ADR Foley: producers rely on these sound techniques to replace or enhance troubled dialogue and production audio

Post, June, 2004 by David John Farinella

The trend that Evans has seen at Toybox--the company was taken over by Technicolor in May--and what he believes is the key to many other post production facilities is providing both Foley and ADR services. "Our ADR and Foley stages are going about 70 percent of the time and they're one of the more reliable revenue-generating sources that we have," he says. "Every show requires it, because in every show the producers and directors are trying to sell their show to many different countries with many different languages, so everything has to have a music and effects track. Every show that we do has full Foley on it. ADR is a matter of choice, a lot of the producers will try to use as much of the location sound as possible.

"They are both revenue-generating parts of the package and if you don't have them you can't offer the client the full package when you're quoting a job," he continues. "It's a growing and very necessary part of post audio in any facility."