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The Responsibility Of A Recommendation

I’ve said it many times before, the voice over industry is a giving industry. For a competitive performing arts profession, it is rarely cut-throat (happily) and most colleagues are genuinely supportive of each other’s success. This support shows itself in Facebook groups where voice over actors respond to questions or posts and offer their experiences and expertise solely to help those who come up after them benefit from what they’ve learned. It shows itself in the outpouring of care when fellow actors are ill or hurting. And it shows itself in a way that few other industries do – in a voiceover recommendation.

Now, plenty of professionals make recommendations. For instance, doctors recommend other doctors when a specialty is needed. But generally, you don’t see people saying to their doctor “you are great and I want to keep using you, but for this checkup, I need a different doctor to do exactly what you do, know anyone?” Yet many voice over actors are willing and eager to recommend other voice actors to their clients for work that often they themselves would be an exact fit to do. Sometimes they post auditions or calls for demos for jobs that they then help their clients cast, and sometimes they just tell their clients about you without your immediate knowledge and then present you with an opportunity to work. I’ve both been recommended and have done a fair share of recommending others myself over the years.

No matter how a voiceover recommendation comes about when you are endorsed by your colleagues, you have a responsibility. How you handle the responsibility can be the difference between being regularly recommended and never being recommended again.

First, be a good human. This should go without saying, but it’s always a nice reminder. Be honest, be humble, be kind.

Then, recognize that a colleague directly recommending you to a client is a huge shortcut over a substantial amount of hurdles. You didn’t have to market to that client, you didn’t have to beat out hundreds on a pay to play site for the opportunity, and you benefit substantially from the endorsement you’re receiving from your colleague. Even if you’re one of a small number of options being presented, this is a massive jump to the front of the line and should be considered as such.

So if you’re responding to an audition post, pay close attention to what you’re being asked to submit back to your colleague – file names, what your email subject should say, where you should send your information. Read it twice. Then read it again. Do not make your colleague do extra work to help you get the job.

Once you’ve booked the job, be an extreme professional. Go above and beyond. Pay close attention to client requests, communicate clearly, be prepared, show up on time ready to work, be responsive and helpful, follow through on deadlines and deliverables. Make sure that the client, the one you didn’t have to work hard (or at all) to get hired by, comes away from the experience happy.

This will not only reflect well on you, it will reflect well on the colleague who recommended you and make THEM look good to their client. After all, it isn’t just your reputation on the line in these settings, it’s theirs as well. You have to live up to the trust the client placed in your colleague’s ability to discern talent AND professionalism. They endorsed you with a voiceover recommendation, don’t make them look dumb for doing so. And when the job is done, don’t forget to thank them for recommending you and your business.

This prescription for professional behavior may seem obvious – but you’d be surprised how many voice actors fail to do many (or even most) of these actions. Whether they realize it or not, they’ve immediately lost the opportunity to be recommended in the future. Don’t be like them.

Coping with Loss as a Community

by J. Michael Collins 3 Comments

We’ve been through a lot in the last year. The voiceover community is one that thrives on close connections, which until 2020 had always included a regular in-person element. The loss of that alone, however temporary, was a shock. Like much of society, our rituals were disrupted. Our traditions were put on hold.

Unlike so many other sectors, however, while we felt this new normal acutely, we found ways to hold on to our togetherness….through social media, Zoom calls, online conferences, and personal chats in private. We made do.

And now, just days into this new year that holds so much hope, we’re grieving in a new way.

Brad Venable was a colleague and a friend. I wasn’t nearly as close with him as many of his nearby LA friends, but our encounters over the years left me glad to know him. At conferences, industry events, and just casual social gatherings, he was always the same guy. Quick with a smile, a friendly word, an arm around your back. And it was genuine. No eyes darting across the room looking for the next person to network with. Brad was always focused on the person right there in front of him, and when you had his attention, you had his full attention.

Maybe my favorite personal story about Brad is from the Voice Arts Awards a couple of years ago in LA. I had expended quite a bit of effort making sure my tux looked just right, free of any dust or wrinkles, shoes polished, lucky cuff-links meticulously fastened. Anna and I ran into Brad on our way to get pictures taken on the red carpet. Brad didn’t have a tux. He rocked up to the industry’s marquee event in a stylish t-shirt, chill as could be. And the thing was…..he pulled it off. Because he was Brad. No pretension. No airs. And completely comfortable that he would be accepted for who he was, the way he accepted others for who they were.

How do we deal with losing someone like Brad? How do we deal with everything that we have lost in this last awful year?

That answer is probably different for each of us on an individual level. As a voiceover community, we remember, we celebrate life……the good moments….the great memories. And we hurt….there’s no shame in taking time to process the pain and mourn. We support each other. And we appreciate the preciousness of each moment….of the small things we so often overlook.

Me? I’ll take inspiration from Brad Venable. If there’s one thing the outpouring of love for him in the wake of his passing makes abundantly clear, I think it is that each and every one of us should look at ourselves, and our own lives, and ask what we can do, what things we should maybe change, so that we may too leave such a profound mark on the people we have touched.

Rest in peace, Brad. The voiceover community is poorer without you.

The Art of the Humble Brag – How to Celebrate Business Wins Without Being Obnoxious

by J. Michael Collins 4 Comments

We’ve all seen and read and perhaps even posted about our voice over business wins on Facebook and other social media. And regularly the community responds with celebratory comments and support because this industry is chock-full of colleagues who truly cheer each other on and are happy when they see others doing well. It’s a big part of the unique charm of our industry.

