Monday, April 27, 2009

MicandMe

http://www.debsvoice.com/MicandMe.html

MicandMe

http://www.debsvoice.com/MicandMe.html

SWOT At Your VO Biz

It Might Be Time To Take
A SWOT At Your VO Biz
 
By Gregory Houser
Voice Actor
 
No ... that's not a spelling error you just saw in the headline.

If you think about it, there have been a LOT of recent articles about looking at your business, figuring out whether or not your VO business is an actual business or a hobby, whether or not your brand is dead, understanding the producer's puzzle, the top 10 mistakes that you can make, and even about concentrating on the business's share of wallet vs. share of market.

All written by professional voice actors who are known in the business, who are very talented, and who are all absolutely correct.
 
HOW TO APPLY ...

But are these articles actually dealing with any issues you face with your business?
 
The short answer is yes, but the long answer is that you probably don't realize it. I'm here to help you with that.
 
How? Well, let's take a SWOT at your business.

Again ... that's not a misspelling.
 
THE SWOT TOOL

A SWOT is a strategic planning analysis tool that is used on projects or business ventures (like yours).
 
If you've never had to use one - let alone think of the phrase "strategic planning" -
there's no need to worry, as this is pretty simple stuff. We just want to think about your:
 
Strengths,
Weaknesses,
Opportunities, and
Threats.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
I'd love to take credit for this little idea, I really would.
 
Albert Humphrey came up with the idea while teaching at Stanford University, yet the important thing isn't how SWOT came to be, but how we can use it in our business activities.
 
This requires us to be very honest with our analysis (or to bring in someone we trust if it's known that we'll have observational bias), to identify an objective for our business, and then to list out the following:
  • What are our Strengths? What attributes of the organization are helpful to achieving the objective?
  • What are our Weaknesses? What attributes of the organization are harmful to achieving the objective?
  • What Opportunities do we face? What are the external conditions that are helpful to achieving the objective?
  • What Threats do we face? What are the external conditions which could do damage to the business's performance?
SO ... WHAT?
 
I'm sure you're thinking "This is great, but what can it actually do for me?"
 
Well that's also pretty simple if you think about it.
 
Once we've identified an objective for our business, then identified the specific quadrants of a SWOT analysis, we need to examine the following:
  • How are each of our Strengths used, and how can we further capitalize on them?
  • What is necessary to improve on our Weaknesses?
  • What is the benefit from each Opportunity, and how can they be leveraged toward a positive outcome for the business?
  • How can we mitigate the Threats?
EVEN FOR COPY!
 
To use an example, Keith David is known to use the following method of SWOT analysis while auditioning a piece of copy (and I'll bet you that he didn't know there was a name to the technique either).
 
He'll look at the specs for the copy and cross off each descriptive word that he feels is part of his nature (identifying the Strengths).
 
He then looks at what remains and picks a few that he wants to concentrate on as his choice for his read (identifying and focusing on his Weaknesses in order to improve them).
 
This affords him the Opportunity to take the copy in a direction he may not be accustomed to, or at the least uses often.
 
By doing so, he's showing himself to be a more versatile actor and reducing the Threat of not booking the job.
 
MANY USES

Obviously this is a very simplistic example, but we can take the model and use it for more complex matters, such as running one's own voice-over business.

The fact is that we use these strategies nearly every day, but most of us have never identified them or seen the relationship identified by a SWOT analysis.
 
I hope you'll find a way to take the principle and successfully use it in your own ventures.
 
Gregory Houser is a Philadelphia-based voice talent whose voice-over credits range from technical, medical and corporate narrations to commercials, web audio, and charity institutions for clients such as Lockheed Martin, Pennsylvania State University, AstraZeneca, and others. He holds advanced degrees in Trusted Computing and Information Science, in addition to being ISC2- and GIAC-certified, skills which he brings to his blog: A man, a martini, and a lot of microphones

SWOT At Your VO Biz

It Might Be Time To Take
A SWOT At Your VO Biz
 
By Gregory Houser
Voice Actor
 
No ... that's not a spelling error you just saw in the headline.

