I’m a beginner voice actor, and I’m not sure where this industry is heading. I’m a freelance voice actor, and I also occasionally take on translation projects. I only have about one year of experience — I graduated from school last year and started exploring this field soon after. At first, I was really excited about this career. I enjoyed working with different types of content and improving my skills. However, recently I’ve started feeling a bit uncertain about the future. It seems like the voice industry is changing quickly, especially with the rise of AI voice technology. I’ve noticed fewer opportunities compared to before, and many projects seem to be changing or becoming harder to find. I know every industry goes through changes, But when I actually went through it, I became anxious and uneasy. For those who have been working in voice acting, localization, translation, or related fields for a longer time: Do you think this is still a good industry to stay in and continue developing skills?The people around me and my parents are all urging me to consider changing direction.I don't know how to make a choice
I am curious. On our journey as actors not very many of us make much money right away in this highly competitive field. So what are some of the best and flexible sources of income you have found to help you on your journey?
One piece of advice that really stayed with me from Keanu Reeves was:"Try not to be a f--king a--hole. And go to work and respect who you're working with until they prove they don't get your respect."As someone beginning my journey as a screenwriter and actress, I think this is a reminder that talent is only part of the equation. The way you treat people, collaborate and carry yourself matters too.Every project is built by a team and respect is a great place to start. Looking forward to learning from and working with amazing people in this industry.
We are looking for high quality, natural sounding voices for this animated pilot! The pilot is aimed to be rated **TV-14**, for young adults with slightly **mature subject matter** and **slightly mature language.** This pilot is about a boy named Stan, a boy who lives in a world of hellish creatures who want him and the people he loves to cease to exist. And he'll do anything he has to do to keep his loved ones safe. Don't worry, it's not too scary, it's supposed to be a comedy... Or IS IT? (keeping summary short to avoid revealing too much) **PAYMENT:** **Stan** (Main Character) - **RATES** \- $60/per hour of recording **Alex** (Supporting Character) - **RATES** \- $135 ($15 per line) **Elizabeth** (side character) - **RATES** \- $60 ($20 per line) **Franklin** (Side Character) - **RATES** \- $30 ($15 per line) **MONSTER** (subtle antagonist) - **RATES** \- $60 ($15 per line) **TO LEARN MORE AND AUDITION CLICK THE LINK!!!** [AUDITION HERE!](https://forms.gle/ArZAMFEtQetbFLuf9)
Hi everybody! Voice Actor: 30 Second ecommerce app announcement ad. Vibe: Deep voice, British accent (almost aristocratic). Concept: Our main character, Will, is relaxing after a day at work, but is reminded that his dads birthday is tomorrow and he hasn’t got him anything. Panic ensues as Will runs around his apartment looking for anything to give his dad. Will is then reminded of our app, omo, an ecommerce app designed to find the perfect gift for friends, family, colleagues etc. This is the first advert for the app. The plan is to run this campaign as a series. Therefore, this may lead to further commissions in the future. If this is of interest, please let us know in the comments under this post or add me on discord: omoalvey The candidate will be pad $35 dollars for the work. There are minimal lines so we think that this is a fair rate for the time needed on the project. Looking forward to hearing your submissions!
I'm looking for perspective from people who've been through the professional demo process. A little background: \* \*\*June 12th:\*\* I met over Zoom with a very respected veteran voice actor/demo producer for a readiness assessment. He specializes in video game demos. He told me I was ready for a video game demo (which he mentioned was a fairly rare assessment), and asked me to choose five scripts from a packet he'd sent me and provide samples of my existing work. I also owed a 50% deposit before beginning production. \* \*\*June 16th:\*\* I paid the requested \*\*(50%) deposit\*\* via PayPal to the business account associated with the demo service. This PayPal account was shared with me by him directly. \* \*\*June 29th:\*\* I sent my five script selections and several relevant samples, including previous game work. \* \*\*July 6th:\*\* I later sent a polite follow-up to the email address that had sent me the AI summary of our Zoom meeting (I now realize this may not have been the best address to use), just asking whether he'd received the payment, scripts, and samples. No response. \* \*\*July 13th:\*\* I realized the PayPal account used a different email address than the one I initially wrote to, so I sent essentially the same polite follow-up there. It's now been another week without a response. To be crystal clear: \*\*I am not accusing this person of anything.\*\* He has an outstanding reputation in the industry, I genuinely respect him, and I think it's far more likely that he's incredibly busy or that there's been some communication issue than anything dishonest. My question is simply this: \*\*At what point would you consider the lack of acknowledgment unusual?\*\* Is this something you've experienced with busy, established demo producers? If you were in my shoes, what would your next step be? I'm intentionally leaving names out because I'm looking for industry perspective, not criticism of any individual. Thanks!
