Index

Accent it, 247

Acting

character development techniques, 117

techniques, 44–45

ACTRA, see Alliance of Canadian Cinema, Television, and Radio Artists

Add life, 247

Adler, Charlie, 4, 180

Ad-libbing, cartoon voice recording, 194

ADR, see Automated dialogue replacement

AFTRA, see American Federation of Television and Radio Artists

Age, character development, 114–115

Agent

accountability, 154

changing, 154

contract, 151–152

cover letter, 143

demo sending, 147

finding, 146–147

follow-up, 147–148, 150

functions, 141–142

manager comparison, 142

market coverage, 155

need assessment, 142–143

reputable agents, 143

selection factors, 150–151

thank you note, 150

voice actor

attributes appealing to agent, 148–149

responsibilities to agent, 153–154

Air, 247

Alliance of Canadian Cinema, Television, and Radio Artists (ACTRA), 12

Ambiance, 247

American Federation of Television and Radio Artists (AFTRA), 11, 146, 247

Animal sounds, types, 50–51

Animated features, recording work, 199–203

Animatic, 247

Animation

careers, 2

processes, 2–3

Anime

dubbing challenges, 226

process, 28

work generation, 227

Aspirate, 83, 97

Attitude, 247

Audition

copy for practice, 181–185

definition, 247

dos and don’ts, 165–166

follow-up card, 168

location, 162

logging, 167

preparation, 161–162

process, 162–165

recording

home studios, 172–176

quality, 170

self-direction, 170–171

sending, 171–172

tips, 166–167

Automated dialogue replacement (ADR)

