Voice Over Specs. They are the bane of every voice talent's worst nightmare. Specs are how a client or producer perceives - in his or her mind - how copy should be delivered. And in order to explain what they mean, they put these "Specs" down on paper.
"We want an announcer who is authoritative and credible, able to build rapport and trust with the listener. The announcer should also be persuasive and compelling, able to convince the listener to act."
1. Deep dramatic voice, authoritative delivery. Similar to John
Wayne or Sam Eliot. But we are not looking for a parody or a sound alike
2. Looking for a Deeper voice, Kelsey Grammar -like. Very Announcer like, witty
and sarcastic. Male.
3. Need someone to deliver copy like Mike Rowe, (Dirty Jobs), George Clooney, (Budweiser) or Morgan Freeman (Visa)
Nnnnnnk - which one is it? Rowe, Clooney or Freeman? And if you're such a big, important national company - why not actually hire those guys instead of a cheap imitation.
Looking for someone with a lot of energy, ability to pump up a crowd. Should feel the smiles in his delivery. Natural sounding, not the announcer type.
or
Male, 30-50yrs old, weather man sounding. Direct, quick read
So, what's a weather man sound like?
And yet still others pretty much sum up that the Client/Producer doesn't know what he wants, but he'll know it when he hears it.
Should be 30-40's male, caucasian sounding, with a slightly caring tone but heavy handed with it. Please do two takes, one lighter than the other.
Or,
Looking for a cross between angry direct and happy caring read. No announcers. Comedic timing and gruff. Could be English, African American, Male/Female.
Ummmm huh? Throw some Albanian Transvestites in their and I think we've covered just about everybody!
So, I guess the best we can do as Actors is interpret the copy in our own way. And deliver it the way we feel it should be done. End of story.
Ed,
ReplyDeleteWhile it may be true that many clients "don't really know what they want until they hear it," the specs can give you insight into what they DON'T want (no announcer voice, no voice match, no parody, no slate, no fake accents, etc.).
Yes, give every read your own personal slant...you'll do that without even trying. But I think it's very important to read the specs. Often I'll read the specs, glance through the copy, then read the specs again before I start. It's the only way you have to even BEGIN to get into the head of the client; and by giving you a clue of what they DON'T want, it may also land you the job.
When I'm wearing my producer hat, I know EXACTLY what I want and how I want it. I spend a lot of time writing my audition specs, and I summarily delete every audition that isn't exactly what I asked for (if it's titled wrong, if there's a slate and I asked that there not be one, etc.) This is how I know the talent is paying attention to my specs (it's my "no green M&Ms," if you will). It also gives me an idea whether they can follow directions down the road, should I happen to cast them.
Short answer? I read the specs. It can't hurt, and sometimes I actually learn something.
With only two exceptions in my V/O career the producer and/or client was "I'll/We'll know it when I/we hear it." That's just fine in the audition - its the reason for auditions; but more times than I care to remember the producer and/or client not present at the audition wanted something other than the person making the hiring decision based on the audition. Those cases made for difficult sessions with them finally deciding on the first or second take. :O
ReplyDeleteArrogant, Arrogant, Arrogant to not read the specs and assume that you know better than the client! Craig nailed it. Part of the reason for the specs is to see if someone can follow direction. Blow off the specs in any way and you discount the client. That includes naming things the wrong way, slating the wrong way, and disregarding the directions, however skewed they seem to you. Give that first take your best shot. The producer went to a lot of trouble to write what she wanted and try to convey it to you. If you feel you have another idea, do a second take, VERY respectfully. And ALWAYS name the audition exactly as asked, slate exactly as asked, and follow directions to the best of your ability. It shows that you are a good guy trying to work with the producer instead of against him. Sorry guys. You hit some of my pet peeves here!
ReplyDeleteI really agree with the other two posts. A working voiceover relys on not only the specs (the adjective choices)but following them accurately. Frankly,what about well written specs and all the jobs that have been won because of that? There's no mention of that. No one is complaining when the specs are the only thing standing between a booking and the audition being deleted. I think blaming the specs are an ineffective way of working.
ReplyDeleteHave to agree with the other commentators. But I'm curious, Big Gun: What do YOU think is a good casting spec? You offer criticisms, but no solutions. Maybe I'll learn something here. Give us some examples of specs that helped you do your job better.
ReplyDeleteWow... I'm not sure if this is supposed to be cynically funny, or a genuine gripe. Either way, it's not hitting it's mark. Specs come together for a variety of reasons, but the primary reason is that you immediate client has something in mind. If their client isn't seeing it or getting what's in their head, chances are they are looking to you to help them communicate. Your rant only shows that you would be a difficult talent to collaborate with... was that your goal? If So... mission accomplished.
ReplyDeleteAndre Murphy Voice-over agent. One golden rule is to always read the specs and make sure it's your first take. Your second take can be out the box. Donna Summers nailed it!
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