Graphics Reference
In-Depth Information
1. Using the CD burning software that came with your computer, burn an audio CD of both the raw and
noise reduced/compressed sound fi les. It may be a good time to take notes because it will be helpful to
know which is which when you are listening.
2. Play the burned audio CD in a DVD player that is attached to a television set. Most DVD players are
capable of using standard audio CDs.
3. Listen to the CD through whatever speakers you normally use to watch television. Whether it is just
your television's built-in speakers or a full-scale digital receiver system doesn't matter. The point of doing
this is that you are used to hearing dialog played through this system. It provides a good reference for
what your own recorded dialog sounds like when piped through the same equipment.
Does it sound like what you are used to hearing? Worse? Better? You may notice things when listening to
the recordings in this way that you didn't notice when playing it through your computer's speakers or head-
phones. Depending on how it sounds, you may want to go back and record and process the dialog again. In
fact, it would probably be a good idea to do a few tests with your recording pipeline before you bring in the
voice talent. Actors can be touchy, and you don't want a strike on your hands.
Summary
When recording the fi nal dialog for your animation, you should try to get the best equipment your resources
will allow. Sound should be recorded in as “clean” of an audio environment as you can fi nd. Dialog is
recorded in different ways and with different readings of each line so that you can choose the take that works
best in the fi nal production. When the recordings have been made, basic digital processing can enhance the
raw sound fi les.
Outbox
A series of sound fi les, one for each line or naturally grouped series of lines in the script
The Peach Perspective
On voices and sound: Knowing the complexity and depth of animation and the visual arts, how
important do you think it is for animators to attempt to “let go” of the sound portion of their
project and let someone with real audio experience help out?
Sacha: Since an animator has his own work to worry about, I'm sure it would be no problem for
this person not to think about the audio part. Especially when it's in the hands of a professional.
In that case it's even a blessing, cause you know it's in good hands. The director just needs to
make sure everyone shares his vision.
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