17
Other VO Genres

In This Chapter

You’ll find more about new media and other voiceover genres and more scripts at AOVA.VoiceActing.com.

What Is Your Niche?

There are many niches of voiceover work. Previous chapters have discussed the essentials of most of the primary voiceover genres. This chapter will briefly cover a few of the more obscure, but still relatively common niches and a few that are rapidly growing.

There are roughly 35 specific and unique niches for voiceover, some of which are sub-sets of others. Fortunately, the basic performing techniques are essentially the same regardless of the genre. Some of the more obscure voiceover niches include talking toys, real estate talking tours, in-store advertising, museum and self-guided walking tours, podcasts. Some of those that are growing in popularity are foreign language dubbing and various aspects of new media. If you can think of something where you hear the voice but do not see the person talking, you’ve probably found a VO niche.

One big mistake many entry-level voice talent make, is that they want to be a voiceover “jack of all trades.” Although it certainly may be possible to develop a high level of skill in a few voiceover genres, the idea of being able to work in every area of voiceover is impractical, at best. Although the basics may be the same, each genre has its unique marketing and performance requirements.

Diversification as an actor is definitely a benefit. However, as you begin to explore your talents and capabilities as a voice actor, you will discover that you are simply better and more comfortable working in some genres than others. You would be wise to find those performing styles in which you excel and focus on developing your business in those areas.

ADR and Looping

Automated (or Automatic) Dialogue Replacement (ADR ) and Looping are niche areas of voiceover that have remained hidden secrets for quite some time. Both have been used extensively in film and television post-production for decades, but advances in video streaming and new systems for program distribution are creating an ever-increasing demand for these services. And as more and more independent films make their way to mainstream and streaming release, and distribution is being found in foreign countries, these aspects of film production are becoming more and more critical for creating the highest sound quality and localizing the sound track.

Looping Vs ADR

The term “looping” comes from the early days of film sound when a segment of the film was spliced into a continuous loop. A set of white lines was drawn on the film using a grease-pencil, with the lines converging at the start of where dialogue needed to be replaced. The actor, watching the film as the lines converge, would begin speaking on cue, matching his original performance.

In today’s complex world of film sound, the process now uses a video playback with audio beeps and a video count-down replacing the grease-pencil. The definition of looping has also expanded in that it now also includes recording the natural human sound effects of crowd scenes, non-scripted voiceover, and efforts (the sounds of human exertion in fights, etc.). Specifically, in today’s postproduction world, ADR is the process of replacing dialogue for a feature film or TV program and Looping has been delegated to off-camera voice and backgrounds. Foley is the replacement or addition of sound effects and has nothing to do with voiceover.

Original dialogue may need replacing for any of several reasons: the location sound is unusable; the director did not like a line’s delivery, even though the rest of the scene was OK; or, profanity needs to be replaced for television or air-travel use. In most cases, the original actor will be brought in to replace their own dialogue, perfectly matching their original performance. However, occasionally, the actor may not be available, so his or her lines may need to be replaced by a sound-alike voice talent who will perfectly match the actor’s lip-sync. Most of the major studio feature films will have 50-80 percent or more of the dialogue replaced—and some will ADR the entire film, discarding all of the original dialogue recorded on set.

An ADR session will usually only have one or two actors in the booth, while a looping session might include a group of up to 20 loop group actors in a large studio. Actors will be assigned specific tasks to replace dialogue or voice background, as needed. Actors may perform individually, or as a group, depending on the project.

Streaming services like Netflix, Hulu, and dozens of others that provide program distribution on an International level are seeing an increased need for ADR “dubbing” to create localized versions of programs in their catalogs. This presents an opportunity for voice actors with multi-lingual performing and writing talents.

Breaking in to ADR and Looping can be a challenge as it is a relatively small, but growing niche of voiceover work. Improvisation and acting skills are essential, as is an ability to perfectly match lip-sync. Loopers and Dubbers must also be excellent researchers in order to create the realism for specific time periods and locations. And a mastery of scriptwriting and translation skills is essential for foreign language dubbing.