call outs, 212, 215–216

definition, 211–212, 247

games, 205

improvised conversation, 216

loop group, 212–213

research, 214

walla, 212, 216

work acquisition, 217–218

Banderas, Antonio, 220

Barreau, Jacques, 229

Beat, 247

Bed, 247

Be real, 248

Bergen, Bob, 8, 10, 13, 126, 155, 166

Berkley, Susan, 169

Bidirectional microphone, 37, 248

Billboard, 248

Blanc, Mel, 42–43

Booking, 248

Boom, 248

Booth, 248

Borgemoen, Asgeir, 220

Break character, 248

Breath control, 22–23

Bridges, Jeff, 5

Bring it up (or down), 248

British dialects

Cockney dialect

consonant changes, 69–70

glide, 68–69

unaccented syllables, 69

vowel changes, 67–68

educated

consonant changes, 67

vowel changes, 65–67

Brooklyn dialect

consonant changes, 62–63

vowel changes, 61–62

Butler, Daws, 111

Button, 248

Buy-out, 248

Call outs, 212, 215–216, 248

Callback, 168, 248

Cans, 42, 248

Cardioid microphone, 38, 248

Career

animation, 2

business tips, 53–54

early experience, 12–13

financing start, 14

giving back, 196

locations, 13

negative factors in attaining employment, 6

self-marketing, 181

support, 10–11

taking charge, 10

tools for beginning, 14

voice-over industry employment, 5–6

work generation

anime, 227

automatic dialogue replacement, 217–218

dubbing, 222

tips, 155–156

Cartoon voice recording

career considerations, 196–197

check-in, 190–191

first job, 187–188

rehearsals, 191–192

script, 188

session

ad-libbing, 194

comedians, 195

delays, 195

directors, 194–195

dos and don’ts, 192–194

expectations, 190

physicalization, 194

post-session, 195–196

preparation, 188

studio features, 191

Cartwright, Nancy, 104

Cashman, Marc, 170

Casting

audition

copy for practice, 181–185

dos and don’ts, 165–166

follow-up card, 168

location, 162

logging, 167

preparation, 161–162

process, 162–165

recording

home studios, 172–176

quality, 170

self-direction, 170–171

sending, 171–172

tips, 166–167

callback, 168

celebrities versus experienced voice actors, 178

child actors, 179

comedians, 178

directors and demos, 159–160, 167–168, 179–181

ethnic actors, 179

fee setting, 177–178

Internet casting, 169–170

process, 159–161

self-marketing, 181

trends, 181

Casting director, 159–160, 167–168, 179–181, 248

Cattle call, 248

Celebrities

casting, 178

imitations, 24

CGI, see Computer-generated imagery

Character development

acting techniques, 117

age of character, 114–115

comedy characters, 115–116

files and forms, 118–120

getting into and keeping in character, 117–118

kid entertainment, 116

likability, 106

original characters, 105–106

original versus scripted characters, 118

personalizing, 108

practice, 122–124

process, 103

research, 121

robots, 115

shortcuts, 115–116

someone else’s character, 104–105

status, 107

summing up, 107–108

types of characters, 108–109, 112–114

voice placement and mouth work, 109–112

Child actors, casting, 179

Clear, 248

Cockney dialect

consonant changes, 69–70

glide, 68–69

unaccented syllables, 69

vowel changes, 67–68

Cold read, 248

Color it, 248

Comedians

cartoon voice recording, 195

casting, 178

Comedy, timing, 47–48

Commit, 249

Computer-generated imagery (CGI), animation, 3

Condenser microphone, 38–40, 249

Cones, 249

Consonant sounds, 28, 59

Continuants, 28, 249

Contract, agent, 151–152

Control room, 249

Copy

audition practice, 181–185

cartoon voice recording, 188

cartoon voice recording, 188

character development practice, 122

demo, 131

dialect practice, 100

games, 207–208

handling in studio, 42

marking, 42–43

practice copy, 233–246

reading tips, 52–53

stands, 172, 174

theme parks, 209

toys, 208–209

Cover letter

agent inquiry, 143

audition, 171–172

demo, 138

Cries, 50

Cut, 249

Damaged, 249

Dark, 249

DAT, see Digital audiotape

