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Voice-over
From Wikipedia, the free encyclopedia

(Redirected from Voiceover)

 

The term voice-over refers to a production technique where a non-diagetic voice is broadcast live or pre-recorded in radio, television, film, theater and/or presentation.[1] The voice-over may be spoken by someone who also appears on-screen in other segments or it may be performed by a specialist voice actor. Voice-over is also commonly referred to as "off camera" commentary.

 

The term voice-over can also refer to the actual voice actor who performed the recording. The terms voice actor, narrator, voice artist, announcer are all similarly used.

Types and uses of voice-over

As a character device

In the 1956 film version of Herman Melville's Moby-Dick, Richard Basehart, as Ishmael, narrates the story and sometimes comments on the action in voice-over, as does William Holden in the films Sunset Boulevard and The Counterfeit Traitor.

Voice-over technique is likewise used to give voices and personalities to animated characters. The most noteworthy and versatile of whom include Mel Blanc, Daws Butler, Don Messick and June Foray.

As a creative device

In film, the filmmaker places the sound of a human voice (or voices) over images shown on the screen that may or may not be related to the images being shown. Consequently, voiceovers are sometimes used to create ironic counterpoint. Also, sometimes they can be random voices not directly connected to the people seen on the screen. In works of fiction, the voice-over is often by a character reflecting back on his or her past, or by a person external to the story who usually has a more complete knowledge of the events in the film than the other characters.

Voice-overs are often used to create the effect of storytelling by a character/omniscient narrator. For example, in The Usual Suspects, the character of Verbal Kint has voice-over segments as he is recounting details of a crime. Other examples of storytelling voice overs can be seen The Shawshank Redemption and Big Fish.

The genre of film noir is especially associated with the voice-over technique.

In radio, voice-overs are an integral part of the success of the radio programme. Although the announcer holds the prestige and claims all the glory, it is the voice-over artist that is the real drive behind the show. For example, David M. Green's Summer Pow-Wow [1] and his voice-over artist, Tim Wray.

As an educational or descriptive device

The voice-over has many applications in non-fiction as well. Television news is often presented as a series of video clips of newsworthy events, with voice-over by the reporters describing the significance of the scenes being presented; these are interspersed with straight video of the news anchors describing stories for which video is not shown.

Television networks such as The History Channel and the Discovery Channel make extensive use of voice-overs.

Live sports broadcasts are usually shown as extensive voice-overs by expert announcers over video of the sporting event.

Game shows formerly made extensive use of voice-overs to introduce contestants and describe available or awarded prizes, but this technique has diminished as shows have moved toward predominantly cash prizes.

Voice-over commentary by a leading critic, historian, or by the production personnel themselves is often a prominent feature of the release of feature films or documentaries on DVDs.

As a commercial device

The commercial use of voice-over in advertising has been popular since the beginning of radio broadcasting.

In the early years, before effective sound recording and mixing, announcements were produced "live" and at-once in a studio with the entire cast, crew and, usually, orchestra. A corporate sponsor hired a producer, who hired writers and voice actors to perform comedy or drama.

The industry expanded very rapidly with the advent of television in the 1950s and the age of highly produced serial radio shows ended. The ability to record high-quality sound on magnetic tape also created opportunities, as has the proliferation of home computers capable of recording, often using inexpensive (even free) software and a microphone of reasonable quality.

As a translation device

In some countries, such as Russia and Poland, a voice-over provided by a single artist is commonly used on television as a localization technique, as an alternative to full dubbing. See Gavrilov translation.

Voice acting


From Wikipedia, the free encyclopedia

(Redirected from Voice actor)

Voice acting is the art of providing voices for animated characters (including those in feature films, television series, animated shorts, and video games) and radio and audio dramas and comedy, doing voice-overs in radio and television commercials, audio dramas, dubbed foreign language films, video games, puppet shows, and amusement rides. An individual who performs such voice-only roles is known as a voice actor or actress or as a voice artist. Voice acting may also involve singing, although a second voice actor is sometimes cast as the character's singing voice.

Voice artists are also used to record the individual sample fragments played back by a computer in an automated announcement system. At its simplest, this is just a short phrase which is played back as necessary, e.g. the Mind the gap announcement introduced by London Underground in 1969. In a more complicated system such as a speaking clock, the voice artist doesn't actually record 1440 different announcements, one for each minute of the day, or even 60 (one for each minute of the hour), instead the announcement is re-assembled from fragments such as "minutes past" "eighteen" and "pm". For example, the word "twelve" can be used for both "Twelve O'Clock" and "Six Twelve". So far voice artists have been preferred to speech synthesis because they sound more natural to the listener.