So, I'm a somewhat aspiring voice actor. Mainly I just enjoy narrating things. I've made a long video essay type video and the beginning of a long audiobook. The issue is, I also work for probably a really toxic company in a loud server room. I have to wear hearing protection all day. But it's alright to need to yell every now and then to communicate with other people, but no one else loses their voice like I do. See... My personality has always been very... Out there. I'm straight but everyone assumes and insists there that I'm gay (this is important to the voice situation I promise) because of my personality. I've been compared to a human chihuahua in demeanor a number of times. Slowly over time many peers and especially my direct boss have taken to messing with me and jump scaring me 100's and 100's of times a day. But because it's higher ups, I kinda... Play into this loud obnoxious character because they like it, which means my employment stays safe. I've tired asking them to stop, and been blatantly told it's not happening. There is no union there and I'm pretty thoroughly convinced at this point HR is just a figment of our collective imagination there and don't actually exist. (Not literally, there just really useless and never respond to anything) I am aware my situation is probably some kind of abuse... It has to be. But if you knew about how this company operates... There's nothing I can really do. This has gone on especially hard since 2026 started I would say. It's 12hr shifts. At first my voice would be just fine. But then over time it would be kinda dead for a day and then come back. Eventually it started being dead for multiple days before being somewhat fully alive again on my off days. One week the plenty shut down and I was basically off work because of being out of town the week after for like 2 weeks, and it was jarring how nice my voice sounded again near the end I had forgotten what it sounded like to have full vocal range. It's now to the point that every single day my throat around my addams apple area hurts. I know this thread says no medical questions but this is more around wanting to keep voice acting and script reading and being unable. My voice because of my job at this point is in this perpetual state of being dead, and I feel it's made it impossible for me to continue my voice acting hobby, but I also really need this job as it's what I went to college for. Idk, thoughts beyond (just quit). This seems like the place where someone would know what I could do.
"The farmer who believed in the soil returns to it when the rains betray him. Not even his tears could wet the fistful of earth he clung to."
**TLDR;** this is a rundown of how I generally put a vocal chain together for V/O. There are many ways to do it, but sound is largely subjective so there are no hard and fast “rules” found here. I’m always open to chat about audio and recording, and if there is something you’d suggest instead or take issue with I’m glad to have the chance to learn something new from you; constructive criticism never comes without someone trying to help. Hi all, I’m an audio engineer who has been working in post production, with an audiobook niche, since 2018. While individual settings will be different for every actor, mic, and room, generally I follow the same steps to get the result I’m aiming for. Before I get into it, I’d like to be really clear about buying software. For the vast majority of processing, the effects that come stock with your DAW are more than good enough. If you’re buying something, it is either for the convenience it gives you or for the layered series of effects utilized simultaneously that would be otherwise take a lot of your CPU or your time. **THE ONLY EXCEPTION TO THIS IS RESTORATION SOFTWARE.** DAWs generally do not come with de-clicks, de-verb, sophisticated de-noise, etc. If you have a recurring *problem* with your audio and cannot fix it in the room, restoration software from Izotope, Accentize, Waves, etc will pay dividends. Which ones you should buy is fully up to you, and there are very strong opinions out there about some of these companies, but here is where I would start depending on what’s important to you: Absolute best quality: Accentize. DX Split and DX Revive are insane for noise reduction. Their plugins will obliterate problem audio, and also smash it to pieces if you turn it up to 11. If you’re a pro with pro money to invest, Accentize is where you should look for this kind of software. Fastest set up: Waves. Waves Clarity RX, Clarity RX DeVerb, Sibilance, Debreath, etc etc are incredibly easy to set up and get pretty solid results without much thinking (Debreath is a little heavy handed, and will require you automate it off and on). That said, you’re paying \~$40 for each individual effect, so it isn’t the economic choice unless speeding through a single issue is what you’re aiming to fix. Best Value: Izotope RX. You’ll get the largest amount of tools per dollar with the RX suite of tools. There is a learning curve, and it isn’t cheap, but it is industry standard in post production for a reason. No cost?: Accusonus ERA bundle. The ERA bundle was discontinued when Meta bought their company, but their suite of restoration abandonware can now be (safely) found on the Internet Archive. Is it the best? No. Is it easy on the CPU? Also no. Does it punch above its price point of zero? Hell yeah. Will it ever receive updates? Not a chance. Which one do I use? A little bit of all of them. They’re all good at doing different things, and because I work on a wide variety of voices I need a wide variety of tools. Your aim to find what works for you should be to identify your problem, identify which tools can attenuate that problem, then download the demos of those tools to see what works the best for you. # Onto the good stuff: I do all of these steps in generally the same order every time, and I’ll give tips for harder to learn sections where necessary. **1. Restoration**: Fix your problems first. If you have spectral noise, a reverby room, a high pitched whine from an A/C unit, you need to get rid of this stuff before you begin. If you don’t do this first, you’ll struggle to adequately fix them later because it won’t be clear which effects are making this better or worse. Fix first so you can make better mixing decisions later. Obligatory: if these are issues that exist in your recording environment, you should fix your recording environment to your best ability before trying to do it with software. Software will help, but ultimately it’s a bandaid (a good bandaid occasionally, but a bandaid nonetheless). **2.