9

Casting

Casting a key piece of talent on a film project may be the thing that makes or breaks a movie production, but on a game production, this is rarely the case. Most game developers consider key game designers, engineers, or artists to be the talent that is highly desirable—and this is the talent that money is spent on. The only true casting that is done during the production of a video game usually centers around the voiceover work that will be done (recording the dialogue for the game’s characters) and the actors that will be used during motion capture sessions.

New games, however, like UbiSoft’s Far Cry 2 have taken motion capture to the next stage by incorporating photorealistic action and movement to create an extremely lifelike cast of characters within the game. Motion capture has even been incorporated to record great detail on actors’ faces to bring a new level of emotion and human reaction into a game.

Taking the time for proper casting can make a huge difference in the production value of a game. I’ve seen video game companies actually mine the production team for people to perform the voiceover work for characters within a game—this can usually be spotted pretty quickly when playing a game by the dialogue that is lackluster and emotionless. Imagine if a film production company approached a project in this manner! It would be unthinkable to cast a production assistant in a key voiceover role on a movie or send him or her in front of the camera without acting experience. Using experienced voiceover actors during production is a must for developing a true cinematic game and increases your production value immensely.

Thinking about possible candidates for casting can begin as early in development as preproduction. Although it would be helpful to have the voiceover script finalized before casting actors, it isn’t necessary, as long as you know the gist of what each character will say and do, or what the individual characters’ traits are (these can be recorded on character breakdown sheets). Just keep in mind (and let actors know) that games can take years to develop and you won’t want to record the voiceover too early, as it may change.

9.1  Casting for Voiceover

Finding the right voice talent can be as simple as matching a voice to a character’s face or hiring an experienced voice actor who can bring the level of emotion you want into the game. Either way, knowing how to deal with voice actors is key to getting the dialogue you want for the game. There are several things to focus on while casting/working with a voice actor:

1. Match the qualities of an actor’s voice with the qualities of the game character. This means listening closely to how the actor speaks. Does he or she stutter? Is the actor easily excitable? Is there a predominant characteristic to the actor’s voice? Remember that most actors can actually take direction (see Chapter 10, Directing), so give an actor the chance to produce the style of voice you want for your characters. As you will probably be casting for multiple roles within the game, it’s best to do all the casting at once. That way, if an actor does not fit a specific role, you can allow him or her to read for other available characters within the game. Also, remember that actors can play multiple parts within a game.

2. Make sure the actors can take direction. If you followed the advice of the first guideline, this is the case. But, in case you haven’t, run the actor through a series of different emotional types and levels—such as, “Let’s try it with you being angry. Okay, very angry. Now try reading this while barely controlling your excitement.” Getting an actor to perform in the manner you desire can take patience and a lot of explaining, so an actor who can respond to direction and understand what you want will save you time, money, and aggravation.

3. Try to get experienced actors. Although this is the most easily disregarded guideline (especially if you have an amateur that perfectly fits a role), the more experienced an actor is, the easier you will get what you want in the least amount of time. Experienced actors are used to “cold reading” for auditions and are quick to adjust to changes in a script. These qualities help when recording in the studio with a limited amount of time and money. Trained actors also know how to take direction with little or no fuss.

4. Pay attention to special casting needs. Some roles require a specific kind of actor—especially comedy. Comedic timing is something only a small percentage of actors are good at. If you want the dialogue in the game to be convincing, you will need actors that can convince. Other special casting needs also include nontypical actors, such as old men/women, children, or individuals fluent in a foreign language.

Also keep in mind that during casting calls, you do not have to make a decision right then and there. The best approach is to have one-page scripts (sometimes called “sides”) of game dialogue for several characters on hand and then have the actors read directly into a microphone. Record all of the sessions and then review the various voices once you’re away from the actors before making any final decisions. Remember, you can always call back any actors that you think warrant further investigation, or if you think they would fit a role that they did not read for.

Because you are casting your actors just for their voice and style, it will only be necessary to record audio for voiceover casting sessions. When casting for motion capture work, however, the casting session will run a bit differently.

9.2  Casting for Motion Capture

The best approach for tackling a motion capture casting session is to think of it as casting for a silent movie. Pay attention to the body composition of the actors and how they match up with the game characters. You will want the actors’ movements to be as close as possible to their game counterparts, so you will want them to have roughly the same build as the game character they are portraying. Sometimes called “performance capture” in the movie industry, motion capture is the process of capturing animation data from an actor who has been wired with equipment that monitors the actor’s movements. This information is then used in conjunction with 3D modeling programs to create the finished character.

Though all games do not use this procedure, the advantages of using motion capture (mocap) are obvious. Information is gathered much quicker with the use of mocap, characters are digitized so that they can be seamlessly integrated into digital environments, and as you will not be using any practical effects (lighting, camera movement, and so on), you have the freedom to try out many different looks and strategies for the characters during production. Mocap is a unique technique and requires specific kinds of equipment, so you will probably do the work in a studio that specializes in this. However, you can do all the casting for the mocap work practically anywhere.