 

In the United States

 

Broadcast media

For live-action production, voice acting often involves reading the parts of computer programs (Douglas Rain; Majel Barrett), radio dispatchers (Shaaron Claridge), or characters who never actually appear on screen but who give instructions by telephone (John Forsythe in Charlie's Angels), or mailed recording (Bob Johnson in Mission: Impossible). "Stunt double" voice actors are sometimes employed; if a voice actor or actress loses his or her voice, someone who sounds similar can step in. For example, when Jeremy Irons's vocal cords became strained during the recording of the Lion King, Jim Cummings was called in to finish the recording.

It is not unusual to find amongst the ranks of voice actors people who also act in live-action film or television, or on the stage (see e.g., J. Scott Smart, an "old time radio" actor). For those actors, voice acting has the advantage of offering acting work without having to bother with makeup, costuming, lighting, and so on.

 

A common practice in animation is to cast a woman to play the role of a young boy. On The Simpsons, for example, Nancy Cartwright plays Bart Simpson and several other juvenile males. Another voice actress who would fit this criterion is Veronica Taylor, who for several seasons voiced Ash Ketchum in the North American version of the Pokémon anime. This casting practice goes back to at least 1939, with Bernice Hansen as Sniffles the Mouse, and continues with Elizabeth "E. G." Daily as Tommy Pickles on Rugrats and All Grown Up! today. June Foray, even as a senior citizen, can still faithfully voice Rocket J. Squirrel. Casting adult women for these parts can be especially useful if an ad campaign or a developed series is expected to run for several years, for while the vocal characteristics of an adolescent male actor would change over time, the voice of an adult female will not.

 

A notable exception to using women to voice young boys' roles is the Peanuts animated features, in which boys were actually cast to read the boys' lines (e.g., Charlie Brown, Linus, Schroeder). [1] In South Park the authors Trey Parker and Matt Stone are also voice actors of the most male roles, especially the boys: Parker voices Stan, Cartman and others while Stone is the voice of Kyle, Kenny, Butters and others. South Park kids' voices are pitched up a little in order to seem more "childish". In addition, kindergarten kids on the show are voiced by actual young children for realism.

 

Rise in use of film actors for voice roles

For much of the history of North American animation, voice actors had a predominantly low profile as performers, with Mel Blanc the major exception. Over time, many movie stars began voice acting in movies, with one of the earliest examples being The Jungle Book, which counted among its cast contemporary stars such as Phil Harris, Sebastian Cabot, and Louis Prima. The film which truly brought about this modern perception, however was Aladdin which was marketed with a noted emphasis on Robin Williams's role. The success of this film eventually spurred the idea of highlighting the voice actors as stars of a film, this becoming the norm in movie marketing, with a greater focus on hiring Hollywood celebrities for name power, rather than performers with more experience in voice acting. By contrast, using anime voice actors as a box office draw was developed far earlier in Japan.

 

 Voice actors have a small but dedicated fan base, with appearances at large events like Comic-Con International, various anime conventions, and websites dedicated to profiling their work.

Commercials for television and radio are also cast using voice acting agencies. Ernie Anderson was one of radio's most prominent voices throughout the 70's and 80's and was heard on radio stations across the United States. Today while Don LaFontaine fills the category of "The Voice of God," Ashton Smith, Howard Parker and Miguel Ferrer provide most of the narration for movie trailers. Beginning in the early 2000s, many organizations have moved toward a younger, more natural sound; a few notable voice actors in this category are Rick Robles (ABC, Animal Planet and ESPN) , Ethan Erickson (various commercials) and Paula Tiso ( various networks, and commercials)

 

SAG and aliases

A voice actor may be occasionally credited under an alias. Sometimes producers aren't willing to spend the higher cost of hiring members of the Screen Actors Guild, which prohibits its members from taking non-union jobs; but a voice actor needs income, so he or she may take a job under a false name in an attempt to avoid the SAG's notice. If caught, the SAG may respond with fines and suspended health coverage, so the actor has a motivation to do all he can to discourage people from linking his or her name with the alias.[citation needed]

 

Training and How-To Classes

Instruction in how to enter the voiceovers marketplace and how to market one's services is offered at various acting schools and also at adult learning facilities such as Chicago's Discovery Center.

Many VO coaches who have had success in commercial, narration, and animation offer private training, tele-seminars and weekend workshops for both novice and experienced voice actors. The VoiceOver International Creative Experience (VOICE) in Los Angeles is an annual global conference open to all voice actors, coaches, agents, and producers whose goal is to promote community, education, and technology within the VO industry.

 

Steady work as a voiceover talent in the US is normally possible only in major metro areas such as New York, Chicago, and Los Angeles, although with the rise of the Internet and digital voice networks (i.e. fiber optic or ISDN lines) that can transmit recordings that voice actors make, this may be slowly changing.

