or the dialogue might not be understood clearly. Sometimes- and I think this was the case with Welles- they didn't bother to even try to record sound during filming. I imagine Welles considered it a money-saving technique, as well as allowing him to control the quality of the audio much better.

Here's an example of post-production looped dialogue in Welles' The Lady From Shanghai, 1947. I've always felt this technique detracts from his films.



Admittedly, the acoustics of the Steinhart Aquarium in San Francisco where that scene was filmed were likely quite poor for audio recording- all that glass reflects sound and this is a place where looping dialogue makes sense, but Welles did this habitually.

All the Sergio Leon movies were this way.... I don't think he even tried to record audio while filming.

quote:

Here's an example of post-production looped dialogue in Welles' The Lady From Shanghai, 1947. I've always felt this technique detracts from his films.

Does this mean that he had his actors do their lines a second time in a studio and then try to match the recording up to what was happening on the screen?

quote:

Originally posted by Ronin1069:
Does this mean that he had his actors do their lines a second time in a studio and then try to match the recording up to what was happening on the screen?

Pretty much. And this post production audio work has been fairly common for a long time.

Here is a an example of a film that used post production dialog (or ADR, dubbing, etc) 100%. According to producers, it was impossible to have a quiet set.



Here is an explanation of ADR:



And here is Walter Murch's explanation on why Brando's dialog was dubbed in post production for The Godfather.