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AS A
SERVICE TO BOTH PROFESSIONALS AND
BEGINNERS, HERE'S SOME VOICE OVER
REFERENCE MATERIAL I FOUND VALUABLE
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)
From Wikipedia, the free encyclopedia
From Wikipedia, the free encyclopedia
Taken From:
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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