The Casting Brief

The casting brief usually follows the standard format below.  It needs to be followed.
Part of our production evaluation and review process concerns how well the brief is followed. (see 'Agent and Actor Evaluation')

Title: Description of the type of casting - computer game voice casting - radio comedy casting - etc, etc
Production: Production name - or working title
Genre: Type of production - computer game, radio play etc

Casting contact:  who to contact, how to contact them and when casting applications are accepted.
Submission content: This details how to apply. Often all we just want is an email with the actor's name, the role(s) they are applying for and a single sentence explaining why they are considered good for the role(s).  We don't want attachments, headshots, full CV's or audio samples.  Submissions must include a contact name, telephone numbers (office, mobile/out of hours), and contact email address, as text, in the body of the email.

Roles to be cast:  Normally separated by gender and giving a brief character/voice description
Casting date(s): When
Casting location: Where
Casting director: Who

Production date(s): Actual or probable dates
Production location: Where the production recordings will take place
Production expectations: This details the expected commitment from the actor. Increasingly this will not be a straight forward voice session but a long term commitment that may span months, even years and may involve rehearsals and script and character workshops and motion capture sessions. - A simple example: A full day script workshop with the writer, 2 half day rehearsals, 4 x 3 hour sessions between Jan and August, 1/2 day ensemble recording Sept. pickup session Oct etc.

Fee: The fee will normally be a fixed offer and will include buyouts. Buyouts are product specific, worldwide, all time.
Payment terms: Normally 30 days month end from receipt of invoice but sometimes payment will be dependent on receipt of payment from our client. You will be kept informed as to progress and you will be given a contact name and email for all accounts enquiries.

Agent and Actor Evaluation

Every production we do is evaluated. One element is the casting evaluation which records the performance of both the actors at the audition and the agents during and after submissions. Actor and agent alike are scored according to various criterion. The below tables list the criterion and scoring structure.  The scores influence how the actor or agent is prioritized for future castings.

Agents
Score	A	B	C	D	E
Actor's actual audition score
Carpet bomber (sends too many actors with too little detail)
Followed the submission brief
Communicated as directed in the brief
Submission included contact email and phone number
Actors sent for audition are available for production
Easy (concise, friendly & available) to communicate with
Actors
Audition Performance Score	A	B	C	D	E
Suitability for the role - Right for the role (Superb)
Good for the role (Excellent)
Possibly OK for the role (Passable)
Uninspired performance (Forgettable)
Awful performance (Dreadful)
Listens to direction and modifies accordingly
Read skill and character interpretation
Mic and script handling technique
Mouth/body noise/awareness
Other Audition Scores	A	B	C	D	E
On time
Prepared & knows what's expected
Questions asked (pertinent or irrelevant)
Is polite and friendly with production staff
Accommodating/flexible - with delays etc
Additional actual production scores/stats	A	B	C	D	E
Clean takes vs. retakes
Personable
Focussed vs. procrastinator
Recording speed measured against statistical averages (words/lines per hour)
Cost (£/line - actual statistic)
Good day/bad day
The matrix scoring and score interpretation
Score	Action
A = Superb	A-List - gets priority
B = Excellent	B-List (filter down)
C = Passable	C-list
D = Dreadful - Agent will be contacted to discuss score. - Why was the actor submitted?	D-list  (last resort)
E = Unforgivable - An E average should never happen.	Blacklist
If an actor or agent wants feedback regarding their own audition and production scores they are free to ask.

General Auditions

These auditions are via invitation only.  They are specifically designed to stretch the actor to the extremes of their performance. We will try to find the boundaries of the actors range and their comfort zones. The general auditions enable us to get a clear view of what the actor can and cannot do. 

The general audition is an hour-long workout. It is part prepared, as the actor will get a script in advance, and part cold read.  The audition's focus is on character, age, archetypes and accents. The session is recorded. Extracts from the session will be added to our actor database to help with profiling and to provide clients and the casting team with pre-casting samples.

Computer Game Voice Misconceptions

The biggest mistake an actor makes when approaching voice acting for a computer game is caused by the word 'game'.  The actor comes with a preconceived expectation to be cartoon silly.  This is wrong. The actor will over-act.  Silly won't work. Games are the toughest of all voice performance media.

