VO-BB - 20 YEARS OLD!

[bobbinbeamo]

Agents outside of the major cities are having an extremely challenging time trying to make a living off 10%. My agents have been crying the same song for years. Not enough union work. Many have gone to non-union work, where some can charge the client up to 25% plus take an additional 15% from the talent. The need for agents in general, and outside of the major metros, I think is dwindling, as more and more employers are hiring talent directly over the web.
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Bobbin Beam
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[Philip Banks]

Tell me about these auditions, for what and for whom? Indeed, for how much? Are the projects so unusual that the producer/director couldn't possibly decide from your demo's? I really do get the impression that there is an audition culture and for the most part with no good reason. They audition you because they can, knowing that you will. I understand when it's down to the final 3 or 4 but up to that point demo's will do for 95% of projects.

Here is what is likely to happen when someone for whom I have never worked contacts my agent.

"Hi Victoria. We've heard Philip Banks' demo and wondered if he'd be available ......." She will then say yes, no or I'll check and get back to you. Am in a very privileged position as a Voice Over? I do count my blessings every day but really do get the impression that a lot of people are wasting an awful lot of time for no reward. It's not just a Brit thing, my most recent documentary was recorded in New York via ISDN, the client didn't know me yet the call was "Need you for a session on Tuesday AM", no mention of audition.

In terms of auditions do people take all comers or do you pre-qualify audition requests?

Y'all need t'educate me coz I feel I'm missing something.

[bobsouer]

Philip,

In a panel discussion at the Dan O'Day Summit last August (the panel was 2 casting directors and one voiceover agent, all from Los Angeles) this very issue came up for discussion. The answer given as to why so many casting situations require auditions is because many casting people no longer believe they can trust a demo to given an accurate picture of a given performer's real abilities.

In the last several years, at least in the States, it's become commonplace for a demo mill, as it were, to coach a voiceover talent through just enough material to create a "killer demo"; but that talent remains woefully unprepared for real work. Casting people and production companies have been burned too many times by trusting one of these killer demos and then having the talent turn out not able to deliver the needed performance while the clock is ticking in a real recording session. Thus, a culture of not trusting the demo (except those prepared by a known few coaches who won't pull those kinds of tricks) and requiring auditions.
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Be well,
Bob Souer (just think of lemons)
The second nicest guy in voiceover.
+1-724-613-2749
Source Connect, phone patch, pony express

[Don G.]

Just wanted to add a little to Bob's quite valid reply.

Having been the engineer for several casting sessions in my past life working full time at a post-production studio, I can say that there are a couple of other reasons for the audition process.

Quite often, it was a matter of a newbie producer at an agency, who after hearing recommendations from us and listening to several demos, was still unsure about who would be able to deliver what they were looking for. Since studio time was billable, far be it from our studio manager to dissuade a potential client from buying an hour of studio time to gather a half dozen or more hungry talent willing to give a custom read of the client's exact words. It really did help someone who is new to the producer/director position.

But even more importantly, it was extremely helpful for us, as well as for the producer/director, to see exactly how well a talent could (or could not) be directed. That was invaluable information for us to have, in the interest of recommendations for future sessions with other clients.

I can say from experience, there were several occasions where the front-runner, based on listening to produced demos, was subsequently eliminated from the running after coming for an audition.

[Philip Banks]

Ahhhhhhh the fog clears! A producer knows nothing about the voice except for the demo and how is he to know the demo isn't 1min 30secs edited from the best of 5 hours there could be a problem. A live audition shows the producer whether or not the voice can deliver and perform. It would appear that there is no trust in the agent, demo, studio or voice artist: that's a really good place to start a business reltaionship isn't it?

[Chrissy]

I'm still learning about marketing myself. This site is invaluable to me. It's different than what i was used to when getting Stage, Film, and TV gigs. In the Boston area since there are no agents who sign the talent, I find it's necessary to send a demo CD as the first round. Although now a number of poduction companies want your MP3 instead. Getting the work varies from going in for auditions which can be like "cattle calls" to getting job offers from my CD or MP3. A I've mentioned I'm new to VO so I was surprised that my first job offer came from hearing the voice the production co. was looking for on my MP3 file. The second job came from the first producer who moved companies, and played the work I had done on his project to his new boss. It was amusing because I got a call from producer no.2 telling me that Producer no.1 recommened me. Producer no.2 then said that served as an audition and made an offer to me. He also played a bit of the previous job to remind me of the voice that I used. I'm afraid I'm getting spoiled. Just keep spoiling me, I love it!!!!

So I'm getting long winded ( all those years of singing lessons). I see each area of the country, and beyond is different. Good luck.

cheers,

Chrissy

[KaraEdwards]

Frank, Philip, Bob, et al...thank you for a great discussion! I look forward to the day when professional vs non-professional is a little more cut and dry [edit...'cut and dried' as I learned from the English site DB posted recently]. Yes, your work should stand on its own...but many demos do not represent 'the truth behind the production'. Community is wonderful- we need to work together to build strong standards.

Frank- keep at it...I am thankful for you!
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Threadjackers local 420

Kara Edwards
http://www.karaedwards.com
kara@karaedwards.com

[robert jadah]

Unlike VO-BB chatters and many monks, agents are not sweet and altruistic people.
While the very best way to land an agent involves blindfolds, handcuffs and a getaway car, the next-best approach is to appeal to their sense of profitability.
Make an appointment and arrive with union membership and a list of paying clients.
Those to an agent - spell $$$$.
A fair demo is nice, but - to an agent - that's just fluff.
They are not in business to shepherd a voicer to the promised land. They only care that they can offer you to lucrative spots and get 15% of the money.

[kgenus]

A few words, if I might....

From "Sex Money Kiss" by Gene Simmons
"So the faster you become comfortable with the notion that cash is good and more cash is even better, the faster you'll understand that any person, institution or notion that tries to take your cash is your enemey. And unless you are either 1) insane or 2) delusional, you should do everything in your power to prevent those enemies from taking your cash."

From Beau Weaver's Website, VO FAQ Section
"Most voiceover for national media is done in Los Angeles, New York and to a lesser extent, Chicago. Digital ISDN tranmission technology has made your location less of an issue in certain specialized areas, like local broadcast, but make no mistake; if you want to compete in Los Angeles or New York, you really must live here (or NYC). Everyone seems to think they are an exception, but unless you are a big honkin' celebrity, you are mistaken!"
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Genus

[Philip Banks]

[dhouston67]

Howdy all. I've been scarce on these here boards for a while, but this thread looks like the ideal place to mention that I recently landed a second agent, here in Austin. My calendar reminded me that it was "six-month follow-up time" for various agents, and a local top-notch agency (which I've been pursuing for years) replied back promptly with a "Yes." Two auditions came the next day.

This is a good thing, particularly in light of the fact that my day job decided several of us were making too much money (?) and gave us the push. Daytime hours are now spent on VO as much as possible, a state that will hopefully persist.

P.S. I missed you guys.

P.P.S. For anyone not yet familiar with voicebank.net, go there and click the "house reels" link to find lists of union and non-union agents. Inquire. Follow up. Worked for me.
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[ronharpervoice]

Great resource, David! I have to admit, though, I need to create a VO resume...does anyone have a sample I can look at or guidelines to follow??
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