The best way to break in to looping is to find a loop group and ask to start sitting in on sessions. As a loop group director gets to know you and learn about your abilities, they may invite you to participate. For foreign language ADR, you can practice by transcribing lines and performing to a playback of the video. Once you’ve got the knack of timing your delivery, you can start contacting post-production houses to let your talents be known.

The Art of Foreign Language ADR

Pocholo Gonzales, is truly the “VoiceMaster” of the Philippines. His company, Creativoices Productions (creativoices.com), is the number one online voiceover services provider in the Philippines. He is the author of two books on voiceover: Voice Care for Teachers (2015), a guide to effectively using the voice in teaching; and “Gusto Kong Maging Voice Talent,” (“I Want to be a Voice Talent”) (2017), which provides aspiring voice artists with an easy-to-follow, 5-step guide to building a career in voice acting. Pocholo is also the founder of the Philippine Center for Voice Acting, the first and only voice acting school in the Philippines.

At one time, voice acting in the Philippines was monopolized and politicized, reserved only for a few well-connected veterans. Starting at a young age, Pocholo experienced what it’s like to be told, “You’re not good,” and “You won’t survive the industry.” But instead of believing them, he became determined to open the doors of voice acting to anyone with the passion to pursue it as an art and a calling.

Since 2005, his school has produced more than 2,000 graduates, with hundreds of them making for themselves a sustainable career in the industry. Because of this, Pocholo has been branded as the “Man BEHIND a Thousand Voices,” as 70-80% of the voice artists in the Philippines today have graduated from his school.

Creativoices Productions also keeps busy by translating dubbing documentaries, explainer videos, commercials and even menu prompts in Filipino for local and international clients. One of their major dubbing projects is called Filipino Fairy Tales, a YouTube channel of classic fairy tales and children’s stories translated and dubbed in Filipino.

Pocholo lives by the mantra: “The voice is God’s gift to us, and how we use it is our gift back to Him.”

In his words: “It is in teaching the art of voice acting that we are able to expand the industry and increase the supply to the ever-growing demand on voices. It is truly an honor not just to have met, but to also have become good friends, with one of the pillars of the international voice acting community. James has served as the inspiration for writing my book on voice acting, and it is my hope that my small contribution to this VOICEOVER BIBLE will help you in your voice acting journey.”

Ready... Set... Go! Local! The Art of Dubbing and Localization

© Pocholo Gonzales, “The VoiceMaster” (Philippines). All rights reserved.

creativoices.com

Today’s technology has truly broken down geographic barriers, especially in film and TV. Thirty years ago, I can remember watching foreign TV shows and movies (primarily Hollywood) late night on Sundays, when most people are likely asleep! Fast-forward to this era of video streaming, there are now millions of hours of foreign content—in any language—that are virtually available on-demand to anyone with internet access.

Such phenomenon has given birth to a voice acting genre that is quickly taking more than its share of the pie—DUBBING.

So... What Is Dubbing?

Dubbing is the post-production process of recording and replacing voices on media such as movies, TV shows, commercials, documentaries, interviews, and even instructional materials. The voices of the actors shown on the screen are replaced by those of different actors who translate the original audio into a different language.

The more appropriate term (the scientific name, as I would call it) for this process is “Automatic Dialogue Replacement” or ADR, as it essentially involves replacing the dialogue and the voices from an already produced foreign medium to adapt to the local language of its intended audience. In the UK, this process is known as “post-synchronization,” while in Asia (like here in the Philippines), we generally refer to it as dubbing.

Dubbing has been around since the early days of film and TV, as early as the 1930’s, when dubbing was primarily used to:

• Remove ambient noise, such as sounds from production equipment, traffic, wind, or other undesirable sounds from the environment (especially if the film is shot on location);
• Correct or change dialogue during post-production to clarify context, remove unintended product endorsements, correct a misspoken line, or take out content for legal reasons; and
• To record a singing performance with studio quality, or to provide a "voice double" for actors who are poor vocalists (yup, true story).

Eventually, dubbing evolved to enable audiences to consume foreign content in their local context. For example, non-English speakers here in the Philippines can watch a Hollywood film in the Filipino language, voices and even accents, and vice versa (our local soap operas are also being translated and dubbed in our neighboring countries in Asia). Because the script is translated, the story gets adapted to match the context from which the audience is watching. And because the dialogue is dubbed, problems with inaudible and hard-to-understand accents are eliminated as well.