There is nothing particularly wrong with this practice of announcing voice over successes – it is common for brands to celebrate wins in press releases, product launches, town halls, etc. One could argue that even commercials let the world know about how well a business is doing. In an industry where the only product to sell is something as intangible and subjective as an actor’s performance, letting people know that you’re hired regularly and by well-known brands isn’t a bad bit of marketing.

I would suggest, however, that there is an art to this “humble bragging” and that there’s a line where being a little self-congratulatory becomes obnoxious. You should know the difference.

First and foremost, as with anything you’re going to put out there online, consider the WHY first. Are you excited about a cool new job and want to share in the celebration with your friends and colleagues in voice over? Not a problem! Many voice over groups offer opportunities for members to do that, in specific “Let’s all celebrate ourselves and each other” threads where “look at this awesome thing I did” is expected, not shunned.

But if you’re attempting to attract new business and post as a part of your voice over social media marketing, keep in mind that your friends and colleagues are not your main audience. Sure, referrals happen from other actors, but that is based less on how often you post about your triumphs and more on who you are as a human being. The much larger intended audience is the advertising executive, video producer, elearning creator, gaming company, audiobook publisher, etc. who is looking at your social profiles to assess whether or not you’d be a good partner for their project. And if you’re offering coaching services, your potential new students may be trying to get a sense of who you are before handing over their hard-earned money to work with you.

Make no mistake, the casting world is changing and companies are starting to go directly to websites and social media profiles to find talent. We’ve all seen auditions where social media following is a question, but I would suggest that how you comment about projects on social media is as important as how many people see it. First and foremost, are you posting about projects covered by NDAs before you have permission to do so? Even vague-booking about a “project that is so cool, but I can’t tell you anything about it”, right after finishing said project, may make the creatives you just finished working with very nervous that you will violate their NDA. Anxiety is never the feeling you want them to walk away with.

When you post, is it more about YOU, or more about the brand you’re voicing for? Pay attention to how many times you use the words “I”, “me” or “my” in your posts. Try to keep your posts focused on the client. Celebrate them in addition to yourself. Yes, you’re marketing your business and letting buyers know that you work with other top brands, on large e-learning, gaming or animation projects, etc. But if you barely mention the client and spend a great deal of time talking about how happy they were to work with you or what compliments they may have given you, you’re letting them (and future brands) know that in your mind, YOU are the key element, instead of their product, service, educational offering or entertainment project.

Additionally, if you’re hanging out a shingle to coach others in this industry, try to read your posts with your new students in mind. Sure, you want them to know that you have the credentials and the experience to help them in their pursuits, but posts that focus solely on how great you are can also signal to new students that any session will clearly be more about you and proving your greatness, rather than improving their talents or business wins.

Look, celebrating your accomplishments is a good thing. Being proud of the work you do and the clients you get to do it for is a big reason why most of us are here. Everything on social media leaves an impression. So find ways to post your wins that will make your current and future clients excited to work with you on their next project.

Where Things Stand: Part 2, The Voiceover Industry in the Year of COVID

by J. Michael Collins 4 Comments

A few weeks ago we heard from some of the leading minds on how their areas of the voiceover industry have fared during this difficult year for the world. Today, this blog series concludes with insights from a new set of VO movers and shakers, including power agent Portia Scott of the Coast to Coast Talent Group, TV Narration star Thom Pinto, and talent manager/branding expert Celia Siegel.

Portia Scott is currently The Director of Voiceover at Coast to Coast Talent Group. She runs the division with a great staff representing adult and youth talent in all areas of voiceover. Portia’s clients have booked hundreds of broadcast TV & Radio Commercials and several National Campaigns
such as Wells Fargo, Wendy’s, and T-Mobile to name a few. Her talent can been found as series regulars on Disney TV Animation, Nickelodeon, Cartoon Network, Dreamworks TV and Feature Animation, and a plethora of Animated Feature Films.

JMC: How has the pandemic impacted talent agents?

PORTIA: The pandemic has impacted talent agents to mostly work from home with all of the tools from the office set-up at home.

Thus, actors need to have their home studio set up with all of the details available to their agent, so the agents can submit to the buyers as needed, a spreadsheet of talent home studio set-up equipment, etc.
Agents’ workload has doubled at home, in some cases without assistance, as many assistants and booth directors have been furloughed, so the actors must be prepared with their skill set, home studio, and ability to record not just the audition but record the job in their home studio with broadcast quality.JMC: What is the current state of play?PORTIA: Current state of play is being available and well-tuned for the opportunities that are coming forth and staying relevant and contemporary in this climate. There are limited studio openings that are SAG AFTRA COVID 19 approved, so when sending talent to record outside of their home studio this is a requirement to protect everyone’s safety.JMC: What can talent be doing right now to prepare themselves for the post-pandemic voiceover industry?PORTIA: Ways to stay relevant and prepared in this post-pandemic voiceover world; first please don’t wait for auditions to work out your

craft and skill set, keep training, and workout daily. Your craft is a muscle and must stay exercised, get into workout groups, classes etc, if finance is an issue don’t let that stop you, grab a couple of VO friends and set-up your own workout on zoom, read material and give constructive criticism. Make sure you have source connect or a software that allows you to record your jobs from home, this is essential. Make sure your equipment is as competitive as you can afford. We are now in a place where the quality of your audio is as important as your acting. Watch as much content as you can,i.e. commercials, video games, animation TV & feature so you can stay relevant on-trend.