If you think about it, there have been a LOT of recent articles about looking at your business, figuring out whether or not your VO business is an actual business or a hobby, whether or not your brand is dead, understanding the producer's puzzle, the top 10 mistakes that you can make, and even about concentrating on the business's share of wallet vs. share of market.

All written by professional voice actors who are known in the business, who are very talented, and who are all absolutely correct.
 
HOW TO APPLY ...

But are these articles actually dealing with any issues you face with your business?
 
The short answer is yes, but the long answer is that you probably don't realize it. I'm here to help you with that.
 
How? Well, let's take a SWOT at your business.

Again ... that's not a misspelling.
 
THE SWOT TOOL

A SWOT is a strategic planning analysis tool that is used on projects or business ventures (like yours).
 
If you've never had to use one - let alone think of the phrase "strategic planning" -
there's no need to worry, as this is pretty simple stuff. We just want to think about your:
 
Strengths,
Weaknesses,
Opportunities, and
Threats.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
I'd love to take credit for this little idea, I really would.
 
Albert Humphrey came up with the idea while teaching at Stanford University, yet the important thing isn't how SWOT came to be, but how we can use it in our business activities.
 
This requires us to be very honest with our analysis (or to bring in someone we trust if it's known that we'll have observational bias), to identify an objective for our business, and then to list out the following:
  • What are our Strengths? What attributes of the organization are helpful to achieving the objective?
  • What are our Weaknesses? What attributes of the organization are harmful to achieving the objective?
  • What Opportunities do we face? What are the external conditions that are helpful to achieving the objective?
  • What Threats do we face? What are the external conditions which could do damage to the business's performance?
SO ... WHAT?
 
I'm sure you're thinking "This is great, but what can it actually do for me?"
 
Well that's also pretty simple if you think about it.
 
Once we've identified an objective for our business, then identified the specific quadrants of a SWOT analysis, we need to examine the following:
  • How are each of our Strengths used, and how can we further capitalize on them?
  • What is necessary to improve on our Weaknesses?
  • What is the benefit from each Opportunity, and how can they be leveraged toward a positive outcome for the business?
  • How can we mitigate the Threats?
EVEN FOR COPY!
 
To use an example, Keith David is known to use the following method of SWOT analysis while auditioning a piece of copy (and I'll bet you that he didn't know there was a name to the technique either).
 
He'll look at the specs for the copy and cross off each descriptive word that he feels is part of his nature (identifying the Strengths).
 
He then looks at what remains and picks a few that he wants to concentrate on as his choice for his read (identifying and focusing on his Weaknesses in order to improve them).
 
This affords him the Opportunity to take the copy in a direction he may not be accustomed to, or at the least uses often.
 
By doing so, he's showing himself to be a more versatile actor and reducing the Threat of not booking the job.
 
MANY USES

Obviously this is a very simplistic example, but we can take the model and use it for more complex matters, such as running one's own voice-over business.

The fact is that we use these strategies nearly every day, but most of us have never identified them or seen the relationship identified by a SWOT analysis.
 
I hope you'll find a way to take the principle and successfully use it in your own ventures.
 
Gregory Houser is a Philadelphia-based voice talent whose voice-over credits range from technical, medical and corporate narrations to commercials, web audio, and charity institutions for clients such as Lockheed Martin, Pennsylvania State University, AstraZeneca, and others. He holds advanced degrees in Trusted Computing and Information Science, in addition to being ISC2- and GIAC-certified, skills which he brings to his blog: A man, a martini, and a lot of microphones

Sunday, April 26, 2009

VOICEMASTER PICTURES




VOICEMASTER PICTURES




Radio Creative and Production. Creative concepts and radio copywriting.