Dead air, 249

Demo

agency package, 143, 147

casting director, 159–160

copy, 131

cost and quality, 132

cover letter, 138

definition, 125, 249

duplication, 136

editing, 135

internet resources, 126–127

length, 128

marketing, 138–139

mastering and distribution, 132, 135–136

material, 128–131

packaging, 136–138, 145–146

producer/director, 127–128, 132–133

recording day, 133–134

recording studio, 127

rehearsal, 133

timing of production, 125–126

updating, 139–140

Dental, 249

Dentist, importance in voice health, 35

D-Esser, 28, 40

Dialects

consonant symbols, 59

copy for practice, 100

diphthongs, 59

phonetic vowel symbols, 58

rationale for learning, 57–58

resources, 99–100

study tips

British dialect, educated

consonant changes, 67

vowel changes, 65–67

Brooklyn dialect

vowel changes, 61–62

consonant changes, 62–63

Cockney dialect

consonant changes, 69–70

glide, 68–69

unaccented syllables, 69

vowel changes, 67–68

French dialect

consonant changes, 90–92

nasalized vowels, 87–89

vowel changes, 89–90

Indian dialect

consonant changes, 74–75

vowel changes, 73–74

Irish dialect

consonant changes, 72–73

vowel changes, 70–72

Italian dialect

aspirate, 83

consonant changes, 85–87

double consonants, 87

vowel changes, 83–84

Japanese dialect

aspirate, 97

consonant changes, 98–99

vowel changes, 97–98

Mexican dialect

consonant changes, 80–82

vowel changes, 79–80

overview, 60–61

Russian dialect

consonant changes, 94–97

vowel changes, 93–94

y sound, 92–93

Southern dialect

consonant changes, 64–65

vowel changes, 63–64

Spanish dialect

consonant changes, 77–79

vowel changes, 75–76

suggestions for use, 60

Dialogue tag, 249

Diaphragm, 249

Digital audiotape (DAT), 249

Digital recording, 249

Diphthong, 27, 59, 249

Direction, 250

Directional microphones, 37–38, 250

Director

audition self-direction, 170–171

cartoon voice recording, 194–195

casting director, 159–160, 167–168, 179–181, 248

definition, 250

demo production, 127–128, 132–133

dubbing and point of view, 228–230

donuts, 250

Double vowel, see Diphthong

Drawl, 250

Drop, 250

Dry, 250

Dubbing

advice from actors, 230

anime

challenges, 226

process, 228

work generation, 227

budget, 228

challenges for actors, 223–224

definition, 219, 250

director’s point of view, 228–230

games, 204–205

market, 220–221

mouth charts, 224–225

process, 219–220, 223

script, 222

skills needed, 221–222

sound effects, 226

synchronization, 224

work acquisition, 222

Dynamic microphone, 40, 250

Education

preparation for voice-over career, 7–8

teacher selection, 8–9

Emotion, expression exercises, 55–56

Employment, see Careers

Energy level, 52

Epcar, Richard, 203, 205, 219, 227–229

Epiglottis, 250

Equity, union, 12

Ethnic actors, casting, 179

Exercise, importance in voice health, 35

Exercises, warm-up

body, 17–19

tongue twisters for lips and tongue, 28–32

voice, 19–21

Fee, setting, 177–178

Flow, 250

Foley effects, 3, 50

Follow-up card, audition, 168

Foray, June, 10, 44

French dialect

consonant changes, 90–92

nasalized vowels, 87–89

vowel changes, 89–90

Fresh, 250

Fricatives, 28, 250

Gag, 250

Games, recording work, 203–205

Garcia, raul, 201–202, 221

Gilland, Joseph, 3

Gillet, gary, 169, 173, 180

Glottal stop, 250

Glottis, 250

Grant, Ron, 175, 177

Graue, Marc, 126

Hack, Michael, 4, 10, 160, 166, 180, 191, 205

Hall, Gary, 215

Hamada, Masatoshi, 220

Hard palate, 26, 250

Headphones, 42, 172, 174, 248

High, 250

Home studio

inexpensive studio equipment, 172–173

midpriced studio equipment, 174–177

Hot mic, 251

Improv, 45–47, 195, 251

In the can, 251

Indian dialect

consonant changes, 74–75

vowel changes, 73–74

Integrated services digital network (ISDN), 251

International Phonetic Alphabet (I.P.A.)

