Friday, February 25, 2011
Wednesday, August 11, 2010
6 Ways To Get Over Those Voice Over Practice Walls
Voice Over Practice Walls
We all find reasons to procrastinate. And practice is very easy to put off.
Here are six practical ways to get over the stumbling blocks that may keep you from practicing every day.
1. "I can't find a quiet place to practice."
Who cares!
For practice, background noise is okay. (It's just not okay for auditions and real jobs.
So if it's too loud where you live:
* practice in a room at a local community center,
* ask your health club if you can use their sales office,
* work in a classroom after school has let out . . .
* even practice VO in the shower instead of singing!
At Edge Studio, people have told us they practice in their car or minivan (quiet, sound absorbent, comfortable). Some in their closets.
One guy even told us, "I stand in my bedroom and speak into my wife's pants, as that prevents echo."
Does practicing with others around make you feel self-conscious? It shouldn't.
You're a professional, doing what a professional does. Others respect that, even if they don't fully understand.
And if you're still self-conscious, consider the guy with the pants.
2. "I'm new at this and not sure how or what to practice."
Practice at least 15 minutes a day, every day, reading not just the kind of VO material you specialize in, but also other copy to prevent monotony and help break you out of bad habits.
Even read your junk mail - there's a steady supply, it's a daily cue, and if you can make it sound real, you're doing well.
Very important: record yourself and listen back with a critical ear.
For practice, almost any mic and recorder will do. But if your recorder's not handy, get your daily practice in anyway.
3. "I'm not a beginner anymore. I don't need to practice."
Granted, Mel Torme and Elvis didn't sing in the shower or hum to pass the time (so it's said). But they sang virtually every day, no doubt.
A-Rod didn't hit all those homers without ongoing practice, either.
You, too, should perform every day.
Obviously, an actual gig is not the time to warm up, flex your pipes, and spot ruts and bad habits you may have developed.
Every pro, no matter how experienced, benefits by keeping in shape and improving or broadening their capabilities. Regardless of your experience level, you need to practice.
4. "I don't have time to practice."
Oh? How do you find time to perform?
Make practice time a routine part of your business day, because that's what your VO career is - a business.
Time of day doesn't matter, but you might take a cue from novelists and other creative writers. Many of them get up relatively early and write for an hour before the day "really" begins.
Or they write from 9 till noon then call it a day.
The good news is, your practice doesn't need to require three hours, nor even one hour. Even a few minutes a day can have a dramatic effect if you're consistent.
5. "I'm just not the consistent, regimented type."
That's not unusual. Okay, practice when you can. But don't put it off.
Here's a trick: you undoubtedly have several "what should I do next" moments in your day. Make VO practice your standard answer.
Then, just do it.
Finding some sort of "trigger" is the way to overcome procrastination, lethargy, or laziness. Like physical exercise, once you get in the good habit of practicing daily, you'll find it much, much easier to remember it and do it. And you'll enjoy it more.
6. "Sorry, there always seems something more interesting or more important to do."
Ain't it the truth. It might be a day job, kids, unforeseen circumstances, anything.
But it's either a daily occurrence that you can schedule around, or a temporary situation you will come back from.
If fitting practice into your schedule is still difficult, make a list. Write your schedule down.
Think of yourself as a business. Running a business involves certain responsibilities, not all of them fun.
The good news? Voice over practice is a LOT more fun than many of the professional responsibilities most other people have! And if you ever doubt its importance, listen to some of your old practice recordings.
I guarantee, if you've applied yourself in regular daily practice, you'll sound better today.
Have you found a practice technique that might help others? Let us know!
Wednesday, August 04, 2010
12 Top Voice Over Skills
What can you do to improve your voice over performances?
Voice over instructor and performer Marc Cashman identifies and describes 12 voice over skill sets that will help you to refine your current skills and develop new ones!
From clarity to consistency to cold reading and more, you'll find new ways that you can leverage your talent and make it shine brightly for all to hear.
Learn more about what successful voice over artists master and the skills that matter in today's VOX Daily.
A Dozen VO Skill Sets
Submitted by Marc Cashman
If a buck dropped out of the sky every time someone asked me what it takes to make it in the world of voiceover, I could retire! So now, finally, I'm going to sum up a dozen top skills that are fundamental to a successful career in voice acting. And amazingly, they all start with the letter "C"!
1) Clarity
A voice actor's articulation has got to be impeccable. Each word needs to be distinctly understood, not swallowed, mumbled or garbled. An actor needs to make sure that they're balancing their enunciation between over-articulation and under-articulation. We don't want to over- enunciate, or we won't sound conversational--we'll sound like pompous asses. We certainly don't want to under-enunciate, or we'll sound stupid or lazy or both. We always need to perform in the "Goldilocks" area of vocal clarity. Employers are always listening for narrators who can speak clearly, without overdoing it or underdoing it. It has to be just right.
2) Cleanliness
This only partly means you have to shower before a session. Cleanliness refers to mouth noise, and if you have a lot of it, you may have a difficult time getting work in voiceover. Some people are blessed with minimal mouth noise--they've just inherited a genetic gift that makes saliva a non-issue. But most narrators have some level of mouth noise: those glottal stops, clicks and smacking sounds -- that they mitigate a number of ways: hydrating (otherwise known as drinking a lot of water); using throat sprays, mouthwashes or herbal teas; munching tiny pieces of green apple (in between narration excerpts), chewing gum or sucking on a lozenge. The less time an editor needs to clean up your V-O tracks, the more chance you'll be called back to do another session. Soon.
3) Consistency
In voiceover, consistency is a highly valued skill. If you're consistent in your volume, energy, pacing, articulation, characterization and your eye-brain-mouth coordination, you'll be every director's dream, because you'll be a voice actor they can rely on to deliver what they want every time.
4) Connected
Being connected to what you're reading is vital to your performance and the believability of your interpretation. A professional narrator always sounds like they're intrinsically interested in what they're talking about, regardless of whether they are. I always pose the question: if you're not enthusiastic about what you're talking about, why should the listener be interested in what you have to say? Being connected also means literally being physically connected to the page, with your eyes scanning ahead to make sure you're moving through the copy or text without tripping or stumbling. Voice actors use a numbers of different techniques to stay connected: using their hands to make points or gestures; inflecting when and where appropriate; making facial expressions to convey emotion and using their body to physically interpret action into their voice.