In Japan

 

Main article: Seiyu

Japanese voice actors (seiyu) work in radio, television and movies. Their work largely mirrors that of their Western counterparts: performing roles in animated cartoons and video games, performing voice-overs for dubs of non-Japanese movies, and providing narration to documentaries and similar programs. As Japan produces over 60% of the animated series in the world[citation needed] and a similarly large percentage of the world's computer and video games, the largest market by far for voice actors in Japan is providing voice-overs for anime and computer and video games.

Because the animation industry in Japan is so prolific, seiyu are able to achieve fame on a national level and are able to have full-time careers as voice-over artists. Japanese voice actors are able to take greater charge of their careers than in other countries. Japan also has the institutions to support the career path, with around 130 seiyu schools and troupes of voice actors that work for a specific broadcast company or talent agency. They often attract their own appreciators and fans who watch shows specifically to hear their favorite actor or actress.

Seiyu frequently branch into music, often singing the opening or closing themes of shows in which their character stars, or become involved in non-animated side projects such as audio dramas (involving the same characters in new storylines) or image songs (songs sung in character that are not included in the anime but further develop the character).

 

References

Mendelson, L: "A Charlie Brown Christmas: The Making of a Tradition" Collins, 2000

Kyle Ryan (2005-06-14). The A.V. Club interview with Billy West. The A.V. Club. Retrieved on 2007-06-18.

 

See also

List of notable voice actors

Adventures in Voice Acting

voiceover http://www.Voice-Over-Courses.com Voice Over Training

Retrieved from http://en.wikipedia.org/wiki/Voice_acting

 

 

Tips For Looking After Your Voice


Taken From:

http://blogs.voices.com/voxdaily/2008/06/tips_for_looking_after_your_voice.html

Do you know how to properly look after your voice?

Guest blogger Gary Terzza provides some excellent tips on how to preserve your voice and reasons not to take it for granted.

 

We use it every day and yet the voice is one of the most neglected parts of our anatomy. Just think about how you use yours: chatting on the telephone, shouting at the kids, clearing your throat - the vocal cords endure a punishing schedule.

 

Of course if you use your voice professionally the demands are even greater; so how can you make sure you are giving this powerful, but delicate organ the care and attention it deserves?

 

 Take Precautions To Protect Your Voice

Don’t misuse, or abuse the larynx. Never smoke and keep away from smoky atmospheres. Keep shouting to a minimum. If you have a cold that’s affecting the voice box, try and avoid talking.

Dry dusty conditions, even air-conditioning, can dry out the voice significantly, so always take regular sips of water.

 

Try to reduce your caffeine intake as this can dry out the larynx and cause hoarseness. Equally watch your alcohol consumption as this not only has a physiological impact on your voice box, but reduces your inhibitions, making you more liable to raise your voice.

 

 Are you a singer or voice professional? Take heed!

If you use your voice for singing, voice-overs or telephone sales make sure you do some warm up exercises. Gentle humming at a low level can help develop resonance, clear the airways and give those cords a soothing work-out, but be careful you don’t strain.

Large meals can alter the tonal quality of your voice (ask any singer, or voice-over artist) and this is especially true of spicy foods and dairy products.

 

For women, hormonal changes such as the menopause, pregnancy or menstruation can have a marked effect on the voice, as can stressful situations such as divorce or bereavement. The voice is the articulator of emotion, so tension or depression might show in your voice, sometimes in quite unexpected ways.

 

 Worried About Your Vocal Health?

If you are ever worried about your voice, seek medical advice straight away.

Enjoy your voice and use it as a creative tool, or as an instrument to bring pleasure and fulfillment, but always treat it with great care and respect.

 

About Author

 Gary Terzza is a professional voiceover and coach with a client list that includes Channel 4, Channel five, VH-1 and the BBC. He also runs a voice-over master class Association in Central London and Hertfordshire.

 

 

 Never Try To Get It Right The First Time

by Rico on March 28th, 2007

 

Taken From:

http://www.contract-worker.com/no-to-perfection/

The need to get everything right the first time is understandable. After all, you’re being paid to produce quality output (at least, I hope you are). And how dare someone imply that you make mistakes! But perfection can prove paralyzing, causing delays that will affect ability to produce on time.

Whatever you do, you should concentrate on letting your creativity flow; just type the words as they come, or let the elements find the right place on a design for example. Eventually you’ll hit upon something that just seems right, based on your knowledge and experience. And you can always go back and correct mistakes later. You’re not going to submit your first draft, right?

Of course, this is a lot easier with computers. Everything is reduced into units you can easily manipulate. But the produce first and perfect later rule also applied before everything was digital. Writers would cross out and add new words as needed. Layout artists moved actual objects. Ancient sculptors even enjoyed some room for error, since they didn’t try to get the final shape on the first session. The point is, if these people were able to do that, with a much more limited tool set, why can’t you?

