The Voicecoaches blog came across this interview with voice actor DJ Tanner, who plays Tony Stark/Iron Man in the new Iron Man: Extremis motion comic.
The Voicecoaches blog came across this interview with voice actor DJ Tanner, who plays Tony Stark/Iron Man in the new Iron Man: Extremis motion comic.
John Walker over at Rock, Paper, Shotgun has a great feature on voice direction for games:
A few months back for PC Gamer I investigated voice direction by speaking to those who get it right. I spoke to LucasArts’ David Collins, responsible for directing Monkey Island, FunCom’s Ragnar Tørnquist about creating April Ryan and casting The Secret World, and 2K voice director Jack Scalici who is responsible for the enormous voice cast of Mafia II. I also spoke to two of the most respected voice actors. Dominic Armato is the voice of Guybrush Threepwood, and Sarah Hamilton plays April Ryan in the Longest Journey games. Below they discuss the craft, and express their passions and frustrations about voice acting and directing.
Read the excellent feature here.
(via The Voiceover Boblog)
While the majority of our work in Epic Sound is in audio for games, film, television and product sound, we’ve also grown to become one of Denmark’s largest studios for audiobook recordings, with hundreds of titles recorded so far.
One of the questions we often get is: How do you, as an external voice actor, break into audiobook narration?
Well, if you’re an experienced voice actor, put together a reel that shows off your narrating skills and submit it. You can send it to us, and to publishers who specialize in audiobook production. They are usually the ones deciding what voice actor should be working on a given title.
But if you haven’t got a lot of experience in voice acting or narration, what’s the best way of getting started?
I usually recommend that budding audiobook narrators head over to a site called Librivox.org to hone their skills. Librivox is a volunteer project where books that are in the public domain (ie the copyright has expired) are recorded, and anyone can download and listen to the results for free. Everyone can join, and you can record in whatever language you want.
Librivox.org is a great way of getting the hang of narrating, and, ultimately, finding out if audiobook narration is your thing after all. They also have forums to help guide you along the way.
And a great bonus of getting involved with Librivox is that not only do you gain valuable experience in narration, you can also use the best bits of your recordings for that all-important voice-over demo reel.
As for equipment, you’ll of course get the best results by recording in a proper studio with a technician at hand, but if you’re just starting out, you can also get some usable results from setting up a small recording space at home or elsewhere. Peachpit has a fine guide to picking the right tools for podcasting – and many of these suggestions also apply to audiobook recording.
Also check out John Pruden’s guide to getting started with audiobooks – part one of the guide is here, and part two is here.
Defactosound talks to Raison Varner, Audio Lead at Gearbox Software on the sound for Borderlands
• DS: Did the change in Art Style affect the audio approach in any way?
It definitely affected the music direction, but sound design wise, we didn’t change a thing. The general direction we were taking was still very much applicable. More than just the art style, the entire attitude of the game shifted which really changed voice production and music production the most.
Watch the intro for the game below
- and read the full post on the sound for Borderlands here.
Original Sound Version has an interesting interview with Don Veca, the Audio Lead on Dead Space Extraction for the Nintendo Wii.
Veca: One of the main differences for audio in the rail-shooter genre is that things are much more deterministic. We had to have a far more generalized approach for the original Dead Space game, because the audio had to adapt more to the decisions the player made while traversing through the game. On the other hand, the rail-shooter design is much more linear. This means we as developers usually know what’s going to happen at any time, including the exact timing of a lot of things, so we were definitely able to advantage of this sonically. The new design allowed us to approach the sound design a little more like we would for a linear movie.
Read the full interview on the Dead Space audio here.
Also, here’s a general feature on the game:
Denmark’s Radio has made the audiobook ‘Panserhjerte’ by award-winning author Jo Nesboe available for free for a limited time – and today marks the final day of this special offer.
The audiobook is in Danish and was narrated by voice-actor Bent Otto Hansen in the Epic Sound studio.
So if you’re up for an engaging crime-story, stop by this link to podcast or download the book for free.
The Voicecoaches blog has an interesting post on the voice-over for Mass Effect 2. Check out this video which features interviews with Martin Sheen, Seth Green, and Yvonne Strahovski, three actors whose voices are featured in the game:
Read the full post here.
Designing Sound has a special feature on the sound of ‘Transformers’ – and here are three videos that go behind the scenes on the audio for the franchise.
Check out Designing Sound’s full feature on the sound for “Transformers”, including an interview with film sound designer Erik Aadahl.