American English vowel sounds, 25–28

consonant sounds, 28, 59

diphthongs, 59

overview, 21, 251

phonetic vowel symbols, 58

Internet casting, 169–170

Internet recording work, 206

Intimate read, 251

I.P.A., see International Phonetic Alphabet

Irish dialect

consonant changes, 72–73

vowel changes, 70–72

ISDN, see Integrated services digital network

Italian dialect

aspirate, 83

consonant changes, 85–87

double consonants, 87

vowel changes, 83–84

Japanese dialect

aspirate, 97

consonant changes, 98–99

vowel changes, 97–98

Jewel case, 251

Labials, 251

Lallo, MJ, 126, 134, 246

Lambert, Ruth, 201

Larynx, 251

Laterals, 28, 251

Laughs, types, 49–50

Lay it down, 251

Level, 251

Loop, 251

Loop group, 212–213, 251

Low, 251

Manager, agent comparison, 142

Marking, copy, 42–43

Mask, 251

Master, 251

McLean, Cynthia, 149

McSwain, Ginny, 10, 205

Melody, 60, 251

Mexican dialect

consonant changes, 80–82

vowel changes, 79–80

Meyers, Warren B., 166

Microphones

holding, 41

home studio

inexpensive studio, 172

midpriced studio, 174

operation, 40–41

types, 37–40

Milk, 251

Mimicry, 23–24

Mix, 252

Morning voice, tips, 34–35

Motta, Claudia, 220

Mouth charts, 224–225

Mouth noise, 252

MP3, 252

Narration, recording work, 206–207

Nasals, 28, 252

Natural voice, placement, 23

Need, 252

O’Connell, Maureen, 222–223

O’Donnell, Rosie, 115

Omnidirectional microphone, 37, 252

Over the top, 252

Pacing, 51

Payoff, 252

Personalize, 252

Pharynx, 252

Phrasing, 252

Physicalization, cartoon voice recording, 194

Piano, warm-up exercises, 19–20

Pick it up, 252

Pickup, 252

Pitch, 252

Placement

character development, 109–112

definition, 252

natural voice, 23

practice, 48

Play with it, 252

Plosives, 252

Poignant, 253

Pop filter, 40, 253

Positive attitude, importance, 6–7

Post, 253

Posture, voice production, 22

Pre-demo, 253

Recinos, Edgar, 134

Rehearsal, cartoon voice recording, 191–192

Residuals, 253

Resonance, optimization, 23

Resume, creation, 143–145

Reverb, 253

Ribbon microphone, 40

Risk taking, 48

Robot, character development, 115

Rock, Chris, 47

Romano, Andrea, 139, 168

Run-through, 253

Russell, Douglass, 135

Russian dialect

consonant changes, 94–97

vowel changes, 93–94

y sound, 92–93

Sabesin, Andrea, 135

SAG, see Screen Actor’s Guild

Scale, 253

Screen Actor’s Guild (SAG), 11, 146, 253

Script, see Copy

Seinfeld, Jerry, 47

Sfx, 253

Shatner, William, 200

Sibilant S, 28

Sicilia, Manuel, 201

Sito, Jones, 200, 202

Skill set

dubbing, 221–222

voice-over work, 3–4

Slate, 253

Slating, 43–44

Smith, Will, 200

Soft palate, 27, 253

Sound effects

dubbing, 226

practice, 48–49

Southern dialect

consonant changes, 64–65

vowel changes, 63–64

Spanish dialect

consonant changes, 77–79

vowel changes, 75–76

Specific revoicing, 213, 253

Staccato, 253

Status, characters, 107

Stern, Ellyn, 10, 44, 48, 205

Sting, 253

Storyboard, 253

Style, 51–52

Subtext, 253

Supercardioid microphone, 38, 253

Sync, 254

Synchronization, dubbing, 224

Table read

definition, 254

traditional animation, 2

Take it from the top, 254

Teachers, selection, 8–9

Teleclass, 254

Tempo, 254

Texture, 254

Theme parks, recording work, 205–206, 209

Thornton, Billy Bob, 111

Throw it away, 254

Tongue twisters, exercises, 28–32

Toys, recording work, 205

Tray card, 254

Triphthong, 254

Unions, 11–12, 218

Unvoiced consonants, 28, 254

Upper teeth ridge, 28, 254

Uvula, 254

Velum, 28, 254

Video games, recording work, 203–205

Vo, see Voice-over

Vocal cords, 254

Voiced consonants, 28, 254

Voice health

dentist importance, 35

exercise importance, 35

maintaining, 32–33

mornings, 34–35

recovery remedies, 33–34

Voice-over (VO)

definition, 1–2, 254

resources, 9–10

skill set, 3–4

Voice production

anatomy, 27

good habits, 24–25

Vowel sounds, 25–28, 58–59

Wacky, 254

Waldo, Janet, 4

Walk and talks, 255

Walla, 212, 216, 255

Warm it up, 255

Warm-up exercises

body, 17–19

tongue twisters for lips and tongue, 28–32

voice, 19–21

Weinstein, Harvey, 201

Wild lines, 212

Williams, Robin, 47, 115, 195, 200

Wind screen, 255

Working to picture, 211, 255

Wrap, 255

Wrinkles, 48, 255

Wry, 255

Yoga, relaxation exercises, 21–22

Youtube, exposure of talent, 156, 181

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