JMC: What long term changes can we expect in the way agencies operate as a result of the current crisis?

PORTIA: Long term in which agencies will be working as a result of the crisis, may differ based on a multitude of reasons. However, I think the common denominator will be able to service the buyers with solid talent who can produce content from their home studio. I suppose at some point there should be an additional fee paid to talent for their home studio engineering…

Thom Pinto’s busy career as a documentary and reality series narrator spans more
than two decades. He’s currently heard on “Charles Manson” for the History
Channel, “The Twilight Zone” for CBS All Access, “Crazy Monsters” for Smithsonian,
and the upcoming nature documentary “America’s Arctic”. He has been coaching
working talent across the country, with his primary focus in the last decade being
the world of TV narration.JMC: How has the pandemic impacted the TV Narration marketplace?THOM: COVID-19 has brought about a reduction in TV narration auditions, as well as
putting a couple of series of mine on hold. Nature documentaries seem to be
immune to this, since usually, no people are on-camera, and videographers film in
sparsely populated areas. Also, I have voiced a few demo “pitches”, as companies
are trying to stay active creatively, to connect with networks. Docu-series which use
“re-creation” actors are on hold mostly at this point, as well as many reality series.

JMC: What can talent be doing right now to prepare themselves for the post-pandemic voiceover industry?

THOM: I’m finding that ambitious voice actors are updating their websites, tracking new
demos, and connecting with coaches via Zoom- both privately and for group classes.
Not only do I encourage this type of work ethic, but talent are expressing how much
of a psychological lift they are experiencing by connecting with their colleagues.
With most of us hunkered down right now, such activities are a win-win. I would
advise narrators the same thing that my commercial director coaches are saying:
Careful of falling into the tender, compassionate Covid-19 delivery on every project.

JMC: What long term changes can we expect in the way agencies operate as a result of the current crisis?

THOM: As far as long-term effects, I can’t imagine drastic changes in TV narration or
documentary work. However, my daughter, who is a theatrical casting assistant
says costs of shoots are going up due to safety precautions necessary. One docu-
series producer indicated that he’s playing around with developing a show that
would involve just the narrator, experts from their homes, and archival footage for
the project. He indicated we are all getting accustomed to interviews being done
from someone’s den with poor acoustics, and mediocre mic levels. So, is this going
to be the new norm? Let me gaze into my crystal ball…

Celia Siegel is a brand-builder, manager and success strategist for voiceover talent worldwide.

JMC: How has the pandemic impacted branding strategy? What is the current state of play?

CELIA: The pandemic has sped up innovation and taken us to places that seemed impossible just six months ago. That is certainly true for brand strategy. And with this rapid change comes opportunities. Now (just as in every other economic downturn and time of fear in the world) is the time to double down on your brand strategy and on connecting with your target audience.

People crave empathy, transparency, and connection. It is no longer about you and your reps but about you as an individual. This is your moment to connect.

Your brand has always been about you and how you are different from your competition, and what you can do for the buyer. In this uncertain post-COVID-19 world, double down on how you can be of service and you will be golden. What do you have with your awesome home studio, your impeccable responsiveness and your unique talent can be a game changer.

Voiceover trends are like a rollercoaster right now whiplashing from trust and empathy back to optimism and upbeat vibes. Keep it real and highlight your authentic self and you will be able to connect with the zeitgeist of our ever-changing world. Your written and visual brand needs to showcase how you can rock someone’s world and connect as a human.

If you can do one thing with your brand, humanize it. You are a human voice so this does not need to be hard! In the COVID-19 era, we have to put our best foot forward. There is no time for asking for people to figure you out. A concise brand that tells them who you are and how you can help them will see them — and you — through all the ups and downs.

JMC: What can talent do right now to prepare themselves for the post-pandemic voiceover industry?

CELIA: Quite simply, this is the time to build your business. Positioning your brand will help you not only weather the crisis but thrive. Take care of yourself, your brand, and your business plan. Forge relationships and be of service. Button up all aspects of your business. The vo world is competitive, and the way to stand out is to build your brand and your business in a way that lets others know you are solving problems and sharing your passion. Avoid the temptation of hopping on the latest bandwagon — the trends are changing so quickly that you will just get run over. Instead, dig in to what makes you the one and only you. It’s all about you as a real person. Since you are your product, you can’t go wrong with that.

JMC: What long-term changes can we expect in talent branding and the industry in general as a result of the current crisis?

CELIA: I have always been and will always be a silver-lining seeker. But even if you’re a bright-sider like me, there’s no denying that pandemic is serving up plenty of rough patches and taking a toll. I’ve seen this before, and I have good news based on my experience navigating many changes and ups and downs. When I look into my crystal ball, I see our industry pivot and grow stronger than ever. One of the biggest changes that’s already in motion is the global acceptance of and need for home studios. This change levels the playing field — making vo talent in major hubs just as accessible and relevant as those in far-flung places.

Branding-wise, you need to include your technology in your brand story and answer the call to connect more human to human. From here on out, your brand story is paramount to your success. Do not be afraid to avoid the safe middle and create a brand that tells your story and shows your passion. That is how you will not only survive post-pandemic but also thrive by driving your career to the highest level. Tell your story and connect.

