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Old 7th August 2020
  #9
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Quote:
Originally Posted by NReichman View Post
At Rhumba, we've recorded dialog, assembled radioplays, composed and produced songs and music, done sound design, and then final broadcast mix on a number of big animated television series:

RHUMBA

Each department has developed their own workflows, and one of the most crucial early tasks is keeping a bookkeeping system for every single alternate take of a given line, while still providing a solid radioplay for the animators. Animatics are based on your radioplay, not the other way around. There's more to talk about than I can write in this post, but you're thinking of all the right issues. Give us a call or an email. I'm on deadline now, but there are other members of Rhumba around.
Your video's on your Rhumba website you did Nathaniel are great, really enjoyed them. I btw have most of the same equipment I saw in the Rhumba video's, but your workflow & approach is just at a different level than mine.

On equipment I have moved to Mic King Stands, they are very trip resistant compared to other stands (especially when people are walking all over the place in more ad hoc rooms). One thing I've done is go with a RME UFX+ interface, I also use a RME Babyface. I have some high end mic pre's but find going straight into the RME is better. For a mixed post shop (design/music/dialog) I like the RME UFX+ because I can record small music sessions, handle multiple mics and even output to a 5.1 Genelec system (a lot of animation is slowly moving off of stereo). I think dialog only shops have different requirements than a mixed shop.

I'd be especially interested in the OP's question on workflow for animation, the post environment & approach can be significantly different compared to narrative film.