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
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