Before starting the casting session, make sure that the actors have access to the character breakdowns for the game. Character breakdown sheets basically describe the character and their role within the game. Knowing the specific characteristics of the characters before casting allows the actors to perform more accurately. For instance, if an actor is reading for a special operations commando, he or she will move with more agility, stealth, and precision, where an actor who is trying out for a clumsy sidekick might be a bit more awkward. Once actors understand who they are playing, run them through a series of movements. It’s best to actually have a team member who has worked with motion capture on hand to help evaluate the actors (probably a lead artist and animator).

Remember, as you give the actor new motions to try, try to use the specific actions that the character will be performing within the game. Ideally, before the mocap casting session is even scheduled, a list of various movements should be detailed and made available for the auditions.

9.3  Using Celebrities

Adding a celebrity actor to the mix when recording voiceover can be a substantial plus when producing your game. Besides adding a new dimension of appeal to the gamer, experienced and known talent can bring a level of professionalism to the production that you would not have with an amateur on hand. Having a celebrity involved with production is also quite popular with the public relations/marketing department! Getting a celebrity can be as easy as contacting the actor’s agent, but be aware of the possible negative aspects that are involved with dealing with “name talent”.

Because an actor is a recognizable name in most households does not mean that they are experienced with voiceover work. This is doubly challenging when the actor does not like to take direction. Big-time celebrities typically do not like being told how to perform. Make sure that any celebrity you cast for the production will be fine with working with a team and taking cues from you. Another thing to keep in mind when casting celebrities is the big price tag that usually accompanies them. The later games in the Wing Commander series featured filmed cut-scenes with actors like Mark Hamill, Malcolm McDowell, and John Rhys-Davies—and the cost associated with these actors exceeded the budget for the programming team!

Finally, as you will be using the actor’s name to an extent with selling your game, mete out the details regarding localizing that actor’s voice into other languages. Will the actor want to do it? Sometimes, they will already have an actor in place for foreign versions of their dialogue, and they may carry a hefty price tag as well.

9.4  Finding Talent

There are several different methods to use when trying to find talent—it may be in your best interest to consider more than just one if you are unsure of any specific actors that may fit your production. The most widely used methods for getting to actors involve hosting casting calls, hiring a casting director, and using online casting sites.

Setting up a casting call can be a tricky thing. How many people do you want to actually read for the parts? Going overboard with putting out the word (using newspapers, magazines, sites, and so on) can quickly turn your casting call into a “cattle call”— actors’ slang for a casting call with hundreds of people reading for the same part. Getting through that many actors all reading the same lines can be tedious, take up a lot of your time, and create frustration with the actors who are auditioning (imagine waiting in a long line for hours to read for a couple minutes—and be at your best when you do it). Using a focused casting call in perhaps a couple trade magazines may be the best way to approach this type of casting. An even smarter approach is to use a local, experienced casting director.

Casting directors are individuals who specialize in knowing local talent for a specific area. They are versed in local talent agencies and usually already have a pool of talent in place that they can call upon for specific types of roles. You can find your local casting directors usually listed in your state’s (or city’s) film production manual. Once you contact a casting director and send him or her the character breakdown sheets for who you are casting, they will either submit you a list of possible candidates, or set up a casting call for you. The great thing about using a casting director is that he or she will be more experienced with targeting specific people for specific roles, is aware of where to find them, and will be able to suggest to you the best method for acquiring them for the game.

If your budget does not allow for the hiring of a casting director—or if you have an experienced team member who has worked with voiceover and motion capture in the past—you may want to think about using online casting services for any talent you need. There are several sites that have services in this regard and most of them have nationwide searches/talent pools, so be cognizant of where an actor is located before soliciting them.

Another consideration when casting is that many actors belong to the Screen Actors Guild (SAG) or the American Federation of Television and Radio Artists (AFTRA). These are unions that protect actors’ rights. If you will be using SAG or AFTRA actors, you will have to adhere to the union’s guidelines regarding pay, work hours, and credit. Though nonunion actors are typically cheaper, they are also harder to find. Using a union allows you to use that union’s online databases for actors and casting directors, as well as get any help from the union rep regarding casting.

9.5  Sides and Character Breakdowns

As mentioned before, take sides and character breakdown sheets with you to any casting call that you host. The sides are basically one-page pieces of dialogue for each character that you can have the actors read during the audition. As there probably won’t be moments within a game where there is an entire page of straight dialogue (I hope), you can list four or five separate bits of dialogue or lines. Try to get varied emotion in these; include one angry piece of dialogue, one happy, and so on, to test the actor for all aspects of voice work.

The character breakdown sheets are pages that include the demographic information for each character, as well as a description and back story (see the sample character breakdown sheet in the Extras section of this book). This information includes the character’s name, age, gender, and race (if relevant). Have the sides and character breakdowns in the waiting area of the casting call location so that actors get a chance to go over lines and study the character before reading.