** **Gate/Expander**: Generally, an expander is a better option for V/O, but either will work if set correctly. Start by finding your open threshold (how loud your clips need to be for the gate to allow sound through). From there, make adjustments to ensure that you’re reducing background sounds and breaths, but not clamping down on the end of phrases. Generally speaking, you should be going for a fast attack (0-10 ms) and a slow release (150-250 ms) to ensure that everything you say is allowed through immediately without cutting off words. **3.Subtractive EQ:** Eq is where I can offer the least amount of specific advice; there’s just no way to say that everyone needs to cut a particular frequency. What I can say is that bass rumble can be tamed with a shelf and is typically found around 100hz or less, boxy sounds are found around 400-700hz, and sibilance is around 3.5k-7k hz. Of course, this is all dependent on your mic and voice. One thing to note is that subtractive EQ is harder to hear than additive EQ. If you hear a boxy/roomy sound and you want to find its exact frequency, solo the EQ band and slowly sweep that part of the frequency spectrum. Once you’ve found it, pull that band down by about -3db and begin to experiment. See what happens if you subtract more than that, what happens if you widen or slim the Q? Adjust to taste! **4. Compression:** Compression is probably the single most difficult effect to learn how to “hear.” Luckily, compression can be learned in the same way I generally recommend using one for V/O. This is an old school compression trick from when the industry standard was to record on huge analogue boards. Start by turning the compression ratio to as low as your compressor will go. Next, bring your threshold as low as it will go. Finally, slowly increase the ratio until you get the warm sound that you want from a compressor but not distortion. I recently made a vocal chain for a VA where the ratio was 1.1:1, extremely low! However, since the threshold was also very low, the result was the entire signal getting compressed just a hair. This method is great for learning compression because it emphasizes every move you make in the knobs, but also makes it easy to apply consistent compression across the entire track. For those of you tracking with separate narration and character tracks, I generally add an additional compressor to the narration tracks. It doesn’t need to be drastic, but additional mild compression can make it clear to your listener when narration is happening vs when speaking is happening. Just my 2 cents. **\*\*\*Optional, De-Click:** if you like using a de-click in real time as a part of your chain, I’d put it here. Any clicks that are emphasized by the compressor will be better attenuated after the compressor than before. De-clicks can negatively impact transients, so if you feel the need to set the settings high, keep in mind that you’ll likely have a better result with *two* declicks one after the other with low settings than with a single declick at high settings. **5. Additive EQ:** I do my additive EQ after the compressor because the goal here is to sweeten the sound. One way to think of a compressor is as the widest EQ band possible, bringing down all frequencies when any one of them gets too loud. That gives us a nice sound, but it would compress all of our additive EQ along with everything else. Doing additive EQ after the compressor gives us better control over moves we’re making to sweet the sound. Assistive EQ is much easier to hear than subtractive EQ and you should not solo the EQ band while you’re making additive adjustments; it’s important to hear these changes in context. It is rare that I make any additive EQ moves that are above 3db or are not pretty wide, but there are always exceptions to the rule. **6. De-Essing:** Some people don’t like the sound of a de-esser and that is fair. If you’re going to use one in realtime, put it at the end (ish) of your chain. Your subtractive EQ should have reduced much of this sibilance to begin with, so you shouldn’t *need* to have strong settings here. De-essers usually have a button that allows you ti hear just what it’s affecting, *use it!* Make sure it’s only pulling down what it really needs to. **\*\*\*Optional Leveler:** A leveler (I like Vocal Rider, but there are many others) can make your volume more consistent, and give a nice result if you need to deliver lines at inconsistent volume (whisper, yell, etc etc). That said, Levelers can cause “pumping,” so the best practice would be to meter your audio track to find the average LUFS (volume), set the loudness target of the leveler to that average, set the gain to +/-3db and in the “fast” mode. This is not always necessary, but can be a life saver if inconsistent volume is making it difficult get your exports into spec (as well as a more pleasant listen for your audience). **7. MASTER TRACK:** You want two things in your master track and two things only: a limiter and a volume meter. Using a limiter is the fastest and least complicated way to get your exports into spec. Set your ceiling to -4db to ensure you’re under the peak RMS spec, and adjust your threshold as you watch the RMS average on the meter. If you have Ozone, you can use the Ozone Maximizer to do this quickly. Next to the “learn” button, set your target to -19LUFS. Set your ceiling to -4db. Click “learn” then export about half of a chapter. Exporting is always faster than standard playback, so you can more quickly feed Ozone your audio to learn from. Cancel the export, unclick “learn,” and your threshold is set exactly where it should be to get your export into spec the first time. **Final Notes:** There’s one process you probably noticed isn’t here, and it’s normalization. Normalization looks at the loudest part of your audio and adjusts the volume of the entire track so that the loudest section hits the target volume you selected. This *won’t* get your audio into spec without issue but more importantly, it’s not going to give you the sonically pleasing results you want in your audio. Unless instructed by a producer, don’t use normalization. Setting your vocal chain can be hard but it’s not impossible! The biggest issue you’ll probably run into is having to hear your own voice over and over, and there’s a reason for this. When you speak, you’re hearing your own voice *twice.* You’ll hear it the “normal” way when the your voice bounces off of surfaces and hits your ears, but you’ll also hear it as the sound vibrates up your jaw and into your ear drum. This is why many people find that hearing their own voice sounds “strange.” Over time you will learn how to be more objective with it, but at first you’ll probably need to at least run it by someone else first to make sure the moves you made were appropriate and helpful to the over all sound. Friends and family are probably willing to listen, but won’t have the vocabulary or ear to give you good advice. I’d suggest joining a VA community online that invites people to give constructive criticism. All that said, this is a *skeleton* of how I get the best sound and not a strict *guide.* There are many ways to accomplish vocal mixing, and I’m sure there will be other engineers who disagree with something I said. I invite the disagreement! Achieving the best possible audio is subjective because the best sound is objective, and the opinions of other experienced voices is one of the best ways to learn. I love this industry, talking shop, and helping people out, so please don’t hesitate to throw your questions here or in DMs; I’m always happy to lend an ear!
The script is very tight and needs the two actors to face each other, there’s a lot of interrupts and talking over each other. I’m tempted to record with a single yeti in bi-directional mode and keep the actors facing each other. But, would it make a significant difference to use two yetis and give each actor their own mic? Perhaps separated a bit more from each other?
