workshop 2012

vocaloiderutauer  asked:

Hm... I'm enthralled now. How did you come to do voice acting? Was it a sort of, spur of the moment? Or was it more so like a passion you wanted to pursue after highschool/college? I've also begun to wonder. What do you specifically do to change the timbre of your voice? I assume its different for every voice actor out there and, given your experience, you've most likely developed a method no? Lastly, how do you land jobs? Do you need a specific talent or is it more so fitting the voice color?

January 2007 

I discover that voice acting is a thing. My time spent on Neopets noticeably dwindles for the moment.

(Also none of these are specific moments that I think made or broke my career, I am just offering all relevant moments in time)

Feb/Mar 2007 

A man by the name of Deven “Mac” notices my frequent postings on Newgrounds - my fervent spamming, more like - and informs me about Voice Acting Club. Kira Buckland, 10 years younger, is finishing up school soon and has begun plans for moving out of Alaska to pursue life in Cali

March 2007 - 2008

Amateur Voice Acting AHOY! I audition for a shitload of projects, mostly fandubs. Mostly Newgrounds. my voice is terrible but my enthusiasm and energy is unyielding. Mac helps me with basic tenets of voiceover techniques and I also exhibit some pretty shitty behaviors (delaying submitting lines for weeks because I’m nervous about ‘doing them wrong’).

September 2008 

I get accepted into Western Michigan on a scholarship. I decide to major in Film/Video/Media studies because it’s ‘the most similar to what I want to do’ (Voiceover) and decide to put more personal interests in as minors (Journalism, Japanese, Psychology).

The actual curriculum itself did jack shit for my career but it’s what I did during my time there that matters more.

2008-2012

Four years of college. I make friends within my interest groups but nearly all of my time is spent either in class or in my dorm room on my PC. OMGPOP is king of my time until Maplestory releases the Evan class.

More importantly, it was also the formative years of my freelance career.

I sign up for Voice123 membership. It goes horribly. Low ratings nearly all the time. I take on an audiobook job and deliver over-estimate by 7 goddamn months. Client is PISSED.

A site called VoiceBunny also crops up; more suited for quick one-off jobs that don’t need 'the perfect voice’, just a suitable one. Extremely reliant on being at your computer at a moment’s notice.

I have no social life.

This meshes well.

Within college, I am constantly involved in things related to acting/voiceover.

- On-campus Sexual Health Peer Education group (skits and lectures) all 4 years of attendance. This also gave me opportunities to record voiceover for segments needing 'voice of god’
- local radioplay group All Ears Theater (2 productions every 2-3 months, included a formal audition process and live performances in front of audiences for later broadcast via radio/web)
- Audio Production class (as part of my Major) quick-learns me basic editing techniques, directly translates to my ability to do quickfire editing and turnaround now as a freelancer.
- Continuing to do auditions for stuff for Voice Acting club. This is probably the most similar to many ‘Tumblr phase’ performers on here.

Over time, constant exposure + guidance from peers/my mentor helps me to hone my skills. I still tend to 'loud-act’ things, IE using an unnecessarily loud/forceful voice for simple business narration,but I’m beginning to understand the intricacies of different styles (Commercial vs. Promo vs. character, etc)

January 2009

During winter break, on a ski trip with family, I learn about Anime Expo’s AX Idol competition. I tell my dad the one thing I want for my birthday present is funding to help go to this convention and compete. He obliges.

Summer 2009

I go to Anime Expo and compete in AX Idol for voiceover.

https://www.youtube.com/watch?v=oUQpkyfVYog

https://www.youtube.com/watch?v=G-PwvyeM1jw

Things go well.

Fall 2009 - sometime 2011

Things DO NOT GO WELL. My victory at AX causes me to feel like I know what I am doing, leads to an almost 2 year stint of godawful delivery choices as I 'phone in’ performances like they’re just going to be good on foundation. My mentor is frustrated with me and at least one peer of mine actively thinks I don’t deserve the kinds of opportunities I’ve had over how hard he himself has worked.

2012

I graduate from college, determine that the only way I’m going to make progress is by forcing myself into the community where the industry exists. If I’m going to get workshops and studio auditions and actual non-online work, I need to be where the work is.


Summer 2012, 2 months after graduation

I move from Michigan to California

I have enough savings to cover about a year of rent if everything goes horribly horribly wrong (including losing every single freelance client I’d slowly built relationships with during college), but it’s obvious I need to find work to continue to stay out here.