5) Conversational
Being conversational in voiceover isn't as easy as it sounds. It takes an innate ability to lift words off the page effortlessly, as if you're speaking extemporaneously (because you're an expert, right?). It means reading (and speaking) at conversational speed--the typical pace that we speak in everyday conversations. This skill is the result of not over- or under-articulating, and is key to engaging the listener and maintaining their attention.
6) Cold Reading
This skill is a must-have for long-form narration, particularly in the areas of e-Learning modules, instructional CD-Rom narration, and non-fiction audiobooks. If you're a busy voice actor, you don't have time to pre-read dozens or hundreds of pages of text before you take on a project. The ability to cold read text will save you a lot of time in the studio, not to mention a lot of editing time. The ability to scan ahead, to make sense of run-on sentences, and to navigate incorrect punctuation is a skill that comes in very handy. Solid cold reading is the manifestation of excellent eye-brain-mouth coordination, and can be strengthened every day by constant practice. Reading aloud (to your kids, significant other, parent, dog, cat, bird or bunny) will help you become a great cold reader.
7) Chop Chop
Okay, this was my lame "C" phrase for being quick (I could have written "Cwick", but that would've been much lamer). Speaking fast is, in many situations, as essential skill in V-O. It becomes readily apparent in a commercial, where sometimes you're supposed to squeeze 40- seconds of copy into a 30-second time frame (I call this "shoe-horning"). The ability to get through copy rapidly, but not at the expense of clarity, is a crucial skill that, if you haven't mastered, you need to develop.
8) Coordination
I referred to this under consistency and cold reading, and this is the mental muscle memory that develops when your eyes take in the words on the page, make the connections in your brain and come out of your mouth. I call it "eye-brain-mouth coordination," and it's a skill that voice actors develop after voicing thousands of pages of copy or text over a number of years. Some people are better at it than others, sometimes reading thousands of words in multiple pages of copy before making a mistake. Developing strong E-B-M coordination is possible by cold reading copy every day. It's like a musician who practices their scales every day-- they strengthen their muscle memory; or it's like going to the gym every day to build up your muscles and your stamina. Great E-B-M coordination is the hallmark of a professional voice actor.
9) Characterization
Any kind of voice acting that requires characterization requires acting, and actors understand what goes into giving a solid performance. Many of the skills I mentioned--consistency, conversationality, being connected--in addition to the acting skills of believability, authenticity, emotionality and interpretation--are immensely important in telling a compelling story. The ability to perform solid characters is another arrow in your quiver of voice acting skills.
10) Convincing
I've heard it said, "Always sound like you know what you're talking about, even if you don't." This could be the mantra for narration. No matter what subject you're talking about, the ability to sound convincing encompasses skills of coherent explanation, a measured, neutral (or sometimes friendly) tone, an appropriate amount of conversationality and energy, and an authoritativeness that's believable and approachable. The most convincing narrators are those who, in Penny Abshire's term, "tell, don't sell."
11) Control
Successful voice actors are always in control--of their voice, that is. They can control their pitch, their volume and their breath. They control their pitch by understanding intonation--realizing that there are many musical applications to the spoken word. They control their volume by understanding that volume, for the most part, has to be consistent--it's their intensity that varies throughout a read. And they maintain excellent breath control by constantly replenishing the amount of air they need in order to get through words and phrases competently. And they put all of these skills to use when they need to do any pickup phrases or insertions, so they can match what they've recorded before.
12) Confidence
The best thing you can bring to any V-O session is confidence--true confidence, not a false sense of bravado. Confidence comes from being prepared; understanding the subject, and anticipating the dynamics of the studio session between the actor, director and engineer (and many times, the presence of the client, either in person or on the phone); You can hear confidence in an actor's voice--in their phrasing, presence, and overall performance. Confidence gives you stamina and believability, and makes it easier to work with a director, who may sometimes be giving you a lot of conflicting direction. Confidence also gives you patience, which can really come in handy in many a recording session. I can add three additional "C's" under the heading of confidence: being calm, cool and collected.
There are so many more skills that we bring to a session that makes for a successful performance, and so many more attributes that you need to make it in the world of voiceover. But if we can infuse these skills into every V-O session, then you'll be well on your way to a satisfying and lucrative career. And fun!
Friday, July 16, 2010
Comic books a great tool for character actor scripts!
When I was a kid, I loved book-and-records; especially those Power Records releases that included a comic book, with a fully produced drama. Music, sound effects, and voice actors told the stories of Spiderman, Superman, and other childhood heroes.
My favorite of these was an adaptation of Planet of the Apes. I had the whole thing memorized.
My dad loves to tell the story of our long car rides and how I would keep myself entertained in the back-seat by re-enacting the entire Planet of the Apes script-sound effects and all! This was pre-in car DVD, pre-iPod. We kids had to have a little more ingenuity in those days! Looking back, this was my first experience as a voice-actor.
I still enjoy reading comic books, and it was brought to my attention by one of my coaches, Bob Bergen, that comics are a great source of scripts for voice-actors to practice developing characters with. Everything you need is right there on the multi-panel, 4 color page: Heroes! Villains! Action! Drama! Plenty of dialogue, and lots of illustrations to show you what the characters look like, and how they’re behaving.
In fact, when I’m voicing Hammy from Over the Hedge-or Dilbert and his Boss-I’m reading my lines directly from the comic-strips. What’s the point in transcribing a script when you’ve got these beautiful, informative storyboards to work from?
If you want to give it a try, but you don’t know where to begin, I’ve taken the liberty of including some FREE comic book resources in this article. How cool is that? You don’t even have to leave the house or buy anything to get started!
Fans of daily newspaper comic-strips can find plenty of favorites here:
http://comics.com/
A couple of years ago DC comics published a weekly series starring just about everybody in their fictional universe, but especially the lesser known ‘fringe’ characters. It was called “52” and you can sample pages of that epic storyline here: http://www.ugo.com/channels/comics/features/52pickup/default.asp
Not into capes? How about the gentle humor of Archie Andrews and the gang from Riverdale High School? Archie Digital is a paid subscription site, but they offer a few free preview issues.
http://www.archiedigital.com/sign-up/
Fancy yourself a Vampire Slayer? Check out free issues of Buffy. http://www.bbc.co.uk/cult/buffy/ecomics/
Vertigo is an adult comic book…er, sorry…”graphic novel” brand. Great stuff! But definitely not appropriate for all audiences. A few free pages of several titles can be downloaded as .pdf’s here: http://www.dccomics.com/vertigo/graphic_novels/ Again, not kid stuff!
You can find many more resources by Googling ‘free comic book pdf.’
