Our state-of-the-art recording studios and consoles are home to award-winning, talented, and experienced engineers. With over three decades in the business of post-production sound, our experience of offering world-class audio services is unrivaled in the region. The premier ADR (automated dialogue replacement) facility for feature films, episodic television and commercials shooting in the South, we also feature Atlanta’s premier dubbing and mixing stages.
The Crawford facility has the two largest ADR stages in Atlanta. We can connect via DolbyFax, APT-X, Prima, SourceConnect, Skype and phone patch. In addition, we offer remote ADR services and have a total of five on-set rooms using ISDN, SourceConnect and phone patch.
We have worked with award-winning projects from across the entertainment industry. From episodic television series like AMC’s The Walking Dead and The CW’s The Vampire Diaries to Academy Award winners (Lincoln and The Muppets) and blockbusters (The Hunger Games), our team has solidified a winning reputation in ADR.
With over 30 years as a recording engineer & sound designer, Greg is one of the most sought-after ADR mixers in the industry. His credits include The Walking Dead, Sleepy Hollow, American Hustle, Lincoln, The Lego Movie, and Black Mass. More about Greg…
What is ADR?
ADR, sometimes referred to as looping, is the process of re-recording dialogue in the studio in synchronization with the picture. In addition to our award-winning ADR mixers and our large ADR stage, we offer remote ADR and on-set ADR with streamers and text on-screen.
The Elements of Cinema states that ADR is a process whereby dialogue is re-recorded in a studio during audio post production to match picture filmed during principal photography. As the name implies, this better quality re-recording of an actor’s dialogue replaces the previously recorded poor quality audio. ADR is necessary when, for one reason or another, no suitable dialogue was recorded during principal photography. Some of these reasons are:
- The location was too noisy
- An external sound ruined the audio in a “good” take (like a construction nearby).
- A microphone could not be used (maybe it was malfunctioning).
- The director wanted to shout directions during filming (so no usable audio could be recorded).
ADR takes place during audio post production when the production sound was not recorded properly. No cameras are used, and the actors are not in costume, otherwise this would be known as a pick-up.
Words & Wisdom From Audio Industry Trailblazer
Oz Magazine spoke to Audio Manager Greg Crawford about the past, present, and future of Atlanta’s film industry. Read more below…
Mistakes I won’t make again:
We’ve really hustled the ADR business. I wish we’d hustled full audio post as much to get shows to mix here. We’re waiting for the day when producers recognize the potential for full post production here in Atlanta.
Advice to those starting out:
Network. My oldest son is deep into this business and has a network of extraordinarily talented friends he works with, and I imagine my youngest will too. Networking seems to be the number one thing that gets them work. Get involved with Film Bar Monday here in town; it’s a Facebook group of likeminded professionals that meets in a different bar in and around Atlanta every week to network. They say, ‘no headshots, no resumes, no desperation.’ The 48-Hour Film Festival is also a good way to meet people and show off your skills. These are the people I’m going to be working for one day!
Your business milestones:
We have worked on dozens of Academy and EMMY Award-winning projects, which is cool considering we are in Atlanta. Our earlier milestones would be a toss-up between the series In the Heat of the Night and the first original program on TNT: The Making of a Legend: Gone With The Wind. We worked with Jeffrey Selznick over a year on that; we did the edit, audio, color correction, graphics and assisted in making a new version of the print.
Georgia’s turning point:
When the tax incentives took effect. After that the very first show in was Drop Dead Diva. Then Vampire Diaries built some incredible stages and literally grew roots here—we were eight years with them. Next came The Walking Dead. It just hasn’t stopped. We’re lucky that we have the history we do because we were the first call when work started to come to town.
We have some of the nicest stages in the world—Pinewood is beautiful and Eagle Rock is great, too. Filming is rampant. The missing link is on the post production side. We’re still waiting for the moment when producers decide to make Atlanta their home, when content providers make the investment in post here.