Message re the Professional Audiobook Narrators Association (PANA) Tuesday is International Narrator Meet-up Day and is open to non-PANA members and **non-narrators such as voice actors who are thinking about narration** as well as audio engineers who work on audiobooks. For London in particular, I’d love to meet any UK-based narrators and voice actors, so hope to see some of you RSVP in the next few days. https://docs.google.com/document/d/1y-xDkzUoZL4q71P1UqrcpDB6IVO7M0iy2INMFdufH94/edit?usp=drivesdk
Hi. My name is James, I'm a 21 year old aspiring voice actor, artist, and singer. I have many goals and aspirations, and I want to primarily land a spot in the anime industry! Of course, voice acting would be amazing as a character, english or japanese (I am learning japanese as well), but any position would make me happy. Anyways, is it too late for me? I am about to get an Associate's degree, so getting a bachelor's will be easier, but is it even necessary? Some other notes are I have a Fifine microphone, nothing too special. I have Audacity and I am actively looking for auditions and areas to improve my work. Seeing as I am a beginner, I am open to any tips as well. Thank you! I hope this post is green lit, I tried not to be too much of a newb. Lol
Showing some love to the audiobook voice actors. Which book is your favorite to voice over?
PLEASE EMAIL FOR LINES **\[PAID\] Voice Actors Needed for 2D Animated Fantasy Short Film (Orange, CA | Non-Union)** **Project:** *Between the Devil and the Deep Blue Sea* *Between the Devil and the Deep Blue Sea* is a 2D animated fantasy drama following Josephine, a deaf sailor who forms an unlikely bond with the very siren her captain is determined to destroy. Exploring themes of empathy, belonging and found family, the film tells a heartfelt story through both spoken dialogue and sign language. **Project Details** * Genre: Animation, Drama, Fantasy, Period * Non-Union * Recording Location: Chapman University Recording Studio (Orange, CA) * Recording Dates: End of August 2026 * Casting Opens: July 17, 2026 * **Actors must be able to record in person at Chapman University.** # Roles # Captain Murdoch (Lead) **Compensation:** $100-$200 Captain Murdoch is the obsessive and commanding captain of a 19th-century whaling vessel, driven by a relentless pursuit of a mythical siren. We are seeking a strong, authoritative voice capable of balancing charismatic leadership with growing paranoia and menace. The role requires emotional range, powerful dramatic delivery and the ability to portray a complex antagonist whose obsession ultimately leads to his downfall. **Performance Direction:** Begin with a warm, fatherly authority that gradually gives way to condescension, hostility and obsession. The transformation should feel natural, ending with an intimidating and deeply unsettling presence. **Voice Requirements** * American male * 1830s Upper East Coast American accent * Strong Scottish accents will also be considered * Approximately 40-50 lines * One recording session (approximately 2-3 hours) # Josephine (Vocalizations Only) **Compensation:** $50-$100 Josephine is the courageous and compassionate protagonist of the film, a deaf sailor who communicates entirely through sign language. This role does not include spoken dialogue and instead focuses on expressive vocalizations, including breathing, effort sounds, reactions, pain, laughter and emotional expression. We are seeking a performer who can convey depth and emotion through nonverbal performance alone. **Role Details** * Female * No spoken dialogue * Approximately 80-100 vocalizations * One recording session (approximately 1-2 hours) # Submission Instructions Please email submissions to [**Araucto@chapman.edu**](mailto:Araucto@chapman.edu) with: * Your name * Resume (if available) * Voice reel/demo (preferred) * Any relevant acting or voice acting experience Selected applicants will receive audition sides for Captain Murdoch or additional instructions for Josephine. Compensation will be provided upon completion of the recording session. We look forward to hearing your work!
Note: I don’t make a dime from any of this. I wanted to help other newbies out because there is a lot of crap out there. I decided to learn the Reaper DAW backwards and forwards before I get seriously into voice acting. I plan on taking the next month and playing around with Reaper and seeing how good I can make recordings with a crappy setup: $30 mic and no booth with background noise. In fact, I want the p’s to pop and the fans to hum and the echos to echo in the background so I can learn how to get rid of them. (Im also taking voice lessons, but that’s another post.) I have to say, as a complete newbie, BoothJunkie’s freebie class on how to configure Reaper is really wonderful. In addition to learning Reaper, I learned audio basics like compression, shelf, and what the hell the equalizer actually does. There are so many teeny little settings in that make Reaper easier to use for voice actors specifically that I wouldn’t have found for a hundred years. Like how to organize your projects and make your toolbars have things in them you actually use. I do plan on purchasing the rest of the class. Maybe this is a backwards to getting into this…but I want to understand the tech aspects before I start recording. What other tutorials do you all recommend?
Hi I'm looking for a queer voice actor to be the main voice of my award winning indie game. You'll play a trans girl, from her childhood to her adulthood, and the text is very emotional, so you'll need a good range and mastery of said range ! This is a paid gig of course, price can be negociated and the recording will be over three sessions spaced in time each lasting about 1.5 hours. The french voice actor asked me for a rate of around 300€ per session so I can do around that for a rate for you too! If you fit the role or know somebody that fits the role, please let me know at [naej@naejdoree.art](mailto:naej@naejdoree.art) ! More info about the game can be found here: [https://www.contenir.studio.naejdoree.art/](https://www.contenir.studio.naejdoree.art/)
https://tribune.com.pk/story/2601381/keanu-reeves-shares-advice-for-aspiring-actors-in-new-interview
So I kinda had to build a team for a project of mine in Russian. However all of me attempts of searching for Russian voice actors cannot be considered successful. So I just wanted to ask what is a good place to look for Russian actors any Telegram channels /Discord servers you would recommend?
