<?xml version="1.0" encoding="UTF-8"?>
<!--Generated by Squarespace Site Server v5.9.2 (http://www.squarespace.com/) on Thu, 11 Mar 2010 08:27:39 GMT--><feed xmlns="http://www.w3.org/2005/Atom" xmlns:dc="http://purl.org/dc/elements/1.1/"><title>Producer's Notebook</title><subtitle>Producer's Notebook</subtitle><id>http://www.animeinlosangeles.com/producers-notebook/</id><link rel="alternate" type="application/xhtml+xml" href="http://www.animeinlosangeles.com/producers-notebook/"/><link rel="self" type="application/atom+xml" href="http://www.animeinlosangeles.com/producers-notebook/atom.xml"/><updated>2010-01-12T04:00:21Z</updated><generator uri="http://www.squarespace.com/" version="Squarespace Site Server v5.9.2 (http://www.squarespace.com/)">Squarespace</generator><entry><title>READING AN ADR SCRIPT - PART 4 OF 5</title><category term="ADR scripts"/><category term="Anime"/><category term="adr"/><category term="adr scripts"/><category term="dubbing"/><id>http://www.animeinlosangeles.com/producers-notebook/reading-an-adr-script-part-4-of-5.html</id><link rel="alternate" type="text/html" href="http://www.animeinlosangeles.com/producers-notebook/reading-an-adr-script-part-4-of-5.html"/><author><name>Anime in Los Angeles</name></author><published>2010-01-12T04:00:21Z</published><updated>2010-01-12T04:00:21Z</updated><summary type="html" xml:lang="en-US"><![CDATA[Happy New Year! And thanks for subscribing to Producer's Notebook. I really appreciate all the support I received in the last year. In the previous posts, I explained how to read the first three columns of an ADR script. Now we continue with the fourth column, “Notes”. This gives the actors direction, or explains something about the dialogue. The technical terminology is very specific to ADR scripts and you’ve probably never seen it before.]]></summary></entry><entry><title>READING AN ADR SCRIPT - PART 3 OF 5</title><category term="ADR scripts"/><category term="Anime"/><category term="acting"/><category term="adaptation scripts"/><category term="adr"/><category term="adr scripts"/><category term="voice acting"/><id>http://www.animeinlosangeles.com/producers-notebook/reading-an-adr-script-part-3-of-5.html</id><link rel="alternate" type="text/html" href="http://www.animeinlosangeles.com/producers-notebook/reading-an-adr-script-part-3-of-5.html"/><author><name>Anime in Los Angeles</name></author><published>2009-12-15T04:44:20Z</published><updated>2009-12-15T04:44:20Z</updated><summary type="html" xml:lang="en-US"><![CDATA[The third column is the character name. The character column doesn’t only indicate who should say the dialogue. It is the basis for the recording schedule. Breaking down the script by character should give an exact blueprint for who needs to come in to record and for how long.]]></summary></entry><entry><title>READING AN ADR SCRIPT - PART 2 OF 5</title><category term="ADR scripts"/><category term="Anime"/><category term="actors"/><category term="adr"/><category term="dubbing"/><category term="voice acting"/><category term="voice actors"/><id>http://www.animeinlosangeles.com/producers-notebook/reading-an-adr-script-part-2-of-5.html</id><link rel="alternate" type="text/html" href="http://www.animeinlosangeles.com/producers-notebook/reading-an-adr-script-part-2-of-5.html"/><author><name>Anime in Los Angeles</name></author><published>2009-11-18T22:42:33Z</published><updated>2009-11-18T22:42:33Z</updated><summary type="html" xml:lang="en-US"><![CDATA[The ability to understand all the information in an ADR script is obviously vital to the engineers, voice directors and actors involved in recording them. But anyone who deals with dubbing projects should have a working knowledge of how to read these scripts.]]></summary></entry><entry><title>READING AN ADR SCRIPT - PART 1 OF 5</title><category term="ADR scripts"/><category term="Acting"/><category term="adr"/><category term="adr scripts"/><category term="dubbing"/><category term="voice acting"/><category term="voice actors"/><category term="voice over"/><id>http://www.animeinlosangeles.com/producers-notebook/reading-an-adr-script-part-1-of-5.html</id><link rel="alternate" type="text/html" href="http://www.animeinlosangeles.com/producers-notebook/reading-an-adr-script-part-1-of-5.html"/><author><name>Anime in Los Angeles</name></author><published>2009-10-15T01:50:50Z</published><updated>2009-10-15T01:50:50Z</updated><summary type="html" xml:lang="en-US"><![CDATA[ADR scripts are nothing like those for plays or traditional, live action scripts or even scripts for original animation. They don't make for a good read. There are no scene numbers and no camera angles. But there is plenty of time-code.]]></summary></entry><entry><title>CASTING - PART 6 OF 6</title><category term="Auditions"/><category term="Casting"/><category term="acting"/><category term="animation"/><category term="casting"/><category term="voice acting"/><category term="voice actors"/><category term="voice over"/><id>http://www.animeinlosangeles.com/producers-notebook/casting-part-6-of-6.html</id><link rel="alternate" type="text/html" href="http://www.animeinlosangeles.com/producers-notebook/casting-part-6-of-6.html"/><author><name>Anime in Los Angeles</name></author><published>2009-09-12T03:00:21Z</published><updated>2009-09-12T03:00:21Z</updated><summary type="html" xml:lang="en-US"><![CDATA[Audition day arrives. Your lobby becomes a beehive of activity. Actors buzz around, studying their sides, and socializing. The place can get loud and chaotic. But inside your studio, it is a completely different atmosphere. Auditions are all business.]]></summary></entry><entry><title>CASTING - PART 5 OF 6</title><category term="Anime"/><category term="Auditions"/><category term="Casting"/><category term="acting"/><category term="actors"/><category term="animation"/><category term="casting"/><category term="voice actors"/><id>http://www.animeinlosangeles.com/producers-notebook/casting-part-5-of-6.html</id><link rel="alternate" type="text/html" href="http://www.animeinlosangeles.com/producers-notebook/casting-part-5-of-6.html"/><author><name>Anime in Los Angeles</name></author><published>2009-07-29T04:51:56Z</published><updated>2009-07-29T04:51:56Z</updated><summary type="html" xml:lang="en-US"><![CDATA[If you want to be a producer, you are probably already a multi-tasking, people person so a studio full of commotion shouldn’t make you uncomfortable. But just be prepared; a lot of auditions turn into networking parties. The chaotic energy can be fun if you approach it with a positive attitude.]]></summary></entry><entry><title>CASTING - PART 4 OF 6</title><category term="Anime"/><category term="Auditions"/><category term="acting"/><category term="animation"/><category term="auditions"/><category term="castingng"/><category term="voice acting"/><category term="voice over"/><id>http://www.animeinlosangeles.com/producers-notebook/casting-part-4-of-6.html</id><link rel="alternate" type="text/html" href="http://www.animeinlosangeles.com/producers-notebook/casting-part-4-of-6.html"/><author><name>Anime in Los Angeles</name></author><published>2009-07-08T05:00:58Z</published><updated>2009-07-08T05:00:58Z</updated><summary type="html" xml:lang="en-US"><![CDATA[In the last few posts, I’ve been discussing casting for animation, specifically for anime. I’ve gone over how a producer should prepare for auditions, create sides, and pull together your list of actors.  This time, I want to talk about the final points you should consider before you schedule actors to come in.]]></summary></entry><entry><title>CASTING - PART 3 OF 6</title><category term="Anime"/><category term="Casting"/><category term="acting"/><category term="casting"/><category term="voice acting"/><category term="voice over"/><id>http://www.animeinlosangeles.com/producers-notebook/casting-part-3-of-6.html</id><link rel="alternate" type="text/html" href="http://www.animeinlosangeles.com/producers-notebook/casting-part-3-of-6.html"/><author><name>Anime in Los Angeles</name></author><published>2009-06-09T03:30:35Z</published><updated>2009-06-09T03:30:35Z</updated><summary type="html" xml:lang="en-US"><![CDATA[Finding New Talent