http://www.radiocreative.com/

Radio Creative and Production. Creative concepts and radio copywriting.

http://www.radiocreative.com/

YouTube - REMI Nobody's Girl TAGALOG by ABS-CBN




YouTube - REMI Nobody's Girl TAGALOG by ABS-CBN




PRINCIPLES IN RADIO DRAMA

principles of writing radio drama


by Tim Crook


Tim doing a workshop at LBC


Here are some horrible truths:

Most radio drama is very badly written. Radio drama is an endangered species. It has never taken a hold of mainstream programming on commercial radio in the UK. It used to be the mainstream in the States and Australia but lost out to TV in the middle to late fifties.

It is under threat within public radio services including the BBC because of the pressure of monetarist ideology and the fact that authors and radio drama directors have been too complacent. IRDP is a significant oasis and continues to support the principle of the original play.


Ground rules


The Beginning


The beginning is everything. If this part of it does not work you are 'up shit creek without a paddle'. Your listeners will desert you. You have failed. You do not exist as a dramatist. Booo!


The Moment of Arrival


This is how you drop your listeners into the story. Don't give them a warm bed with comfortable pillows and a hot water bottle. The background and sub-text of previous histories is better explored through revelation in dramatic action. So parachute your listener into a top dramatic moment. Not the climax. That would be premature. Find the MOMENT to join the story. Avoid the slow snail's explicatory route. Kick 'em into a high energy trip and whoosh them through the rapids.


Structure


Set up...struggle...resolution. You can reverse this if the set-up is more dramatic and explosive than the resolution. Regard your play as a series of phases


The Plot


This is the story with lots of twists and turns. The more the merrier. Most listeners like good exciting plots. Without a good plot you're eating a souffle that has gone flat. You need plot, more plot and more plot. Run at least two story lines. Two sub plots would be interesting. Keep the plots linked logically within the same play. The best system is a major and a minor storyline linked to one another. Get them to come together at the end.


Surprise


People are hungry for entertainment. If they wanted boredom they would be filling out their tax returns instead of listening to your radio play. Make people afraid, but also excited.


Character


Your main character must have the sympathy of the audience. Your audience has to identify with your main character. If this does not happen you have created a failure. Booo!


Conflict


Drama = conflict = audience. There has to be an emotional, financial, human, moral, physical struggle so your listeners can laugh or cry. Yes, you want your listeners to laugh or cry or laugh and cry. If you don't, give up.


Polarities or Extremes


The art of story telling is exploring the extreme limits of our psychological or physical existence. To pitch one polarity against another.


The Climax


I apologize for the sexual metaphor. But there is something in this. The better sex has foreplay, development, sustained excitement, surprise and affection, nay love followed by an explosion of ecstasy. Good radio drama is not all that different. If you don't use it, you lose it.


Dialogue


This is how we engage dramatically with the world. Characters inform, argue, amuse, outrage, argue through the ebb and flow of dialogue. When we do we talk and that is how great radio plays are made.....by talking in dramatic dialogue.


Atmosphere / Ambience


This sets the emotional spirit of the play. It determines whether your listeners believe in the world that you have created. Worlds are not created by dramatic dialogue alone. There is attitude and atmosphere. This is determined by detail and relevant detail. It could be in a sound effect. It could be in the writing. It could be in the music. It could be in everything. But the result is that the fifth dimension of radio writing - the imagination of the listener - is stimulated to become a picture palace of the mind.


Emotion


Got to be there. You have to generate an emotional response from the audience....preferably to the main character....also not so strongly in relation to the other characters. Emotion = love, hate, admiration. Never mind about the type of emotion.....concentrate on whether it is there or not. Emotional connection between the writing and the listener = good radio drama.


Balance Character and Plot


You have to have both. You cannot trade. One can predominate over the other. Where they are balanced equally....it can only work if characterisation relates to plot development. If your main plot is character intensive, make sure that your minor plot is plot intensive.


