In "Man's Best Friend," the classic Ren & Stimpy episode that introduces George Liquor, Ren smacks George with his own "Prize Bludgeoning Oar" and George's eye pops out of his head like a piece of meat.
Sometimes the eyelid closing and the eyelid opening are two very separate actions, and so each motion, open and close, must have different sound effects. Eyeblinks are not always a piano hit on the eyelid close, because they are usually not animated that way. The eyes would just bug out in a horrific uncontrolled lurch that would look like several in-betweens were missing, and at the very least, would not be funny. It is a very short bit of animation, but without covering it with sound, it seems as unfinished as not animating it.
For instance, when a character is about to have a "Tex Avery" (eyes popping wide out of the head) kind of eye reaction, I cover the sound of the character recoiling before the eyes pop. When editing sound for animation I find that things are funniest when one covers the specifics around exaggerated movements, or antics. My biology teacher in high school did that every day to get our attention, and it made me notice how powerful that sound is. I kept going until my fingernails were shaved down to the skin. I scraped my fingernails against a chalkboard - long scrapes, deep scrapes that dig in at the end, short, fast, staccato scratches. Luckily a sound recorder was still working, and he blocked his ears, got a level, and looked away. I finished the reel and was going over my notes on missing FX, when I thought, `What we need is some fingernails on a chalkboard to make the scene really edgy.' Unfortunately, I didn't have the sound in the library, so I decided to record it. There was a shot where a tree branch kept scraping against a window in a creepy way. I remember working on the Goof Troop series. Sometimes, one has to draw from experience to create the best sound for a scene. Most of the these fx have the distinctive echo of the sound stages on the Warner Bros. There are some crashes that are always heard, like when Daffy Duck falls down some dark cellar steps. Also the "zurup" or "zip in" was very common to the cartoons made there. had that "whap" and the distinctive "Rico's" and "anvil hits" that came from the WB westerns. These wacky FX were all too common from The Flintstones to The Banana Splits.
At Hanna-Barbera there was the "varoop," "paint fight," or "waaheep" (which sounds exactly as it is spelled). A big part of my job, however, is working with a library of sound effects that I have, which is a collection of old tapes and DAT backups, as well as the digitally remastered "cartoon" CD collections that are on the market. I also use the computer to bend, twist, and shape different sounds that need to be just right for the character or action on which I'm working. But, I also record sounds with various whistles and percussion devices I've collected. Sometimes I do make sounds by vocalizing grunts, clicks, gulps or even making monkey noises. That's where cartoons are made.' So I did! When I tell people I do cartoon sound effects, they usually ask me to make some. Peter would say, in that Speed Racer voice of his, `Kid, you gotta go to Hollywood. I actually worked in New York with my hero, Peter Fernandiz, (the voice of Speed Racer) on non-animated projects, and told him about my desire to work on cartoons.
#Animation composer after effects missing series#
At the time in New York there were little to no cartoon series being done. After moving from New York to Los Angeles in 1990, I started working mostly in animation because that's what I wanted. What Do You Do? I've worked in sound editing and post-production for the last sixteen years. It was bigger than life, like Bill Cosby waiting for the perfect moment to tell a punchline. Like the way Bugs Bunny would hit someone with a baseball bat and there was this, "WHAP!" sound that was so indignant, or when accompanied by an anvil hit, made it even more painful. I always enjoyed the way the silence before the impact made it seem so much farther away, and so much more painful. I remember watching Road Runner cartoons when I was a kid and waiting and waiting, when the Coyote fell, for the explosion that came after the long shell scream - that ol' Warner explosion.
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