Dialogue Editing & ADR

Dialogue is the spine of each drama, doc, and tight series we touch. The spaces we shoot in across Japan rarely play nice with the sound.

Our editors clean and build shoot tracks from Tokyo apartments, Osaka markets, and Hokkaido exteriors using iZotope RX and Cedar processing. They close room-tone gaps, EQ-match across boom and lavalier sources, and pick takes scene by scene. When site audio cannot be saved, ADR sessions run through booth-fit stages at Imagica, Sony PCL, Robot, and NEP. Overflow goes to OmnibusJapan when schedules tighten.

Our ADR engineers match room perspective and mic character to the original shoot audio, so each replaced line fits without a seam. We line up native Japanese, English, and multi-lingual talent for dub work bound for Netflix Japan and broadcast windows.

Each job ships with frame-accurate stems, M&E tracks, and full cue sheets ready for the final mix stage. The dialogue holds up against NHK broadcast spec and theatrical release. Each word lands clean for viewers in Tokyo, Kyoto, and overseas markets.

Delivery follows the platform the dialogue track is bound for. We cut M&E and dialogue stems for NHK, TBS, and Fuji TV carriage, plus Netflix Japan dub and original-language packages. A short scene cleanup turns in a day or two. A feature dialogue edit usually books one to two weeks, with ADR stage time added on top. We confirm the talent schedule and a firm finish date before any session opens, so your final mix date never slips.

We plan ADR dates around Japan's calendar, holding stage and talent time clear of Golden Week and Obon when availability tightens. Session hours follow the Japanese Labor Standards Act. Quotes are framed in yen, with the ten percent consumption tax listed on its own line. Our team runs casting notes, recording calls, and sign-off in both English and Japanese, so overseas directors guide each take without a language barrier. We confirm the talent booking and a written estimate before the first session.