Haven’t been there, done that yet:
I want to do this job long enough to get to work for my son and his friends. Then, when I go, I’d like one of those “In Memoriam” show mentions. I’d hope people would think enough of me to include me!
Greg Crawford has been adding a little rock ‘n roll to Crawford since 1986 and has the likes of Robert Redford and Kermit the Frog seeking him out for Atlanta ADR. We sat down with him to discuss his place among the brotherhood of Atlanta ADR engineers. Read more below…
How did you get your start in audio?
I learned to play guitar when I was 10 and started playing in bands when I was 14, so I was exposed to consoles, mics and musicians at a very early age. In 1977, I transferred to Xavier University to study Communications. On my first day in school, I went to the radio station and saw a girl editing audio tape with a razor blade and asked her to show me how to do that. From that day forward, I spent every waking moment in the Production Studio.
In May of 1978, I started working at AudioCraft Recording in Cincinnati as a dubber. There is a plaque at 811 Race Street in Cincinnati dedicated to the man who gave me my first job. He recorded hits like I’m So Lonesome I Could Cry, by Hank Williams and Foggy Mountain Breakdown by Flatt and Scruggs. The other engineers there had worked with James Brown and King Records. I was hooked. By early 1979, I engineered my first real session.
Have you noticed a change in the projects you’re working on?
The biggest change in projects for me is the amount of ADR I record. We used to do around a dozen ADR sessions in a year. Now we do hundreds a year.
For those who don’t know what ADR stands for, it’s automated dialogue replacement, which is the process of re-recording dialogue in the studio if it wasn’t recorded well on set during filming.
Incentives Drive Growth
What do you think spurred this growth?
Our ADR business is directly related to the Georgia production tax incentives. We are now seeing a big increase in the amount of sound design and mixing we do for film and TV projects.
Many states have ended their tax incentive programs for production. What do you see as the future for Georgia?
I feel confident that the legislature and Governor support the tax incentives. I also see the incredible amount of investment in building new stages here. My guess is that more and more productions will start and finish in Georgia to take full advantage of the tax incentives.
Atlanta has been coined “Hollywood of the South” and even “Y’allywood.” At the beginning, at least, there seemed to be a perception that Georgia was too country to know much about production. Do you think that holds still?
I find after all these years that folks in LA don’t have as many misperceptions about Atlanta as they did a decade or so ago. My friends from the west coast love the people, dining, and culture of Atlanta. We are home to the most-watched drama series in cable history, after all.
For those of you who aren’t fans of the show, that would be The Walking Dead. In addition to the movies Greg has worked on, he also stays busy throughout the year recording ADR for The Walking Dead, The Originals, and Vampire Diaries. All we need is a show about ghosts and we’ll have the trifecta covered!
Oh wait! I did work on a show called Deadbeat this year, about a medium who helps ghosts resolve their issues so they can move on to their final resting place. Trifecta covered!
Tug-of-War with J-Law?
What is the most interesting or most fun project you’ve been able to work on?
Wow, I’ve had some incredible luck with the people I’ve worked with and the projects I’ve worked on, so it’s hard to pick just one. I did sound design on the first show on TNT, did many of the original Cartoon Network shows, I have mixed DVD’s for Norah Jones, Spinal Tap, and The Flaming Lips. I’ve worked on Academy Award nominated films, including Lincoln, and I know most of the Muppets. In the last year, I’ve joked with Robert Redford and played tug-of-war with Jennifer Lawrence. She’s way stronger than me for the record.
You know the saying, “luck is what happens when preparation meets opportunity.” I think it’s safe to say that you’ve helped lay a solid foundation both with your experience and the infrastructure here at Crawford to call your experiences more than just luck.
So, is there anyone you would love to work with that you haven’t had the chance to yet?
The list has gotten really small. I think I’d like to meet Robert Downey Jr.
Who knows, maybe you’ll get lucky!
At the end of the day, what would you like prospective clients to know about Crawford and working with our team?
Clients should know that they are not going to find a more experienced, friendlier or hard working group of people anywhere. Period.