This doesn’t mean that you should suddenly start creating web applications if you have no experience doing so. Free flowing creativity only works when it’s based on sound fundamentals and a well-thought out plan. In other words, you need to know what you’re doing and how to do it. You need a framework to direct your skills, so that no matter how messy things become, it’ll still be recoverable.

 

I guarantee that as long as you focus on doing, rather than being correct, you’ll have an easier time submitting projects on time and to spec.

 

 

ANIMATION WORLD MAGAZINE - ISSUE 4.6 - SEPTEMBER 1999

Getting That First Voice-over Role

 

compiled by Heather Kenyon

What do casting and voice-over directors look for? How do they choose who they choose? We asked several directors, producers and casting directors for some "do's" and "don'ts" to help you set yourself aside from the pack and capture that coveted first gig.

 

Good luck!

As a casting director in animation, I have noted that more than 90% of those trying to get into this field don't make it. The reasons are varied, but most commonly it's because:

 

a. the talent doesn't understand the character for which they are auditioning.

b. while the talent may have prepared something for the audition, the director learns they have no versatility.

c. they haven't prepared a "unique" voice (i.e. if we require a witch voice, 9 out of 10 talent sound like the Wicked Witch of the West).

d. they aren't able to take direction in studio!

 

What talent should do is make themselves "stick out" at an audition. Be on time, prepared and have several different voices for each character. Versatility and the ability to take direction are the key ingredients! Some voice workshops are great too, just make sure it's from someone in the business.

 

Like any casting and production company, at Voicebox, we're always looking to find unique voices that stick out. But it's not enough just to have an interesting voice, it's being able to use it to bring a character to life that will put you in the show!!

 

Lana Carson

President

Voicebox Productions

(Vancouver, Canada)

 

Get some professional acting training.

Know your type.

Know your limits and don't go over them.

Know your strengths and take advantage of them.

 

Get your demo tape professionally produced.

Use copy that is appropriate for your type.

Set reasonable time limits for your tape.

 

There is nothing more disappointing than an interesting voice that can't act.

 

Be natural. Don't try too hard.

 

Come prepared and listen to direction. Did you hear that? Listen to what is being asked of you.

 

Talk faster.

 

From the Staff of MTV Animation

(New York, NY)

 

So you want to be a famous voice-over in animation? The sane route would be to first make it "big" in film and/or television, then make sure you and/or your agent are on friendly terms with Eisner or Katzenberg, and let the negotiations begin. A bit daunting you say? Okay, another way to go would be to understand that by simply deleting the word "famous," and replacing it with "working," you are already on your way.

 

Many voice-over actors making a living in animation -- whether in a series, movies or commercials -- are not known by name outside the industry, but rather within the industry by sheer talent!

 

Yes, one can make a very good living in animation voiceovers, but first you have to establish yourself by working very hard in the auditions and bookings. The word "working" is defined as "to be alive, active, engaged and employed," and that is how one should look at every audition. Don't think of just one way to read the character, think of a few, and be open to the suggestions of the Casting Director or Producer. Sometimes it takes a few people working together to determine the right approach. Your main goal should be to have your name linked with the words "versatile" and "creative." Those two words are responsible for the majority of casting decisions made by Casting Directors, Producers and Directors.

 

Remember, be versatile and creative, and most importantly have fun!

 

Dawn Mjoen

Casting Director

Howard Schwartz Recording, Inc.

(New York, NY)

 

DO...develop a versatile range.

DO...give a fantastic performance on your demo.

DO...get yourself a broadminded agent.

DO...use contacts ruthlessly.

DO...develop a thick skin.

 

DON'T...give up too easily. An insanely tenacious attitude will usually get you there in the end.

 

Jackie Edwards

Producer

Silver Fox Films

(London, UK)

 

Here are a few tips and tricks for your immanent auditions:

 

- Bring a lemon and as you step up to the mic, ask for a glass of water. Then, expertly pierce the lemon with your jackknife, squeeze some of its juice into the water and take a professional-looking swig. It's good for funny voices and makes an impression on the impressionables.

 

- Pretend to understand everything that you are being told by a myriad of confused directors. Even if the suggestion sounds ridiculous or obscene, just make a broad interpretation and blurt out something. If you act confused, they'll just grow more confused and frustrated and things will get worse and worse.

 

- Watch cartoons at home and talk back to the screen in various character voices. Discover some new voices and whip them out at your next session. Make odd noises between takes. People like to hear a plethora of voices coming out of the same little body and maybe you'll get another part.

 

- Do what feels good and always try to look like you're having a great time. Cartoons are supposed to be funny, and a dreary session isn't.

 

Mike Bade

Director

Curious Pictures

(New York, NY)


Heather Kenyon is Editor of ANIMATION WORLD MAGAZINE  
Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to
editor@awn.com.

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