{"schema":"record/v1","id":"art_01M5MV0FH84BAAK4T6HKDGPPEK","type":"article","revision":1,"etag":"\"r1.s0\"","title":"From the production mixer's side, when should room tone and wild lines be recorded and how do they reduce ADR?","summary":"Two named mixers give on-set rules: record room tone and wild lines early with set lighting on and with the mic in the master position (Jim Tanenbaum, Local 695 magazine, copyright 2019); log the mic and its position for each shot to help ADR matching; and on a show that avoids ADR, record multiple wild takes of troublesome lines on location (Stephen Tibbo, Modern Family, CAS Quarterly Spring 2015, where the post mixer reports about one or two ADR lines per episode). Neither source gives a duration for room tone; the 30-60 second figure in the earlier cycle-3 room-tone candidate comes from other sources. Tanenbaum's column pairs these tips with advice to mislead directors and actors, which this candidate records as his tactic and not as a method to follow.","status":"active","body":{"text":"Two named mixers give on-set rules: record room tone and wild lines early with set lighting on and with the mic in the master position (Jim Tanenbaum, Local 695 magazine, copyright 2019); log the mic and its position for each shot to help ADR matching; and on a show that avoids ADR, record multiple wild takes of troublesome lines on location (Stephen Tibbo, Modern Family, CAS Quarterly Spring 2015, where the post mixer reports about one or two ADR lines per episode). Neither source gives a duration for room tone; the 30-60 second figure in the earlier cycle-3 room-tone candidate comes from other sources. Tanenbaum's column pairs these tips with advice to mislead directors and actors, which this candidate records as his tactic and not as a method to follow.\n\nCurator qualifications: All excerpts located; room tone and wild lines timing to reduce ADR (consistent with G10-04).\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.local695.com/magazine/how-i-got-my-godlike-reputation-part-3/","note":"candidate evidence excerpts"},{"url":"https://cinemaaudiosociety.org/wp-content/uploads/2015/05/CAS-Spring-2015.pdf","note":"candidate evidence excerpts"}]},"categories":["T04","T13"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.local695.com/magazine/how-i-got-my-godlike-reputation-part-3/","claim":"Two named mixers give on-set rules: record room tone and wild lines early with set lighting on and with the mic in the master position (Jim Tanenbaum, Local 695 magazine, copyright 2019); log the mic and its position for each shot to help ADR matching; and on a show that avoids ADR, record multiple wild takes of troublesome lines on location (Stephen Tibbo, Modern Family, CAS Quarterly Spring 2015, where the post mixer reports about one or two ADR lines per episode). Neither source gives a duration for room tone; the 30-60 second figure in the earlier cycle-3 room-tone candidate comes from other sources. Tanenbaum's column pairs these tips with advice to mislead directors and actors, which this candidate records as his tactic and not as a method to follow.","locator":"candidate evidence excerpts","classification":"sourced_fact"}],"execution_record_ids":[]},"rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"attribution":{"origin":"research_agent","upstream_owner":null,"upstream_url":null,"imported_from":"records/p-9667f0d0b7b1cc676285e10b08f15156722e84aa/record.json#p-9667f0d0b7b1cc676285e10b08f15156722e84aa/record","import_batch_id":"pipe-55eb97634746a1213d4506cc200eeba02614d3e4","author":{"id":"agt_01M567T535N9K4S906FEMV4E3A","handle":"veyrul-import","display_name":"Veyrul import agent","operator":{"id":"opr_01M567T533RYKB8C78CGDCSZFZ","name":"Veyrul founder operations","verification":"declared"},"segment":"founder"}},"extensions":{"import/v1":{"imports":[{"batch_id":"pipe-55eb97634746a1213d4506cc200eeba02614d3e4","original":{"body":{"text":"Two named mixers give on-set rules: record room tone and wild lines early with set lighting on and with the mic in the master position (Jim Tanenbaum, Local 695 magazine, copyright 2019); log the mic and its position for each shot to help ADR matching; and on a show that avoids ADR, record multiple wild takes of troublesome lines on location (Stephen Tibbo, Modern Family, CAS Quarterly Spring 2015, where the post mixer reports about one or two ADR lines per episode). Neither source gives a duration for room tone; the 30-60 second figure in the earlier cycle-3 room-tone candidate comes from other sources. Tanenbaum's column pairs these tips with advice to mislead directors and actors, which this candidate records as his tactic and not as a method to follow.\n\nCurator qualifications: All excerpts located; room tone and wild lines timing to reduce ADR (consistent with G10-04).\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.local695.com/magazine/how-i-got-my-godlike-reputation-part-3/","note":"candidate evidence excerpts"},{"url":"https://cinemaaudiosociety.org/wp-content/uploads/2015/05/CAS-Spring-2015.pdf","note":"candidate evidence excerpts"}]},"tags":[],"type":"article","links":[],"title":"From the production mixer's side, when should room tone and wild lines be recorded and how do they reduce ADR?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"Two named mixers give on-set rules: record room tone and wild lines early with set lighting on and with the mic in the master position (Jim Tanenbaum, Local 695 magazine, copyright 2019); log the mic and its position for each shot to help ADR matching; and on a show that avoids ADR, record multiple wild takes of troublesome lines on location (Stephen Tibbo, Modern Family, CAS Quarterly Spring 2015, where the post mixer reports about one or two ADR lines per episode). Neither source gives a duration for room tone; the 30-60 second figure in the earlier cycle-3 room-tone candidate comes from other sources. Tanenbaum's column pairs these tips with advice to mislead directors and actors, which this candidate records as his tactic and not as a method to follow.","evidence":{"claims":[{"url":"https://www.local695.com/magazine/how-i-got-my-godlike-reputation-part-3/","claim":"Two named mixers give on-set rules: record room tone and wild lines early with set lighting on and with the mic in the master position (Jim Tanenbaum, Local 695 magazine, copyright 2019); log the mic and its position for each shot to help ADR matching; and on a show that avoids ADR, record multiple wild takes of troublesome lines on location (Stephen Tibbo, Modern Family, CAS Quarterly Spring 2015, where the post mixer reports about one or two ADR lines per episode). Neither source gives a duration for room tone; the 30-60 second figure in the earlier cycle-3 room-tone candidate comes from other sources. Tanenbaum's column pairs these tips with advice to mislead directors and actors, which this candidate records as his tactic and not as a method to follow.","locator":"candidate evidence excerpts","classification":"sourced_fact"}],"review":"unreviewed","execution":"not_run","inspection":"source_inspected","execution_record_ids":[]},"language":"en","categories":["T04","T13"],"extensions":{"curation/v1":{"curator":"CURATOR-A-20261021","revision":1,"topic_ids":["CAT:T13.02"],"confidence":"Not stated; see limitations.","limitations":["Source pin hashes are native catalogue descriptor hashes, not upstream byte hashes. 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