54 S U M M E R 2 0 2 0 I C A S Q U A R T E R L Y
JEREMY OLSEN
For this edition of CAS Quarterly, I was tasked with writing an article
exploring the mixing of production dialogue for animation. Further
distilled, I was to write an article that spelled out the differences
between the "traditional" style and the more contemporary style of
these recordings. I thought, "Sure, I can do that."
However, the more I thought about it, the more I realized I was in
trouble. What did they mean by "traditional," and what is this new
school method? Weren't they talking about some people in a booth
yelling into a microphone?
So, I did some poking around and boy was I wrong. After several
conversations with folks in the field, I would hazard to say that there
are at least four different schools of mixing production dialogue for
animation these days, and they themselves are in constant flux.
b y P a t r i c k S p a i n C A S
PRODUCTION DIALOGUE
LEE ORLOFF CAS
RON JUDKINS