Practice accents with the characters. Age them. Play them over-the-top! Play them real. And if you are a producer as well, record the dialogue and add music and sound effects. Maybe you'll create something you can use on your demo! I'm no lawyer (check with one if you're concerned), but I believe using the material in this way is okay. You’re not selling anything (but your talent); and it’s purely for demonstration purposes. That said, I would change the names of familiar characters because people already know what characters like Batman and the Joker sound like, and if you don’t nail it-you could lose out on a similar gig. Best to use these magazines to create your own unique heroes and villains.
Have fun!
What Makes A Great Voiceover Talent - Not Just A Great Voice
"Saying a great voice talent need only a great voice is like saying a great batter need only a great bat".
I've often heard it said that to be a great voiceover artist, one needs only a terrific voice. While having a great voice is certainly important, taken in isolation it is completely meaningless. Saying a great voiceover artist needs only a great voice is like saying a great batter need only a great bat. Of course it takes far more than a great bat to knock balls out of the park. It takes awesome power, timing, control, breathing, and eye-hand coordination among other attributes. Voiceover is not much different. First and foremost, according to Los Angeles-based voice coach Rodney Saulsberry, it takes a great ability to intrepret copy along with excellent ear-voice coordination - an ability to listen to direction from outside the booth and then make changes, often subtle, in inflection, pauses, speed, microphone orientation, stance, and more. A great voiceover talent has a great voice but also can nail just the right interpretation of the copy to satisfy the client. A great voice talent becomes a "human mixing station" in the studio, according to Nancy Wolfson, a Los Angeles-based voice coach and former Playboy casting director. Someone who can belt out the most melifluously-pleasing words is of no value if he cannot take direction and quickly respond with desired stylistic adjustments. A great voiceover artist must be able to listen intently to those outside the booth for navigation and then set the vocal compass for the client's desired destination. Not to minimize the value of having a great voice. It's certainly a plus as voice acting goes, but a great voiceover artist must have a great ear for listening and the flexibility and range to adjust.
Sunday, June 20, 2010
Improve Social Marketing With Custom Audio and Voice Overs
How is it that you can have a photo, an about me paragraph, and hundreds of virtual friends but still miss the boat?
One thing probably nobody has told you about social marketing and social networking (that is, up until now) is that you can’t just have a visual presence online and expect to be the beneficiary of overwhelming success because of some strategically placed keywords and an enviable list of hobbies.
What you do need, however, is a way to talk to people naturally to give them a taste of who you are and what you sound like. People enjoy hearing the voices of other people, particularly if that person is of interest to them or has something to of value to offer.
Sounds good, you say, but how can you get down with the crowd when marketing to them without sounding salesy?
Custom Audio & Social Marketing
One way is to record an audio message of yourself talking, perhaps even go as far as making a podcast, and post it on your social networking sites. Places like Facebook and MySpace give you the opportunity to share audio on your profile for others in your circle of acquaintance to listen to.
Listening to someone talk can be very reassuring, and for those being listened to, has the potential to be very profitable.
This marketing technique, when blended with public relations, can be extremely effective. Using an audio recording as part of your approach to deliver a genuine message to spur on your company, product or service opens the door to a greater sense of community and shows that you’re reaching out and want to be part of the action.
What better way is there to build trust, virtually connect with others and develop a following online than to make yourself accessible using your voice, the most powerful tool in your arsenal?
You don’t have worry about too much in the technology department to provide an authentic sample of your personality when recording. You can easily make a no-frills MP3 recording on your own using free audio recording software, but if you want to kick it up a notch, I suggest spicing it up a bit with some music, sound effects and even the help of a professional voice actor.
Voice Overs & Social Marketing
To really give them a treat, you might consider working with an internet voice talent on the recordings, perhaps even using their voice to brand your company.
Now, if you are intimidated by audio recording, production or editing (maybe all of the above), it’s a no-brainer to go with someone who can look after all of it for you while adding significant value and letting you shine.
Your voice is a very important aspect of who you are, and when you’re in the trenches of online marketing and staking your ground in the vast landscape of social networking, it may be one of the only things that sets you apart from competitors in the same field.
This is of particular importance if you happen to be the voice or personality at your company that is known to your customers and the public.
Saturday, December 26, 2009
How Is Voice Talent Applied To Business?
How Is Voice Talent Applied To Business?
By: Ravok Corporation
There are lots and lots of voice overs that we all hear each and every day. They are saturate the media with the messages that make our modern world turn.
A voice-over artist is an actor or actress who lends his or her voice in order to give personality to an animated character or to be utilized in an advertisement to name a few. The voice over can be presented live and in person or by a specialist voice actor someone who the crowd will not see. There are many different ways to use a voice over. These can be used in building character, creative influences in TV, education, or in advertising and marketing.
One of the most common ways to use vocalization is in TV and movies. For instance, cartoon characters (like the kids from the show ‘South Park’) are animated. They require voice talent in order to give them personalities and to make the show work. There are times where well known actors are used as the voice artists, such as Mike Myers and Cameron Diaz, who played key rolls in the ‘Shrek’ movies, or, it is a specialized voice actor, not a screen-actor who portrays the characters. Obviously, using an actor’s voice is critical to building the animated character and making them seem believeable.
In other instances, there are no cartoon characters, but the need for off screen narration is still there. A voice-over can be used to create an ironic counterpoint, or to make a statement in the movie. This is the creative device. It can be a member of the cast narrating, or miss-matched voices narrating and the speaking does not match the characters on screen. This creates a sense of imbalance and lends to the films’ inventiveness, such as the film ‘Fear and Loathing in Las Vegas’, wherein this technique is applied.
Moving away from film usage, voice-overs can also be used for educational or descriptive purposes. Our television news is broadcast with video clips and commentary by the reporters, who are describing and explaining the significance of the
clips being shown. Sports broadcasts also have spoken observations, especially when cast over the radio. There are also narrations that are used as a critique by a historian or critic, possibly even directors about when a new movie or DVD will be released.
Sometimes, instead of just commentary or news programs, voices are also used for advertising and marketing applications. We do not see the artist that is narrating the advertisement, but we hear it on televison, radio, in stores and the mall, to name a few places. Voice-overs were primarily used on radio, but since the development of the TV, this practice has crossed over into television as well.
Some well known and iconic voice-over artists are Hank Azaria, Nancy Cartwright, Hal Douglas, & James Earl Jones. These artists and the utilization of their articulation talents are very useful in many different facets of our daily lives. It is not just for show business. It can be used creatively and commercially, and almost all people come into contact with it daily.
