A dialog recording session has many objective elements in a dialog recording session:
• Sibilance—Words that begin with f, s, z, ch, ph, sh, and th all produce a hissing sound that, if emphasized, can detract from a reading. Whenever necessary, it is preferable to rerecord the passage rather than using a de-esser (software) in postproduc- tion. Emphasizing a different portion of the word in a subse- quent reading can control most sibilance. For example, chang- ing the emphasis from the “s” as in “ssssnake” to the “a” as in “snaaaake” maintains the length and minimizes the offending sibilance. Moving the microphone slightly above or to the side of the talent’s mouth will also reduce sibilance. In rare cases, sibilance can be a useful tool for character development. Such was the case when Sterling Holloway developed the hissing voice treatment of Kaa, the python in the Walt Disney feature The Jungle Book.
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• Plosives—Place your fingers directly in front of your mouth and speak words that begin with the letters b, p, k, d, t, and g (as in “Goofy”). These consonants produce a rapid release of air pres- sure that is built up prior to the delivery. Notice the explosive air that cools your fingers. The resulting burst of air hits the diaphragm of the microphone and produces wind distortion, or plosives. Plosives can occur at the beginning or end of a word and are a common problem for untrained voice talent. Plosives are difficult, if not impossible to remove; therefore, phrases with plosives are often rerecorded. Plosives can be reduced or pre- vented by placing a pop-filter (Figure 3.3) between the talent and the microphone. Other solutions include backing the talent away from the microphone or moving the microphone slightly
to the side (off-axis) of the talent. In addition, a high-pass filter set below the frequency of the dialog is often used to make minor corrections. Unlike sibilance, there are no dramatic uses for plosives in the context of dialog.
• Proximity effect—When voice talent is being miked closely using a directional microphone, there is the potential for the microphone to emphasize the bass response, causing a subjec- tively boomy sound that can lack clarity. Proximity effect is sometimes used to advantage to create a fuller sound. One means of reducing an unwanted proximity effect is to move the talent farther away from the microphone. Selecting an omnidi- rectional microphone pattern will also reduce excessive low- end response.
• Nerve-related problems—Recording in a studio is intimidating for many actors. The sense of permanence and a desire for per- fection often produce levels of anxiety that can impact perform- ance. Signs of anxiety include exaggerated breathing, hurried reading, and glottal shocks. Glottal shocks are cough-like sounds produced in the throat as a result of voice talent releasing their air at the throat. The surest way to worsen nerve-related prob- lems is to direct the talent to “relax.” It is often helpful to show the talent how editing can be used to composite a performance. Once they learn that the final performance can be derived from the best elements of their performances, they typically relax and take the risks needed to generate a compelling reading. • Lip and tongue clacks—Air conditioning and nerves can cause
the actor’s mouth to dry out, which causes the lip and tongue tis- sue to stick, creating an audible sound when they separate. To avoid dry mouth, encourage the voice actor to refrain from drinking dairy products prior to the session. Always provide water for the talent throughout the session.
• Cloth and jewelry sounds—As the voice talent shifts his or her weight, audible cloth and jewelry sounds may be captured by the microphone. Because the talent is so close to the mike, even
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the softest sounds such as a watch ticking can be picked up. It is best to remove jewelry or other items that may create problems during the recording session.
• Headphone leakage—Dialog is often recorded to a reference or guide track that may include original dialog, temp music, and SFX. Due to the close proximity of the talent to the micro- phone, audio from the guide track can easily bleed from the headphones onto the dialog track. Headphone leakage can greatly complicate dialog editing. Common solutions include turning down the guide track level, using tight-fitting head- phones, or moving the talent away from the microphone. If the talent uses only one side, or “can,” of the headphone pair, the guide track can be panned exclusively to that side.
• Phase issues—Phase issues arise when the voice reflects off a sur- face (usually a script or music stand) and back into the micro- phone. The reflective sound combines with the original out of phase, sounding hollow or synthetic. Repositioning the script (or, in some cases, the voice talent) should alleviate this problem. • Extreme variations in dynamic range—Variations in volume
within a vocal performance contribute greatly to the expressive quality and interpretation. Unfortunately, dialog performed at lower levels often gets lost in the mix. Equally problematic is dia- log performed at such high levels as to distort the signal at the microphone or preamp. A compressor is used with make-up gain to correct both of these problems. Compressors will be cov- ered at greater length in Chapter 7.
• Handling noise—Handling noise results when the talent is allowed to hold the microphone. Subtle finger movements against the microphone casing translate to thuddy percussive sounds. The actors should not handle microphones during a dialog session. Instead, the microphone should be hung in a shock-mounted microphone cradle attached to a quality micro- phone stand.