JMC Demos Expands Into Animation & Video Games with a Brilliant New Team!

by J. Michael Collins Leave a Comment

JMC Demos recently partnered with Director/Engineer Matt Curtis, an acclaimed character VO in his own right, and Copywriter Chris Sharpes, also a talented character VO, to branch out into the world of Animation and Video Game demo production. The very first reel produced by this team, Joe Passaro’s video game demo, has now been nominated for a Voice Arts Award. Here’s more about these incredible creatives who have joined the growing JMC Demos family.

Tell us about your work for JMC Demos and how you got started.

Chris: From my perspective, I’ve been voice acting for about five years and didn’t really think about doing anything like this until we were working on our own demos. I wanted to put some together for myself that I knew would be good, and wouldn’t be cookie-cutter scripting. Basically, I interview people once they are vetted and get their background, who they are, and write scripts based on that. Nothing is a preset script, no templates, everything is from scratch. It’s the Southern cooking idea that there is no recipe card. Each demo is unique. We try to make it so each one is customizable and not easily replicated. For me, tailoring it towards the actor is important. No one else can act the way you act, and if we do the scene right, it’ll be the best piece in your demo, and it will be your keystone scene.

How do you determine someone is “demo ready” and select who you work with?

Matt: We usually have a process where bring someone in, and we either do it together or solo, and if they haven’t had coaching or have coached with someone we don’t know, we put them through their paces. We have a lot of scripts that we feed them, see how good they are at what they do, how good they are at taking direction, and get a measure of their abilities. From there we can make a pretty accurate assessment of whether they need training, or if they’re definitely ready for a demo. Demos are expensive, and we want to make sure you’re getting the most bang for your buck. One thing about us, Chris and I don’t coach. So if we don’t think you’re ready for a demo, we’re not trying to get more money out of you. We’re just trying to let you know that it’s a good idea to save your money right now and invest in the training, invest in yourself, and then come back and we’ll be ready to make a super awesome demo with you.

Chris: We’re actors as well, so we go off of the level that we know is good. You’ve got to be equal or above, otherwise, you’re going to be disappointed. You’ll hear the demo and go “hmm..” It’s the haircut principle when someone asks “do you like it?” Internally you think “Oh it’s horrible, externally you say “oh yeah, it’s great!” We prefer people to say “Wow! That sounds like me!” or “Wow! That doesn’t sound like me!” Even better because they think it’s a different person completely and that’s amazing.

Matt: We also like it when game devs and animators ask for the clips. That’s the big one. That means that you did your job as a talent well. The thing we try to focus on in our demos in believability. First and foremost is the talent, the acting ability, the sincerity of the actor themself. The production side is all just topping. It’s like a cake, and talent is the best part of the cake. The production is just there to sweeten it up. Giving them a framework of scripts to work in is the second most important. Something they feel comfortable in, something they can present the best story. That’s what these scripts are, mini-stories. After that comes how well they take direction, and post-production is the last thing. Even without the production, the talent should still be able to book off a demo. A lot of games and animation aren’t so overblown. It’s very easy for someone producing a demo to say “oh a character demo? Okay funny music, here’s a bunch of boings and things..” instead of thinking about the structure of the story. For example, an animation demo should be pretty difficult to make because the music needs to marry the moment. It’s all about timing and setting up those pictures. Video games are cinematic. Generally, it’s very real. The only sound you might hear are some footsteps and some wind blowing in the background.

Chris: Less is more, in those moments. With one of our guys, the game dev asked for the clips of the games and when we told him they weren’t real he said “holy crap!” That’s the best way to describe it. When you listen to it and wonder what game it’s from rather than “oh, this sounds like Call of Duty or the cliche English soldier shouting ‘Grenade!’” Uniqueness is big.

Matt: One of the questions we ask is what studios you want to work for. And what games do you like to play. We play games and we watch cartoons, so we can determine what kind of genre the talent likes to play in. We craft something that’s familiar to the actor that’s easy for them to connect with. From there we build the story. We may not specially set something in a particular game, but it sounds like it COULD be in that game. You hear it and think “Huh, I think I played that game.”

Chris: We may not use the same emulation from a game, but sometimes it’s fun to use the same language that’s familiar to the listener. It’s really based on the actor; they’ll give the flavor based on what their personality is. I’ll write around that. But at the same time, the sandbox is safe and we have to give them stuff that will challenge them. Maybe there’s a voice they’ve done that makes us say “oh my god, do that again!” And all of a sudden we’ve got this amazing thought spot where we thought was going in one direction, and then they take it in a different direction. Then we can age it up, age it down, you name it. They then find a whole new level of how to act that they didn’t have before. It’s one more tool in their toolbox.

What is your process for writing scripts for video game demos? How do you determine which types of character voices to include?

Matt: We actually write more than enough scripts. We normally write between ten and twelve, and we rehearse all of the spots. That could be one or two sessions. Then we record it. For production, I’ll actually produce most of the spots before I even start piecing them together with an idea of what we want. Sometimes we’ll record something and think it’s amazing, and then when we get to the demo it has no place there. Or sometimes we find that one spot where the sincerity is just right and has a lovely ten seconds that fits right at the beginning of the demo. That’s why I like to produce all the spots, and then send the rough spots to Chris. Once we have all the spots, I start slotting them together and cutting parts to make them fit. Eventually, we find the right flow. It’s kind of hard to describe how exactly we do that.

Chris: We definitely do an ebb and flow. High piece, low piece, high piece, low piece.. it’s to keep a tension so as not to keep it too depressing or too high action. As far as when I make the characters and what goes on there, it’s different each time. We ask if there’s anything you don’t want to do. That really helps me write because some people have had trauma, they’ve had issues, they don’t like drugs or swearing or violence, and that makes a big difference. We don’t want to upset you by making something that you’re not proud of or feel ashamed to have.