Author Resource:-> Terry Daniel Provides High-Quality Voice Over Talent for Every Kind of Media. Visit His Website for a Demonstration of His Voice Over
Services at: http://AmazingVoiceTalent.com
Article From ArticleFame.com
Saturday, November 07, 2009
Bentley College - Personal Branding Keynote
Personal Branding 101 - You Inc
I am a personal brand
Wednesday, November 04, 2009
Can You Do Something Unique With Your Voice? Get Paid For Voice Over Gigs!
Increase Sales And Emotion With A Professional Voice Over Talent
A fine voice over talent can give you a warm, friendly read that not only entices prospects to take an interest in you, but effectively urges them to buy. A good voice can accentuate just the right words, stress the right phrases, and literally create an emotion in the listener.
In the past, many producers both large and small avoided working with top voice over talents because (1) they were hard to contact, (2) took weeks to finish the job, and (3) were very expensive. The usual method was to contact an advertising or talent agency who set up a session with the voice over talent. Not only could this take days, weeks, or even months for some top talents — the fee could range from several hundred to thousands of dollars and more.
Today the old system in still in place, but other top voice over artists are making the experience MUCH easier, quicker, and affordable. As a busy voice over talent, I offer voice services from my web site and often have the client’s job finished in as little as one hour. Fees are low enough for even the solo web site owner to afford a professional voice for their site’s greeting or flash presentation.
Here are a few things to look for in a voice over talent:
(1) The voice should be friendly and personable. A warm, friendly voice immediately creates a warm feeling for most people. That warm feeling can quickly translate into sales, sign-ups, and higher customer satisfaction.
(2) You don’t need a “voice of god. ” That’s the term a lot of people in the media industry use for those super deep voiced announcers you hear at the movies and sometimes on the radio. Studies show customers and prospects are more likely to connect with a voice that sounds more like a regular person.
(3) But unlike an everyday person, professional voices know how to accentuate a word, stress a phrase, and create a mental image for the listener. This ability is probably the number one thing you should look for. Listen closely how the talent reads a script. Is the reading flat or are they bringing the script to life?
(4) Don’t blow your budget on an overly expensive voice over talent. Getting the agency’s top voice may be impressive to your friends, but saving the money and using a high quality but affordable voice over artist will give you as good or better results. You can use the money you save to enhance other aspects of your project, giving you a better shot at success.
Finally, keep in mind most people act on their feelings, not necessarily their logic. Nothing stimulates emotions like a good voice. Using a professional voice over talent makes a lot of sense.
Auditions for voice actors in the new era – the best way to ensure more bookings.
Many of these boys and girls are filtered through the costs of doing business, and many attempts to discourage the hiring of a few, and even stay on the sidelines. What is a good thing for all of us who choose to stay in the game every day and continue to deal with rejection and other headaches that come with business. What we leave behind is the chaff that have moved from greener pastures. The producer still lined with shelves of demos and CDs.
I have been a lot of agencies and it is almost ridiculous what some people send agents to try to attract businesses. All we have to do is watch the new season of American Idol to see how people spent half of my heart to reach the main companies of alloys. This time, we are all guilty of it. I noticed some time ago that I myself had been "a bit 'lazy' is the experimental process. 10 years, you tend to develop a routine where you have all the same. I came back and took a good look at how I was physically located at the time of the test line. I was there for the mixing console in the studio, I usually use a microphone in front of coaching, Talk Back, ISDN, and Booth, the recording sessions. Mic stand, when the show was set at the bottom, I collapsed in my chair, leaning a bit 'on the right, and do nothing but grumble my way through the test. Then a little concern ', I have some basic things to change the file and send it on. I no longer had time to set the right amount of effort for the test. I was still doing a good job. The question is: should I have done a good job I could. The answer is no. I could certainly do much better. I started to reorganize the MIC so I had to resist using it. No longer sit here and shoot off like it does not matter. I stand by all the other productions that I do, why not put as much effort to test? It is quite easy to answer. . . Hearing is a laborious and tedious. The only thing that makes it tolerable is thought that perhaps something a lot of ground. And your spirit will always be more to do.
Hearing is also one of the things we need to do to get a job, so then, when it comes to remove the garbage. If we do that no one – and until you are watching, we are able to submit the post for a while '. What happens when it is sitting there again? It starts to smell. In much the same way as they do the test, when we begin to see that it works, or something, "which is below us, as we have done this long enough, and we know what we're doing.
What a bad attitude. Each test is a new opportunity to go back. We get up, sit straight, (or in my case, standing) and go after new jobs some of the major real taste. I had some experience in the studio last month, if one can say that the talent not only care, or the idea of work is beneath them for some reason. So why even bother to apply? If you're not going to give your all, because even the time? Hearings were mixed with some of these young talents, who are trying too hard to sound cool.
You can hear every aspect of audio to be sent. Straining and pushing it sound like God knows what. First of all, they sound like no one is working, but himself. But compared with the experienced talent that "plays" their bed, two demos sound strikingly familiar to each other. How do you ask? They were not just right. Observations I have about 100, almost half of them hit the round file (trash), because the sound quality alone. If you send Spam that in trying to get that concert, I would have nightmares about what the deal, if I had the sound they produce in their study? The other 60% or thereabouts, some nail it. Plain old nail it. They have been read, have made their voice, and they got the interpretation. Made it difficult to decide who to ask.
Then it was Shatners is the stack – it is a self-deprecating Shatner'm talking about. They just pushed too hard, or tried to do something that was completely out of their range and experience. Hearings will never be "experimental." This time it was just a little thing that can go unnoticed if no one else can choose, but in this case did not have other talents that have hit the nail on the head. At times, it was surprising that some of the best talent has decided to set their own words of the script, because I do not like the way it is written, then there was the English professor, who took it upon themselves to correct us as we had to sign copy. Not that he really had the time to read, beginning to say, "Oh, and how the ______ does not actually use the word" or "this part of the script really needs some 'work." ; Absolute no-nos. I do not care who you are. . Words on the page with the words you want to hear. You never, ever taken, if you plan to go out of contempt for the people who wrote the screenplay. At least we have a tendency to take you. This does not mean that if someone was up to dial the phone and starts with "I'm worried about the copy." He walked away from us never to hear again.