Dubbing became a more preferred alternative to subtitles, which audiences often find too tiring to read and tend to take away attention from the story (Imagine having to sit through a 2-hour film just reading subtitles!). For studios and production houses, dubbing has become a more viable and much less expensive option to doing remakes.

Going Local

Filipinos are huge fans of foreign soap opera and anime. The first wave of anime in the 70’s, with shows such as “Voltes V” and “Mazinger Z,” kept kids glued to the television on weekday afternoons. Soon after, came the “mecha” craze (mecha referring to the mechanical giant robots that portray superhero roles).

Little did we know as kids that Martial Law (under the rule of former President Ferdinand Marcos) would put an end to our afternoon delight. Marcos banned the airing of these shows under the premise that parents were complaining about the violence being shown. However, it was rumored that the President did not want the people to be inspired by the story of freedom against dictatorship that was depicted in those shows. When Martial Law ended, anime was back on free-to-air TV, including more family-oriented series such as “Ron-ron the Flower Angel” and “Candy Candy.” It is worth mentioning that throughout that period, these anime shows were being shown in English, and were mostly acquired from the United States.

The Filipino dubbing craze in the Philippines started in the early 90’s when the first soap opera from Mexico, “Marimar,” was dubbed in our local language and aired on one of our major TV networks. The Filipino audience loved its main character portrayed by Latina star Thalia, and soon enough, her other soaps were brought in and dubbed in Filipino as well. In the early 2000’s, Asian soaps entered the scene as the hit Taiwanese drama “Meteor Garden” was translated and dubbed in Filipino, in which I worked as Assistant Dubbing Director and also a dubbing talent.

Today, almost half of the programs shown on the major TV networks here in the Philippines are dubbed foreign content. In the last decade, free-to-air and cable channels also began showing Hollywood and other foreign films dubbed in Filipino

Learning the Art of Dubbing: The 10 Commandments

Couple free-to-air and cable TV with streaming services such as Netflix, and it is easy to see the huge demand for content to be dubbed and localized into the audience’s local language. For us voice artists, that means massive opportunities both in the local and international market!

On the surface, dubbing looks easy and fun. It is fun, but what most people don’t realize is that those voice artists that make it look easy have simply mastered dubbing techniques so that it has become almost effortless for them. It takes time, dedication and patience to learn the art of dubbing… and I’m glad to help you jumpstart that learning in this section.

I would like to present to you what I call the “10 Commandments of Dubbing.” These 10 Commandments are divided into 2 main components of dubbing that are unique to this genre— SCRIPTWRITING and LIP SYNCING. In my opinion, anyone who would like to master the art of dubbing should be an expert on both.

Component #1: Scriptwriting

Whenever my students ask how they can get better at dubbing, I usually tell them to practice translating scripts. It is in scriptwriting that you learn to appreciate the language in which the original dialogue is being replaced.

I refer to it as scriptwriting and not translating, because I always want to emphasize that what we do in dubbing is ADAPTING the script to our local language. One of the biggest mistakes that scriptwriters make in dubbing is doing word-for-word translation, with little regard to sentence construction, context and, above all, the “sound” of the dialogue. Ultimately, the audience will watch the movie or TV show with the localized content, and not read from the script.

A dubbing scriptwriter has 2 primary roles:

• Bring the script to life in the target language. Don't be too quick to open a translator app and start cranking out the script. As you translate the lines, you should be able to play back the scene in your head, to hear that the translated dialogue makes sense, and the story is kept intact.
• Make it easy for the dubber (the actor), the sound engineer, and the director to do their job. The script is the lifeblood of a dubbing session. Without the translated script, it will be almost impossible to dub. In my dubbing team, our scriptwriters are required to follow a certain script format, with specific elements needed to make our dubbing sessions seamless and efficient.

Script Elements

Aside, of course, from the translated dialogue, your script should have the following:

The image you see below is a sample script of one of the foreign movies I have dubbed for a cable TV network with my team.

At first glance, having page numbers and timecodes on scripts seems very OCD, but there’s a good reason for that. Let me explain.