Matt: For the most part we don’t do heavy swearing. We find that it takes away you out of the moment.

Chris: It’s crude unless you are very, very good at delivery. It can be poignant. But we do feel like it cheapens it a bit. That’s just our opinion. As a communicator, there’s better ways to get your point across. We want people to feel proud because you’re always going to get better. You’re always going to get new demos and keep improving. So the demo you have now.. in three years you might be even more amazing. It’s all about giving them more than they have now. Some people have no demos, some people have ones they threw together.. and when they get these demos back they go “oh my god, that sounds great.” It makes them happy, and that’s a big thing for me personally. I like to see them happy and proud of what they’ve done. I want them to know the car isn’t going to fall off its wheels when they leave the dealership. With good demos, they’ll last you two or three years before you change them out. Unless you’re unhappy with it, and that’s the trick. If you’re unhappy, you’re going to want to get another one. We’re trying to avoid that, and make you feel satisfied, no shame or shyness. We would like it to be a confidence builder for the process of “fire and forget,” and not frantically tracking emails for replies.

You mentioned previously about demos that don’t have any background sound; it’s only the voice. Do you find that one books more than the other?

Matt: About two or three years ago, there was an article written by a Euro casting director who had said he had canvased several casting directors on how they feel abut demos. This was when very sparkly, very produced character demos were very popular. They were very syrupy. And a lot of casting directors preferred it without any sound whatsoever. Granted, this also canvassed mostly the European market. I think only two American people were surveyed. So one thing I do offer, if you want just the demo without any effects on it, just you being you.. it’s cleaned up and it’s nice. You’ll have it for that particular market if you want it. But the idea behind the demos that we’ve been really focusing on is that the demo should just sound like a video game. So the effects aren’t going to be overpowering it anyways, and when they listen to it they aren’t going to say “I don’t want to listen to this because it has effects on it.” They’re going to say “I wonder what game that was from.” That’s the level we want to be at.

Chris: One thing I’ll say is personally, I don’t think it matters. A demo is like a business card. You’re aiming at and agent or a casting director. That gives you access to the audition if you can get past that gatekeeper. Auditions aren’t just lying around with game companies. The thing is to unlock that gatekeeper and to get you there to the audition. Ultimately you won’t be sending a casting director your demo, you’ll be sending it to an agent. If the agent thinks it cuts the mustard, then you’re good. All you’ll get from the casting director is the audition, which is no longer your demo. You’ve proven you’re good and you can audition. If you get the job, fantastic. That means we’ve done the right thing. That’s the step I think is always missing. Demos really aren’t handed out to casting directors. They get their attention. For example, indie devs on Twitter ask you to send them your demos. Six thousand million people email the, and 90% aren’t good because they’re of terrible quality. 10% get through and they get emails, 2% get booked. Same thing, it’s just out in the open versus going through an agency. If your demo is what they want and it stands out, you’ll get an email. Then it’s up to you to get the audition. The demo isn’t going to give that for you. That’s one thing that’s important to stress. It is a tool, a stepping stone to get you what you want.

When you’re having a demo session are you all on a call together as a collaborative effort?

Chris: I’ll jump out. I am not a director. The scripts very much come to me and I’ll write them down. I got through my creative artist thing, hand Matt the scripts, he blesses them, and he does all the work. I step out of the way. We have diverting creative ideas sometimes. I’ll give Matt the scripts and he’ll tweak it, sometimes even the day of recording. If something sounds awkward or the actor is tripping over a word, he’ll change it. I’m usually off having a cup of tea at that point.

Matt: Chris is actually a very decent voice director as well, he just hasn’t done it. He directed my video game demo.

Do you bring the actor’s coach into the demo session as well?

Matt: That is preferred. Generally it should be the coach that’s worked with you. I prefer to sit in just to make sure everything is fine. One thing I like to add when I’m directing is action. With a lot of demos, the actor will read the copy and do their acting. One thing I find that gives it a bit more realism is having them think about it from a cinematic standpoint. Example, you’re walking into the scene. It’s a big room, you’re going to be projecting up until you get to a certain point. At this point it gets more intimate because you’re right in the person’s face, and then they turn away. That helps give the talent more acting framework to play in, and more realism to the spot. Most things in video games aren’t static, there are things happening. So that’s all I would want to be there for. Just to say “I have an idea, can I hear them do it like this?” Definitely would prefer to work with a coach, if they want to direct you on your demo.

Is this the first time you’ve been nominated for a SOVAS? What are your thoughts on being nominated?

Chris & Matt: *laughs* We were not aware until we found out. We found out we had been nominated and we said “for what?”

Chris: I have submitted, but not for directing.

Matt: I’ve been nominated for my demo, not for production. It was my promo, commercial, and trailer. Awards aren’t the priority. They’re great and they’re fun, but in the end we want to make demos that will get the attention of game devs and casting directors, and animators.

Chris: So not to paraphrase, but you may give me his award if we do win. I’ll have two that say “Chris’s” and “Other Chris’s.” *laughs*

Matt: I mean, a guess a statue would look good here.

What do you think really stood out about Joe Passaro’s demo that got it nominated?

Matt: It was a solid performance. He really understood the spots. He approached it in a really good way and was super directable. He took direction and ran with it, even to the point where I would give him direction and realize it was a bad idea.

