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"ADR is still unusual for animation to the extent we did it for Garfield," he concedes.
#FAIRLY ODD PARENTS SERIES 4000 SOUND EFFECTS MOVIE#
But Boulton has also done ADR for animated fare like Ants and Monsters Inc., the recent Garfield movie and the upcoming Happy Feet with Hugh Jackman and Nicole Kidman. He has amassed hundreds of live-action feature credits, most recently The Stepford Wives, The Manchurian Candidate, Alien vs. David Boulton, ADR mixer at New York's Sound One ( is a favorite of New York-based feature directors, such as Mike Nichols, Martin Scorsese, the Coen brothers and Frank Oz.
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Music, Foley, sound effects and dialogue editorial departments work to hard drives, then tote them to one of the company's two stages, outfitted with Pro Tools and Studer Vista 7 boards, for the mix.ĪDR is a process people don't ordinarily associate with animation. Pirate Post handled re-recording mixing as well as some editing and sound design for Kid Notorious, which aired on Comedy Central.Īdvantage was among the first to use Digidesign Pro Tools in the post environment, and now a battery of 20 form the backbone of the company's editorial and sound transfer systems. "In many instances doing something live in Foley yields much better results than cutting a library effect in Pro Tools."
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They want cinematic Foley" and the firm's Foley artists and full Foley stage can deliver it.įoley "takes over from hard effects when it's more efficient and productive," Koepnick explains. Advantage clients often want "full Foley coverage: footsteps, crowds, cloth depending on their requirements for realism. "Some people in the industry have become too complacent - it's so easy to go to a CD, pull a Hanna-Barbera sound and drop it into a Pro Tools session instead of creating some new sound that's evocative and original," says Koepnick.
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That's because Advantage values fresh, innovative sound for each and every project. "You rarely hear a stock sound in an Advantage Audio show."
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Although Advantage has a huge stock sound effects library, plus its own collection, "virtually everything we do is custom," he points out. "Shows with silly comedy usually don't need it if it gets in the way of dialogue or music."Īdvantage's overall approach to sound for animation is to "treat it as another character in the show, whether in a lead role or a supporting role," says Thomas.
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"Action/adventure/drama shows usually want film ambiance," Koepnick explains. Now clients want to massage the background sound in the mix to just where they want it."Īdvantage has long been a proponent of adding backgrounds to animation and, increasingly, clients have been taking the company up on the process. Sound for animation used to be almost a throwaway, except for dialogue it was a secondary or tertiary concern. "You have to deliver work as high quality as any movie but finish in two or three days. "It takes some months to build the soundtrack for a feature film, but we get a week if we're lucky," adds Koepnick. The challenge is to deliver what amounts to a mini-movie on almost a daily basis, and it requires people with the versatility to go from something light and cartoony to a flat-out Raiders of the Lost Ark adventure." "The irony is that a 22-minute sitcom may have 50 to 60 sound effects, while 22 minutes of animation may have 2,500 to 3,000 sound effects, not including Foley. "In our business, animation bears the stigma of being the poor relation of sound," says Advantage sound designer Paca Thomas.
#FAIRLY ODD PARENTS SERIES 4000 SOUND EFFECTS TV#
Current work includes Dave the Barbarian and Kim Possible for Disney TV Animation, plus Danny Phantom and Fairly Odd Parents for Nickelodeon. Recent credits include Spawn for HBO, The Mummy and Earthworm Jim for Universal Cartoons, and Jackie Chan for Columbia/Tri-Star. While the company has been diversifying its client base (the partners do The Jeff Corwin Experience for Animal Planet), the bulk of its work remains animation. Audio appears primed to play an even greater role in animation as it takes on many aspects once reserved for live-action productions.īefore Bill Koepnick and Jim Hodson founded Advantage Audio ( in Burbank 14 years ago, they teamed on a lot of animation work for DIC Entertainment, which develops, produces, distributes and mercandises animated content for children and families. Unlike live action, animation has no source audio, and yet audio - characters' voices, zany sound effects, otherworldly ambiance, music - plays a key role in the experience. Advantage Audio has only two days or three days to post animated TV shows, like Disney TV's Kim Possible.Īnimation has always had unique audio requirements.