Typical dubbing sessions involve going over the script several times. Despite making the effort to schedule our sessions so that our voice artists are all present to record at the same time, more often than not, there would be one or two that would not be able to comply. To maximize time, we record the scenes chronologically with the talents who are available and come back to fill in the gaps as others come. The page numbers make it easy for both the artist and the director to easily navigate through the script, while the scene number and the timecode allow the sound engineer to easily locate the scenes on the video.

Dubbing Lingo

As a scriptwriter, you should also be familiar with the following terms that need to be present in your script. These serve as the dubber’s signal on what’s coming in the dialogue. Put these terms in parenthesis and place them at the beginning of the line when applicable. Some scriptwriters have more terms they use, but these are the most common and important ones:

• (OFF) This indicates that the character's mouth is not seen. It could be that the character has his/her back to the camera, or is speaking from outside of the room, or perhaps on the other end of the line (as in on the phone) speaking to another character.
• (TO ON/OFF) Use "TO ON" to indicate that the character starts at "OFF" and then his/her mouth will be seen somewhere within the line. Use "TO OFF" when the character's mouth starts from being seen, and then switches to being off. This helps keep the dubber alert of the mouth flaps of his/her character (more on mouth flaps later).
• (REAX) This stands for "reaction." Most reactions such as gasps or cries cannot be spelled out. When the dubber sees this signal, it prepares him/her to watch the character and match the reaction on screen,
• (OVRLP) This stands for "overlap." When two or more characters talk at the same time, it is important to write this in the script on the character lines of those with overlapping dialogue. This tells the dubber that his/her line is coming up even though the other character is still speaking.
• (...) This is the symbol for PAUSES in the dialogue.

10 Commandments of Dubbing Part 1

The first 5 of the 10 Commandments deal with scriptwriting

1. “Thou shall count the words.” One of the characteristics of the Filipino language is that it uses more words to express its English equivalent. Perhaps other languages are the same. Take a look at the sample script below:

1. “Thou shall reword when awkward.” Our rule of thumb when it comes to scriptwriting: write as if you’re SPEAKING, not as if you’re WRITING. As I mentioned earlier, ultimately, the audience will watch the final medium (film, TV show, etc.) and not read your script. Play back your video and check… is that the way a little girl/father/ princess/robot/wizard would speak? It is perfectly okay to reconstruct sentences, use a different word, or to opt for an English translation altogether for a more universal appeal. The more you write scripts, the better you will get in translating using more concise, relevant and conversational language.
2. “Thou shall translate the conTEXT, not conTENT.” The reality is, no one really pays attention to whether or not your translation was correct. When audience watch dubbed films, they CANNOT hear the original dialogue. They can only see the video and hear the localized voice along with it. The question is, does the dialogue make the story make sense? Or does it sound as if it came from a different place? This is why I always tell my scriptwriters – “you are scriptwriters, not translators.” The mindset of a scriptwriter in dubbing should be to put the story in the CONTEXT of their target audience.
3. “Thou shall match the mouth.” Aside from translating the words, what is important is for the scriptwriter to SYNC the lip movement with the dialogue. That’s why it is ideal to have the video while translating, as it will be your basis as to whether your script will sync or not. Also, watch for the mouth flaps especially at the end of the lines, and match it with the sound of the dialogue you are writing. For example, if the character’s last word ended with his/her mouth closed (example, “M” sound), then match that lip movement with the translated language.
4. “Thou shall know when to stop trying.” If you go back to Figures 2 and 3, one of the things you will see is that we have kept some English words in the target language script. And for the most part… THAT’S OKAY. It’s not that you are lazy or you give up easily. But when you encounter words like “zombie apocalypse” or “standard operating procedures” and there’s really no direct translation in your local language, then it’s perfectly fine to keep the original text. Here in the Philippines, practically everyone answers the telephone with “Hello,” and so we keep that in our scripts with telephone scenes.

Component #2: Lip Syncing

Now that you know how to write the words, it is time to SPEAK them.

When recording for most voiceovers, you primarily pay attention to two things: the script and the director. In dubbing, one more element is added—the MONITOR.

