Tuesday, August 29, 2017
Is the voice over agency world riddled with unethical practices?
You might think so after reading the pledges for fairness, transparency, integrity and more, made by members of the at the new trade group's website.
But Alliance President says their target is the voice over industry as a whole.
"It's a problem in the voice over world in general," says Sheppard, owner of the agency.
"With the lower and lower rates and fewer union jobs, agents are starting to panic and are doing what talent have been doing - accepting jobs they would not have taken in the past because they have to put something out," he says.
"But it's self-defeating behavior that just creates a new environment and culture where voice seekers are expecting more for less," adds Sheppard.
"I believe most agents strive to operate fairly, out of respect for their talent and craft, but other business models for finding talent are pretty much solely based on unethical behavior."
Formation of the Alliance was announced on August 23. And no, it was not created foremost as a counter-punch to the announced purchase on August 9 of by (dot)com.
That deal was a trigger to hurry up, notes Sheppard (pictured). But the founding agents were discussing the Alliance earlier.
Traditionally, voice over agents are not ones to bond.
Yet as described on the group's website, they gathered as a response "to industry pressures from outside forces and online casting sites, which have had a negative impact on talent, their representatives and most importantly, those hiring voiceover talent."
Sheppard lists specific concerns:
"Declining rates, the exodus of clients from union projects, the expansion of usage and multiple version/lift requests from clients with no additional compensation, and generally unethical practices becoming the norm," he says.
"Some of these issues have been bubbling for a while, but the recent downturn has been so rapid that we felt something had to be done.
"All agents - union and non-union - and the talent they represent are under serious threat right now, and we believe we have a better chance of righting the ship if we work together," he says.
The Alliance's "to-do list is outrageously long," Sheppard adds, also noting that members are in constant contact with each other about upcoming projects.
On the Alliance's Board of Directors and co-founders with Sheppard are (), secretary; and (), treasurer.
At the time of the August 23 announcement, the founding agency members were:
The Alliance's website says the group is "actively expanding and ready to speak with other agents willing to stand up for our industry."
Yet some applicants are already being rejected.
"Agents who we know do not adhere to our standards are having their membership applications rejected as we speak," Sheppard says. "We are not interested in members who are with us in name only. You have to walk the walk, even if it hurts a bit for now."
The door is not entirely closed to rejected applicants, though.
"We would love the opportunity to educate them about the damage their practices are doing to us all - and hopefully they will see things as we do and join in earnest," Sheppard explains. "The door is open for anyone willing to put in the work and stick their neck out for talent."
In the eyes of the new Alliance, what would brand a voice over agent or agency as behaving unethically?
That would be an agent/agency that is not upfront about fees they receive from client and talent, Sheppard says.
And "anyone skimming fees off the top is basically operating illegally," he says.
He also trashes lowball fees.
"Anyone - an agent or a manager or a casting entity - who is putting out lowball garbage jobs is hurting the industry for us all," he argues.
An interesting feature at the VO Agent Alliance's website is the opportunity for voice seekers to submit auditions to member agents.
Is this an fledgling competitor to Voicebank?
Sheppard soft pedals that notion.
"We have no interface in place," he says of the audition option. "It's only a form where (voice seeker) clients can reach us as individual agents at once."
Yet Sheppard clearly draws a distinction between Alliance members and Voicebank.
The audition option is "a way to send an email to agents they know are operating in a fair and transparent manner," he says. "There are a ton of folks working on the 'new' Voicebank. We are not one of them."
Sheppard sees the course of the voice over industry now as "self-defeating" and "rapidly leading to unsustainability."
Voice talent who have been in the business for decades are hurting and leaving, he says.
"If we don't clean up our act as a whole and work to fight negative influences and practices in our industry, we'll all be in the same boat.
"In many ways, it's a fight for our very livelihoods."
For more about the VO Agent Alliance, visit www.VOAgentAlliance.com.
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Thursday, June 22, 2017
About 15 years ago when I first became a corporate video producer – back in the days of Betacam SPs and linear editing systems (old school analogue video production) – we used voiceovers in almost all of the productions we created. If an interviewee wasn’t overly articulate or failed to use a noun that would have made the subject more comprehensible (and I failed to notice until it was too late), there was a simple solution: Grab a half-sound bite to put a face on the screen and give the piece credibility, then explain the rest of the point in a narrative track.
Among its other advantages, this method offered an opportunity to mask any subject behind good writing. Besides, with linear editing, the numbers of cuts in A-roll had to be contained, particularly in the absence of much B-roll to use as a cover. Transition devices were limited to cuts that abutted images and to dissolves, and the latter required separate machines.
The Modern Promotional Video
Times have changed, and so has the style of promotional video presentations.
The digital conquest offers infinite ways to showcase material that have pushed aside a reliance on narrators.
The range of interesting transition devices today can make frequent cuts in sound bites more appearance-friendly.
Well-designed motion graphics can be created to roll across partial or full screens, explaining in a few words any concepts that sound bites leave unclear. Further, in this age of user-generated-content-citizen-journalism, a good deal of respect is accorded to the voice of the everyday person as compared to the reporter-type storyteller, whose actual objectivity, the public has seen on occasion, can be skewed by the bent of the publication printing the story.
In short, that objective assertion of a narrator currently is perceived in many instances as much less convincing than the voices of subjective interviewees offering their thoughts.
Interviewing Corporate Staff vs. Actors
Producing a corporate video that does not use narration offers challenges at each interview.
Company speakers are not trained actors. Their natural speech patterns are generally replete with “um”s and “you know”s and “like I said”s. Their cadences, especially when a camera is turned in their directions, are often somewhat monotone and may bear little resemblance to their more colorful tones of voice that go into gear when the camera goes into off-mode.
The job of the producer asking questions is also double-layered: In addition to probing for substantive responses that go to the heart of points to be addressed in the video, the producer needs to listen to each answer through the ears of how the video will later be cut.
He or she must be aware when interviewees make sentences that contain vague pronouns, for instance, ensuring that such thoughts are restated in ways that will make them useable in the production.
A key benefit of using corporate employees as thought leaders rather than having narrators tell the company story is that frequently the former have real passion for their work, their offices, the products or services they are involved in offering, and/or their colleagues. In these cases, it is vital that a producer tap into that passion, then draw it out in the responses to interview questions. The expression of these sentiments by unscripted respondents can be very impactful.
And yet, good video is customized video.
In some cases, narration continues to be an effective avenue for presentation of material. For example, in retelling a history of an old company for which there are no speakers with knowledge of key events that the video would like to convey, a voiceover relaying some details and giving flavor to the larger piece might be a sound choice.
Or getting across the significant information in how-to videos, i.e., each step along the process, might call for a straightforward narrator.
How to Decided to Use a Narrator, or Not
In deciding whether to use a narrator or not, a few questions that might be helpful include:
- Who is the ultimate audience, and what will their reactions be to the different approaches?
- What category of video is involved, and which alternative makes the most sense in terms of getting across the point for which the production is being created?
- If a decision is made to use a narrator, what type of voice (e.g., male/female, young/old) would be most appealing to the intended audience? Whatever the determination regarding this point, a narrator with professional voiceover training will provide a significantly better read, ensuring good and even pronunciation, than someone without experience or lessons.
- If a decision is made not to use a narrator, is the interviewer prepared to ensure that responses are stated in ways that can be used in the final product?
In short, while it is stylish to produce corporate videos without narrations, these pieces present challenges down the line in post-production that can often be averted only with a lot of preparation in pre-production.
Further, there are no hard and fast rules in this arena, and some types of videos benefit from voiceovers rather than or in addition to interviewee soundbites!