Lego Creative Builder
Voice Direction:
This is a simulated audition for a new Lego product: We want one voice actor to sound like they’re re-telling a story of what happened, so all characters are clearly told by the same person, but with just enough variation to help the listener differentiate character to character. To make it real sounding, please add vocalisms and human sounds, (but do not add words). This needs to be 10-seconds or shorter. Slate your username at the top.
Script:
[Playful announcer] "To parents who've been here:"
[Whiny kid #1] "Whaaa?, no more screen time?"
[Annoyed parent] "Yeah use that brain of yours."
[Whiny kid #2] "That'll be boooooring!!!"
[Snarky parent] "Not if you build something."
[Whiny kid #3] "Like what???"
[Happy parent with a fun, magical surprise] "Like this most awesome Lego Builder Lifesize Set!!!"
Congratulations to our winners, Cameron Ames, Claire-Gresham, and Issac Versaw. This was quite a challenge, combining character work, narration, technical editing, a number of unusual directorial requests, and – being a commercial – the usual salesmanship. Although nobody met every specification, these three showed that they could probably hit the mark after further takes and maybe some direction. Here are some tips to help you get closer to the mark yourself:
Shortening the script is NOT an acceptable solution. This is always assumed in an audition, unless you’re given permission. Further in this case, the Director’s Notes make that very clear. (Some people changed “here” to “there,” marking themselves as unprofessional right at the start.) Nevertheless, you can usually say “hmm” or “uh” or laugh, or add any number of non-verbal things to express character and emotion. But those mannerisms take time, and that’s the quandary in this case: The direction didn’t just suggest them; it said “please add” some! So, although they may occur spontaneously (good!), forethought is important with them, too.
Edge Studio VO Tip #2
Not all characters are cartoon characters. So don’t get overly “theatrical.” Many entrants – including ones on our short-list — were overly dramatic. In addition to not sounding real, this is another way of hindering your ability to hit the time target. Exaggerated words take longer to say. For example, many people dragged out the kid’s lines.Even if by some miracle you are able to give a theatrical read quickly, that style of read contradicts the Director’s Notes, which said to have just enough variation to differentiate characters, but sound like it’s the original storyteller talking.
Edge Studio VO Tip #5
But this script adds a special angle: When doing character work, especially when doing multiple characters, there’s a tendency to get so into your acting that you speak louder than you did in rehearsal. Take that into account when setting your audio level, and as you perform. Use body language, but maintain a constant distance from the mic. If you say something loudly, move back from the mic on those words, and remember to double-check afterward, to assure you didn’t go into the red. There are also signal processing techniques that can help in this regard, but learn first things first.
1st place winner: Cameron Ames
Judge's Comments
There are things we like, which gives us confidence that he can fill the bill. We like his “use that brain of yours,” because it sounds very extemporaneous. The ever-so-slight hesitation before “brain” does the trick. We also like “not if you build something,” which is both interesting and realistic. And he very nicely valued the word “here” in the all-important opening line. Too few people hit that word, most of them running right through it. Why it’s super-important: The word “here” is what the listener is likely seeing on the TV or video screen: this script conveys not only the parent-child dialog, it may be part of some craziness, maybe a messy room, or kids bouncing off the walls. Hitting “here” syncs the audio and visual thoughts. But there are things to correct: His slate is fast: If the client doesn’t see his name written out, his name may not be understood. A voice artist should take as much care with their own branding as they do with the client’s. Also, his characters are too different to comply with the Director’s Notes … but at least they are much less theatrical than most other entrants. The recording is too long, even though he added no non-verbal vocalisms as requested. And one small note, easily corrected: The word “lifesize” will sound like “lie-size” if mixed with SFX or music. Recording quality is very good.
2nd place winner: Claire Gresham
Judge's Comments
Good opening; she nicely valued the word “here” in line one, which sets up the entire scene. Her slate is also good, but we suggest adding an extra beat after it and/or slating with a slightly different (still confident) inflection. That’s because, although slating in one’s natural voice is generally best, the next line sounds exactly like her slate, and even though we know the script by heart, even we were caught off-guard when she began reading. It’s the one place were a slight extra pause isn’t problematic, since the 10-second clock hasn’t started yet. We also like her “use that brain of yours,” because it sounds spontaneous. Good, clear client name, too. But her characters are too different, the child is too theatrical, and there are no added vocalizations. Recording quality is very good.
3rd place winner: Isaac Versaw
Judge's Comments
We really like how he pitched the line “not if you build something.” It mimics the “that’ll be boring” line. We also like how he gave a bit of word-value to “here” in line one, for reasons explained above. But, as with others, although his voices are okay characters, they’re more different from one another than the Director’s Notes described. He did not add any vocalisms as requested. And, ironically, while his words are mostly too drawn out, he should have slowed down the client name, the one word that always merits extra time. Recording quality is very good.