At least if the producer or the customer may be willing to listen. Sometimes the talent comes out really good stuff, and get thanked for that. But not those who think they can stay on top of a mountain as a kind of Shakespeare and the authority to dictate to customers and producers of what is and is properly Got Another Thing Coming. Hopefully, by the way in which people there are too many. . Needless to say, the demo ended with a round file.
Then there are those who made you laugh. Again, think of American Idol. . . Auditions after Mom in the kitchen of his laptop computer microphone $ 5, and little Johnny to ride his Big Wheel across the linoleum floor and little Jenny is Johnny crying in the background. In the midst of his reading, the mother turns around and shoosh her children, "Can you all calm, the mother is trying to do something .." I'm not kidding, he actually left that part of the experiment.
This would be a chaff "" I mentioned earlier. Only those who have no business even trying, but I am still trying, though. There have been some of these tests. Have been remarkable! And 'the only time I've been a customer of material around the tears in my studio floor, and if you have been in the studio, you know, it is not enough space to roll. (A quick note to all those who made their own demos and Studio last month: This article was not someone who works in the background. It refers to nothing to do with the demos submitted by people actually listen to the work we have done. I just wanted to say thank you .. you know)
I try to make the point is this: There are a lot of competition in voice work there. Some of the best talents of the world subjected to the work for the rest of us. And to make the worst. We must find a way to ensure that there are like them, while we are trying to become the best you can be. Old and new talents are guilty of not putting its best foot for the future in context. E 'in these cases, a good VO bad sound, and in turn makes the VO Bad sound better, or at least not as bad as the worst. Only then can we combat the natural tendency to grow is pleased to move up, how we do things.
Also understand that the only people who survive in this area are those willing to scratch and claw their way up. I'm really hungry, who refuse to accept any answer, are the ones who are going much longer than the denial. The rejection is only part of the game. Voice over quality. And 'what works for themselves. The only difference is in the market today is very rarely the target group a vocal talent. When you had to go into the studio all the time working in the business world has always been a kind of audience. Although it was only a producer and engineer. New York City, almost every test procedure is the audience. This is a trend of beauty that I mentioned at the beginning, slowly but surely, the need to give the house a test is death. I doubt it never disappears completely. Large companies are not known for leaving the natural talent to manage their own projects studies for large advertisers. Again, if the study is quite good, and your reputation is such that the producer has to rely on a product that is intended to offer, you will notice a nice little 'Do it yourself "type productions are possible.
So I can not emphasize enough the need to CRAM for your skills test, and make sure that the product you are sending to customers is the best.
Take a look around, if there are ways to improve our products. You spent a lot of time sitting the test? Well, then get up. You made a series of rapid change, you go up? Then start to spend some 'time to them, or try to read the manuscript three times each, and choose the best platform. Maybe you do not know what is best. . Drop Study note, say the difference.
The family can be a big problem. Except that they are noisy, but you can feel comfortable reading aloud with their earshot. A lot of times the family can be a real murderess. If you do not fully understand the exercise, which are susceptible to bug on it, or give you a hard to make fun of you or ridicule, or to read the tone you were trying to do. They do not realize about you. It 'the same diet. If you start to lose some weight 'and go for the operation of the family in the same breath of the family used to congratulate you on achieving, they say, the words "This is a piece of cake." Or, " ; Anyone for pizza? I heard some people compare to a family member is unconsciously jealous of you, and do things to derail or sabotage your work. Without this change in Dr. Phil episode, I turn to you or a family, just know this:
Why, family members or people at home must be used in a vacuum, or decide to re-tile the kitchen after 2 minutes to sit and read. I'm just going to do it and do it again and again. Until understand. You need to sit down and talk with them. You get your point across, though, that you try to do one of the most difficult, most of the United Nations natural things in the world, and you try to live it. You need to understand how these interruptions, or indifference to what you're trying to make it impossible for you to do so. Once understood, with a little 'practice and a few reminders, most of the family members begin to get a little' more understanding, and even become your biggest supporters.
If you still obstructionists when you tried to talk to them, so I think that gives something to the interest of all jealousy. If you find that having the family of the house makes it difficult to really what you're doing, you're not alone. What disturbs me. Therefore, most private place you can find the best. If there is no privacy, and we are afraid that someone might hear, just to get over it. This is an artistic performance, and the actor has never really known for his acting shower. You have to learn this stuff off the belt, although some might be time to listen.
Although we are a theme of family: Have you started reading the scripts, and Johnny and Jenny to pretend to be a WWF cage match in the background? If so, use the demons of the book to read, providing them with the other side of the house, or something like that. Oh. . One more thing. . Please turn off the baby monitor if you maintain a "Studio". We had a couple of these too. Do not believe some of the stuff people send. . . American Idol again.
Take a look at your environment in the studio. Something that makes noise is a sensitive place your ears when you send it. People who are listening to your work in general session of less than four meters from the dollar $ 1000 monitors (speakers to all of you American Idol and WWF fans) and you can hear the nails grow. Sound insulation is a good hobby to study, or at least get some information, if you want to extract more work.
Seriously review the audio chain. What is (or not) the signal path? Have the more modest and still life, or have any known device man linked to the microphone. The equipment rack towers burning behind his study and postpone ton of heat and noise. Locate them in another room, or better yet remove and put them on eBay. Most of the time, producers are looking for a good voice, clean and dry. No effect, no processing, no nothing. Now I know, "Of Radio ', it is clear that, and you have a valid point. Many producers are looking for images for rent sounds produced entirely in sound, and you have what it takes to do your job. Many of the talents to produce their own sound, which in turn will not make them good providers. Production capacities are learned, either the pilot or the hard way (to try to obtain directly from them).
Beware the views of fans and the world. Although they have many advantages when it comes to true fidelity of the music, which apply to commercial display, a lot of sound that produces the settings for $ 20,000 U.S. dollars is driven by a $ 2 Chinese speakers did. Knowing the difference is the real trick. Which brings me to one of the ways you can polish the product. Know the half, he left. If you are employed and produces voice to read the pages, there is not much in creating a better fit Masterwork THX and Skywalker Sound. The file does not play the movie theater, someone will come out from computer speakers at work. I saw people healthy Rumble pathetic little speakers off the desktop first. . Not need it.
I met a couple of SP who want to think for himself (and the right amount of time) because of "audiophile". Some of them are not so far in the past. They were people of great talent in the production of very good ears. Unfortunately, only the shadow of their own powers, arrogance, what might be considered a good "sound-voice". Many of them paint a little 'esoteric corners of production only if they are doing is a Boss Jock has a litter of AM and FM dial. Sure, it's a good job, though never enough. But it makes you a voice talent? Maybe. . But what a voice talent? That is a trick pony, and almost any good? More than likely.
