VO-BB - 20 YEARS OLD!

Tom Test · DC Joined: 23 Jan 2007 Posts: 629 Location: Chicago, IL

FYI - I am keeping a running tally of all the positive comments. I'll let this run for the rest of the week, then next Monday I'll reveal the names of all those who got more than one positive vote.

I'll also post about "lessons I learned" from this process whenever I find time to put my thoughts together. And I'll ask for suggestions to make the next audition even better. At this point, I'm up for doing another mock audition in another 30-45 days (probably try a "non-announcer" type of spot next time).
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Tom Test
"The Voice You Trust"
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Tom Greenlee · Posted: Mon Mar 09, 2009 6:51 pm Post subject:

I missed out on this one...I didn't see the post til it was too late to be included, so I will post my audition here. It sucks so it doesn't really ruin the revelation Tom Test will make at the end of the week because I wouldn't get any votes anyway hahahahaha, but for your personal enjoyment (Laughter?) here it is.

TG2's mock autition
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"Communication without intelligence is noise; Intelligence without communication is irrelevant."

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Tom Test · DC Joined: 23 Jan 2007 Posts: 629 Location: Chicago, IL

Tom, stop putting yourself down. You are wrong. You do not suck, your read is not bad at all. With some experience, I think you could be a contender.
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Craig · Posted: Mon Mar 09, 2009 8:22 pm Post subject:

Tom, thanks again for all the work you put in doing this.

I liked the script, my approach was to visualize the video and say the script from memory, not read it. I don't know that this worked, but it felt better. I learned I would not be a very good casting agent. I think this would be easier with just one take to listen to.

The auditions that jump out at me are the following:

1, 13, 14, 16 AND 25.

It is interesting to see the other choices and how they differ.

Thanks Bruce for the comprehensive review! Well done.

Craig
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Don G. · King's Row Joined: 11 Nov 2004 Posts: 1071 Location: MA

Ah, Tom...bless you for taking this on. I think it was a very interesting experiment. What jumped out at me most was the wide variations in quality among the submissions. I'll address that in a moment. In response to your initial questions:

What was your approach to reading this script? What was your strategy, how did you prepare?
I treated it pretty much as I treat any script. I look at it for an overview of the feel that comes to mind (and any strange words Smile

). If there are visuals indicated, I picture them and then react/respond to them when delivering the line(s). If there is any direction indicated I see how much that differs from my initial interpretation. To be truthful, with this script I never considered trying a BIG projected approach to it, because even though it was to be a presentation at a convention with driving music, the images to me called for a more intimate read. I think the contrast could be interesting. And I think the producer should try it with softer "Hallmark-y" music. Smile

What did you think of the script? Any problem areas?
I agree that "trajectory" can be problematic. What I struggled a little with (and would have liked to ask the director) was just how hard to hit "our" in the last line. Is it our moment in a slightly selfish sense or is it our moment (with almost equal emphasis on both words)? I also found it interesting to hear some talent say for'-go and some for-go'.

Also up for discussion – what have you learned about being on the other end of the audition process?

When I downloaded the file, I opened it up in my editor rather than just play it. I was shocked to see the variation in the levels. That said, while I agree that it definitely makes a difference when listening to them all in a row, if I were a producer casting for this, I probably wouldn't listen to them that way. In order for me to choose the person best for my project, I would at least reach over and adjust each take to my preferred listening level, knowing that the apparent loudness would have an effect on my judgment. What was more surprising to me in listening (and viewing the waveforms) were the instances of what seemed like overmodulation and distortion.

In the past, when I've had to listen to auditions and demos for casting, I would eliminate any that sounded like they were done at the kitchen table on a Radio Shack portable cassette recorder with the TV on in the background, or some similar thing that shouted "not serious". Then I'd listen for the basic voice quality I was looking for. Then I'd cull that list down to who I felt interpreted the copy well. Then I'd pray that he or she could be directed.

One of the nice things about going to a studio for a casting session, is that there is that level playing field. Everyone is in the same environment on the same mic, and you can make a decision based on voice and performance, without regard to technical issues, other than maybe mic technique.