Purpose


Crook's golden rule is that every word, every line, every scene must serve a dramatic purpose in terms of characterisation and plot development. Drop anything that does not have a dramatic purpose.


Tension and Humour


To stop the listener dropping off or switching off, maintain the tension always and throw in the humour. Tension, humour, tension, humour, tension humour...like the foxtrot..Make the emotional rhythm of the play dance on the listener's heart and mind. Charm and alarm, charm and alarm. But they've got to be linked. Your character uses humour to react to the tension in the scene or play. Keep one character who uses humour to deal with difficult situations. Make sure the humour is verbal. Slapstick belongs to a different type of play or entertainment. Make sure you do not have characters taking it in turns to be funny. This is not stand up comedy or sitcom. Make sure that the character who uses humour has a consistent sense of humour.


Get your listener inside the world of your play. How?


a. Sympathy or empathy with the main character.

b. A bloody good set up.

c. A big, nasty antagonist or villain.

d. Great Plot...Great Story....twists and turns.

e. Crisis at the beginning is dramatic and a great start.

f. Emotional intensity. Hit some high points.

g. Escalating conflict so the structure climbs with tension and humour.

h. Strike the colours with detail so there's an atmosphere, mood...ambience.

I. Modulate charm with alarm...humour with tension...tension with humour...funny policeman nasty policeman.

j. Surprise, surprise...that's what you do to the listener, through the plot.


The principle of developing scenes


  1. Introduction.
  2. Character one...goal and objective.
  3. Character two...goal and objective.
  4. Purpose of scene in overall plot.
  5. One of the characters achieves a goal.
  6. Link to the next scene by introducing or pointing to location of next scene or presence of character in next scene.


Question marks in the mind of the listener. Always keep one, better two or three


The Principle of Character


  1. Believable and recognisable.
  2. Purpose within the plot.
  3. Characters have to have function. Character has to be consistent with function.
  4. Characters have to be intentional.
  5. Start with a stereotype to ensure rapid recognition, then twist the stereotype. Challenge the homily that there is nothing new under the sun by making it new under the moon.
  6. Give each character a dominant physical or behavioural characteristic. Make the dominant characteristic purposeful. Make it extreme.
  7. Your main character must be active.
  8. Active character / urgent plot. The character's energy has to fight the urgency of the plot and the urgency of the plot makes the character more energetic.


The principle of Hero / Heroine


  1. Listeners look up to main characters, want to admire them because we all want heroes and heroines in our lives. Life's eternal fantasy that transcendent people and transcendent moments conquer adversity.
  2. If you are very clever you can transfer the hero from the obvious to the humble and make great the inferior or character who has greater potential for human dignity.
  3. Charisma. Characters need intensity and conviction. They may not be perfect but they are attractive. You cannot identify with people who are unlike ourselves...too perfect, no beliefs...take themselves too seriously...lack a sense of humour..
  4. Give your characters private moments when they drop their guards and allow us into their minds and hearts. Make the listener privileged. Use this moment for revelation.
  5. The main character has to change and has to be changed by the plot.
  6. You must have a main character and secondary characters. Your main character changes. Your secondary characters are probably more singular in their characteristics. Your secondary characters are already committed. Your main character is still weighing up the options.
  7. You must have characters who are extreme in relation to each other...characters that are different make drama.


Where are we now?


Well, we should be here....

a. The main character is in the middle of the story.

b. You've used dominant characteristics.

c. The listener likes the main character.

d. The listener cares what happens to the main character.

e. The listener hates the antagonist.

f. The main character is developing.