Chris: There’s sometimes when I hear a script performed and think “this is the way it’s supposed to be read.” Joe got the rhythm without me putting a big label saying “ACT THIS WAY” or “ACT THAT WAY.” He got every single one right. There was a Starlord type spot that we did, like Chris Pratt, quick-talking sort of thing. It just sounded like it was from Uncharted. And it was his natural voice, so it was just him normally. For Joe, it just came out really well. He told us he has minimal acting experience. He was really impressive and sounded like he had loads and loads of experience.

Matt: He had worked with Andrea Toyias from Blizzard, so we were able to touch on the principles that she teaches because we’re very familiar with those. He came in and nailed the copy. Just impressive.

Do you think this will serve as a catalyst to dive deeper into demo production?

Matt: It will be interesting. We’re very picky because we want to make sure it’s the best. I’ve heard demos that probably cost $3000 and are real stinkers, and that’s not fair to you as the talent. This is something we enjoy doing. First and foremost, I am a voice actor. So I look forward to doing more demos with more people, as long as it doesn’t impede my craft.

Chris: To Matt’s point, I think it will be good. Although I’m more of an actor than I am a demo producer. It won’t do any harm really.

Matt: What’s interesting is a lot of people feel like they need a character demo when they don’t. It’s one of those weird checklists we have for voiceover. Unless you really really want to work in video games or animation.

Chris: Also there’s a big misconception out there. A character demo is useless. A video game or animation demo is what you want. Mixed hybrid demos confuse people. It’s just voices, and in general, we’ve found that it’s not a boon for you. It will actually impede you because it may have three spots the casting director likes and the rest they stop listening to. If you can get the casting director to listen until the end of your demo, that’s the trick. Some people stop after the first two seconds because it’s crazy loud, crazy screamy, audio quality is off, mixing is terrible.. so again, having a character demo is dangerous. It’s easy to make, but it’ll be too mixed up. It will confuse your audience, and won’t give you a solid message and foundation. Video game and animation demos are very different sounding.

Matt: We’re even getting to the point of having to separate different genres of animation. Video games, maybe. Animation though, you can have kids edutainment, or just kids animation, and you could have something more serious tendencies. It depends on how you want to break it down, but the two big ones are animation or video games.

Chris: People are very tempted to save money thinking they don’t need to separate them, but you really do. Will you book with a demo? That’s up to you. I can’t guarantee anyone anything. It’s up to you to sell yourself. This is your resume to say “here’s what I have to offer you.” If you’re happy with it, you’re going to send it out to people. You want to feel that confidence. If they like you, they’ll reply. If not, try for the next one. That’s all you can do. Voice acting is a meat grinder of auditions.

Where Things Stand, Part 1: The Voiceover Industry in the Year of COVID.

by J. Michael Collins 6 Comments

Today’s blog is the first in a series where I reached out to some of the most recognizable VO thought leaders to gather a 360-degree view of the voiceover industry as we approach the home stretch of 2020. In this year that has changed so much, I wanted to take a deep dive into as many corners of the business as possible, to see how different parts of VO are responding to the COVID-19 pandemic, and where work has slowed, remained steady, and grown as a result.

Below you’ll find contributions from VO thought leaders Joe Cipriano, Carrie Olsen, and Dave Walsh, each discussing their primary areas of expertise. I’ll be back at the end to add a few words. It’s a long read, but an enlightening one, and should leave us all with a sense of hope in a time of much darkness.

JOE CIPRIANO (Joe Cipriano is best known as the promo voice of the Fox, CBS and NBC Networks. He’s been the live announcer for the Grammy Awards, Primetime Emmy Awards and some of TV’s biggest events. Joe is the recipient of the Don LaFontaine Legacy Award and co-founder of the Don LaFontaine Voice Over Lab at the SAG/AFTRA Foundation in Hollywood.)

JMC: How has the pandemic impacted Promo voiceover? What is the current state of play?

JOE: The “norm” for voicing promos for the past decade has been for talent to record from their
home studios, via SourceConnect, ISDN or iPDTL, for live recording and MP3 for “record on your own”
sessions. It’s very rare that we would actually “go in” to the network, vendor or studio to voice
promos anymore. So, “work from home” is something we’ve perfected and carried out for
years.

As we’ve all experienced the past 5 months, there has been a LOT of television, on-demand and
movie viewing going on as we all hunkered down in our homes looking for entertainment. That
required a lot of content from the providers and a lot of promotion to attract and educate the
viewers, which means a lot of promos. So, while production of NEW shows is non-existent, the
networks and suppliers still need to get the word out to entice the viewer to tune in. Because
of that, there has been a lot of work for voicing promos during the pandemic shutdown.

JMC: What can talent be doing right now to prepare themselves for the post-pandemic
Promo world?

JOE: I’ve said it many times, but this business is ALL about relationships. So, what we all should have
been doing during the shutdown and what we should ramp up as we start to come out of this
period, is to keep in touch with our buyers. It’s important to stay “top of mind” with the people
you have worked with in the past, and to have an effective outreach for new business. I think
it’s important now more than ever because we’ve all been disconnected from one another.
Reconnect. Resume. Reach Out. Repeat and Repeat.

JMC: What long term changes can we expect in Promo as a result of the current crisis?

JOE: I think the changes actually started a few years ago. With more and more content from the
streamers and on-demands resonating with mass audiences, the old model of network, cable
promos is changing. With broadcast networks steadily losing audiences, they are also losing the
platform they use to promote their shows. It doesn’t do you a lot of good to run promos for
new shows on the network when there are not as many eyes watching the network. It’s a
challenge. It used to be so easy to launch new shows with promos that ran during your hottest
programming. You had a built-in, huge audience to “sell” to.

