Tips and Best Practices concerning voiceover work

  • Thread starter Thread starter HangDawg
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HangDawg

HangDawg

bUnGhOlIo
I may have just secured alot of work doing voiceovers for a local video production company. I've never done anything specifically for video but have done a couple radio commercials that came out ok. Anybody have tips, tricks or general comments about this type of work? How about any gotchas I should look out for? I may actually be able to justify some more gear purchases if this goes through! :D
 
Congrats!
Will you be performing, or recording, or both?
 
whyseye said:
Congrats!
Will you be performing, or recording, or both?
Click to expand...



Recording mostly. I guess I should have mentioned that. He did mention there may be a need for some performing as well. So, maybe I'll get a few spots if my voice fits.
 
I don't know if there's going to be a seperate producer there calling the shots or whether you'll be flying solo, but if your flying solo, tip #1 might be, 'Don't be afraid to do it again. And again. And again.' :) In other words, don't be afraid to do as many takes as time, budget and performer stamina will permit. Tip #2 might be, 'The better you treat the performer, the better the likelihood that you won't have to abuse tip #1.' ;)

G.
 
I've been on sessions where I've had the producer, the copywriter, the client, and the client's friend all giving me simultaneous and conflicting direction! At the same time, we're trying to stuff 90 seconds worth of overwritten copy into 45 seconds - yet still sound relaxed. While it physically can be done, it doesn't sound very natural.
On those occasions, I very grateful for an engineer who can diplomatically take control of the session, remind everyone that time is money, appoint one person as the final authority, make the needed copy cuts, make sure the actor gets a drink of water periodically, and pull the session together.

Being diplomatic and easygoing, yet also being the steadfast word of God goes a long way in my book...and an industrial strength sense of humor... :cool:
 
Many times, I've seen a carpeted music stand for the copy (to reduce reflection). Also, make sure there's an extra copy of the narration so you can follow along.

Do you have an iso booth, or a good way of controlling outside noise?
 
It should be interesting should I get the work. Any recommendations for a mic? I was thinking the SM7b and RE-20 might be 2 good tools to have that I could use elsewhere as well. Or is it more common to use a LD condensor? I would imagine you would normally use a nice clean mic pre too. Nothing colored.
 
MadAudio said:
Many times, I've seen a carpeted music stand for the copy (to reduce reflection). Also, make sure there's an extra copy of the narration so you can follow along.

Do you have an iso booth, or a good way of controlling outside noise?
Click to expand...

My studio is pretty quiet and is treated pretty heavy with 3" and 4" OC703 panels. I also have some moveable gobos made from OC703.
 
HangDawg said:
It should be interesting should I get the work. Any recommendations for a mic? I was thinking the SM7b and RE-20 might be 2 good tools to have that I could use elsewhere as well. Or is it more common to use a LD condensor? I would imagine you would normally use a nice clean mic pre too. Nothing colored.
Click to expand...

You should be fine with the RE-20 or the SM-7b - you might also want to have a shotgun and/or a LDC or two handy just in case they want something that sits differently in the mix, or the actor's voice hates the other mics.
 
-i'd say use a LDC...i always like them better than dynamics for any studio voice work.
-learn to always check your timecode and how long your peices are
ask the video guys if they have a specific length they want you to send them. some don't mind if it's exactly 00:00:30:00...others like it to be 00:00:29:25, etc.
-also (pretty obvious but...) check what sample rate/bit depth they prefer to work with. most video work doesn't go beyond 48kHz, 24bit (a lot of times not even 24bit)
-if you dont have one already, get a Time compression/expansion plugin. they will be your friend!
-definitely invest in an LED timer of some sort for the voice artist. that way they can time their reads out for you and won't have to guess at the pace they need to read at (not a countdown timer, one that counts upwards).
-pop filter
-water for the artist
-comfortable set of headphones for the artist

just a few
:cool:
 
bennychico11 said:
-i'd say use a LDC...i always like them better than dynamics for any studio voice work.
-learn to always check your timecode and how long your peices are
ask the video guys if they have a specific length they want you to send them. some don't mind if it's exactly 00:00:30:00...others like it to be 00:00:29:25, etc.
-also (pretty obvious but...) check what sample rate/bit depth they prefer to work with. most video work doesn't go beyond 48kHz, 24bit (a lot of times not even 24bit)
-if you dont have one already, get a Time compression/expansion plugin. they will be your friend!
-definitely invest in an LED timer of some sort for the voice artist. that way they can time their reads out for you and won't have to guess at the pace they need to read at (not a countdown timer, one that counts upwards).
-pop filter
-water for the artist
-comfortable set of headphones for the artist

just a few
:cool:
Click to expand...



Awesome. Thanks everyone for the suggestions. The video guy did say he has a pair of sennheiser shotguns. I have a pair of MD421s, might be useful. I got a few LDCs too. The LED timer is a damn good idea. I have a pop screen and nice headphones. If I get the work, I'll have to get the RE-20 and SM7. I've wanted those 2 mics anyway.
 
bennychico11 said:
-i'd say use a LDC...i always like them better than dynamics for any studio voice work.
-learn to always check your timecode and how long your peices are
ask the video guys if they have a specific length they want you to send them. some don't mind if it's exactly 00:00:30:00...others like it to be 00:00:29:25, etc.
-also (pretty obvious but...) check what sample rate/bit depth they prefer to work with. most video work doesn't go beyond 48kHz, 24bit (a lot of times not even 24bit)
-if you dont have one already, get a Time compression/expansion plugin. they will be your friend!
-definitely invest in an LED timer of some sort for the voice artist. that way they can time their reads out for you and won't have to guess at the pace they need to read at (not a countdown timer, one that counts upwards).
-pop filter
-water for the artist
-comfortable set of headphones for the artist

just a few
:cool:
Click to expand...

The LED timer will win you huge points.....I've always had to rely on my internal click track for the inevitable "Perfect! Now one more take exactly like that, but take off 6.5 seconds...."
:rolleyes:
 
Welcome to the Voice-Over family dude! I've been in the business since 1997 when I got into broadcasting. It's the best job in the world and probably one of the most mentally demanding. Everybody wants everything done the day before yesterday! Not only that, they also want you to squeeze a full page of print into a 30 second spot! Despite all of the stresses, this job really allows you to stretch your creativity.
Check out my website and feel free to holler at me if the need arises! :cool:
 
DREAMLABS said:
Welcome to the Voice-Over family dude! I've been in the business since 1997 when I got into broadcasting. It's the best job in the world and probably one of the most mentally demanding. Everybody wants everything done the day before yesterday! Not only that, they also want you to squeeze a full page of print into a 30 second spot! Despite all of the stresses, this job really allows you to stretch your creativity.
Check out my website and feel free to holler at me if the need arises! :cool:
Click to expand...


Thanks dude. There is 1 other studio around here that does this type of work and I heard he's filed for bankruptcy. That's not going to happen to me cause I own all my stuff and I don't have any rent or overhead to be concerned with. If this gig with the video happens, I may end up with a lot of business.
 
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