I typed this up in response to a gearslutz thread, but I figured it could find a home here as well. The question was: "what tips do you have for recording dialogue for animation?"
here are my answers:
run a dual mic setup if possible. one close and one a bit back to handle yelling and wider perspectives.
I'd also try to make sure that the individual scripted lines are numbered in advance so that you can pull takes and feed actors the lines of other actors for context quickly.
pull selects as you go along if possible. Directors or actors will often run takes in sets of three, so if you hear an approving grunt come from behind you then mark the script and grab the take before moving on. This will make the edits faster and performances better later on if you're in control of those things.
also, be proactive about ref audio in advance of the session. Often, actors will have established or auditioned a particular character voice that they'll want to hear so that they can match. producers are notorious for not bringing those things and you don't want to hunt during the session anyway, so seek those things out and line them up in advance (if they exist).
route the talkback mic and actor's mics as a mono feed to a seperate recorder that just spins the whole session. Inevitably the actor will say something hilarious or otherwise amazing in between takes and you'll want to be able to say "that's cool, i got it with that rig over there" If there's no uncaught gold it'll be obv during the session, so you can wipe the media after a day or two.
when I did ADR for the ant bully we were actually running a timecode DAT with the timecode display up where the script super could see it for this exact purpose.
be sure to read the direction between the scripted lines. There will often be cues for exertions that the dialogue editor and animators will want. On a bowling animated show we did I was constantly having to make sure that we were covered for exertions the characters would need when lifting the ball, bowling, pushing each other around, etc. None of those exertions were scripted, but all of that direction was there in black and white between the lines - I just had to stay on top of it. A good script super will have this kind of thing covered, but good script supers are not a given and you'll regret not getting them if you're the one doing the editing later on. If an animator is the one doing the script supervising you really have to take responsibility and watch things like this.
get some laughter and other short exertions wild if time permits.
have a system for adlibs. comedy relies on adlibs in the moment and you'll want to be able to facilitate and accommodate that kind of thing.
any other tips?