How much do voice actors make? There is of course no simple answer to this. What you get paid as a voice actor will depend on the type of work, size of project, your experience and many other factors. Some voice actors who are also movie stars, are worth millions. Others, who use freelancing sites can make as little as $30 for a simple radio commercial in a small market. Most professional voice actors fall in between.
ADR / Automated Dialogue Replacement in Salt Lake City, Utah Audio Mixing / Sound Recording Equipment Rentals in Salt Lake City, Utah Audio Mixing / Sweetening / Sound Editing / Sound Designers in Salt Lake City, Utah Audio Technicians / Audio Engineer / A1 / A2 in Salt Lake City, Utah Film Post Production Services in Salt Lake City, Utah Foley Stages in Salt Lake City, Utah Post House / Video Post Production Facilities / Editing Services in Salt Lake City, Utah Recording Studios in Salt Lake City, Utah Sound Mixers / Recordists in Salt Lake City, Utah Voice Over Artists in Salt Lake City, Utah
You start off each job as a producer, consulting your client and getting briefed on the project at hand. Then you become an engineer, dealing with recording gear and software, setting the mic position and levels. Next, you step up to the mic as an actor, bringing the script off the page and connecting with the listener. Meanwhile, the director in you sits behind the metaphorical glass, making sure the actor doesn't mispronounce a word or stumble through a passage of text. Then you're an editor, cleaning up the best take and sending the resulting audio to your client. You need to be able to perform all of these roles to a high standard, and the better you are at each, the more your business will prosper.
"When recording voiceovers at home, you have to focus on performance: keep your energy levels up, stay true to the page, pronounce words correctly and consistently, and make sure you keep to a schedule to make the deadline. Prep well so you don't waste time second‑guessing yourself, looking up words as you go, and remember to not over‑ or under‑direct yourself. Also, make sure you know your recording equipment and room well; being able to quickly make adjustments to mic placement, levels, and so on, will make you more efficient.”
Finally, as you complete more work, you can end up with a lot of different files from your projects, so good 'housekeeping' of your sessions and recordings is a must. Glancing at the filename simone_kliass_avast_virus_database_neumann_tlm_103_original.wav, I can easily tell that this is the original recording of my wife's "Your virus database has been updated” message in Portuguese for Avast! on a Neumann TLM103 mic. It doesn't matter what your system is, as long as it works and you can stick to it.
Voiceover-Services.com welcomes you to listen & consider professional voice actor Paul Fraley for your next campaign or project. Located in Los Angeles, Paul brings an excitement & unique point-of-view to his work. Whether voicing National TV commercials, explainer videos, creating character voices for international video game apps or as the signature voice for a mid-west grocery store chain – Paul always looks forward to telling the next story.
A great performance recorded on mediocre gear will always sound better than a mediocre performance recorded on great gear. By preparing well, before the session, you'll find it far easier to relax and focus on the message and the listener. As a producer, it's important to be clear what the expected format is for the final audio file. Although there are certain 'standards', your clients' expectations will vary.Read through the script, look up any questionable words and check their pronunciation. For American English, which accounts for the majority of my work, my favourite pronunciation resource is the Merriam‑Webster on‑line dictionary (www.m‑w.com), which includes audio examples. If you don't know how to pronounce the name of a company or product, call the company's customer service centre (if anyone can pronounce it right, they can!). If you don't know how to pronounce the name of a person or city, try searching YouTube for news reports on the subject.
"The editing process for all our titles starts with receiving the Pro Tools sessions or WAV files and the engineer's script, which has the markings of how many takes there were, and which ones the director liked best. In some cases, I use Strip Silence and add a bed of room tone to expedite the assembly edit. In others I'll add the room tone as I move through the audio. Once I had all the final takes to be used in [Favorite African Folk Tales], I went back to do a fine‑edit pass and created notes on any issues, such as misreads, mispronunciations, noises, and so on. With that list, I was able to discuss with Alfre how we would address the issues. Since the actors' schedules did not permit them to come back in to do pick‑ups I had to do some creative editing.”
I use the Adobe Audition package to edit my own voiceover work, but the techniques described below can be used in most audio‑editing software. Start by saving a new version of your original recording. (I keep the name of the file the same, but change the extension from _original to _edit.) Next, I'll turn my attention to the end of the recording, where I stepped away from the mic after the second take and recorded about 10 seconds of silence. Although processing is usually kept to a minimum, dealing with sibilance is important, and Eiosis' De‑esser plug‑in is much more precise than most.Wearing headphones, I can zoom in on this 'silence', turn up the volume, and listen for any background noise. If I notice any constant noise seeping into the recording, I may consider using Adobe Audition's noise‑reduction tool to capture a one‑ or two‑second profile of the silence, and then reduce the offending noise by about 75 percent throughout the recording. I should stress that this is rarely needed, and it's always a last resort, because such processing can generate swirly, metallic artifacts that draw more attention to themselves than the noise you intended to eliminate! But it's good to listen for such issues with fresh ears at the start of your editing session. If you find yourself using noise‑reduction often, that's a sign that you should find a better place to record, or improve the isolation of the space you've chosen. Don't forget that there are other ways to deal with some noise: often, a high‑pass filter is all you will need to clean up a recording, for example. Also remember that if your recording is to be mixed with music, slight background noise won't be noticeable, and that the more exposed your voice in the end product, the more problematic noise will become.
© 2020 GoAnimate, Inc. All Rights Reserved. VYOND™ is a trademark of GoAnimate, Inc., registered in Australia, Brazil, Chile, the European Union, Hong Kong, India, Israel, Mexico, New Zealand, Norway, OAPI, the Philippines, Singapore, Switzerland, the United Kingdom, and Vietnam; Reg. U.S. Pat. & Tm. Off. Other names and marks are the property of their respective holders.
When asked by someone outside of the industry how much I’m compensated for a commercial voice-over, I can see their eyes grow large with excitement. It may sound like a large number for two or three hours of studio time, but what is not understood is the investment in time, money and education that it takes to begin and sustain a voice acting career. As voice-over professionals, we need to remember (especially if we are setting our own rates) that the time we have spent in classes, coaching sessions, and our booth add up to our expertise in this field. When setting your own voice-over rates, or negotiating those set by producers and/or clients, you need to not only consider your session fee (the time spent in the booth recording the specific copy), but also all the training you’ve acquired and the investment in your home studio (which helps make your client’s job much easier).