Graphics Reference
In-Depth Information
is not conveniently available in Blender. You will have to settle for making sure that Sync is turned on in the
Scene buttons and pressing Alt-A in the 3D view, as mentioned in the setup part of this chapter. To get a
better playback frame rate, disable or minimize any subsurfacing modifi ers and disable hair and fur particles, if
your characters have them.
Basically, you will continue to scrub back and forth through the dialog, setting off-on-off keys from the dif-
ferent sounds as they occur. Pay attention to how the mouth shapes blend from one to another. You won't
always get what you expect. Due to the nature of shape keys, two overlapping key sets might cause the mouth
to open too far at one point or for the jaw to move inappropriately. When this happens, you will need to
adjust the timing of the “off ” keys so that more or less of a particular shape is used on the frames in question.
There may also be cases where a particular mouth control works better than the one you think you need to
use to get a certain mouth shape. In other words, your “e” shape may work better during a certain transition
than the “a” shape, even though your character is technically making an “a” type of sound.
When your lip sync animation is fi nished, you may want to review the overall animation for the shot again.
Some actions, such as blinking, breathing, fi nger pointing, or other hand motions might work better if they
are coordinated exactly with the dialog track. It is worth it to make one more round of full, real-time pre-
view to make sure that all of the layers of animation fall together naturally.
Mixing and Exporting Sound for the Final Edit
Whether you have several sound clips for a particular shot or just one, you will need to mix and export them
into a single sound fi le that will match the exact frame length of the animation for the fi nal edit.
Using the Gain control in the Filter panel of the Sequencer buttons as shown in Figure 12.8, you can
increase or decrease the overall volume of the selected audio strip. Although you processed your audio before
you brought it into Blender, you may fi nd that you need to make adjustments if one strip is noticeably louder
or softer than the others.
Figure 12.8 Gain controls the volume of an audio strip
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