I'm sorry the news to you, not the voice imaging radio. E 'part of it. But it is a bargain. E 'on the radio. The possibility of saying 'Hit Music all the best of Barbados "is not the same thing as a 2-drive now, with the narration and The History Channel, the U. S. Army, A & E or Discovery. Producers who work with those companies who focus is clear that "Radio" or "voice" announcer and the last time I checked, imaging costs about $ 150 dollars a sheet, even though the narration and the talents Top commercial shelf can make $ 750 $ 1500 10 seconds of their entry. Or you want to grow up to be? Auditions posted daily for direction, not as "Please not present" and "seeking Guy radio, but a real person."
This shows that many people do not like the "Guys Radio" real people. If you have already worked in radio, which I did for four years, we know that in many cases it is the truth. Many will remember the radio than any other people. Perhaps some part of the body of a person, but not people. OK, I'll stop Editorial. Wait a minute, that's my opinion. I do not own it. That's why I do what I like. How are the views, such as the Radio Boys Everybody's got one.
The trick is landing more gigs in your ability to satisfy the masses. Let the weaker companies in the world to get a similar experiment, the guys are great. They provide not only a lame duck because that guy has a small customer. Give him the same product you try to give Pepsi or McDonald's and leave the bad experience of poor people in PA. We try our best that there is every chance you get. If you need advice or do not know if you make a right. I am always ready to discuss.
Look at the time of the day the hearings and see if there is something capable of doing so in the past. You can test first thing in the morning, four hours to get up. It is high time that the head is clear, your voice is most rested and very little else in the world over. If you work at night, or just for a test during the night, try a nice hot tea, you sit (or stand) to read. Do not do it as a strong black tea, try something a little 'lighter, such as green tea. If you only test at mid-day, be sure to remove all the remaining Big Mac explanations of his throat, drink hot green tea, and try not to demand payment of the first days of your voice. If anyone's list right elixir and throat, please share here. I'll post to my site.
When I was on the radio, I'm working on a change of Split, which was the door at 3:30 and not return until 10:30. Then I had to turn around and leave at 1:30 and not return home until 8:30 at night. I was always tired, I had a test, and overall I felt like I was losing touch with VO biz. . Solution: Leave the radio. . This is what I did. I never looked back.
The radio is not what it is. I do not think ever the same, because the spoliation and Janet Jackson. Howard Stern is no longer, no more freedom to rattle off the mouth for as long as you are not a curse. These are all dying, only a small part of what it was before. I have also been encouraged to abandon ship when I received a letter in their own companies (large-scale corporate Big), said that Congress and / or Congress Jr. (FCC) had passed "Emergency Bill", which actually said that if I were a little 'ol' me, as much as anything deemed inappropriate given that I could be fined $ 14,000, or some insane amount of money. The company I worked for made it clear that the letter would soon launch a line in front of me, if such a situation occurred. That's all I needed. I do not even clean my pod, I'm just sharing. I left on the wall posters and pictures of my family console. . I was away. . I do not need it so bad, and the radio was not what he came for the radio. I had the radio to get the job longer free.
I set a big mistake, because there was a lot of benefit from the work of moving air for some time. Get in touch with a lot of different techniques and you can spend a lot of time learning the MIC and it is really beautiful. After a while ', should be a friend, you can conserve, protect and speak. . . . Ok. . This is starting to weird. . What I'm trying to say that there was nothing wrong with experience. It 'just that, very rarely has the experience to apply to work freelance radio voice when it comes to getting something. Yes, you will have the opportunity to express their material to the local dealer or the hairdresser arrives. These opportunities are only because post. Leave the station and see if any of these customers will call you when they are no longer linked to it.
These are kids who were in the station in my town for over twenty years, and I think I heard them, maybe 20 points each. And that is generous. I am sure there are many people are gearing up to enforce their days in radio career started SP. Allow me to save a minute. . Save. Keep it for you. The last thing I or anyone else will benefit from is someone to come, which should be dusty and their stories of success. If you are a work of talent and you think you owe it to the radio, good for you. . Your anecdotes are welcome, if it is obvious that someone may benefit.
So you can say, "Hey Mike, you have quite a difficult radio guys do not ya?" Well, yes. . . I am. Just as your parents were told not to touch the stove or play in matches was dangerous, I tried to keep thinking every SP that radio is a quest to become a boy name. Since it is not. Let me clear delineation. If you want to be a radio, going to send to school. Praise of Connecticut schools of broadcasting, as it is when I did, and when I graduated, I sent 2 emails and had to rent 45 minutes to send them away. If you want to be a voice in the boy or girl, do not go on the radio. Do not sign to send to school, and another thing. . . No radio. . These are two different entities and should be treated as such. If you do not log on to send to school, you can spend as much as you try to enter the voice over. In this case, both are the same thing. That point forward, each of them take the streets completely different.
So you might say, "Hey, Mike, (if you do not already called me a few things now), do not think you are alienating people who are in radio, and reduces the incentive to learn more about voice over?" ; I had to get this.
If you have a radio, and you think you want to get SP as a freelance, do not despair just for me. I'm sure that at some point someone said, 'Hey, you have a beautiful voice, you have the radio. 'What did you say, when slid closer to the little lady and ordered a drink, "Why yes, I would .. and I .. "This case is a boy radio. Voice over talent would have said "Thanks, I'm glad you noticed. I made a sound business four years. "You may have heard of me, Betty Flower Shop commercial that ran last month, cable channel 26. "(It is expected that 10,000 years.) to which he nods" Yes "and then proceeds to tell him about every other job he has done, he nods Uh-huh. Then you go from machine to obtain a copy of the demo tape. When he gets back on the other hand on him and ask if the company is working to recruit voice talent, is sitting hunched in his Bar Stool, I looked at, because SIPS who buy his drink? Radio Guy.
I admit, this story is a decoration at all, but not too far from it, as desperate young vocal talent can play in situations where an advantage again. And 'even in the same way aspiring radio guy or girl can work if you wanted to get on the radio and they have just met someone who worked at the local station. It does not matter even if all the boy did not wash the floors, the idea would cross their minds. The feeling is the same, the desire for success and feelings of both is the same, even if you must take to do either are completely different. The radio is very much "to learn than to go to." You get a check, you will learn the ropes, even if it is a very fine control, you pay when you learn.