9.6  Auditions

Setting up a formal audition for actors is pretty straightforward. Once you have lined up a location (if you don’t have an area within the studio for this, you can usually rent a room at a library or local VFW/Armory for casting purposes) and you have your finished sides and character breakdown sheets, you can proceed to the auditions. You won’t need a lot of space, because the actors are only speaking and not performing in any other manner. Typically, before an actor is invited to the call, you can have them submit a resume and sample (usually called a “reel”) to you directly. This step will help you weed out some of the actors that are obviously not right for the job. The resulting group is actually invited to the casting call.

On the day of the auditions, you will need someone to help with organizing and corralling the actors, someone to operate the recording device, and everyone who will be determining the final casting selections (including the casting director, if you are using one). Allow fifteen minutes for each actor to audition. This gives you time to talk with the actor for a bit to put him or her at ease and then allows for a couple different takes for each line of dialogue that is read.

Once the actors have read the lines, try giving them direction and see how they do. When they are finished, thank them and send them on their way. Make sure that each actor’s recording is tagged and catalogued appropriately. Once you have chugged your way through all of the actors, you can then pack up and head back to the studio to review and judge the possible candidates for each character. If necessary, you can schedule “callbacks” to bring back any actors you would like to hear again. Callbacks can also be great if somebody was really good, but you did not have a specific character for them at the time of the audition and do now.

When reviewing the audio recordings with the creative team, there are some key things you should pay attention to. How well did the actor enunciate the words? Was the speech clear or muddy? What about breathing? Was the actor able to speak with a nice pace, or were there gasps for air? Also note any accents, odd pitches, or rhythmic styles that an actor may have. These notes help with your final choices.

Although it may be tempting to do all of your casting by listening to demo reels submitted by actors, I advise against this. Having the actor actually audition allows you to see the actors in action, observe how he or she takes direction, and get an idea of how easy or hard it will be to work with the actor in the studio. Also, any way you cut it, using real people—real actors—to portray your game’s characters is always be better and more cinematic than standard animation and inexperienced mocap actors.

Interview: Donise Hardy, Casting Director

Donise L. Hardy, CSA, began her casting career in San Francisco. After three years in that market, she then established her company in Los Angeles for six years, prior to moving to Austin, where she enjoyed eight years of working in the Texas market. Donise has cast hundreds of commercials, dozens of films (including Cake and Jumping Off Bridges) and industrials during her sixteen-year career and was one of the busiest casting directors in the state. She has also worked for the television programs The Apprentice, The Jamie Kennedy Experiment, and America’s Most Wanted. Donise currently works and resides in Austin, TX.

Newman: What are the necessary steps to set up a quality casting call?

Hardy: There are several considerations. First the CD [casting director] has to get as much information pertaining to the job and talent as possible from the client in order to pass along a breakdown to agents that is precise, correct, and complete. Setting up the schedule is important in order to allow just enough time for the actor to perform, but not so much as to waste time throughout the day. Working closely with the agents in order to confirm or cancel appointments prior to the audition is imperative.

Newman: How do you ensure that you cast actors who are consistent with the style of the project and creative personnel involved?

Hardy: Dependent on the type of project (TV film, commercial, VO [voiceover]), I rely heavily on the creatives to guide me. I try to always speak with the director to get his or her insight on what he or she “sees”. I am also not reluctant to add my own vision to the project and usually bring in a few people who are not quite “right”, just so the creatives have some interesting choices. And it is amazing how often they end up going with someone who didn’t fit the specs!

Newman: When casting for voiceover work, how do you narrow the competition down a bit?

Hardy: The CD has to listen to a lot of demo tapes prior to the audition so as to not bring in a lot of people whose voices do not match the criteria.

Newman: Where do you find good voiceover talent?

Hardy: I use agents, especially those who specialize in VO talent. I rarely bring in a nonexperienced VO talent just because I like his or her voice. I want a professional when it comes to VO.

Newman: Though actors in animated sequences do not have to “act,” per se, explain the process of matching an actor with a digital character.

Hardy: They have to act with their voices! This is very subjective casting and usually it boils down to the director hearing exactly what that character would sound like.

Newman: Do you usually cast “backups” for roles, or is it the norm to cast any replacements for a project on the fly?

Hardy: Many times clients will indicate a first, second, and sometimes third choice. They almost always get their first choice, but occasionally we do have to resort to a backup. We just keep our fingers crossed that the backup is still available. CDs normally will put backups on a “check avail” or “hold” but has to remember to release them twenty-four hours prior to the shoot or someone is going to pay them!

Newman: What types of information should a casting director ask for from voice actors? What are the advantages to using experienced voiceover actors?

Hardy: CDs don’t usually ask many questions from VO actors. The actor has a demo reel and a resume to answer our questions. The advantage in using an experienced VO actor is that you know they are familiar with the equipment, the terminology, and the ability to make changes when directed to do so. The more professional the actor, the less time in the studio. In the long run, it usually costs the production company less money to hire a talent who is more expensive but can get it “in the can” faster, rather than paying the talent less money and having to book additional studio time.