This chapter felt relevant to the current animation course that I am studying, and I felt I learned a great deal more from it than other previous readings, in just a mere few pages. It also seemed to be more recently written than the former two, so the information was not as dated. It spoke about home recording as well as professional standard sound production, which I would intend to use more of in my work. Patmore gives a few tips and instructions for setting up a functioning recording 'studio' setup at home. It gives advice for people searching for sound FX to browse online resources, or to look at CD's for purchase. Likewise, he mentions software to use for home music production, and ways to source them online. We are warned of the dangers of using noncredited copyrighted music without permission.
Patmore delves into the techniques behind lip-syncing, and gives detailed instruction on how to do it accurately for inexperienced animators. I would have found this very useful were not for the fact that I won't be including speech in my animation, though I no doubt will come back to these tips if ever I am in future.
The final section of the chapter discussed crediting and working with musicians. paid particular attention to this part, as I wanted guidance and advice for working with my music composer for my animation's soundtrack. It advised bringing the composer in at the storyboard stage, which I have indeed dome already,a and intend to send him also a copy of my completed storyboard. This way the animation can perform to the cue points and synchronize in moods.
A tip was also given on how to create credits for a film. It recommends including them at the end of the piece, and to include the names and jobs of all the people who contributed to working on the animation. This includes copyright notices and other legal disclaimers. It gives a diagram of how to create rolling credits using both Adobe After Effects, Flash, and Premiere Pro, which is very helpful.
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