![]() Spot the audio track before animating, obviously, but care needs to be taken to get this correct and accurate.And a voice over reading from a very famous actor who is now out of the country is locked in. An elaborate special effects explosion shot in real time will dictate the corresponding audio effects paired with it. Build around the most difficult elements to replace, if time is the biggest factor dictating the production.This process works especially well with motion graphics because animated events can be fine-tuned to match an existing piece of music with great accuracy. Consider starting with a music track or sting, and building the animation to fit the audio.But besides having to coordinate audio and visuals, a producer has to manage the related logistics of people, travel and gear. It makes for a better managed production and a better quality production, at the end of the day. It has drawn upon more creative resources of the producer or sound technician.Ĭoordinate the development of audio along with motion graphics, rather than tacking it on as an afterthought. The value of all this is a richer integration of animation and audio, because the project has been sourced better. Then imagine, as the musical events play out in the piece, what could happen through it, alongside it, behind it, across it, etc. Assemble a bit of visual reference and flip through it while trolling for tracks. Start with whatever visual reference you have on hand: a storyboard perhaps, sketches, a script, or a selection of graphic style samples. Because a visual will in fact be paired with it, it’s not a bad idea to hold a mental picture of the animation subject whether character or graphic. ANOMATION SOUND REFERENCE FREEWhen browsing music tracks, for example in a royalty free production music library, try and “see” the audio. It’s very intuitive and subjective, as it should be! But it goes way beyond that: tempo, texture, style, and overall “feel”. Musicians sometimes refer to “tonal color” and that’s just one example of what’s possible in visualizing music. But less obvious is another kind of visualization: “seeing” sound. The following are some observations and suggestions for doing exactly that:Īnimating IS visualizing, of course. And that’s our challenge: integrating more and more complex sights and sounds, animation and audio, into a quality production. These days both science and entertainment seem to be moving toward a complex integration. It’s when “left brain” was first seen as distinct from “right brain”, and a cliché was born. Perceptual research in the 1960s to the 1980s was more concerned with separating the different areas of the brain rather than looking at how they integrate, reinforce and correlate to each other. Especially with stereoscopic 3D filmmaking taking us to new worlds of audiovisual experience, the two senses are being integrated in ways both subtle and spectacular. Coordinating animation and audio is about much more than synching. ![]()
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