Principles of Dialogue


a. Dialogue must be a response to a situation, plot or action.

b. Dialogue must be a response to each character in the scene.

c. Dialogue must be comic relief.

d. Dialogue must connect to the next scene.

e. Avoid reflective, passive and neutral. Go for active, and direct and emotional.

f. Dialogue must be believable by being specific...by being specific to the character's background and emotional state.

g. If dialogue is reacting to action or situation then it must be dramatic and poised on polarities. The goals of the characters in each scene should be different.

h. Dialogue should be continuous. Tip...characters often take a tag by repeating the last word spoken by the first character.

i. Dialogue must relate to function.

j. You can mix direct with indirect between two characters because they have different goals.

k. Humorous dialogue is not a character telling a joke but a line or lines responding to the dramatic situation.

l. Heightened dialogue vs naturalistic dialogue. Heightened language is the language of the theatre...high octane communication...poetic, philosophical...charged..the expression of the playwright...It serves not only the development of the plot and character, but it also presents the view of the writer. Works well in radio. But there is now a tendency for more naturalism. Radio producers like to go out on location and explore realism. In these situations you must stick to natural dialogue.


Principles peculiar to Radio


  1. The inner existence.
  2. The tension and conflict between the interior and exterior.
  3. More psychological.
  4. Easier to explore the real and the surreal and to delineate the line between the two.
  5. Have to work in the fifth dimension...the energy of the listener's imaginative participation.
  6. The interior existence offers exploration of personal thoughts, fantasies, emotions and conflicts.
  7. All levels of external conflict can be explored.
  8. The precipitating event through plot has to threaten the inner life of the main character. This is the kick-off in radio drama.
  9. The end or resolution in radio drama is more deeply rooted in the emotional equilibrium and insight of the main character. Changes are internal as well as external.
  10. Time transposition and translocation are faster and more rapid and more complicated. Flashbacks...flashforwards... different ages.
  11. Radio requires less rather than more characters. Characterisation needs to be strong and fascinating.
  12. Maintain the focus of the main character and plot.
  13. Economy of words underlines subtextual surprise and engagement with the listener's imagination.
  14. Wit is vital because language is so important...cleverness with words...energy with words..humour with words...Wit is advanced by surprising the listener...being aggressive with the listener..being fast, short and clever with the listener.
  15. Irony is pathos and bathos. It's conflict between the inner life and outer action.


Other radio drama producers in the world


Norway: NRK kulturkanalen, P2 RODD- 0340, Oslo, Norway.

Swedish Radio, SR S-105 10 Stockholm, Sweden.

YLE Finnish Broadcasting Company Radio, PO Box 79 FIN-00024 Yleisrdio, Finland.

HR, Hessischer Rundfunk Bertramstrasse 8, 60320 Frankfurt am Main, Germany.

DR Danmarks Radio, Radio Drama Department, Ewaldsgade 3-9, DK 2200, Copenhagen N Denmark.

ABC Australia, ABC Ultimo Centre, Level 5, 700 Harris Street, Ultimo NSW 2007.

CBC-SRC, Radio Drama Department, Box 500, Station A, Toronto, Ontario, Canada MSW 1E6

SDR Suddeutscher Rundfunk, Neckarstrasse 230, 70190, Stuttgart, Germany.

Radio Television Hong Kong, Broadcasting House, m 30 Broadcast Drive, Kowloon, Hong Kong, China.

Other radio drama producers, SABC, South Africa, Los Angeles Theatre Works, LA, California, Public Radio, New Zealand.

PRINCIPLES IN RADIO DRAMA

principles of writing radio drama


by Tim Crook


Tim doing a workshop at LBC


Here are some horrible truths:

Most radio drama is very badly written. Radio drama is an endangered species. It has never taken a hold of mainstream programming on commercial radio in the UK. It used to be the mainstream in the States and Australia but lost out to TV in the middle to late fifties.

It is under threat within public radio services including the BBC because of the pressure of monetarist ideology and the fact that authors and radio drama directors have been too complacent. IRDP is a significant oasis and continues to support the principle of the original play.


Ground rules


The Beginning


The beginning is everything. If this part of it does not work you are 'up shit creek without a paddle'. Your listeners will desert you. You have failed. You do not exist as a dramatist. Booo!