So I got a role in this yt series. I won't be naming it; I'm not sure if that is allowed here. Anyways, for my first project, I was given a free talk section (say something your character would say), and idk what to do, and the deadline is on the 22nd.
"Where do you draw the line between pulling from personal, real-life trauma for a scene versus using pure imagination? How do you protect your mental health while doing it?"
I had the pleasure of being part of the English dub for Nice to Not Meet You on Amazon Prime Video a while back. I feel especially honored that I got to work on something starring Lee Jung-jae (love Squid Games!) Just wanted to share some clips of the characters I got to play. My main role was the main character's psychiatrist, You Eun-Kyoung. I had so much fun with this project!
Hello, I am a aspiring voice actor and I have had these demos for a while and never sent them out to anyone besides friends and family. They were edited by a team that I hired, and recorded in a studio. A while ago, I asked a professional producer and VA in the industry, in which they said that there were problems (editing-wise) with it on the studio's end and that I shouldn't send it out as it works against me. I would like some honest feedback from people online, what do you think about it? Thank you so much for listening.
The title is pretty much it. I am looking for a voice actor to make pain grunts and death screams for an upcoming demo release of a game I am working on. This role is paying 10 bucks, and should hopefully only require about 1-2 minutes of recording at most. While this offer is only looking for the grunts and screams at this time, whoever ends up selected for the role will be shortlisted to keep the role in the final game, which will pay a lot more and will have spoken lines of dialogue. **SUBMISSIONS ARE NOW CLOSED** The game can be found here currently: [https://zinniagames.itch.io/900down](https://zinniagames.itch.io/900down) I have a post for this role also on CastingCallClub: [https://www.castingcall.club/projects/900down-alpha-demo-e6d323fd-e81a-44df-9d9e-e3e3bcbf3fe9](https://www.castingcall.club/projects/900down-alpha-demo-e6d323fd-e81a-44df-9d9e-e3e3bcbf3fe9)
Alright so I just got my first part in a game. I am nervous as I am a ameteur to voice acting besides me being an actor through out high school and playing tabletop games like D&D. I was truly not expecting to be given this golden opportunity but I don't want to waste it. I wanted to ask what type of questions should I be asking when I'm asking for criticisms? what are some general questions that I should note down and ask? Also I hate to admit it but I'm kind of sensitive to criticism, how do I get better in overcoming that slight fear of actually asking to be given criticism?
Hi, me and my Uncle are looking for voice actors who may be interested in joining our show. It is an adult animated sitcom that we are gonna put on YouTube and hopefully try to set up a Patreon. The first season has a number of exactly 22 episodes. The best way I can describe the show is an odd mix of The Boondocks, South Park, King of The Hill, and heck, I'll even throw in a little bit of season 1 Rick and Morty. Now, with that said, me and my Uncle are new to this and this is our first rodeo. I'm not gonna ask any "Newbie" questions or anything. But I just want to add, this being our first time in show business means this may take a lot of time. But, we are currently looking for voice actors and voice actresses who'd be interested in playing some side/background characters. We are also looking for voice actresses who can play the main female characters. We are offering $150 per episode. We have finished the scripts for the first season. After we get the voice acting work set up, we are moving onto the storyboarding process. So, if anyone is interested in auditioning and joining the team, please feel free to email us. If you have any questions, go ahead and ask them and we will try our best to answer all of them. My Email: [Isaacpipkin0@gmail.com](mailto:Isaacpipkin0@gmail.com) (My Uncle) Ty Anderson's Email: [Randyjr1023@gmail.com](mailto:Randyjr1023@gmail.com) Our Business Email: [Tyandisaacproductions081@gmail.com](mailto:Tyandisaacproductions081@gmail.com) (It really doesn't matter which email you go with, just thought I'd put our business along with our main emails just in case)
For those of you who have been snooping at my various blog posts (especially during the Introduce Yourself Weekends), you would know I am an improv guy. I've been performing improv as a member of one group or another since 1994, and been teaching it in some capacity since 2005. I could talk for hours about improv -- games, exercises, characters, techniques, you name it. I recommend that everyone studies it -- not just to build your resume, but to gain the skills to be comfortable improvising when necessary. There is power in the embracing of "Yes, and..."I know improv gets a bad rap at times -- for some reason, if you ask someone to come to your improv show, it will be occasionally met by sneers of disgust. But, it truly is a fantastic art form. And a useful technique as well -- in fact, from what I understand, improv training is something that casting directors for soap operas look for, given the sheer amount of pages being shot at any one time.(This is where I put in a completely shameless plug for my improv group, THOSE FOUR MISFITS (www.ThoseFourMisfits.com, our next show is on Friday, August 7 in North Hollywood).Now back to our regularly scheduled blog post.Improv can also be a show-saver at times. I can't tell you how many times improv has saved a scene during a play when something goes awry. One of the things improv helps build is trust in your fellow performer, and when you're doing a show, this trust is key. And when things go sideways (as they always seem to do in live theater), improv can help things get back on track.I'll give an example...and I'm going to praise one of my fellow performers, Andrew Schub, for this one. I'm an improv guy, but his improvisation helped set the play back on track.I was doing a production of PETER PAN AND WENDY (not the one you're familiar with -- same story, different script, different music, different songs, different dances). I was playing a dream role -- Captain Hook. And, while the material itself was....less than stellar, the cast was awesome, and we had a great time together I enjoyed it immensely -- even the week when I