Production - Stop Motion: Passion, Process and Performance - page 263

highly acclaimed voice artist Jimmy Hibbert ) is a joy to witness, all delivered in the entirely made-up
language of 'Flobadobese'!
On the day of recording, with the cast assembled there will be time for them to relax and chat - an
important part of the recording process as everyone needs to feel at ease. Every part of the day is geared
towards capturing the best performance possible and so the atmosphere is kept light and jovial.
The recording begins with a read-through of the script. This is a busy time for me as I make a lot of
technical adjustments on the console. An artist might be required to deliver a line in the character of an
angry giant, followed by delivering a line as a timid doormouse. I scribble down various symbols on my
script warning me of line-by-line technical changes.
I always record the read-through, but don't let the cast know. The read-through can result in 'happy
accidents' with off-script asides or adlibs.
Once everyone is happy with their scripts and characters, recording commences. Typically the fi rst take
is recorded, followed by notes from the director and script alterations. The episode is then recorded for a
second time, invariably becoming the backbone of the voice track.
Individual lines may be recorded as alternatives to those scripted.
By the end, all are exhausted, but the excellent performances are well worth the effort.
The next part of the process is the dialogue assembly, where the director and sound editor select the best
takes. The aim is to tell the story in an entertaining, clear way. Once complete, the dialogue will be 'fi ne
cut' to a precise length, with the director leaving appropriate gaps for action sequences.
I hear nothing more of this episode until it has been fi lmed and edited. With the fi nished fi lm and voice
track back in the audio department we can start the process of designing the sound for the series.
Usually a series is set in a world far different to our own and we create atmospheres to refl ect that. These
are layered up from existing sound effects libraries and recordings we make ourselves. I often come to
work on a Monday morning armed with various props selected to make up these atmospheres.
The same goes for spot effects. If a character is large and happy, we record footsteps that refl ect that.
These atmospheres and spot effects become part of a bank of sounds specifi c to the particular series.
Once the bank is complete and approved by the director the track-laying process begins. For each
action on fi lm, there is an appropriate sound. A single ten-minute episode contains thousands of spot
effects, all carefully laid by the editor. Every location has its own atmospheres, be it day or night, come
rain or shine.
After track laying, the director will preview the episode, making adjustments with the editor. All that
remains to be done is the fi nal mix.
The incidental music will have been scored appropriately and delivered to us for the fi nal mix. Armed
with dialogues, atmospheres, spot effects and music, the fi nal mix can take place. The object is to
blend all these sound elements in a way which complements the picture and reinforces the storyline.
Modern mixing equipment allows the fl exibility to incorporate any last-minute changes almost instantly,
making the working day a pleasure for the mixer. Once the director and producer are happy with the
fi nal mix it is played back on a domestic television set and one episode is complete and ready for
broadcast.