The traditional tag line that might say, “Name of Show” Wednesday at 9, 8 Central on “Network
Name” doesn’t work anymore. Who the heck tunes in to see a show at a specific day and time.
Those days are gone, yet the networks still are clinging to it. Every traditional broadcast
network now has an online presence or streaming app for their content. So, I see the model for
promoting their shows changing. I think there will be more pre-rolls, a lot more social media
promotion for shows. My son is a social media marketing specialist for content, both network,
streaming and movies, and the creative ways they promote and engage viewers across all social
platforms is remarkable. Their strategy and pitch meetings are impressive and innovative.
Social has become and is increasingly the best way to promote and engage the general audience. I think voiceovers can be used in that medium and I’m sure there will be new ideas on the horizon for that. But for the time being we’ll still voice promos for network and cable
outlets (HGTV, Food Network, AMC, FX etc) in a more traditional 30, 20, 10 second format to be
used on-air and online. The change has been rapid and I think the lockdown accelerated new
ideas and new ways to engage viewers and promote content. It’s going to be exciting. If you
want to be a part of it, you have to read the trades. Keep up on what’s new, who the players
are and as always, be a student of the genre.

CARRIE OLSEN (As an e-learning designer, Carrie Olsen developed and subsequently narrated corporate online courses. When she discovered voiceover as an industry, she jumped in with both feet, quitting her job to do voiceover full-time. She began what she calls a ferocious e-learning narration marketing effort that eventually became the blueprint for her course for voice actors: Book More E-learning with Gusto and Elegance. She has since made a home in the voiceover world, partnering with REI, Home Chef, Dreamworks, Netflix, AT&T, TNT, Disney Plus and most recently HBO Max for commercial, e-learning, and promo work. She is committed to sharing her journey with others and now funnels her e-learning and entrepreneurial expertise into her online courses, blog, and Facebook groups. If you want to see her light up, start talking about your dreams. She loves to help people expand their view of what’s possible.)

JMC: How has the pandemic impacted E-Learning voiceover. What is the current state of play?

CARRIE: In the last few months, we’ve seen services that have been almost exclusively delivered in-person (for example, martial arts, religious services, and even summer camps) shift to virtual. Many of these industries were forced to innovate on the fly to stay afloat. Fortunately for the corporate education industry, the blueprint was already there: In 2017, 77% of US companies were already using e-learning.

When we think of e-learning, we usually think of corporate training delivered online. However, e-learning has always been a far-reaching term, applying to corporations, schools, self-improvement, and even purely recreational industries. Since the pandemic these other, less common types of e-learning are starting to take up more space, with more schools and entrepreneurs moving more training content online.

And there are ripple effects. With so many working to adapt their current model to a more remote model, cybersecurity and other online support industries are preparing for an uptick in the demand for their services.

How does all this affect e-learning voiceover? In a general sense, the e-learning industry is growing, so it seems to follow that there will be growing demand for e-learning courses to be narrated, which translates to more job opportunities for voiceover talent.

This sounds like a good thing for voice talent, however, you must keep in mind that while some companies have sustained, or even thrived throughout this crisis, others have experienced budget cuts, layoffs, and even closures. So while we will continue to see more remote work opportunities and training moved online, many companies are being forced to wait out economic difficulties or even cancel e-learning projects they had planned for this year.

Depending on who your clients are, you may be overbooked with e-learning narration work right now, or your work may have all but stalled out.

The good news for e-learning narrators is that regardless of how they are currently weathering the storm, every company has had to take a hard look at how they will deliver training now and into the future. According to elearningindustry.com, most executives are already greenlighting e-learning in their organizations. So we will definitely see the demand for e-learning overall continue to grow in the coming years.

JMC: What can talent be doing right now to prepare themselves for the post-pandemic E-Learning world?

CARRIE: Companies have a lot of options when considering voiceover talent, so don’t wait for the work to come to you. Research the industries you are uniquely suited to partner with, and reach out to them.

Some Basics:

Have a great e-learning demo
Be proactive with getting referrals
On your website, call out to companies who may be moving their content online and share how you can help them
Have a great value proposition
Develop relationships with e-learning developers and freelance instructional designers
As you seek to connect with potential clients, be sensitive to their situation
Have standards and workflows in place so that you can most effectively and efficiently serve your clients
As always, do good work

JMC: What long term changes can we expect in E-Learning and the industry in general as a result of the current crisis?

CARRIE: Many companies that would have never considered moving their offerings online have now discovered ways to do so. We’re going to see a lot more innovation in the way things are taught and even how school/training is defined.

Long-term, we can expect to see more creativity in the way e-learning is delivered. We’ll see more interactivity in online courses and virtual conferences as presenters and teachers seek to keep attendees’ and learners’ attention.

In the coming months and years, we’ll see more small and large businesses moving their training online. The demand for instructional designers will increase. Voice actors who are proactive and prepared will have more opportunities to partner with clients in need of e-learning narration work.