had lost my voice and had to strain just to get a whisper out to be heard in the back row (we weren't mic'd) for back-to-back shows. I still have the hook that was made just for me, and it has appeared in other stage productions of Peter Pan as well.There were two swordfights in the play, both between Hook and Peter Pan. In the first fight, the tech crew was waiting for a particular sequence to be performed to signal them to hit the sound cue of the crocodile. Rehearsals went off without a hitch. As did the first couple of weeks of shows. And then...on this particular show in question...as I pull out my sword...the blade starts to separate from the hilt (for those who are in the know, we discovered at that time that the sword being used was a push tang, not a full tang). The blade just sort of drooped. In slow-motion. Peter and I looked at each other, with him offering me a "What do we do now?" look. Without missing a beat, Andrew (who played one of my pirate crew) said, "It's all right, Captain. It happens to the best of us sometimes." The adults laughed. The kids didn't get it (when they're older!). We were able to have some banter going on until the sound cue arrived as needed. The scene was saved. And we were able to get the sword repaired in time for the next show.That wasn't the only time a play I was in had to be saved by improv. Remind me sometime to tell you about the time the thick wooden sword broke at the beginning of the choreographed fight, flying upstage and almost hitting a cast member in the head. I could tell you all sorts of stories. We had to now improvise elements of the fight. And it's not just fight scenes either. What do you do when a piece of furniture isn't moved when the scene changes, and someone has to go get it in character? Improv helps there as well.Improv isn't just a skill to build your resume with. It's a valuable tool to hold in your arsenal, helping you stay in the moment, flexible, and at times save the production.Wait a minute...now that I think about it...maybe it's just shows I'm in... Am I the cause of all these mishaps?Yes, and...
A Movie Star Flipped Out On Set - Still Can't Explainhttps://youtu.be/5Q4VmBi-0owHave you ever had a weird experience on a set? If so, share it so we can learn from you.
Hello! I am 18 and am currently in the process of putting together a portfolio for university. I want to go into animation, and really want an animation sequence of my characters to stand out, so i am looking for voice actors. I am on a relatively small budget, as this is only about a minute long video. I am offering 15 USD to both VAs for about 3 or 4 lines of dialogue. Both characters are American, so please only respond if you have a natural american accent, any will do. please have a good microphone.. please be willing to work with me on timing and delivery adjustments! Character 1: Skylar (CLOSED) Skylar is quite rough and angry, she is a cowgirl, but is still quite feminine in her voice. She comes across as apathetic and tired, however has the potential for bursts of anger and passion. (image one) line examples : "This isn't about you, Bethe! It's about me, and them, a-and him!" (angry, snapping back) "It's not that simple. Ya know it isn't, stop getting in my head!" (starting off slow and progressively speaking faster and louder until she is shouting) Character 2: Bethe (CLOSED) Bethe is gentle however calculated. She is very feminine in her voice, however not necessarily high pitched, as well as well, and evenly spoken. By the time this scene comes around she is fed up with the way Skylar is treating her, however is still trying to convince her to not go through with the action. line examples : "I just do not understand what i have ever done to upset you?" (pleading) "We still have the choice to leave this all behind, Sky, to start anew, just like we always wanted.." (earnest, gentle) drawings of both characters are posted after this post, Bethe being the oil painting and Sky being in the drawing that says "apathy" please DM me on discord with a short audio clip of you delivering one of the aforementioned lines if interested!: my username is katsirregular :) casting closes on Friday 12pm UK time :)
I was looking around YouTube for some guidance on being able to voice male characters better as a female and came across a tutorial on just using the pitch shift function to edit the audio in post. Is that normal or industry standard?? I'm going to be heartbroken if my favorite actors are artificially manipulating their voice! And if that's NOT typical, I will take any tips and resources on females voicing male characters.
SOMNIGLOW is a story about a workaholic who finally learns how to lucid dream after 2 years and who goes on strange adventures with his friends. It follows four characters, 2M, 1F, 1N, and has a trailer set to release by the end of the year, shortly followed by our chaotic indie pilot! You need a microphone/phone with clear audio and No Peaking! You will be auditioning alongside others as well on the internet, on Call Casting Club, where voice actors can audition and be selected for their role. Auditions close in two weeks, but you should audition as soon as you can to ensure that your role isn't already selected! [https://www.castingcall.club/projects/somniglow](https://www.castingcall.club/projects/somniglow) Contact is at [somniglowofficial@gmail.com](mailto:somniglowofficial@gmail.com) OR you can dm me at the discord handle conceptingturtle or you can dm me here that works too. Discord is the prefered method. The project pays from $15-$25 dollars and it will be for the four following roles, of which each have descriptions on the site. $15 for Isabella, a chaotic and independant young woman. $20 for Bartender, a wise and humble bartender (duh) $20 for Akai, a condescending little punk lol. $25 for Dreamer, our protagonist. It is about an hour of work, so I think the rates are fair considering this is starting from zero. Payment is through Paypal. Audition today!
Well, this is sad news, the death of Sam Neil.I’m amazed at his versatility as an actor, for someone who will probably be best remembered as palaeontologists, Doctor Alan Grant in the Jurassic series. However, there was so much more to his career.Thank you Sam Neil for passing our way.https://variety.com/2026/film/obituaries-people-news/sam-neill-dead-jurassic-park-1236809330/
Sounds amazing, and is custom-tuned to my voice profile. Just wanted to share my nerdy-ness with the VO world ?