I take a Graveyard shift job at Stanley security. It sucks my fucking soul out.

Meanwhile by day, I am still doing my freelance thing. I let BangZoom know I am now local. I work with my mentor on piecing together a demo both from good bits I’d done before and fresh content written for the demo, something I can show off to clients that is good enough to be worth listening to but that I can admit “I am new to the area and aiming to get my foot in the door for more professional work so that I can update my portfolio accordingly”

2012-2014

The Workshop Grind

Workshops with BangZoom, with Crispin Freeman, with VoiceTrax West, etc.

Through character archetype classes, I begin to understand where my inherent strengths lie (I already had an idea from my freelance side, but now I was able to confirm those strengths by having actual professionals go “You made great choices”)

BangZoom, meanwhile, SLOWLY works me up the chain of trust. I get called in for unpaid walla sessions just to see if I can meet appointments on time and follow directions.

Then unnamed 1-time characters in a crowd.

Then unnamed characters you can hear.

Then a recurring unnamed character.

Then at some point I get audition sides for something called Sword Art Online, for Kirito and Diabel. I initially only plan on auditioning for Kirito (dem Protagonist dweams) but have a last-minute Skype Workshop with Crispin about my auditions and get feedback from him.

He recommends I still try out for Diabel because it plays into my strengths and “why the hell not?”

I do.

2013-2014

Pretty much my ONLY studio work is coming from BangZoom, and it’s not frequent. I quit my job at Stanley only because I had some extra savings now and wanted to force myself to 'git gud’ instead of letting a safety net of money keep me from pursuing more.

But slowly, SLOWLY, through BangZoom auditions and the occasional booking, web strings begin to attach.

Out of personal interest, I do a brief stint as a QA tester for NIS America. This also happens around the time BangZoom is casting for DanganRonpa and Fairy Fencer F. My employment didn’t affect my audition chances, but it did solidify NISA’s knowledge of me as a voiceover artist.

I do some work for Ys: Memories of Celceta for a company called XSEED. Nothing comes of it until almost 3 years later, when a new localization lead named Brittany recalls my performance from Ys and says “I think he could be a really good fit for this dude named Rean Schwarzer”.

I land work on Killer Instinct through BangZoom. The director of that LOVES my performance, proceeds to slowly bring me back now and again for recurring roles on stuff like Gundam IBO and other projects.

Back to XSEED.

I land my lead role in Trails of Cold Steel. Recording is at PCB Productions, who now knows I exist.

Everyone has a good time, I send my samples/demos to PCB (now updated further), they begin sending me THEIR audition sides as well.

At one point, a director for PCB I know well is collaborating with a studio called Cup of Tea on Akiba’s Beat. Kira has been working with Cup of Tea for YEARS but I had never had an opportunity to get in touch with them before now.

Director puts me in touch with Cup of Tea, who now knows I exist. Session goes decently, I tell them I am very interested in pursuing future work/auditions and would like to share my demos with them. They accept.
For sake of time I will leave that thread where it is because I imagine you can understand what the underlying theme is.

Just a sporadic but progressive timeline of preparedness + Opportunity allowing me to expand my options.

Back to Workshop Side:

I continue actively pursuing workshops for other companies, especially VoiceTrax west. I sign up for “meet the pros” evenigns where I have a chance to perform + get feedback.

The workshop actively disclaimers that there is no expectation of getting work + it is intended to be a learning experience, but I go in with the mindset of “I’m going to leave them WANTING to work with me”.

With a much more thorough understanding of my strengths by now, I tend to do a formula of picking 1-2 characters I know I can do well, and one that is within my range but is relatively challenging. Worst case scenario I still leave a good impression, best case I completely surprise myself (and the host) and leave a lasting one.

This works out well. Said method greatly interests a representative from Mattel and one from Disney Parks (not the animation side, just the theme park side). I thank them for their time, ask if I can share demos with them/get their contact email, contact them and express interest in receiving audition opportunities.

Through one of these same workshops, I also meet my future agency, SBV Talent’s lead person Mary Ellen Lord. I do the same thing. Mary proceeds to circumvent SBV’s entire policy of “Referrals Only” representation to ask me to come to their offices to record an official application demo.
Note that none of these workshop outcomes, or the workshops themselves, were things pointed to me by studios I was working for. This section was all self-driven/pursued (and also required me to be local).