So after all that BS above, of the bunch submitted, I'd probably give a follow-up call to these folks:

1. I liked both takes
4. sounded a little distorted, but I like the voice and the interpretation
11. There was room tone under the words, but I sensed her "joy" in the read.
13. Interesting voice and nice interpretation. Need to edit out a few breaths, though.
18(a). Nice, subdued read. Noticeable room tone, though.
20. I really like the voice. Might tweak the read a bit.
24. Combination of a British accent and a nice read has to get called back.
25(a) I like the voice and the interpretation, but I felt like he was inside my head. I'd probably pull him back a bit.
28. One of those distinctive voices I'd want to work with.
29. see #28. (almost detected a little Dick Cavett in a couple of words)

An ambitious project, and again I thank Tom for taking it on. I must admit that at first I was hesitant to put on the producer's hat and comment on others' work, but it was helpful to me to hear how different people interpret the same copy, and how different signal chains can sound so different from one another.

If this is ever done again, I agree with the previous comments about making the submissions individual files. I'm fairly sure they could all be posted on one page with individual players. That way we could do as we know would in reality be done. Play a few seconds and move on to the next...go back and A/B reads, narrow down choices, etc. That how I did it after I listened to them all the way through.

- (edited to add pic of waveform)

louzucaro · Posted: Thu Mar 12, 2009 1:14 pm Post subject:

Well I hate to say it, but I have to admit that I completely missed the "bold, driving" music note in the script, so if I could ammend my notes on "what I had trouble with" I would add "reading and following direction"

Voice acting 101...go ahead and learn from my mistake folks (although apparently, none of you HAVE to learn that since I seem to be the only one who didn't get that)

Frown

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Jeffrey Kafer · Posted: Thu Mar 12, 2009 1:22 pm Post subject:

Diane Maggipinto · Posted: Thu Mar 12, 2009 1:52 pm Post subject:

louie--one well-known coach says pay little attention to specs.
i landed a gig for a 20-something attractive female. uh ... yeah.

more to the topic: thank you! i could pay (a LOT) to get feedback like this and only then realize i actually don't know everything Rolls Eyes

. but reading comments from peers and going back to the small bit of time i put into the read, i now know how far off i was. it's very powerful to have objective ears and you who are willing to comment and make a difference in my critical listening, and give the gift that (i hope) makes a difference next time ... or gets me closer.

again, thanks.
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Monk

What did you think of the script? Any problem areas?
I guess the initial direction, Take it slow, I took too seriously and may have dragged my read. My second read was what I heard in my head from the copy, progressing through time type of thing.

What was your approach to reading this script? What was your strategy, how did you prepare?
I imagined the wonder of it all, and the possibility of the future. Not so much a Voice of God read, but that of an astronaut looking into the stars.

Also up for discussion – what have you learned about being on the other end of the audition process?
I really like the sound of that Sennheiser 416. I'm not sure why my signal after compression sounded muffled. I'll have to look into that.

What’s it like to listen to 34 auditions (and consider projects on p2p sites that may have 100 or more submissions). What unexpected things colored, positively or negatively, your opinions? (For example, the way a talent slates can be a turn-on or turn-off, so for that reason I’m sorry we won’t have them on this time – it was a judgment call). Is there a way to improve this process if I do this again? I intend to do it again in a month or two. I’ll probably ask for one read only next time.

The first time I listened I ran out of paper... more scrap paper next time. The variety of takes of the copy was great to hear, not every script is "about a man". I look forward to the next test!
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bobsouer · Posted: Thu Mar 12, 2009 5:51 pm Post subject:

louzucaro · Posted: Thu Mar 12, 2009 7:19 pm Post subject:

Diane's not really a woman?!
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Lou Zucaro
http://www.voicehero.com

"Well, yeah, there's my favorite leaf!"

Jeffrey Kafer · Posted: Thu Mar 12, 2009 10:36 pm Post subject:

She's not a something.
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todd ellis · Posted: Fri Mar 13, 2009 4:54 am Post subject:

oh, she's SOMETHING alright.

not sure WHAT ... but definitely ... SOMETHING!
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Diane Maggipinto · Posted: Fri Mar 13, 2009 8:59 am Post subject:

bwah ha ha!
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Tom Test · DC Joined: 23 Jan 2007 Posts: 629 Location: Chicago, IL

Let's not jack this thread, please!
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Best regards,
Tom Test
"The Voice You Trust"
www.tomtest.com