Hello voice actors, I would greatly appreciate some critiquing on my reel. This is my first voice acting demo reel, so I'm sure it's gonna sound rough but ya gotta start somewhere I suppose. I have no voice acting experience at all, but I've done my fair share of stage plays and student films so the acting world is not foreign to me. I have been using a Blue Yeti Microphone and recording in my closet. Thanks in advance and please tear my demo reel to pieces. Blunt honesty is appreciated. Here she is: [https://drive.google.com/file/d/1kaMdpmb-a11e9jI\_GWQ6EdH6lZnzwMBS/view?usp=share\_link](https://drive.google.com/file/d/1kaMdpmb-a11e9jI_GWQ6EdH6lZnzwMBS/view?usp=share_link)
Hey there,I'm 15, and over the past few months I've been developing my feature screenplay, SAVAGE SMILE. I've rewritten it, built a pitch deck, studied storytelling, and spent a lot of time here on Stage 32 learning from all of you.One thing I've started wondering is this:At what point does a writer become "trusted"?Not just trusted to write a good screenplay, but trusted enough that a producer, collaborator, or investor believes they're someone worth building a project with.I understand that experience matters. So do relationships, budgets, professionalism, and collaboration. I'm not expecting someone to hand me millions because I have an idea.What I'm really trying to understand is how trust is earned in this industry.If you were looking at a young writer with no credits, no budget, and no connections in the traditional sense—but you could see they were serious about learning—what would make you think:"This is someone I'd actually like to work with."I'd love to hear your honest opinions. I'm here to learn.
Here Josh Brolin talks about the unpredictability about casting and how an acting career can fluctuate so much. I think it is pretty accurate. What do you think based on your experience?https://www.youtube.com/shorts/H_zWE6MIoXk
Hey all! I have been auditioning and practicing and officially voice acting for about 2 years now! Need some advice! I guess I don't really understand the reputation effect as much as I thought in posting fandubs. I was planning on posting some fandubs to comics, cutscenes from games, shows/movies, etc. but I have been reading a lot about how it could negatively impact your reputation as a voice actor, even if you credit the original artist/IP and aren't making money off of it. I just fear if I were to, for example, voiceover a Marvel cutscene or something from an animated series, it would ruin my chances of ever working with Marvel. Does anyone have any experience making dubbing content and should I just stay away from it completely? I know Fandubs are a big topic in the VA world so I was wondering what people's opinions were on it and what advice you would give me or someone in a similar position on wanting to post and showcase my skills on social media! Thank you so much! (Also I have been a YouTuber for most of my life so I understand the logistics of copyright and such, so I don't really need that explained to me, I'm mainly concerned about my professional reputation as a voice actor.)
Hey, so I'm a voice actor and have been for nearly two years. I'm 14, and I have a pretty high voice, which has its advantages and its drawbacks, but I've gotten used to it. I've learned to do a lot of younger characters' voices like Craig Williams, Darwin Watterson, Bart Simpson (WIP), Young Simba, etc. It's pretty hard to think that someday I'm going to gradually lose the ability to do these cool voices and that my own voice is going to change (probably drastically due to testosterone). Do you guys ever have these worries.
Am I too young to be a voice actor? I’m 15, almost 16, and I don’t know if I’m too young to be a voice actor and should wait until I’m older, or if I’m okay to start now. I apologize if this violates anything, I figured it would be okay since it’s not a starting question.
We just had Andrea Romano on for our Legends Live and she gave so much advice. One of them being what she looked for in voice actors. The one thing she really looks for is stage acting experience. Kevin Conroy, who has a Juilliard background proved that to her when he auditioned for Batman. She believes stage actors do the best job in animation because they can really pick on the details. She really recommends taking acting classes. With that said, how many of you are taking acting classes? Are you seeing a significant improvement in your voice acting from it?
!!!NOT SEEKING ACTORS YET!!! Hi - I'm hoping this doesn't count as ads/spam/unwanted direct solicitation. I have an *outline* for a *script* I'm writing for a (inhale) *visual novel* I'm planning to make, which features a ***voice actor as the main character***. I was hoping to get a little **feedback** from experienced actors on the first part of the story (involving recording lines in an audio recording studio), maybe with some notes on if it sorta reflects some real experiences. I know many people record now from their own booths, but for the purpose of the story, this starts in a recording studio. =) Please let me know if I need to change my approach to do this research, or if I should be inquiring elsewhere. Once I know folks here are happy with my request, I'll drop in a Google doc (again, this is just over a page of A4 with a high-level overview of a short story). Thank you in advance.
I’m starting acting classes this year to hopefully build into voice acting(while also studying animation in college/doing it as a career as well) and I wanted advice on how to go about doing freelance voice acting and what is the best way to approach it?
Hey guys, this is for voice actors in every experience level. What is your biggest motivation right now when it comes to VA?
Can vulnerability be learned, or is it something actors either have or don't have? If it is something you learned, what has helped you become emotionally available in your work?
Hey people! I was recently inspired to get into voice acting, but I’m concerned about how it could affect me if I do it full time. I’ve heard stories of isolation and depression from others. Can I be a full time voice actor and still maintain relationships with my friends and family outside of the industry? How often would I be able to take vacations without losing momentum? Is it ultimately up to me? Let me know!