Figure 17.4 gives you a glimpse of what’s inside the dubbing booth. It’s just like your typical recording booth, except that you will see a TV screen in front of the voice actors where they see the video they are dubbing. Their mission is to pay attention to their character on the screen and deliver their lines in sync with what they see.

That’s why I always say that dubbing is like driving a car. When dubbing, you look at the monitor, glance at the script and listen to the director for cues. It’s like keeping your eyes on the road, while watching the rear and side view mirror at the same time!

Let’s continue with the second half of the 10 Commandments, which deal with LIP SYNCING:

1. “Thou shall keep your eyes on the monitor.” Monitor first, script second. This is what I always tell my talents during our dubbing sessions. The priority is to look at the monitor when you are dubbing. If your line is just one or two, then I suggest you memorize it so you can fix your eyes on your character in the monitor.
2. “Thou shall BECOME the character.” Just because your dialogue was in sync does not mean your character is believable. New voice artists tend to miss the ACTING part of voice acting. They deliver their lines with no emotion, no attachment to their character. So, their dialogue “floats,” meaning, it becomes obvious that a different person is speaking! I always say, don’t just act… BE the character. That’s why I’m a total believer of James’ “character analysis.” You should study your character so you can become him or her.
3. “Thou shall learn STRETCH and TIGHTEN.” As a voice artist, you should also learn how to read the script, including the dubbing lingo I mentioned in the scriptwriting part. During recording, as a dubber, you will need to be familiar with 2 additional terms: STRETCH and TIGHTEN. Sometimes, the lines in the script have to be changed during the actual dubbing session depending on the rate of speech of the voice artist. When the line you are dubbing is too short for the mouth flap of the character, you need to stretch. When it’s too long, you need to tighten. Stretching or tightening your line can be done either by adjusting your pace as you read the lines, or by removing or adding certain words.
4. “Thou shall be good inside the booth.” Just like in any recording studio, it is very important to be cautious about how you move around inside the booth. In most cases, recording studios use condenser microphones, which are very sensitive and can pick up even the slightest noise—such as paper flaps and deep breaths. When you dub, observe proper distance from the microphone. Put your scripts on a stand instead of holding them, and do NOT record as you flip pages. And while we encourage gestures and facial expressions to help bring out the emotions from your voice, be mindful not to stomp or clap or hit the microphone.
5. “Thou shall fill gaps with REAX.” If you keep your eyes on the monitor, you will be able to watch what your character is doing. You will need to match your character’s facial expressions and gestures with the appropriate vocal reactions. For example, if your character is running, you need to simulate that action with heavy breathing sounds. If your character is in a fight scene, supplement the kicks and punches with the appropriate vocal reactions. Other common reactions include gasps, grunts, sighs, laughter and cry, just to name a few.

The effectiveness of our message is determined by the language in which we communicate it. This is probably one of the biggest reasons why dubbing is currently taking the world by storm, with millions of hours of content still waiting to be localized in different native languages. As voice artists, we have the privilege to serve by being the voice that makes audiences hear the world in their language.

Anime

Anime is a sub-genre of animation and Anime voiceover is a form of dialogue replacement or dubbing. Technically, Anime is a form of Japanese animation that has seen unprecedented popularity around the world, including the United States. Anime voiceover requires a conversational style of real-people voice characterization and emotional dialogue. Unlike standard animation, in which the voiceover is recorded first, in Anime, the voice actor will be replacing the original Japanese voice track. This requires exceptional acting skills, an excellent sense of timing, a keen screen-eye coordination, and thorough understanding of the characters and story line.

Anime voiceover is a small niche that is difficult to break into. Although there are a few well-paid “stars” in Anime voiceover, the majority of work in this genre has a reputation of offering relatively low pay. Most voice talent who work in Anime do it because they love the genre. One excellent way to learn the requirements of Anime voiceover is to join one of the hundreds of groups that produce on-line Anime, most of which do not pay. An Internet search for “fandub anime” will bring up thousands of resources.

Professional Anime voice talent recommend that anyone wishing to enter this area of voiceover begin by mastering their acting skills and study the film genre to have a thorough understanding of the Anime art form.

