Tips for Directing a Live Session
Apr 30, 2018 19:24:53 GMT -8
Rebekah Amber Clark, h0m3st4r, and 2 more like this
Post by Lady Stardust ★ on Apr 30, 2018 19:24:53 GMT -8
Traditionally, recording for online projects has involved voice actors recording the lines on their home setup and emailing the sound files back to the producer. This is still a valid method of working! However, sometimes online content creators may wish to meet with their voice actors on a service such as Discord or Zoom in order to direct their recording session.
Pros to Live Direction
Cons to Live Direction
If you wish to do live direction, we generally suggest making the pay rate “per hour” rather than “per line/word”. This is how rates are typically billed in-studio.
So what makes a good director, and how can you make the process efficient and productive for both parties? Here are some tips that will help ensure everything runs smoothly for your live session.
Voice actors, what do online directors do that you find helpful or unhelpful? Do you have any other tips you might recommend to someone new to directing live? Content creators, do you have any techniques you've found helpful in getting the most out of sessions with your actors?
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Pros to Live Direction
- The voice actor has a chance to work with you on nailing the character’s voice and personality in real-time before they actually start recording.
- The need for retakes and pickups tends to be minimized, as you have a chance to redirect immediately if something doesn’t sound right.
- Having someone on the line may result in a more believable read from the actor.
Cons to Live Direction
- Schedules can be difficult to coordinate, especially when you’re in a different time zone than your voice actors (and especially if you live in different countries). Rather than having your actors record on their own time, you have to find a time when each of you aren’t busy.
- The process can sometimes take longer overall than if voice actors record on their own and then send lines through email. (However, if you anticipate lots of retakes may be needed, directing live can actually help the process go faster in that case, so it’s often a toss-up.)
- Not everyone knows how to direct, which can be a notable source of frustration for actors.
If you wish to do live direction, we generally suggest making the pay rate “per hour” rather than “per line/word”. This is how rates are typically billed in-studio.
If you require live sessions, please make sure this is stated to the voice actors in the initial audition post/booking e-mail, and please make sure you actually know how to direct. We get that everything is a learning curve, but for actors, working with a bad director can often times be worse than simply self-directing.
So what makes a good director, and how can you make the process efficient and productive for both parties? Here are some tips that will help ensure everything runs smoothly for your live session.
- Email the actor a day before the session to confirm the time (including time zone.) This ensures that there is no mixup or forgetfulness on either end and that you will both be ready to go. This will be a good time to exchange Discord usernames or Zoom links if you haven’t already done so. And of course, if you need to cancel, please inform them immediately so they can re-open that time slot for other bookings. (Voice actors should also be courteous and inform you ASAP if they need to cancel/reschedule on their end, too.)
- Many live sessions are plagued by tech/connection issues, causing delays that are inconvenient for both parties. Log on a bit earlier than the scheduled start time so that you can test all your gear and make sure it is working properly. Be sure your computer is already booted up (to avoid the dreaded “waiting to install updates” delay), that your Internet connection is working properly, and that the correct input/outputs are selected in your conferencing program.
- Give brief context for the project and character. Whenever you start recording a new scene, you may wish to give a short overview of the scene or any relevant plot points that the actor should be aware of. However, try to keep it concise and relevant to their character so that you’re not droning on with a long backstory of things that don’t really apply to the character they’re voicing. (One of the common complaints actors have about working with inexperienced directors is that they tend to over-explain the scripts, which are often times fairly self-explanatory for experienced actors.)
- A good method for recording (commonly done in-studio for game sessions) is to have the actor try two takes of the line, after which you can either a) move on to the next line, or b) ask for a new take based on your feedback. This allows the actor to give a couple of their own interpretations first to give you options to choose from—-and if you’re not happy with them, it can give you an idea of what changes to request. But don’t ask for 4-5 takes off the bat—-you still might not get what you want and have to redirect anyway.
- Give the actor the chance to try the line first before telling them how to do it. For instance, if the line on the page clearly shows that the character is angry, you don’t need to tell us “I need you to be angry on this one.” However, if the actor tries the line and it’s still not angry enough, you can redirect after the fact by saying “I need more anger in the line / can you make it more intense?” etc.