Unlike animation, film, stage and radio, in fact unlike all other media requiring acting, voice acting for games demands a greater subtlety and a greater attention to detail.  There are two key factors as to why.

Firstly, games are non-linear.  The audience is not a passive recipient of a linear story within a fixed time frame; the audience (player) drives the narrative of the game.  The players' immersion is their interaction within the game world and they control the time they spend there.  Non-linear narrative means that the same scene can be visited time and time again as players entertain themselves, puzzling and exploring their way. If they choose they can spend hours, days or even weeks in the same place. More time means repetition and consequently more scrutiny. So there is a greater need for each element encountered, however small, to be immersing.

Secondly the nuance of character needs to be carried by the voice. Although game technology is moving forward at a stunning pace there are still elements of the visual experience that need to be painted with a broad brush. Vocal performance compensates for this. Cheesy, insensitive and mediocre performances, however tiny, will have a negative impact.

Another factor that makes voice acting in games tough is the script. This is not a dig at poorly written dialogue but a heads up to the fact that scripts are frequently extremely complex, lack detail and context, and are huge. The actor may either have to sustain character for hours, even days, or rapidly switch between characters. Also they will have to rely on the skill of the director to give context and shape the delivery.

© Mark Estdale 1996/7

Voice Acting Classes Title:  Practical Voice Acting   Attendee Places:  8 Duration:  4 x 2 hour classes. Tuesday evenings 7pm to 9pm Dates: next class starts September 2008 Cost: £200 +VAT  (£235 inc VAT) Location: OM London,  Unit 2,  22 Pakenham Street,  London, WC1X 0LB  - select directions for directions Nearest tubes: Kings Cross and Russell Square Contact and applications: voiceacting@omuk.com    The class will be repeated so please email us if you want to know about future dates. This course is aimed at performers who want to hone their voice acting skills.  The course is run by leading games industry voice and casting director Mark Estdale (IMDB) and professional voice artist, actor and trainer Jay Simon (IMDB).  The students who'll benefit most from this course are professionally trained and experienced actors who are comfortable with their craft.  Students will experience a hands-on introduction to the voice performance world that is full of insight and practical advice. Students will be introduced to the industry, to script styles, casting and recording techniques and will have the opportunity to experiment and be guided on-mic. The course will be held at Outsource Media's London production studio and will be a mix of both classroom and practical studio work, working from real and current scripts. Students will come away with: knowledge of the industry tips and techniques for casting and finding work tips and techniques for performance a copy of personal materials recorded during the course (Audio or Date CD/DVD) Students are expected to be familiar with script interpretation and the art of acting.  We recommend you read, or at least dip into, one or more of the following books prior to coming on the course: The Art of Voice acting by James Alburger, (US but very good), Secrets of Voice-Over Success by Joan Baker. Two other good books worth having a look at are: Making Money in Voice-Overs by Terri Apple,  and There's Money Where Your Mouth Is by Elaine A Clark.          Week 1 The Business Introducing Jay and Mark, course outline, etiquette and expectations. Student introductions. Topics. Introducing the voice performance world:  Advertising, Documentaries, Cartoons, ADR, Idents, Promos, Links, Corporates and Computer Games. Introducing the clients, agents and an artiste's view. The Rules:  Casting and recording The Ethics:  Preparation, concentration and imagination Preparation and technique Money:  Buyouts, repeats, budgets, rates, commissions, unions,  areas of employment. Who hires? Who pays? Tips.  The microphone, the script, the booth, the read. Jargon busting. A minefield and a glossary of terms. Recording: Time for each student to get on mic and perform. Discussion and feedback. Handout:  Glossary, summary and script for following week. Homework:  Prepare a number of characters from the handout script for a recorded casting read - Week 2  Week 2 Computer Games Come with your prepared characters from week 1. Introduction to the world of games. Topics: Game development Voice in games:  a history, current production practice and the future Who's in the studio and their roles Direction styles for games Game scripts Game characters VO with MOCAP and FCAP Tips: Expectations, assumptions and misconceptions Trusting the director The casting session Recording. Discussion and feedback. Handout: AD scripts for Week 3 Homework:  Prepare 3 different VO Ads to Record in Week 3 Week 3 Ads, idents, promos, corporate, animation and ADR Recording. Discussion, prep for Week 4 and feedback. Week 4 Your space (almost....) Recording. Discussion and feedback. © Outsource Media 2008