When you start trying to express the work, you pay as you learn. You can pay a lot. . . and you can pay much more than one way. After a few hours on the Internet, should demonstrate that there is no shortage of people out of their hands, offering to help for free. I am one of them. You are best advised to carefully stage, when it comes to imposing anything on any of these hands. Who want to work, or are desperate to make a voice a lot when they are hungry. There are a lot of people, "Internet-land", as well as everything else, waiting to take the right path that desperate. Makes a lot of hungry people, if they consider bringing food, or the one who can satisfy the palette of this stuff. Lots of gifts will take place along the road, and woe. Their fault or the fault of people offered to help them? Most often, human nature, when they are not to blame others around them. It takes very little sign someone to turn inwards and the goal of seeing how they could contribute their own death. In the case of who is to blame for the vocal talent does not exist, is a mixture of both teachers and students is a lot of levels.
What students must do in any case is to keep their end of negotiations with the practice and follow the instructions. When a coach on the other hand seems to be what they have failed. The line is to sit and wonder why he never took a first student. Excuse me while I "Star break Warsian" here, but Obi-Wan tried to teach Anakin the power of their own, without guidance, and Yoda. Makes his students and Anakin turned to the dark side. Although Obi-Wan and Anakin, still in the final analysis, I think Obi-Wan at the end of the movie and I thought it was a good man. This is a place, now back to reality.
VoiceOver Yoda and the force is not the only force that you want the person who took the money, when you find you do not get any work and you stink. When a coach does for you, or anyone you give money to you, not the real world, you're not going to like him, and you're really not thinking that it's a good man. In most cases, is a student who declares himself that the person has failed, because they have managed the project. What does the fact that the student does not understand that many times took a few precautions at the time of delivery of money to someone who stood for "voice talent."
Many times I had to appear on the eve of talent, you want me to do for them, you want me to do the vocal talent. I will try my greatest during the assessment to scare away. I tell them how difficult it is. I tell them how expensive it becomes. I tell them how long it lasts. I tell them that even if education does not guarantee getting hired. They also told of talent, that probably will never be able to work in the commercial market, and makes only the phone and cable locations at the end of his life. And still wanted to continue. They throw their money on the table and say, 'OK, you think you can make me a boy voice? "No matter how I tried, I just do not understand. It is at this stage, no coach should ever take a student. Why are doomed to failure, and on top of a bus and spend the rest of their lives to do is say bad things about them. You can not do this activity. You have to do yourself.
Young talent, whether from a radio or Radio Shack, the most advisable to search for and collect any information that can be patient and not jump into something at once. Decisions that make a more stable base of information you can gather, after an exhausting search. Every talent, who never walked in my office with the stars in their eyes were heard to say the same things you see here.
Many people have made this type of advice. I made a lot of information for people at no cost, for two reasons: 1 so that every SP have more arrows in their quiver as they come out to learn to look for the "Voodoo What we are doing so well." (Thanks to Harvey Korman and Mel Brooks) 2 Therefore, considering that someone will pay the studio or demo producer piece of money to think about my study and provides information and decide for themselves who you can trust.
Look around. . Caveat emptor. . Go with your gut in everything you do. . I hope you'll come to your conclusions. I just hope they are correct. Is in doubt – ask. I have been honest here. Are just more private.
Incidentally, when I was writing this experiment came from the large national advertisers. By the time I had received, 70 a part of the experimental work already. E 'was certainly one of those where you say "Ahh, there's then get this. Look at how many people have posted about this. "Those who do not cross my mind. Almost eliminated and moved. But I went ahead and did the same. The next day he contacted me and said that there are some people who "kind of got it, but I took a spot. I got the concert, recorded on site and was paid twice my share of talent, because I worked in their study, and were so pleased with the result. I found a week later, the guests were blown away to read. I'm not here in Tooting your own Horn. This really happened. There is also my website www. michaelminetree. com in different readings. This is the first. Only shows what little faith the practical skills and work to do to you this business. It 'a great year for everyone. I'll see you on the air.
Overview of the Voice Over Industry
Similar to the ecosystem is the natural order of things and relationships that are different, many of which are symbiotic, or mutually beneficial to the related parties.
Take for example people and trees.
Trees produce oxygen that we breathe. When we breathe, breathing, or leave our bodies, carbon dioxide, produced a result. After our exhalations, the trees, then we need to breathe CO2, which is their source of air, and the spiral continues, then, instinctively produce more oxygen rich, out of breath we breathe. Then we breathe carbon dioxide, and the wood is fed. . . you get the picture.
Like many of the natural relationships within the voice over are complementary, and there is very little self-serving relationships. For those who do not, are a necessary part of the voice over ecosystem, and without them it would not be in equilibrium.
This is just nature.
We see the tasks we will be profiling this week, a brief overview of each, starting from the bottom of 'ecosystem.
Voice Actors
Voice acting is a producer of creative work that voice is recorded and used for various purposes, including commercials for radio, television, phone, podcasts, video games and much more. Voiced to use the natural gifts, especially in the management of his voice and the fact that infuse life into the written word. Voice acting is the creator of voice overs and audio voice is part of the application of media commissioned by a client. Voice actors are also known as voice talent, audio transfers, voice over artists, VO, VA, narrators, presenters, speakers, and so on.
Voice Over Coaches and Advisors
Voice over coach or teacher is a person who is either a teacher of voice, voice acting, or have a long experience as a professional voice actor. These people are trained to educate, and often the beginning of the voice actors or voice actors who want to enrich and expand the voice over talents through private lessons and seminars. The voice is over the cars have less voice actors and their profession is often associated with the theory of publish or perish. Voice over the nature of the machine is to teach, but this person may also perform or printed (Pick) against other projects.
Audio engineers and producers
The engineer is a person who is highly specialized in the production of audio, such as recording, editing, mixing and mastering. As the engineer, this person is usually employed by larger recording studio or can also be a freelance writer who works independently, using their studio. There are schools where people can be trained to acquire skills in technical aspects of voice over business. For voice actors who do not understand the technology, so wise, sound engineers and record producers have relied heavily, so that they produce voice over demo, or save to send to customers willing to work.
Voice Over Agents and Agencies entertainment
Voice over agent is a person who promotes and represents the voice actress, to make their voice at work as consideration when the work, a suitable voice actor will be available. He may be independent or part of the talent agency, which works the same way as the talent agency or company that employs several people for authors to build a brand and manage a wide range of skills, not just actors voice. Agents usually represent voice actors who are either union or non-EU agreement, according to the agent, and if they are linked to the Union. Staff to continue work buying their customers a voice, usually 10% – 15% range of their services, this would be on top of what the voice actor does or taken directly from the profit. Fee Finder is a term that applies to some agents and agencies.
