Project Main Details
DESCRIPTION: This voiceover is for a training course for the film industry on a specific topic that is very technical, but nevertheless an interesting and fun topic. The style is more that of a commentary than a narration. The course is heavily scripted, but needs to sound like everyday language. We don’t want a “narrator” or a “teacher”. We want an industry friend with certain expertise explaining something to another industry friend who doesn’t have that particular expertise.
Being able to sound free-flowing, honest and natural, and to plow through sometimes technical jargon like you use it every day, is the most significant requirement. Not being able to step out of the typical “narrator” role and just be a person would be the most significant drawback. A typical narrator-role will for this project create a feeling of a glass wall between the viewer and the material. The goal is not perfect, the goal is honest.
PAY: Pay is a flat rate of $10,000. The course is approximately 9 hours in length, so we estimate it will take between 50 and 100 hours to record, putting the pay at between $100/hour and $200/hour. These 50 to 100 hours will include regular re-recordings as is inevitable for a project this size, and only excessive re-recordings will be billed separately.
By budgetary necessity, at least part of the fee will have to be deferred, because we’re coming to the end of a long production and will see our next payments upon release. We are willing to negotiate a higher fee for a higher ratio deferment, such as 50% increase in pay for an 80% deferment (resulting in a total pay of $15,000 where only $2,000 are paid during recording). Deferred payment is triggered by sales of 200 units, and is thus guaranteed, since we have thousands of customers signed up, so payment will likely happen within 2 weeks of release. You will be given auditing rights of company books until deferment has been paid, and your contract will be worded to give you an enforceable legal claim without conditions.
There will be no royalties or residuals, and only non-union talent will be considered as this is not a signatory production, unless your union will expressly allow you to do the project, and will not require you to use a signatory studio.
RECORDING: The production is taking place in the Seattle / Redmond area, and if you’re local, we prefer to record here. More likely, you’ll be recording in your own studio with the Director monitoring and directing over Skype or other real-time codec (AudioTX/ISDN for example), and uploading uncompressed files after each session. This requires you to have excellent recording gear, including tube-microphone and tube-preamp, and a thorough understanding of recording professional audio. We will not want the signal processed in any way, except possibly a built-in analog compressor in a preamp. Smooth treble and non-nasal upper mid-range are the preferred qualities of your recording setup. Noisy or PC microphone setups will not be considered. If you are the perfect voice but don’t have the perfect recording gear, we may supply it, although this is not preferred.
EARLY CASTING: The training program is still more than 6 months away from release, but we do not want to wait until the last minute to select a voiceover artist, especially if we need to make any changes to adapt the script to your voice. Ideally, we would like to begin recording within a month or two, and spread it out over the remainder of production, which can be over 6 months. That means that your recording setup must be static, or be possible to return to fixed settings, over a long period of time. We need to be able to replace a single sentence without any change in audio quality from the surrounding material.
AUDITION: A video clip is posted as an attachment. Please do not take the temporary voiceover as guidance. If we feel that you could work for the project, we may want to do an actual audition of a full chapter as well as an equipment test.
We look forward to hearing from you!
2008-06-19 22:48:23 GMT 2008-06-29 00:03:18 (GMT -08:00) Pacific Time (US & Canada) Yes (click here to learn more about ) Closed - Note: This project was manually closed by the voice seeker before it reached its original deadline. 186 186 20 direct invitation(s) have been sent by the voice seeker resulting in 9 audition(s) and/or proposal(s) so far. Voice123 SmartCast is seeking 200 auditions and/or proposals for this project (approx.) Invitations sent by SmartCast have resulted in 177 audition(s) and/or proposal(s) so far.
• Source Connect OR
• Audio files must be delivered via email OR
• Audio files must be delivered via FTP/Dropbox/Google Drive/cloud OR
• Audio files must be delivered by regular mail
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Portion of the script provided for audition purposes only:
In wide shots, floor markers give enough foreground. But in medium and close shots, they're all out of frame, and we're stuck with the background again. Remember that we can't track the actor, because the points have to be static. But that leaves just a few points on a single plane, which is not enough.
So what do you do? Well, you build two microphone-stands with tape marks or post-it notes that you know will get tracked / and put them anywhere you need to beef up the parallax. The markers should be a different color than anything in the background, but it doesn't matter what they look like, because they'll never be composited.
This close push would be a difficult or a failed matchmove. But with the mic-stand, there’s clear difference between foreground and background / and this is now a push-button matchmove.
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