Telephony

Telephony voiceover work includes the broad range of telephone messaging. If you’ve recorded an outgoing message on your home answering machine or voice mail, you’ve done the most basic of telephony work. Many businesses will use voice talent for message-on-hold (MOH), and voice prompts, among others. If you have a knack for creative writing and character voices, why not put those skills to work to create your own outgoing message?

A message-on-hold recording is one or more messages, usually with background music, that are heard when a caller is placed on hold. You could think of MOH as commercials while you wait. A good MOH script will contain several short messages that focus on a service, product, or benefit offered by the business.

Voice prompts are the automated outgoing messages that provide instructions to a caller. One type of voice prompt simply asks the caller to take a specific action either verbally or by using the phone’s key pad, like “press 2 for sales.”

Another type of voice prompt takes an outgoing message to the level of creating a virtual person having a conversation with the caller. This is known as Interactive Voice Response (IVR). The caller is greeted by a recorded “person” who engages the caller in a conversation that will ultimately get her where she wants to go. This is a recorder real person, not a computer-generated voice. The caller responds by speaking the request, and the computer uses voice recognition technology to move to the next prompt based on what the caller said. It’s completely automated, and fully interactive.

Concatenation is a process in which the voice talent records individual words, short phrases or phonetic sounds. Computer technology assembles the appropriate sounds, words, or phrases into sentences that provide information or instruction to the caller. This process has so refined as to create phone prompts that sound very real, even though they are completely fabricated on the fly. When properly done, the voice prompts sound completely natural and may even be mistaken for a real person. Ah, technology.

Another rapidly growing area of telephony is the robo call. Robo calls are essentially auto-dialers with a pre-recorded announcement. When a call center uses an auto-dialer for outgoing calls, you will be connected to a real sales person when you answer the phone. When you answer a robo call, you will hear an IVR recorded message— sometimes very well done… sometimes not so much. The system will usually have speech recognition so that the robo call will respond correctly to your voice. When done well, you won’t even know you’re talking to a computer. Whether you like them or not, the robo call, auto dialer and call center are here to stay.

Voiceover in this genre will often require a very conversational style, but will sometimes require more of a commercial sales type of delivery. Telephony voice prompts are increasingly the first contact a customer has with a business, and there are literally dozens of companies who are eager to provide this service. An Internet search for “message on hold companies” will bring up dozens of prospects.

Telephony can be an excellent entry to voiceover work. Scripts are often very short, but the best thing about Telephony work is that the voice talent will often become the signature voice for a business. When working for a large company, this type of voiceover work can also lead to other voiceover work for the company as a narrator for corporate training, marketing videos, and radio/TV commercials.

New Media

Recent advances in technology have spawned dozens, if not hundreds or even thousands, of new opportunities for voiceover work. Doors have opened for providing voiceover for everything from blogging to website audio and much more. The genre of voiceover in New Media, is just that … “new.” This is one of those specialty areas which is definitely not for everyone, but may be the perfect entry for the voice actor who has an interest in this area. As with most other areas of voiceover work, New Media jobs can lead to other, more lucrative work in other areas of voiceover.

Joe Klein is one of the recognized authorities on New Media and how to work as a voice talent in this highly unique genre. For over four decades, Joe has written, voiced, produced and directed literally thousands of product jingles, records, national radio commercials, corporate presentation soundtracks, and network promos. During the 1970s and '80s, Joe established a reputation as one of Hollywood’s leading voice directors, receiving multiple Clio and International Broadcast awards, and was widely known for the “bigger than life” sound he achieved. Since 2005, Joe has been a leader in providing voiceover content for podcasters, video bloggers and new media networks.

The following section is edited from the chapter on New Media that appeared in the fourth edition of this book. The full chapter is included in the AOVA Extras at VoiceActing.com.

A Revolution in Media Content and Delivery

By: Joe Klein (Laughlin, NV)

bit.ly/JoeKleinFB

So, just what is this new media thing, anyway?

For those in their twenties, New Media is more than just a familiar term! It’s most likely the only kind of media that the majority of those in this demographic consume. For those more “old skool” folks, however, the term has often evoked looks of bewilderment over the last few years.

The term new media refers primarily to newer forms of media content, which, beginning early in the new millennium, were originally being created by alternative and renegade content creators. Falling under the new media genre now is a rapidly growing new breed of alternative content being produced by mainstream media outlets as well, including repurposed versions of the content that appears on traditional media channels.