DAVE WALSH (TrueTell™ founder Dave Walsh has enjoyed a truly multi-faceted career on both sides of the Hollywood glass, as successful artist, coach and director as well as studio executive. Walsh has been a key national and international voiceover talent for almost 20 years, fronting signature campaigns for commercial and television icons including AT&T, HBO, Honda, Entertainment Tonight (ET), Modern Marvels, Shell, NBC’s The Biggest Loser, Wells Fargo, The E! True Hollywood Story, CBS’ Big Brother and Hyundai. Dave has also spent the better part of the last decade coaching and cultivating the voiceover careers of some of the most established artists in the United States, Canada and Latin America.)

JMC: How has the pandemic impacted Commercial voiceover. What is the current state of play?

DAVE: Since March of 2020, the coronavirus pandemic has greatly impacted the commercial voiceover industry in many unforeseen ways.

We all remember that first general sense of panic which took hold in mid March, as country after country began shutting down. In The United States, a few major talent agencies closed their voiceover departments entirely overnight, leaving performers scrambling to find other representation. In those first few weeks, a sense of malaise, dread and fear fell over the industry. Questions abounded: “What do you think will happen?” “Are we next?” “Is the industry over?”

Well, the irony is that the commercial voiceover industry adjusted to these changing times and challenges in ways we could not have imagined. It has been hard for ALL of us, no doubt. But voiceover has proliferated while other parts of the entertainment industry have come crashing to a hault. VO performers with broadcast quality home studios continued on with business as usual while those who didn’t quickly learned that it would be their only means of survival for the foreseeable (and probably long-term) future.

But nowhere have I seen a greater, more swift evolution in the commercial industry than in the voiceover read itself. Over the past five to six months, I have frequently commented on and seen a dramatic shift in script specs. Reads in March and April were what we termed, “The Covid Read” – compassionate, sympathetic, a “we’re all in this together” type of feel. By early May, that read shifted into more of a hopeful, wishful, positive one, mixed with an underline of compassion. Then, within the United States, fueled in part by the federal government’s push to reopen the country’s business and financial centers, a new read surfaced. It was what I call the “Business As Usual” read. Then, soon after the reopen, when some in the U.S. realized the opening was too much, too fast, there was a slight pendulum shift backward toward the more Compassionate read. But this time, it was fueled by the mantra of mask wearing versus the stay-at-home edict from several months prior.

Now, we find ourselves at the forefront a new read once again.

It’s what I call The Permissive Read.

The Permissive Read is fueled by a subtext of giving the consumer the permission and comfort of a guilt-free decision to do things they haven’t done since the dawn of Covid – particularly buy or rent a car and travel. Kia Motors, Jeep, Enterprise Rent A Car and Southwest Airlines are four examples of major brands capitalizing on this direction.

This compilation of performance styles is the swiftest and most comprehensive shift in commercial advertising I have seen and heard in the 30 years that I’ve been a voice actor and coach. And, as we move closer to a vaccine and continue to feel the push/pull of opening businesses and schools versus the fear of contagion, our commercial industry will continue to be in flux. It is therefore crucial for actors to stay vigilant and on their game and to keep abreast of the daily changes in news and the culture. For it is from there that the next read change will evolve.

JMC: What can talent be doing right now to prepare themselves for the post-pandemic Commercial world?

DAVE: To prepare themselves for a post-pandemic commercial voiceover marketplace, it is imperative that actors spend time now researching and strategizing their approach. That includes: 1). Making sure their marketing materials are at the top of the game. 2.) If they haven’t already, invest in broadcast-quality home studio upgrades. 3. Finally and most importantly, take risks and get curious of how to improve performance skills and evolutions.

A key area gravely overlooked by many is the strengthening of self marketing and the relationships with agents and/or future representatives. With regard to self marketing, I would highly suggest reaching out to VO marketing gurus such as Marc Scott of VOPreneur or Anne Ganguzza of VOPeeps to learn how to effectively upgrade their own promotion and marketing platforms. Also, find creative ways to stay (respectfully) top of mind with your reps.

With regard to performance and demos, actors should employ coaches and/or demo producers to maximize the effectiveness of their marketing materials. While, in some agent circles, demos are not used as often as the key driver of auditions or bookings, in the self-marketing world, they are a major force of promotion and visibility. So, whether an agency client, self-marketing actor/entrepreneur or both, these materials should be at their best.

Also keep in mind that in a post-pandemic world, clients, vendors and agents will learn and reach for new, cost-effective ways to run their businesses. Most, if not all agencies are being run from home offices at present. Like so many other industries, whether or not some or all of them return to a bricks and mortar homebase remains to be seen. Therefore, actors who record auditions at their reps’ offices may see a drastic shift in that practice, post Covid. The best piece of advice there? Be ready.

JMC: What long term changes can we expect in Commercial VO and the industry in general as a result of the current crisis?

DAVE: In my estimation, the major long-term changes to the commercial voiceover industry post pandemic will center around the continued shift in physical production and the financial adjustments to accommodate for those shifts.

While on camera commercials will resume on-set production as safety protocols and the decline of the spread become more evident, commercial voiceover may see the short-term changes we adapted to become more permanent. For example, at the present time, most, if not all, commercial spots are recorded in home studios or in heavily isolated recording studios that follow extremely strict health guidelines. As such, advertisers and producers are becoming much more used to working with actors in these environments, resulting in a considerable financial savings. This may have a long-term effect on where commercials will be recorded. So, expect for home studios to continue proliferating through the early to mid part of the decade if not longer.

VO Thought Leaders Closing Words

I hope you found these contributions valuable. In the next few weeks I’ll return with another installment featuring Portia Scott of The Coast to Coast Talent Group, Thom Pinto, and Celia Siegel. Stay tuned, and stay safe!