So I wanna start acting classes this year and coaching for voice acting while also wanting to go to college to learn animation and was wondering if it’s possible to be hired and work in a career of a voice actor while studying and animating while in college?
Hola a todos. Quería conocer su opinión sobre esto desde una perspectiva de dirección, actuación y relaciones públicas.Justin Baldoni publicó recientemente una declaración en video sobre la situación legal con Blake Lively. Como cineastas y actores, pasamos nuestras vidas estudiando el comportamiento humano, el subtexto y el lenguaje corporal. Al ver su video, noté algo interesante en su comunicación no verbal.Cuando niega explícitamente las acusaciones y afirma que la "verdad" prevaleció, rompe el contacto visual, aparta la mirada y cierra los ojos.Tengo curiosidad por saber cómo interpretan esto:¿Es un reflejo genuino de agotamiento emocional y trauma?¿O es un mecanismo de distanciamiento subconsciente? En el análisis de comportamiento (y al dirigir actores), cerrar los ojos a menudo se considera un "delator" cuando las palabras de alguien no se alinean completamente con su realidad interna.También hay que tener en cuenta el elemento de relaciones públicas en crisis. Baldoni se apoya fuertemente en la narrativa de la justicia porque las acusaciones más explosivas fueron desestimadas. Pero la realidad de la maquinaria de relaciones públicas de nuestra industria es que una desestimación solo significa que las demandas no cumplieron con una carga de la prueba legal rigurosa. No significa que la irregularidad nunca haya ocurrido, especialmente considerando que varias de las otras demandas de Lively sí sobrevivieron antes de su discreto acuerdo extrajudicial.Cuando las figuras públicas entran en modo de crisis, guionizan cuidadosamente sus palabras. Pero no siempre pueden guionizar sus cuerpos.¿Cuál es su lectura de esto como profesionales de la industria? Al evaluar una declaración altamente calculada, ¿le dan más peso al resultado legal, a las palabras habladas o al lenguaje corporal?(Nota: Pueden encontrar el video en su Instagram publicado el 8 de julio).
Hey everyone. I wanted to get your thoughts on this from a directing, acting, and PR perspective.Justin Baldoni recently released a video statement regarding the legal situation with Blake Lively. As filmmakers and actors, we spend our lives studying human behavior, subtext, and body language. When watching his video, I noticed something interesting about his non-verbals.When he explicitly denies the allegations and asserts that the "truth" prevailed, he breaks eye contact, looks away, and closes his eyes.I’m curious how you all read this:Is it a genuine reflection of emotional exhaustion and trauma?Or is it a subconscious distancing mechanism? In behavioral analysis (and when directing actors), closing the eyes is often viewed as a "tell" when someone’s words don't fully align with their internal reality.There is also the crisis PR element to consider. Baldoni leans heavily into the narrative of justice because the most explosive claims were dismissed. But the reality of our industry's PR machine is that a dismissal just means the claims didn't meet a rigorous legal burden of proof. It doesn't mean the impropriety never happened—especially considering several of Lively's other claims did survive before their quiet out-of-court settlement.When public figures enter crisis mode, they carefully script their words. But they can't always script their bodies.What is your read on this as industry professionals? When evaluating a highly calculated statement, do you put more weight on the legal outcome, the spoken words, or the body language?(Note: You can find the video on his Instagram posted on July 8th).
So for context I don’t live anywhere near Texas or Los Angeles but I heard though that bangzoom does live auditions and whoever wins gets a paid role but seeing that not a lot people do win and that kinda did bring my hopes down but question I need to ask do you need to participate in the bangzoom audition to become a voice actor !!
Notice: Please do not DM through Reddit, if there’s anything not mentioned in the doc we can answer them through email! Hello, I’m the director of ‘Featherlight’, a 3D animation student production at Hongik University. We’re looking for voice actors for our female characters. (Please note while all characters are listed as female, actors of all gender identities are welcome to audition for a role that suits their vocal range.) The running time of the entire film is approx 6-7 minutes, with estimated less than 10 lines for each character (not including non verbal sounds). **RATE** $40/hour, additional $20 for video reference Recording will be done through giving live direction in Discord. We also request for voice actors to film their facial acting as reference material for animators. **ROLES** •1 Main Character (Female): American accent, young adult/teen, initially timid -> confident character arc •2 Supporting Antagonist Characters (Female): Adult female, experimenting with American/British accents VA Cast: [https://app.notion.com/p/Voice-Actor-Casting-Details-398415f2cc0b8055931edabfa35ec46d?source=copy\_link](https://app.notion.com/p/Voice-Actor-Casting-Details-398415f2cc0b8055931edabfa35ec46d?source=copy_link) **AUDITION** You are welcome to audition for multiple roles, or several voices for one role. Please read through our VA cast document for details of characters and audition through this [form](https://forms.gle/kcYKYaCXW6NdBaCF8). If you have any questions, please email: [featherlight.anim@gmail.com](mailto:featherlight.anim@gmail.com) Thank you for your consideration, we’re looking forward to hearing your applications!
I’m turning 19 this year and I’m starting college next year and wanted to know if I can do voice acting courses to be a professional as well as be an animator and still have a chance of making it in either industry or if it’s realistic?
Weeee, you found me!
I'm your buddy Bottie, I was hiding behind the scenes, but now that you've found me I'd be happy to tell you what I'm doing.
I just wrote a few fun facts about Web For Actors
Would you like to take a look?
Click here to check them out. I hope it will cause involuntary audible response.
