Today's been the day for experimenting. I've been dying to finish this part. Goldie says "We're not lawyers, and we don't even play them on TV." So she goes from the dress to a sport coat, and from there on television. Keep in mind she's talking all the way through this.

The coat I drew about two weeks ago, and I started the TV on the same day. I went the full distance, tied back her hair, and gave her glasses for the lawyer look. Today I finished the TV, simply clicking adding a fill to the box with rounded corners and deleting the fill, then I saved the TV as a symbol and dropped it on stage with its own layer.

Today I opened up Goldie in her lawyer suit, selected everything but the mouth and converted them to a symbol. Using onionskin, I placed the symbol where her body and head were. So the only thing that moves is her mouth. The two spots go by so fast, it's hard to notice only here lips move.

The lawyers in the back ground are from another shot. I keep a layer for the backgrounds and dropped them on there. Goldie's head, body and suit are on the body layer, and the TV just sits on top.

So nice when something works.

One experiment did not go so well. I use 24 frames per second. Believe it or not, it helps with the lip sync. I use a keyframe every other layer on the mouth. While this doesn't make sense at first, I can always add another keyframe, giving an odd number of frames for a long sound, or just one for a really quick sound.

Today I tried a segment (the lawyer on TV gag), with every frame for the mouth as a keyframe. Wow, what a pain in the ass. It's hard to gauge which sound is exactly where, and much more work doing the swaps on the nesting symbol. I think I'll stick with my original technique.

Self conscious about my stuff. I had a look at Johnny Utah's lip sync work. As I suspected, there's a lot the eye misses if you're just not looking for it. Must be why dubbed anime is so popular ;-)