The most ideal situation when working on a production is being in rehearsal or with the actor on set. It allows for the actors to be warmed-up appropriately, and for discreet notes to be passed along at opportune moments. The actors, director and I develop a working relationship that enhances production’s overall vision in the most seamless way possible.

Productions find that scripts can sometimes change quickly, and I help maintain continuity throughout the process. In the rehearsal room I troubleshoot vocal queries and work on text in a breakout room.

On Set support includes giving notes to the Script Supervisor for the editing room.

Perhaps a production requires a dialect from a past era, or an actor needs to sound like a real-life person. In unique cases a script may require an entirely different language, either real or imaginary.

This is where pre-production research and design comes in. I read scripts and consult with directors / producers on the vocal vision. I may pull recordings from my archive, or create my own.

This allows a production to design the voices and dialects much like any other aspect of a show.

Film and television usually goes back to smooth out dialogue & sound issues in a process known as Automated Dialogue Replacement (ADR).

I prep actors on the cues before they go to their ADR session, or I am in the recording studio giving notes in real time.

This is useful if production is giving their feedback simultaneously. We work as a team to create the desired sound.

When it comes to difficult scripts or writing, it is imperative to have a dialogue coach in the room to work with the actors on the text.

A director may have a specific vision for the voice or text that can be brought to life through dialogue or text coaching.