If you are a voiceover artist or media professional involved in the field, it’s time you got a handle on the brave new world of delivering programming, promotion, training, marketing, and a growing number of forms of alternative advertising.

The Voice Actor's Place in New Media

The ongoing advancement and expansion of new media is unquestioned. Likewise, the migration to new media outlets of current media applications such as commercials, training video, film, television programming, and many other genres of entertainment and business is opening doors to many new opportunities for the observant voice actor. Soon, new media will be the mainstream. As more and more new media producers are, finally, moving toward “professional quality” production, there is an increasing amount of voiceover work up for grabs. Online commercials and promos, promotional videos, training videos, marketing tools, and instructional and informational media of every shape and form are being produced at a constantly growing rate. Even short form media elements, such as fully produced show opens, closes and promos are being widely used in new media content.

The sheer quantity of content now being produced presents a wealth of opportunities for producers, performers and others involved in the creative process. But, with the opportunities come an unprecedented level of competition to achieve success.

Besides competition, the biggest challenge to today’s voiceover artist is, and will continue to be, keeping up to speed with the market and all the technologies related to it. Another pressure is on pricing. Intense competition has made pricing an important issue to deal with. Those paying for voiceovers, like other employers, want more for less, so it is more important than ever for a voiceover artist to be more than just an able performer.

Being skilled in the art of pricing and negotiation are now vital. If you don’t feel comfortable dealing with these areas, seek out an agent or representation of some kind. But, keep in mind that a growing number of voice actors bite the bullet and negotiate for themselves these days, so paying for the services of a representative may add a cost that hinders your ability to compete. Tips on pricing and negotiation are often topics of conversation on the blogs of voiceover professionals.

Lastly, it is now more important than ever for today’s announcers and voice actors to take a direct and active role in marketing and promoting their own services and “brand.” Again, extensive use of the Internet and participation in social networks are, increasingly, the keys to success in any profession or business enterprise, and voiceover is hardly an exception. Educating oneself as to where the work is and how to get a piece of it is the key to achieving success! Remember, it’s all about networking in the new online world. See, and be seen. Follow, and be followed. Communicate, and people will soon start to communicate back to you. These days, dialogue leads to success!

I am constantly asked how one can navigate the rapid sea of change constantly occurring in these areas. To be sure, staying on top of the latest developments and innovations in new media and social networking is very much a full-time job in itself. By the time you are reading this, it is a certainty that much of the information offered here will be dated or superseded, and hundreds of new products and services will have come—and gone. The best way to stay current is to go online, search for and then gather the latest information.

Here are a few suggestions that I hope will stay current. To keep abreast of what’s going on, there are thousands of blogs online that cover the latest developments and trends in new media, social networking and related fields. As of this writing, a few of the better, and most popular dot com tech blogs are TechCrunch, Gizmondo, Engadget, and Slashdot. My vote for the best blog covering the world of social networking is Mashable. All of the blogs above also do a good job of covering new media news and views. Of course, all of these blogs have Twitter feeds as well, so you can follow them post by post on Twitter, which, in effect, acts as a headline service for the blogs.

Besides blogs, a good source to stay on top of all things tech and the online world is to regularly listen to podcasts or view some of the thousands of podcasts or online video programs out there. I highly recommend a collection of weekly programs offered up by the TWiT Network, which, as of this writing, can be found at twit.tv. TWiT offers several shows about tech in general, the Internet, and several more specialized subjects, such as Google, Windows, Macs, digital photography and much more. You can watch them live as they’re being recorded or download them at any time.

There is definitely way too much information for most of us to consume, so find a few blogs that you like best, and just follow them as best as you can and at your own pace.

As it has always been in the art of voice acting, the new media voice actor’s job will continue to be one of communicating a compelling message through the creation and presentation of interesting characters and reads. And, although the fundamental performing skills remain the same, the business model, technology, and marketing methodologies are ever-changing and do require constant monitoring to adapt to trends as they evolve.

There is a new breed of creative new media producers offering new opportunities for voiceover talent to help them deliver their content. As voice actors, it is our job to evolve along with the new media marketplace.