- If you’re not quite sure how to articulate what you want, the following elements may give you ideas: Speed (faster or slower), volume (louder or softer), pitch (rising/falling inflection), energy (more or less), emphasis (hitting a certain word), or asking for a different overall “feeling” of the line. BE SPECIFIC. The more specific you are, the better the chance of getting the read you want!
- Be sparing with line reads. For context, a “line read” is when you perform the line yourself the way you want it read and ask the actor to parrot it back to you with that same inflection. In most cases, line reads should not be your first go-to as it can be considered insulting to an actor. Try to find a way to ask for the read you want without resorting to a line read. However, if you have a really specific delivery in mind that you need and you’re just not hitting it after multiple takes, you may want to step in with a line read to avoid wasting too much time. Line reads may also be more prevalent/understandable in the case of comedy/parody projects where a very specific read is needed for comedic timing.
- Don’t be afraid to ask for what you want when it comes to a line. Many newer directors may be shy or feel like they are being a “burden” to the actors by asking for retakes, but there is no need to apologize for this. It is part of our job as actors to bring your vision to life, and if a line we’re doing isn’t how you envisioned it, we’ll be happy to work with you so that it is.
- With that being said, please be courteous to your talent. Both of you have the same end goal, after all: to make a great project. You can be firm and articulate on what you want without being harsh or rude, or insulting the actor's skill.
- Consider “reading in” the voice actors—-meaning, if their character is responding to dialogue from another character, you’ll read the line from the other character so that they can “respond” with their own character’s line. This tends to make the performance more authentic, as “acting is reacting”. You don’t need to be an actor yourself to do this; it doesn’t really matter how it sounds, simply that it helps the voice actor when they can verbally respond to a line in context.
- Try to be reasonably professional. It’s understandable that you may be excited to work with a voice actor whose work you enjoy, but do remember that you are hiring them to do a job---this is a work situation, not a convention or fan meet. It’s okay to compliment someone or tell them you appreciate what they do, but when you’re directing, you still need to be the boss!
- A little banter or commentary is okay here and there, especially at the beginning of the session, but constant streams of chitchat can waste time (and potentially even waste money, if you are paying hourly). There are some online sessions in which the directors spend more time chatting about random things than actually working with their actors! No one's saying you can't have any small talk, but do remember that this is a business, and you want to get the job done efficiently. Your actors will appreciate it too.
- Be open to a little collaboration from your actors, if the project allows for it. Maybe a line is written in a way that sounds very awkward when spoken aloud, and they want to change a word or two to make it more conversational. Maybe they have a line they want to improv a little at the end. It never hurts to be open to these options—-and if you’re not sure, you can always ask for a “safety take” of the original line as-written. This goes for being open to actors' reads, too. Perhaps a take wasn't exactly what you had envisioned in your mind, but it may end up being even better! Don't be afraid to ask for a redirect if you know you want something different, but also, be open to what the actor's instinct was in their initial takes.
- For battle efforts, shouting lines, or anything else that is “vocally stressful”, try to keep it to as few takes as possible. Be clear with the actor what you’re looking for on these so they don’t have to blow out their voice continually retaking a loud line. Start with one take on these and then redirect if you absolutely need to. Also, save these until the end of the session if possible. You don't want the actor to blow out their voice early on before you even get to the regular dialogue!
- When a voice actor gives you their Skype name, Discord ID, or even phone number for the session, please understand that unless you are already friends, this information has been given to you for business purposes rather than social purposes. Many actors are very busy just like you are and do not always have time for small talk. Having exchanged contact info for the purpose of booking a session does not mean they are free to chat any time (and this should go without saying, but please don’t give out their info to others without permission!)
Voice actors, what do online directors do that you find helpful or unhelpful? Do you have any other tips you might recommend to someone new to directing live? Content creators, do you have any techniques you've found helpful in getting the most out of sessions with your actors?
______________________
All of the guides and resources on this forum are provided on a volunteer basis in the interest of free and open access to information. If you found them helpful, I'd love it if you buy me a coffee!
I’m a female voice actor with a High pitched, normal and robotic voice and I can also do British accents! I do murder drones and I could try any other and I can follow scripts! Send me an email if you need me! (Mahatareq09@yahoo.com)