You are putting together auditions and discover that you just don’t have enough actors to bring in for a specific role. How do you find new talent, you ask. Let me give you some tips.]]></summary></entry><entry><title>CASTING - PART 2 OF 6</title><category term="Acting"/><category term="Anime"/><category term="Auditions"/><category term="Casting"/><category term="Producing"/><category term="acting"/><category term="auditions"/><category term="voice acting"/><category term="voice acting"/><category term="voice over"/><id>http://www.animeinlosangeles.com/producers-notebook/casting-part-2-of-6.html</id><link rel="alternate" type="text/html" href="http://www.animeinlosangeles.com/producers-notebook/casting-part-2-of-6.html"/><author><name>Anime in Los Angeles</name></author><published>2009-05-21T19:22:58Z</published><updated>2009-05-21T19:22:58Z</updated><summary type="html" xml:lang="en-US"><![CDATA[Creating your Audition List

You’ve broken down the series, know which characters you need to cast, and have your sides ready to go. Now you just need to start booking auditions. 

You want to bring in about eight good actors per role. All eight will generally not make it to the final CD that goes to the client for review, but it's a good starting point. If you get four, strong auditions per character, you’re doing well.]]></summary></entry><entry><title>CASTING - PART 1 OF 6</title><id>http://www.animeinlosangeles.com/producers-notebook/casting-part-1-of-6.html</id><link rel="alternate" type="text/html" href="http://www.animeinlosangeles.com/producers-notebook/casting-part-1-of-6.html"/><author><name>Anime in Los Angeles</name></author><published>2009-04-13T01:47:46Z</published><updated>2009-04-13T01:47:46Z</updated><summary type="html" xml:lang="en-US"><![CDATA[Lately, I’ve been working on starting up production on a couple of new anime series. These are all pre-existing series still in their original Japanese format that need to be adapted for American television. Since this is fresh on my mind, I thought I would devote a few entries to casting, which is one of the most important parts of pre-production.]]></summary></entry></feed>