Since then, I’ve been continuing the routine of doing freelance work from home, sending out auditions for studio-hosted projects when the sides are provided to me, and generally working with my mentor when I have questions about approaching a certain character. Either because of personal growth or recent portfolio additions (or both), my success rate with booking new roles has kind of shot up; I’m hoping this trend continues for the foreseeable future.

My bootleg list

I’m somewhat new to trading & just thought I would share my list. I’m always open to gifting but prefer trading. I also don’t know the dates & details for most of these boots. Most of these are of drive with the occasional Mega or dropbox.

21 Chump Street
The 25th Annual Putnam Spelling Bee

A Bronx tale
A Christmas Story
Amelie with Phillipa Soo
Anastasia Hartford
Anastasia broadway
A New Brain
Annie
Anything Goes

Bandstand
Be More Chill Play
Book of Mormon OBC
Book of Mormon Chicago (Ben Platt)
Book of Mormon London
Book of Mormon Workshop

Carrie the Musical 2012 Off-Broadway Revival
Charlie and the Chocolate Factory
Come From Away

Dear Evan Hansen OBC
Dear Evan Hansen HD (Act 1 only; VOB)
Dear Evan Hansen audio with Colton Ryan as Evan
Dear Evan Hansen audio with MLB as Connor
Dear Evan Hansen audio with MLB as Evan and Colton as Jared
Dear Evan Hansen audio Ben Platt’s final performance
Dear Evan Hansen audio Arena Stage
Dear Evan Hansen audio Second Stage

Falsettos
Frozen pre broadway
Fun Home

Great Comet
Groundhog Day

Hamilton OBC
Hamilton Chicago
Hedwig and the Angry Inch with Andrew Rannells
Hedwig and the angry Inch Neil Patrick Harris

Kinky Boots with Brendon Urie

Legally Blonde
Les Miserables 2014

Matilda with Queen Lesli

Newsies
Newsies Audio with Mike Faist as Jack

Rent OBC

Something Rotten
Spring Awakening with Deaf West
Sweeney Todd OBC

The Prom
The Cursed Child London

Waitress
West Side Story w/ Matt Smith (not broadway)
Wicked

Wants

Any Dear Evan Hansen I don’t have
Finding Neverland
Heathers
Be more chill
Or anything I don’t have

10

~ GILBERT CROCKETT ~

gif gratitude / gnartifactcooljomper / senpai-god / skateboardmemes / gnartifact / stay rad

vansskate vanssyndicate

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INVITATION

Atelier Kouglof (France)

Thomas Berthier and David Moulin met at the Art Design School of Strasbourg. In 2005, they’ve build together “Kouglof”, a graphism company. Since 2008, l'Atelier Kouglof show frequently their creations in different cultural places like “La condition Publique” (cultural factory), “Le Bar Parallèle”, “Bonnefooï”, and they also participate at some collective exhibitions.They used to work with different techniques and on a lot of materials (canvas, paper, board..), and they finally open their artisanal silkscreen workshop in 2012.

This place is on opportunity for them to create with a lot of freedom and try new experimentations. This year, l'Atelier Kouglof present at the gallery L'Oeil Ouvert, an Abecedaire, the last creation of the artists. This silkscreens, numbered and signed are made with thin and precise lines at the workshop of l'Atelier Kouglof, in Lille. The surprising colors and the design really funny of the series make it a unique work at the gallery. The fancy creatures who come from the imagination of the artists have always a powerful dynamism and are coherent one with another. The opening of the exhibition will be on Saturday 31 January from 18 pm, with Thomas Berthier and David Moulin.The gallery welcome you all for this beautiful exhibition of silkscreens, from 28th January to 28th February 2015.

Atelier Kouglof - Sérigraphies
L’Oeil Ouvert Gallery - 74 rue François Miron 75004 Paris - 28.01.2015 - 28.02.2015
Opening in the presence of the artist Saturday, Jan 31 2015 from 6PM
© All images courtesy of the artist

[more Atelier Kouglof]

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Congratulations to Marielle Heller for winning the Film Independent Spirit Award for Best First Feature! Marielle came to the Sundance Labs in 2012 to workshop The Diary of A Teenage Girl and later went on to premiere it at the 2015 Sundance Film Festival.

© 2015 Jeff Vespa/WireImage; © 2012 Sundance Institute | Photo by Nick Kenworthy;  Photo by Sam Emerson;  © 2015 George Pimentel/WireImage

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Alien Workshop - The Cinematographer Project (2012) TWS

// FINALLY!

got 2 post drafts on hold that have been waiting for this to be posted again