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    Airchecker
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    You’ve posted your job on Voices.com, now what?

    Casting and directing your voice over project is as much an art as it is a science. Not only do you have to understand who your audience is and what voice will resonate with them… you also have to find that perfect voice and guide it through the performance.

    Jordan Scott Price is the Co-Founder and Creative Director of Flying Canvas Productions. Over the course of his career, he has worked with a wide range of well-known clients (such as Southwest Airlines), and has led teams of over 30 on extended projects. As a passionate storyteller who seeks to advance how brands and audiences converse through video, Jordan has honed his voice over casting skills through extensive experience.

    Jordan understands that even those who have been in the business for a while can find the process to be a challenge – so in this Q&A, we asked to share his insights on how he identifies, hires and works with voice actors.
    Q. Why is casting Voice Over Actors Especially Challenging?

    A. Unlike directing actors for screen or stage, the process of recording scripted voice over is not very “organic.” Getting a good read from a voice over session is a very different kind of discipline.

    Whether a project is inherently exciting or run-of-the-mill, the recording process is the same: mechanical and often unglamorous. Pile on that many of our voice over recording sessions are held over the phone with talent across the country, and it gets even more impersonal.

    Therefore, as a director, I have to lean much more on the natural ability, skill, and intuition of the voice talent, so that everyone walks away from the voice over session pleased.
    Q. What Makes a Good Read?

    A. For one, the voice talent has to have command over a good voice. (Even a wonderful baritone voice, if it has no range, just won’t do for most cases. It’ll get monotone in a hurry and fade into noise, the longer the running time.)

    Secondly, the voice talent’s command must include inflection, cadence, and pronunciation. These are the keys and pedals of the talent’s instrument, if you will – the requirements for a good performance.

    And thirdly, the talent needs to be able to read into the script, not just be able to read the script. This doesn’t mean reading between the lines, per se. Rather, this is the necessity of intuiting what the script is trying to communicate. This goes for any kind of script.

    I find this to be a subtle but extremely important detail that separates “okay” reads from the “good” ones: if the voice talent doesn’t understand what they are saying, the listener will pick up on it to some degree. Think of it like a spokesperson in a broadcast commercial or an actor in a drama. It’s not enough to just be able to read words and inflect them, the talent has to “own” them.
    Q. How Important or Influential is the Script Writing in the Overall Voice Over Performance?

    A. I find that most professional talent can quickly read into the script and understand the meaning and flow, but this preemptively falls on the writer. Regardless of the format of the script – e.g., radio ad, explainer, documentary narration, training video – it is the responsibility of the writer to not just cobble together facts, words, and bullet points, but to command the language. A good script shouldn’t fight the reader, but rather should have a discernible flow of thought and word.
    Read On.https://www.voices.com/blog/casting-your-voice-over-project-like-a-pro/

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