Animation sound, advice needed.

[Paul Jones]

What system would you recommend for a location shoot? I was thinking of a portable UHF, true diversity, 1 receiver, 1 transmitter and a lavalier.

The cost i wanted to spend would be $1,500 all up. Is there anyhing out there that will fullfill the requirements or would i have to choose VHF or not diverse?

Cheers for any advise - Paul

[Jason Porter]

Hi,

Look at the Sennheiser Evolution Series of RF's.

OR

Buy a used Lectro 195D from Location Sound (www.locationsound.com) for $1300 and add a brand-new Countryman EMW for another $200 bucks! (or a used TRAM or Sonotrim for $150 - $200)

You won't get better quality for $1500.

-Jason (not a Location Sound employee!!)

[jgalocha]

Hi there!



This is a open question to everybody but also I would like to have some answers from people like Randy or others that have been involved with animation sound.



Ok so, I’m a student and I’m doing my final project in my film school in Madrid (Spain). Is an animation short film about a boy that finds a book from the Marquis of Sade and the Marquis obsessions invades his house. Its not a very typical animation short film but its really interesting because I have plenty of things to do. So my question is very simple I would like to get some general tips for animation sound (foley, fx, voice recording), also some tips to the ways to approach to the editing and to the mixing process ( yeah, I'm doing everything). And also if anyone can give some clues to get interesting ghostly ambiences without taking them from a effects cd I will be very pleased.



Thanks to all.



Jorge



PS. I will ask some others things soon.

[jayrose]

Animation dialog has to be a lot cleaner than normal producion dialog, recorded with tighter miking in a better acoustic environment. We should hear the voice, but not the room. I'm surprised nobody's experimented with "narrative film"- sounding animation tracks, but it would probably fight the image.

Leave time for edits between lines, and avoid step-ons.

(FWIW, it's been said that the reason classic Warner cartoons had more energy than Disney or MGM of the same era was that they couldn't afford a recording studio. They recorded on hot sets during breaks in the shooting, and the actors had to raise their voices into boom mics rather than work close, radio-style. I have no idea if this is true... but there certainly seems to be less relaxed conversation in a Warner.)

Effects can be a trap. Keep them simple, and start with only those necessary to tell the story.

There are tutorials on recording and post techniques at my website, www.dplay.com, along with links to some 75 how-to articles I've written for DV Magazine.