Archive for the ‘Script analysis’ Category:

May 31st, 2011

Your cool ain’t necessarily that cool

Recently I was hired to voice as a young "cool and hip" 25 to 30 year old guy for an in-house video. I got the script along with the storyboard a few hours before the recording session. I then dutifully analyzed and practiced the script a few times. I was ready, willing, and feeling like a "cool and hip" 25 to 30 year old guy (in a 41 year old body :wink: )

The session proceeded as usual, ending with a satisfied client at its conclusion. Nice and smooth. Another day at the office. Except that the final read was almost 180 degrees different from what I had prepared.

What happened?

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March 7th, 2011

How to nail voice over copy!

On Tuesday night, March 15th, the good people over at VoiceOverXtra will be presenting another killer webinar called How To Nail That Copy! The webinar will be presented by best-selling author and voice actress, Terri Apple.

During the webinar you'll learn:

  • How to understand FULLY what all specs mean
  • Know the difference between your VOICE and THE SELL
  • How to get out of your EGO and into the writer's perspective
  • When it's OK to improvise
  • What an ALTERNATE read means
  • How to create winning alternate reads
  • How to nail the SELL and re-nail it
  • How to re-create your winning audition in the actual session
  • How to create more "range" in your auditions
  • The 4 Easy Steps to cold reading
  • And more!

To sign up for the event or to learn more, just follow this little blue link!

February 24th, 2011

Script delivery and technique tele-seminar

Grab this free tele-seminar with VO extraordinaire Terry Daniel and legendary voice over artist Bobbin Beam as they discuss script delivery and how it applies to doing voice overs.

Get it here

May 15th, 2010

Voice-over tip: Are you talking to yourself?

D'oh!Have you ever had one of those slap-your-hand-to-your-head-and-say-"d'oh!" moments? You know the kind. It's when all of the facts have been patiently staring you in the face while your brain stubbornly refuses to acknowledge them. Then suddenly "WHAM!" the connection is made and you find the palm of your hand applied firmly to your forehead. You hear words like "Duh!", "D'oh!", or "I'm such an idiot!" flying from your lips.

I had one of those just the other day...

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May 9th, 2010

The language/emotion connection in voice acting

Don't read. Speak.If you asked a professional voice actor to perform a script like a regular person reading out loud from a book, he or she could do it — and you would immediately recognize the poor performance. If you asked for a natural, conversational read, then you would immediately recognize that one as well (and be much, much happier with the result.)

Why is that? Why can we recognize when someone is reading and when someone is truthfully speaking?

In this post, I'd like to put on my "speech therapist" hat and offer up to you the answers. Be prepared, though. The explanation might get a little long-winded...

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March 13th, 2010

The voice-over, script-analysis river

Script analysis riverWhen I prepare a script, I always begin by analyzing each and every sentence. I look for clues as to the emotional tone of the script. I dig into the "meat" of every word and phrase to see how they relate to each other. And then finally step back in order to take in the script as a whole. It takes a little time... but not too much. Yet, without this important step, the script would never become a living and breathing entity of performance — complete with its own beginning, middle, and end.

It's sort of like looking at a river from different perspectives...

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November 16th, 2009

One script, many versions. What’s your take?

Analyze the scriptWhen I first began to study the art of voice overs and script analyzation, I thought that each script had only one interpretation and I had to find that one singular and perfect read using nothing more than the scant clues provided by the client and the hints hidden within the copy itself.

Boy was I wrong!

While it is true that each script has its own "flavor" (for example: a comedic read, a serious read, a thoughtful read, etc.) how you do that kind of read is up to you and your own take and interpretation.

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