Casting with Outsource Media
The Casting Brief
Agent and Actor Evaluation
General Auditions
Computer Game Voice Misconceptions
Voice Acting Classes and Workshops
Casting with Outsource Media
Outsource Media have cast some 300 productions since 2000 and have interviewed
3,000+ actors in the UK and US paying out millions in production fees.
We are always on the lookout for fresh talent. We recognise that
talent is not tied to the agent an actor has, so we welcome applications from
actors both with and without agents. As avid statisticians, we know there is
little correlation between agent and success. The only noticeable correlation is
actually between Drama School and success: the schools that
produce consistently successful voice actors have modules on voice acting.
Casting sessions are either cold read or
to a script sent out in advance.
Sessions are usually in a recording studio and are one to one with the
director.
Cold reading
is used to see how quickly an actor can think on their feet and how they
create character straight off the page. Often
during
production, lines are changed and new ones added without notice, so a cold read
audition gives us a good idea of how an actor works under pressure. Also most
production scripts will have little or no context; so how direction is taken
is very important.
Casting and production scripts are formatted in Excel. To see an example in
pdf format you may view one from the following link:
Script sample - To
download, right click and select 'save target as'.
The talent
and craft of the actors on our books are significant factors in our success.
Actors are precious, their talent valued.
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 expectation: This details the expected commitment from the
actor - e.g. A day of rehearsals, 4 x 3 hour sessions between Jan and
August, 1/2 day ensemble recording Sept. 1 hour pickup session Oct etc.
Fee: This will break down the expected payment for the work including
buyouts.
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 |
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Score
|
A |
B |
C |
D |
E |
|
Actor's actual audition score |
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Carpet bomber (sends too many actors with too little
detail) |
|
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Followed the submission brief |
|
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|
Communicated as directed in the brief |
|
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|
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Submission included contact email and phone number |
|
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Actors sent for audition are available for production |
|
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|
|
|
|
Easy (concise & available) vs. nightmare to communicate with |
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|
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Personable vs. prima-donna |
|
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| |
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|
Actors |
|
Audition Performance Score
|
A |
B |
C |
D |
E |
|
Suitability for the role -
Right for the role (Superb) |
|
|
|
|
|
|
Good for the role (Excellent) |
|
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|
|
|
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Possibly OK for the role (Passable) |
|
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Uninspired performance (Forgettable) |
|
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|
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Awful performance (Dreadful) |
|
|
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|
Listens to direction and modifies accordingly |
|
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Read skill and character interpretation |
|
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Mic and script handling technique |
|
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Mouth/body noise/awareness |
|
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| |
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Other Audition Scores
|
A |
B |
C |
D |
E |
|
On time |
|
|
|
|
|
|
Prepared & knows what's expected |
|
|
|
|
|
|
Questions asked (pertinent or irrelevant) |
|
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|
|
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Is polite and friendly with production staff |
|
|
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|
|
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Accommodating/flexible - with delays etc |
|
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| |
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|
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|
Additional actual production scores/stats
|
A |
B |
C |
D |
E |
|
Clean takes vs. retakes |
|
|
|
|
|
|
Personable vs. prema-donna |
|
|
|
|
|
|
Focussed vs. procrastinator |
|
|
|
|
|
|
Recording speed measured against statistical averages (words/lines per hour) |
|
|
|
|
|
|
Cost (£/line actual statistic) |
|
|
|
|
|
|
Good day/bad day |
|
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| |
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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. If it does,
this may get the agent or actor blacklisted. They will be contacted
to discuss the score.
If an agent
gets blacklisted, none of their clients will be accepted for
auditions and all associated email addresses will be added
to the spam and junk filters. |
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. They 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, a greater attention to detail
and a 'hyper-realism'. 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 where the action slips by; 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 great 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
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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 June 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:
masterclass@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 be in the voice industry.
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 students 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), Making Money
in Voice-Overs by Terri Apple, Secrets of Voice-Over Success by Joan
Baker 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 |