The Moment of Arrival


This is how you drop your listeners into the story. Don't give them a warm bed with comfortable pillows and a hot water bottle. The background and sub-text of previous histories is better explored through revelation in dramatic action. So parachute your listener into a top dramatic moment. Not the climax. That would be premature. Find the MOMENT to join the story. Avoid the slow snail's explicatory route. Kick 'em into a high energy trip and whoosh them through the rapids.


Structure


Set up...struggle...resolution. You can reverse this if the set-up is more dramatic and explosive than the resolution. Regard your play as a series of phases


The Plot


This is the story with lots of twists and turns. The more the merrier. Most listeners like good exciting plots. Without a good plot you're eating a souffle that has gone flat. You need plot, more plot and more plot. Run at least two story lines. Two sub plots would be interesting. Keep the plots linked logically within the same play. The best system is a major and a minor storyline linked to one another. Get them to come together at the end.


Surprise


People are hungry for entertainment. If they wanted boredom they would be filling out their tax returns instead of listening to your radio play. Make people afraid, but also excited.


Character


Your main character must have the sympathy of the audience. Your audience has to identify with your main character. If this does not happen you have created a failure. Booo!


Conflict


Drama = conflict = audience. There has to be an emotional, financial, human, moral, physical struggle so your listeners can laugh or cry. Yes, you want your listeners to laugh or cry or laugh and cry. If you don't, give up.


Polarities or Extremes


The art of story telling is exploring the extreme limits of our psychological or physical existence. To pitch one polarity against another.


The Climax


I apologize for the sexual metaphor. But there is something in this. The better sex has foreplay, development, sustained excitement, surprise and affection, nay love followed by an explosion of ecstasy. Good radio drama is not all that different. If you don't use it, you lose it.


Dialogue


This is how we engage dramatically with the world. Characters inform, argue, amuse, outrage, argue through the ebb and flow of dialogue. When we do we talk and that is how great radio plays are made.....by talking in dramatic dialogue.


Atmosphere / Ambience


This sets the emotional spirit of the play. It determines whether your listeners believe in the world that you have created. Worlds are not created by dramatic dialogue alone. There is attitude and atmosphere. This is determined by detail and relevant detail. It could be in a sound effect. It could be in the writing. It could be in the music. It could be in everything. But the result is that the fifth dimension of radio writing - the imagination of the listener - is stimulated to become a picture palace of the mind.


Emotion


Got to be there. You have to generate an emotional response from the audience....preferably to the main character....also not so strongly in relation to the other characters. Emotion = love, hate, admiration. Never mind about the type of emotion.....concentrate on whether it is there or not. Emotional connection between the writing and the listener = good radio drama.


Balance Character and Plot


You have to have both. You cannot trade. One can predominate over the other. Where they are balanced equally....it can only work if characterisation relates to plot development. If your main plot is character intensive, make sure that your minor plot is plot intensive.


Purpose


Crook's golden rule is that every word, every line, every scene must serve a dramatic purpose in terms of characterisation and plot development. Drop anything that does not have a dramatic purpose.


Tension and Humour


To stop the listener dropping off or switching off, maintain the tension always and throw in the humour. Tension, humour, tension, humour, tension humour...like the foxtrot..Make the emotional rhythm of the play dance on the listener's heart and mind. Charm and alarm, charm and alarm. But they've got to be linked. Your character uses humour to react to the tension in the scene or play. Keep one character who uses humour to deal with difficult situations. Make sure the humour is verbal. Slapstick belongs to a different type of play or entertainment. Make sure you do not have characters taking it in turns to be funny. This is not stand up comedy or sitcom. Make sure that the character who uses humour has a consistent sense of humour.


Get your listener inside the world of your play. How?


a. Sympathy or empathy with the main character.

b. A bloody good set up.

c. A big, nasty antagonist or villain.

d. