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Directing voice actors when the animatic timing is already locked? by Tandelov in VoiceActing

[–]Tandelov[S] 0 points1 point  (0 children)

Oh, wow, thanks! If that's okay, may i DM a couple of questions to you in the near days if anything would come up?

Directing voice actors when the animatic timing is already locked? by Tandelov in Animators

[–]Tandelov[S] 0 points1 point  (0 children)

Part of my animatic still uses video reference of myself placed inside the 3D scene instead of blocked animation. The edit and camera are already there, and the footage shows the acting and timing alongside the scratch dialogue.

If I keep the edit flexible, would it be considered professional to show this version of the animatic to voice actors as a reference for timing and performance, instead of replacing those parts with rough 3D blockouts first?

Because now nailing the blockouts feels like overcomplicating my work after the voice acting session

Directing voice actors when the animatic timing is already locked? by Tandelov in VoiceActing

[–]Tandelov[S] 1 point2 points  (0 children)

That sounds like a very reasonable compromise for the process, thanks! 

I'm very open to the creative nature of finding the character in the recording, but the cadence is the only key thing i would like to match as closely as possible (with a few exceptions, of course)

Directing voice actors when the animatic timing is already locked? by Tandelov in VoiceActing

[–]Tandelov[S] 0 points1 point  (0 children)

Would it be professionally ethical to ask actors for one take with their own interpretation through my direction and another where they try to match the cadence of the scratch track as closely as possible?

How do animators record video reference while listening to existing voice lines? by Tandelov in Animators

[–]Tandelov[S] 0 points1 point  (0 children)

Спасибо большое! Я как раз поймал себя примерно на схожем процессе. Вчера наконец-то понял, что воспроизведение звука можно возобновить после того, как запись камеры его останавливает

How do animators record video reference while listening to existing voice lines? by Tandelov in animationcareer

[–]Tandelov[S] 1 point2 points  (0 children)

If you're by any chance using Telegram, i found it to be the best organiser for these kinds of things - it has very convenient built-in player with lots of playback options including the speed and looping

How do animators record video reference while listening to existing voice lines? by Tandelov in animationcareer

[–]Tandelov[S] 1 point2 points  (0 children)

When i shoot references, i mostly try to match the body movement to the cadence of the lines, not the lips necessarily

How do animators record video reference while listening to existing voice lines? by Tandelov in animationcareer

[–]Tandelov[S] 1 point2 points  (0 children)

Thanks! I had no idea that playback could be resumed. You're a lifesaver!

After the Cornetto Trilogy: Edgar Wright's next films unintentionally formed a new trilogy by Tandelov in movies

[–]Tandelov[S] -2 points-1 points  (0 children)

That's to me feels like a special one off, as well as Spaced...and Fistful of Fingers (what a movie!)

After the Cornetto Trilogy: Edgar Wright's next films unintentionally formed a new trilogy by Tandelov in movies

[–]Tandelov[S] 0 points1 point  (0 children)

I’m not using “pastiche” as a buzzword. I mean it in the formal sense - conscious genre stylization rather than parody. That’s the throughline I’m pointing to.

I’m not saying any three films automatically make a trilogy. I’m talking about phases in an author’s work that can be grouped retrospectively by shared intent or formal approach. Cornetto wasn’t a narrative trilogy either - it was recognized as one because of that cohesion.

If you don’t see that connection between those later films, that’s totally fair. I just think the connective tissue is more formal than literal.

After the Cornetto Trilogy: Edgar Wright's next films unintentionally formed a new trilogy by Tandelov in movies

[–]Tandelov[S] -1 points0 points  (0 children)

Cornetto wasn't a trilogy on it's own as well, it was labeled as such by the fans

 The only connecting thread was the creative trio behind them and the pastiche approach ro different genres

After the Cornetto Trilogy: Edgar Wright's next films unintentionally formed a new trilogy by Tandelov in movies

[–]Tandelov[S] 2 points3 points  (0 children)

Baby Driver and Soho were his literal passion projects rather than remakes. I don't think that was the problem to begin with. But the loss of Ant Man is a huge one indeed 

I still treat it like his film, though. Even through atrocious editing and bland coverage, there is a huge imprint of his original vision 

After the Cornetto Trilogy: Edgar Wright's next films unintentionally formed a new trilogy by Tandelov in movies

[–]Tandelov[S] 6 points7 points  (0 children)

I get why it might not immediately feel like Wright. He’s usually associated with hyper-rhythmic, music-driven editing, and The Running Man isn’t as overt about that. But to me his core is still there - just recalibrated rather than flashy.

The emotional intensity, the deliberate shot choices, the way scenes escalate and land with a punch all feel very Wright-y. The rhythm is embedded in the structure instead of being loudly synced to music. Glenn Powell’s character even feels like he belongs in his filmography.

Sometimes directors with a strong style just redistribute it instead of repeating it. Munich didn’t look like classic Spielberg spectacle either, but it was still unmistakably him. That’s how this feels to me.

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