ADR stands for Automated Dialogue Replacement. It involves re-recording dialogue from film scenes in the studio after filming. The actors re-record individual lines or dialogue passages when the original recordings cannot be used. Sometimes, only individual “breaths,” coughs or other small sounds need to be re-recorded.
For example, when:

With ADR, dialogue from the original version is re-recorded after filming. The actors re-record their own dialogue when the original recordings cannot be used or individual passages need to be changed.
With dubbing, a film or series is adapted into another language. The original dialogue is replaced with newly recorded dialogue in the target language. The new text must not only work in terms of content and language, but also be adapted to the lip movements, timing and performance of the original.
The key difference: ADR remains in the original language, while dubbing transfers the dialogue into another language.

In both cases, the goal is the same: ADR and dubbing should not be noticeable. They should sound as if they had always been part of the film.

ADR recordings require a specialized technical setup and specific microphone technique. An acoustically suitable recording space is equally important to ensure that the newly recorded dialogue matches the original sound as closely as possible. The actors watch the corresponding film scene and re-record their dialogue in sync with the picture. The film director is present during the session and provides direction.
The recording is done with two microphones. One of them is a lavalier microphone attached to the actor’s forehead, allowing us to replicate the acoustic conditions of the original recording as closely as possible.

The process starts with the dialogue script for the foreign language film. The text is written to ensure that meaning, speech rhythm and lip synchronization work with the original version. The dialogue is then divided into individual takes and displayed in the film at the corresponding points during the recording session.
The dubbing session then moves through the scenes, take by take and role by role. The voice actors see their role in the film for the first time during the recording session. After a brief look at the scene, they go straight into the take.
There is much more to it than timing and lip synchronization. The actors have to capture the performance of the original actors and carry their role into the new language.
That is why they are referred to as dubbing actors: They are not simply reading a translated text, but performing a role – in another language.
The dubbing director focuses on performance, attitude and linguistic delivery. The ADR editor focuses on ensuring that the recordings are accurately synchronized with the original lip movements.


Yes. Depending on the project, we can handle the mixing in addition to the ADR or dubbing sessions. For film productions, this can include the complete film mix; for dubbing productions, the mix of the dubbed version.

The newly recorded dialogue needs to blend seamlessly into the film’s existing soundtrack. After recording, the dialogue is carefully edited and integrated into the existing soundscape of each scene. The room, atmosphere, sound effects and music all need to work together with the new dialogue to create a coherent overall sound.
For ADR, the aim is to integrate the new recording into the original soundtrack so that it does not stand out acoustically. For dubbing, the new language is integrated into the existing sound world of the original production.
In the end, you should hear the scene, not the new recording.

Yes. When we handle the mix, we create it according to the requirements of the respective distribution format – for cinema, TV or streaming. This also includes meeting the relevant broadcast and delivery specifications.

For ADR sessions, actors are generally recorded in a professional recording studio. The specific microphone setup and an acoustically suitable room are essential for recreating the conditions of the original recording as closely as possible. The director can join the session remotely if needed.

Dubbing sessions also generally take place in the studio. In exceptional cases, remote recording is possible if the voice actor has a suitably acoustically treated home studio and the recording is very short.