Hey gang. This is a little different from my other threads. I am dangerously close to where I need to record voices for this piece I'm working on, and wondered if you vets out there (if there are vets out there) had any ideas (within reason) that helped bring out a performance when doing a project like this (i.e. not live action).
I am mostly likely going to record them one at a time, instead of trying to get them together at the same time. I worked for a time at ADV, the anime distributor, and that was mostly how they did the English redubbing of foreign titles, one person in the booth at a time.
My only idea so far was to make my ideas more concrete for each scene with "storyboards", quotes meaning I was just going to arrange characters and scenery in ASP for key shots/scenes, and make stills, and use those to show the actors "okay, so you're flying through the area about to karate punch this guy, while so and so's over here doing blah blah blah". That kinda thing.
If you haven't gathered, this is a no-budget affair that will be recorded in a makeshift soundbooth in my apartment. So keep that in mind. Thanks.
working with actors for animation
Moderators: Víctor Paredes, Belgarath, slowtiger
On the job I just did we recorded the actors (up to three
in a shot) all together (on different mics obviously.)
This seemed to help the actors with their performances.
Even though I sometimes grabbed from different takes,
it seemed to help.
Maybe the anime voiceover people are used to doing it the other way,
I don't know. I have seen making-of docos on Ice Age and so on
where they record the actors seperately due to scheduling or distance.
But personally I'd rather do them all together. Seems more natural,
particularly if they are in conversation.
The only other advice I can offer is this, if you are nervous about
directing dialogue actors, and know someone with experience dealing
with actors (say someone with a drama background for example)
get them on board if you can. I was skeptical myself, but after watching
an experienced colleague dealing with actors in the audition process,
I asked him to direct the dialogue. He got a lot more out of them than I could.
Turns out dealing with actors is another skill you develop with experience
like anything else. Who knew.
in a shot) all together (on different mics obviously.)
This seemed to help the actors with their performances.
Even though I sometimes grabbed from different takes,
it seemed to help.
Maybe the anime voiceover people are used to doing it the other way,
I don't know. I have seen making-of docos on Ice Age and so on
where they record the actors seperately due to scheduling or distance.
But personally I'd rather do them all together. Seems more natural,
particularly if they are in conversation.
The only other advice I can offer is this, if you are nervous about
directing dialogue actors, and know someone with experience dealing
with actors (say someone with a drama background for example)
get them on board if you can. I was skeptical myself, but after watching
an experienced colleague dealing with actors in the audition process,
I asked him to direct the dialogue. He got a lot more out of them than I could.
Turns out dealing with actors is another skill you develop with experience
like anything else. Who knew.
Well, I've directed 11 other short films before this, most of them live action, to varying degrees of success, so the actors thing is part of my "journey" and "personal growth" in that department. The challenge is that it's animated, and they'll mostly have to imagine the world they'll be inhabiting, as opposed to really being there. I didn't know if there was any special advice as to dealing with something like this. I imagine it's much like an all-greenscreen shoot with live action.
I'm not opposed to doing everyone at the same time on principle, but yes, scheduling will be an issue, as will the way things can actually take longer this way when people start getting silly, etc. Also don't have more than one of the same kind of mic. Though I could just record one person at a time, in the correct position that is, and keep the others around for that person to play off of. As long as they don't overlap their lines, should be easy enough. It's a short script as well.
I'm not opposed to doing everyone at the same time on principle, but yes, scheduling will be an issue, as will the way things can actually take longer this way when people start getting silly, etc. Also don't have more than one of the same kind of mic. Though I could just record one person at a time, in the correct position that is, and keep the others around for that person to play off of. As long as they don't overlap their lines, should be easy enough. It's a short script as well.
Well it sounds like you have a bit of a handle on it already with your experience. I've found actors enjoy working on animation because it's a bit more relaxed for them, they aren't on camera so they can stay pretty loose, they just have to focus on the lines (not marks and all the rest of the live action stuff.) So animation dialogue recording tends to be quicker with more takes, and the funny thing is that when they do mess about a little, going off script and making it their own with gags and variations, more often than not you end up cutting a part of that in because it works and sounds natural or spontaneous, or just something cool you hadn't thought of. (IMHO)
Good luck dude!
Good luck dude!
That was my hope. These are three funny people (there's only three characters) in my opinion, so I'm hoping they will come up with extra stuff off script, and hopefully I will too. I figure record as much as we can (in terms of improv), and I choose what I like best later. Since it's just audio, pretty much anything can be put with anything. . .not like editing with video where stuff has to match/cut together.
I'm wondering if maybe I should try to get 'em all here for a full day simultaneously instead of individually.
I'm wondering if maybe I should try to get 'em all here for a full day simultaneously instead of individually.
Hey bossy how goes?
