Chapter 5: General Concepts: Sound and Structural Design
A big difference between amateur and professional animation is how sound is employed. Typically the most important sounds will be the loudest; such as dialogue in most cases. This is a hierarchical classification of sound. The listener perceives this hierarchy and it focuses their reading of a scene.
The reading goes into detail about synchronizing lip movement to voice tracks for character dialogue, though I will not focus on this in particular as other than a broad knowledge, the specifics are not very useful to me. I am glad I have to avoid the painstakingly precise work that it requires! Voice recordings are important both both for the development of action and also for affecting characterization. This was apparent in Aladdin, ad the voice of the genie clearly affected the way he was designed.
Some very famous animated characters have no voices at all, such as Road Runner, Tom and Jerry and the Pink Panther. All of these are animal creatures, which is what my main character will be, so I feel more secure in my choice to not make him speak now. He will rely on his physical actions and facial emotions instead. I also want to avoid language barriers that are presented alongside dialogue.
The chapter takes a case-study look at Danny Elfman as a composer of popular animation scores and soundtracks. He wrote the intro themes to 'The Simpsons' and 'Desperate Housewives.' He provides the voices for characters on many films, and has worked on pieces such as 'The Nightmare Before Christmas,' 'Beetlejuice,' 'Mission:Impossible,' 'Men In Black,' and 'The Corpse Bride.'
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