Challenging ADR – Noughts & Crosses Season 2 for BBC

A case study of challenges met by Dirty Dog Audio when a covid ravaged shoot in South Africa causes inevitable delays in shooting.

This show was never going to be easy…

A Covid ravaged shoot in South Africa with the inevitable delays in shooting. Complications

in getting rushes back to edit, again all covid related. Last minute script changes. Over 60%

of the cast based in South Africa and Nigeria. You get the idea…

Across the 4, 1hr episodes we had over 800 ADR cues to record (excluding Loop group), with

over 600 being Production requests (additional lines, lines for pronunciation of the Yoruba

language which featured throughout the series, and performance changes). The balance

being shot for technical and editorial reasons.

Members of the Sound Team had great experience of shooting ADR and Loop Group under

lockdown conditions and we were all well versed in the challenges of remote working.

However, none of us had experienced the large lines counts we were presented with while

remote working. We were fortunate that we could work “in the room” with the UK based

artistes during November and December, but we still had all the South African cast to record

“down the line”. January brought new Covid challenges and meant we had to revert to full

remote working…

We had started shooting ADR in late Nov 21, the idea being to complete recording before

Christmas, with perhaps a small overrun into Jan. Using krADR (Nick Kray and James Hyde)

in the UK, we connected to studios in Cape Town (Workroom), Jo’burg (Beyond Sound) and

Digital Audio Post Collective in Lagos, Nigeria. Recording multiple artists daily, 82 sessions

later, we were done! In March!

Heavy use of Source Connect, Zoom, Slack for sound team comms and Google Drive helped

us kick this workload over the line. Having Source Connect at my own studio, helped

enormously when covid restrictions changed in January, and we had to reduce head count

in the room at krADR. Using multiple Source Connect hops from Africa, via Soho, to my

studio in Hampshire, with Zoom collaboration for Production and liberal use of Dante at

krADR and at my studio to link all the local kit together. A rather slick set up, with Cue

sheets generated by Gustaf Jackson and Ed Guy, meant we had materials and sheets set up

for each session ahead of time and arranged for all ADR studios to upload completed

sessions to Google Drive for instant access by the ADR editors.

My thanks to Katie Raettig, Post Production Co-Ordinator at Outpost Facilities, who kept the

schedule together and a great sound team led by the unflappable Chris Roberts, Supervising

Sound Editor; Ed Guy and Gustaf Jackson, Dialogue Editors; Rod Berling and Steven Parker,

FX Editors with Adam Shuttleworth, Ruth Knight as ADR Editors and myself as ADR


Mike Wood May 2022