Casting Directors
Casting director, in particular, the voice casting director, is a person who is taking the better ear for a particular job. It includes casting director "throwing" the right person the importance of the customer, which is usually of little interest, ability, or lack of confidence "to choose" the right voice to represent their company, project or brand. Casting director wants to get the best possible performance of talent auditions. And 'their objective, namely, calling the actor to worry, because they have to evaluate all options against the best to choose the item most appropriate support for their client or project. Casting directors will charge the customer for their time and expertise.
Professional Organizations
The Union is a government body that regulates the terms for their clients. Trade unions may act on behalf of their clients, if the agreements were violated. Voiced to pay union dues or fees are linked to the Union, in particular, in order to obtain the services, benefits or opportunities to an exclusive Union. While some unions have an open door policy, anyone can subscribe to the extent that they meet the requirements of membership, there are other unions, which are "by invitation only, or other criteria. It is part of the European Union 'is not mandatory, and there are more voice actors in the world as it is unionized voice actors.
Voice Over Marketplaces
Voice over market is a place, usually a network in which actors voice can feature their voices and experiences of job opportunities to acquire voice over work. Since the term "market" means, portals that perform this task to connect buyers and sellers of that article, buyers and sellers of voice over services. Voice over marketplaces serve both the buyer and the seller, and in some cases, facilitate communication and / or activities. As the market combines voice over talent and jobs is an essential part of any voice actors marketing efforts as well as the most convenient and efficient source of our clients to find voice actors and purchase of services.
Customers who purchase voice over
Customers who purchase voice over services can be of any sector, country, and speak different languages. The need for sound production in general and the need to transfer voice, global markets and customers, creating strong demand for voice actors who provide high quality voice discs to represent the company, organization or event. Clients hire voice over talent for saving the television, radio, podcasts, video games, audio books, films, animation, telephony, business presentations, and for other purposes.
Monday, November 02, 2009
Sunday, June 28, 2009
VOICEWORX! BASIC VOICE ACTING AND DUBBING WORKSHOP
VOICEWORX! BASIC VOICE ACTING AND DUBBING WORKSHOP
Friday, June 26, 2009
Agent Billy Serow: Show Your Strengths On Demo Right Away
Voice acting in New York City is the specialty of Billy Serow, the gifted talent agent at Abrams Artists. Wednesday, June 24, 2009
VOICE IT OUT - CREATIVOICES FEATURED ON ENTREPRENEUR MAGAZAGINE MAY 2009
VOICE IT OUT
Voice actors make good money making the right noises
By Miguel R. Camus
In the Philippines, a name that has become synonymous with voice-overs is CreatiVoices Productions. It is a four-year old company cofounded by Pocholo “Voicemaster” Gonzales himself, a long time voice actor.
Doing voice-overs has grown into a lucrative part-time industry due to the continuing expansion of the electronic media. “Before, voice acting was just for radio,” says Gonzales. “Now there’s also the internet, PodCasts, video games, and cartoons and TV show dubbings.”
The most popular of these voice-over applications, he says, are audio book recordings, animations or TV show dubbings, original content (pre-voice recording), and radio and TV advertisements. Voice-over talents who are paid on a per project basis, can actually earn some P30,000 to P50,000 for doing audio books alone which are mostly textbook translation; about P10,000 to P20,000 for radio and television advertisements; P500 to P1,000 per episode for anime and soap opera dubbings, and up to P30,000 for original content creation.
So how does one get into the Voice-over business?
Gonzales says that voice-over training is a prerequisite no matter how good the aspiring voice talent is, and he emphasizes that doing voice-overs is not just a hobby but an art and a profession. Indeed, this was why Gonzales decided in 2007 to put up the Philippine Center for Voice Acting, the first and only professional voice acting school in the Philippines. He established CreatiVoices himself with an initial capital of only P20,000 but it has become almost an industry by itself.
As the training arm of CreatiVoices, the center conducts a two-month voice acting program for a selected number of students using modules imported from the United States. The P8,000-program consists of once-a-week classes and runs four times a year, with classes that starts in January, April, July and October. The center has five instructors, all respected voice-over industry veterans. “When you train with us, in one day I can make you create 20 voices,” says Gonzales.
He says that although the center does not guarantee voice-over jobs to students who finish the program, it gives them support in landing voice-over contracts. In fact, almost a quarter of his stable 400 local voice-over talents, graduates of the program and a lot of his talents find work in other voice-over companies.
He explains the industry practice, “Even among my talents, there are no exclusive contracts. In my own case, I’m not exclusive to my own company; I work with different recording studios as well.” Considering that projects don’t come regularly, he also cautions voice-over talents to treat doing voice-overs strictly as a “sideline” profession.
Active in the industry for over 15 years now, Gonzales has done voice-over projects for hundreds of radio and TV commercials for practically all of the telecommunication companies, fast food chains, beverage companies, financial institutions, and government agencies as well as politicians on the campaign trail.
Some of his students at CreatiVoices have done very well themselves upon finishing its voice-over training program.
For instance, Jo Carol Fernandez, 18, communications sophomore at the Miriam College in Quezon City, has done many voice-over projects for anime shows since finishing the training. She says she dubbed voices for major characters in the shows Bokura Ga Ita (26 episodes) and Negima as well as for other projects outside CreatiVoices.
On the other hand, Mark B. Aragona, 30, writer and financial consultant, received an offer todo three advertisements for a large telecom company barely a month after finishing his voice-over training. “Let’s just say I made five times my investment for those ads,” he says.
Aragona likes the fact that doing voice-overs is very flexible in terms time. Although some projects can take up to an hour, he says, doing 15 minutes of voice-over work for an advertisement is already long.
Voice actors like Fernandez and Aragona are able to cultivate and hone their talent for professional voice-over work through CreatiVoices, which has since grown into an agency with 10 fulltime staff and some 500 local and international on-call voice actors. The company has not only given the voice-over industry a common face but now also enjoys instant recognition as the industry leader.
Says Gonzales of people wanting to go into doing voice-overs: “If you have a job, and if you’re really good and I want you to take the character, I will wait for you.” And he tells aspiring talents to see doing voice-overs not just as another job but also as a way of having fun, like what he himself does. “I just doing what I want to do,” he says. “This is not work; I’m just playing.”
