NMC512:
AUDIO DESIGN
& EFFECTS
CHAPTER 3:
ELEMENT OF SOUND DESIGN 1:
DIALOGUE
IMPORTANCE OF DIALOGUE
• Dialogue is used to reveal the characters. We use dialogue to establish relationships.
Dialogue reflects feelings and attitudes. Each character has his own agenda, often
hidden. What is really being said? Which character is driving each scene? Your
characters can be driving the action directly or indirectly. Direct dialogue drives
people apart. Indirect dialogue draws people together.
• It provides direction, moving the story along, advancing the plot and it discloses
information. A good animation story has to keep moving. Dialogue shouldn't slow it
down. It should serve the plot. Dialogue is one way to tell the story, but the dialogue
should always disclose titbits that the characters must tell each other.
• It provides conflict. Conflict in dialogue or tension between views is a good way to get
information out and keep it interesting. Do be clear enough so that your young
viewers understand, but don't say everything. Leave enough unsaid that the audience
becomes involved and wants to know more.
• It sets the spirit or mood of the story, whether it's a comedy or drama. Set the tone
of the story right away. This is especially important in comedy, so that we know that
it's OK to laugh. The type of dialogue must be appropriate for the genre of that
specific series.
DIALOGUE STEM:
• PRINCIPLE DIALOGUE – speaking parts performed by the main characters,
could be in form of synchronous (lip sync) and a-synchronous (off-screen
lines or Voice-over). Some films deliver principle dialogue in a recitative
form (blending of speech and music). Used to establish timings, provide a
reference for head and body movements and serve as the foundation for lip
sync.
• NARRATION – Differ from principle dialogue, the speaker is unseen and
cannot be revealed through changes in camera angles. Effectively used to
introduce a story (prologue) and providing back-story and providing closure
(closure).
• ADR – Automated Dialogue Replacement in a film, a process where actors
replace dialogue in a film or video.
• GROUP ADR & WALLA – GROUP ADR is non-sync but recognizable language
backgrounds perform by a small group of actors (6 to 8 person). Sometimes,
this sound is scripted and intelligible. WALLA is non-descript, SFX cut from
libraries or recorded in realistic environments with actual crowds.
DIALOGUE STEM:
• DEVELOPING THE SCRIPT – script begins at the storyboard stage where
individual lines are incorporated into specifics shots, followed by
animatic (story reel) and recording script.
• Scratch Dialogue is created and recorded in early stage, then cut to the
animatic to test each shot. Once shot is approved and script is refined,
final dialogue is recorded and edited in preparation for lip sync
animation.
• CASTING VOICE TALENT – look for vocal performers who can breath life
into a character, connect with audience, and provide models for
movements.
• CARICATURE - mimicry, sweeteners and regional accents are important
tools for developing caricature. Example: animal speak such as the dog-
like vocalization of Scooby-Doo.
DIALOGUE:
RECORDING DIALOGUE:
• THE RECORDING SCRIPT – Started with a vetted recording script, where each line of
dialogue is broken out by character and given a number that correspondent to the
storyboard. (Normally we used Single-column format).
• DIRECTING VOICE TALENT – It’s a directors job to help voice actors find the voice best
suited for each character. Not to micro-managed the session, but allowing the actors
flexibility to personalize the script through phrasing, inflection and non-verbal
vocalization and improvising off-script while maintaining spontaneity and
authenticity.
• THE ADR STUDIO – Well-designed recording spaces, sound proof, experience
engineering, quality microphones, audio and video monitors, basic acoustic
treatments, less reverberant room environment, proper distance for dialogue
recording for microphones positioning (8 to 12 inches) to minimizes leakages.
• MICROPHONES – preferable large diaphragm condenser microphone to capture the
widest frequency range with the greatest dynamic accuracy. Example: Neumann U-87
microphone or Shure SM58 Dynamic Microphone
DIALOGUE:
RECORDING DIALOGUE: (cont…)
• RECORDING SET-UP – placing the mic: pointed at downward angle with
diaphragm place just above the nose. Avoid placing mic between actor
an reflective surfaces such as computer screen, video monitors, or
windows. Used Pop-filter to reduce plosives that occur with words
starting with letters P, B or T.
• LIP SYNC ANIMATION – learn to identify stress points and mouth
positions needed to convey the dialogue visually. At most basic level,
consonants like M. P. and B are represented with a closed mouth
position, while vowels are animated with open mouth positions.
DIALOGUE:
EVALUATING RECORDED DIALOGUE – understanding common issues related with
recorded dialogue in achieving highest possible standard.
• Sibilance – words begin with s, z, ch, ph, sh and th, all produce hissing sound.
Example, instead of saying “sssssnake”, try to say “snaaaaake”.
• Peak Distortion – a granular or pixilated sound caused by improper gain staging
of the microphone pre-amp/overloading SPL (Sound Pressure Level) from mic.
Adjust the gain in pre-amp, place a pad or move object further from mic.
• Plosives (Wind Distortion) – words begin with b, p, k, d, t and g produce rapid
release of air pressure that can cause pop or distort. Use pop-filter.
• Proximity Effect – an increased bass response due to close proximity to
directional mic, causing boom sound that lacks clarity. Re position the mic,
change to omni-directional mic and using bass roll-off filter to solve this issue.
• Nerve-related Problems – exaggerated breathing, dry mouth and hurried reading
from high anxiety level in desire to perfection and sense of permanence.
(maintaining the phase and quality)
DIALOGUE:
EVALUATING RECORDED DIALOGUE: (cont…)
• Lip and Tongue Clacks – dry mouth cause lip and tongue tissue to stick to
inside the mouth, creating an audible sound when they separate. Prepared a
plain water, avoid dairy products.
• Extraneous Sounds – Sounds from computer, fan, florescent lights, HVAC and
home appliances, audible cloths and jewellery sounds.
• Phase Issues – arise when the voice reflects off a surface such as a script,
music stand or window and is re-introduced into the microphone.
Repositioning the mic or placing sound absorbing material in music stand.
• Extreme Variations in Dynamic Range – dialogue perform at lower levels
often get lost in the mix, while too high might cause distort at the pre-amp.
Control this issue using compressor.
• Handling Noise – noise happen when the talent is allowed to hold the
microphone (thuddy percussive sound).
DIALOGUE:
• DIALOGUE EDITING – Dialogue editors responsible for cleaning tracks,
compositing takes, tightening sync, and preparing tracks for delivery to
the mix stages. Need to remove unwanted sounds such as
environmental noise, rustling of paper, cloth sounds, headphone bleed
and extraneous comments from the voice actors.
• Tightening the sync for ADR and foreign dubs.
• DESIGNED LANGUAGES – newly design language or simulated language.
Simulated dialogue establishes plausible communication in the context
of a fantasy. One common approach is too reverse an existing line of
dialogue. Some used help of synth or design tools (Vocoders,
harmonizers and other morphing plug-ins.)