Graphics Reference
In-Depth Information
Music and sound, however, play the role of a supporting character. If you do not pay as
much attention to the development of the music and sound as you do to the development of
your story and hero, it can make or break your piece.
For every footstep, glass clink, pencil tap, or rain-on-the-window element of your piece that
makes noise, you must fi nd or create that noise. You must also create the sound of the envi-
ronment, the ambient sounds of nature, city, fl uorescent lights in an offi ce, and diners in a
restaurant. There are many copyright-free sounds available on DVD and on the Internet.
Make sure that your sound is copyright-free and that it is truly the right sound for your piece.
If you need the bark of a German shepherd, don't compromise or substitute the bark of a
greyhound. Someone will know the difference and it will break your suspension of
disbelief.
Too often, beginning animators are more interested and experienced in image-making than
in creating sound and music. They will fi nd a piece of copyright-free music that fi ts the rhythm
and pacing of their animation and lay it underneath the visuals. Simply fi nding music that
matches the pacing of the piece is not enough. The music must mirror and support the emo-
tional rise and fall, the intensity of the rising confl ict as the piece progresses. If it does not,
the music fl attens those moments and can actually do more harm than good.
The very best thing to do is compose custom music. If you are not good at composing music,
fi nd someone to do it for you. As much as you need to get your animation out there to help
your career, musicians and actors need to get their talents out there as well. Usually for a
nominal fee, credit, and a copy of the fi nished piece (with permission to distribute on their
portfolio), you can fi nd people to help you.
Dialogue Analysis of
The Captain
We can fi nd almost all of the purposes of dialogue except narration in this script for an
animated short,
The Captain.
Script:
The Captain
by Christianne Greiert and Nick Pierce
Purpose of Dialogue
LOCKER ROOM SCENE
Characters:
Coach
Charlie
Max
Concept:
There is no “I” in T-E-A-M
Premise:
Charlie, the team captain of the Fighting Cobras, has a knee injury
that will keep him from playing in the championship game. He must learn what it
truly means to be a leader.
FADE IN.
INT. FIGHTING COBRAS HIGH SCHOOL LOCKER ROOM