I can give some opinion on this subject, of course this matter is one that is by its nature is subjective and there are many takes and approaches to it.
let me know if you disagree, I would actually be interested in any ones point of view.
What I have often found is that actors sometimes have a real problem adjusting to the medium, much like some hammy theatre actors moving to the screen.
The problem is they subconsciously believe that if they cant be seen then their acting has to be larger to punch through to the audience.
Unfortunately instead of being invisible they are in fact LARGER than life on the screen , in full colour with exaggerated movement.
This can make for a VERY painful experience when viewed, you literally can want to leap into the TV and rip that"cute little bunny's" shouty little ears right off its shouty little head.
Watch and listen to some who intuitively know and speak to the right intensity.
For example Jack Black is fairly reserved as that Panda even though we can assume he is dancing around with his pants down in the studio.
If he really went off, screaming and over modulating his tonal values and expression the subtlety would be lost entirely. I know this sounds obvious but the studio and actors can be a daunting beast to challenge, but they are generally just as daunted and appreciative of your perspective and guidance.
I can give some opinion on this subject, of course this matter is one that is by its nature is subjective and there are many takes and approaches to it.
let me know if you disagree, I would actually be interested in any ones point of view.
What I have often found is that actors sometimes have a real problem adjusting to the medium, much like some hammy theatre actors moving to the screen.
The problem is they subconsciously believe that if they cant be seen then their acting has to be larger to punch through to the audience.
Unfortunately instead of being invisible they are in fact LARGER than life on the screen , in full colour with exaggerated movement.
This can make for a VERY painful experience when viewed, you literally can want to leap into the TV and rip that"cute little bunny's" shouty little ears right off its shouty little head.
Watch and listen to some who intuitively know and speak to the right intensity.
For example Jack Black is fairly reserved as that Panda even though we can assume he is dancing around with his pants down in the studio.
If he really went off, screaming and over modulating his tonal values and expression the subtlety would be lost entirely. I know this sounds obvious but the studio and actors can be a daunting beast to challenge, but they are generally just as daunted and appreciative of your perspective and guidance.
This is true.
My last short was the first one where I really concentrated on the actors' performances rather than getting wrapped up in tech details (lighting, etc.). I plan to do the same here.
Seems like it's a fine line with animation. . .the voices have to be more "stagey"/theatrical than if the piece was live action, but not so much that it's offputting. Close your eyes and listen to the simpsons, or even the relatively low key King of the Hill, and think of how painful it would be to watch those voices belong to live actors if those pieces weren't animated.
There is also the tendency for actors to go into "comedy" mode when they're in a comedy. . .see Scarlett Johnansson (sp?) in "Scoop". . .yow.
My last short was the first one where I really concentrated on the actors' performances rather than getting wrapped up in tech details (lighting, etc.). I plan to do the same here.
Seems like it's a fine line with animation. . .the voices have to be more "stagey"/theatrical than if the piece was live action, but not so much that it's offputting. Close your eyes and listen to the simpsons, or even the relatively low key King of the Hill, and think of how painful it would be to watch those voices belong to live actors if those pieces weren't animated.
There is also the tendency for actors to go into "comedy" mode when they're in a comedy. . .see Scarlett Johnansson (sp?) in "Scoop". . .yow.
If you can manage it, I'd suggest getting a mic for yourself, and mix your voice to send to the actor's monitor-so you're feeding them lines, or doing other lines for them to respond to. Record you on a separate track, or not at all. I think it helps keep it sounding more natural, and you get to set the tone with your own voice.
thaks. i wont have anything that sophisticated. ill be at most 20 feet away and there wont be anything to keep them from hearing me if i simply shout. when i mentioned a booth earlier i meant a homemade cube of furny pads or something similar. by the way any thoughts on scheduling time? for example x number of pages takes approximately y amount of time to record?
I think you missed the point. Shouting doesn't set the tone of the scene. You want to be part of it. If you both have headphones (which you both should have)- you record in stereo-one channel for you, the other for the 'Actor'. Mono signal out (which can be done with a stereo to mono jack adaptor). or, go with more control and get a headphone distribution amp. (Art, Presonus, Furman, Behringer-make assorted models with channel mix control and more)
Pages per day? Kinda' depends on the script and people reading it. Wild guess is 20 would be workable. I've worked with some Voiceover people who could probably do a full 90 minute script before lunch. 10-20 minutes of dialog seems reasonable for a day. Vocal chords need rest. Minds need rest. People need to sit down and eat and drink and stuff like that.
Pages per day? Kinda' depends on the script and people reading it. Wild guess is 20 would be workable. I've worked with some Voiceover people who could probably do a full 90 minute script before lunch. 10-20 minutes of dialog seems reasonable for a day. Vocal chords need rest. Minds need rest. People need to sit down and eat and drink and stuff like that.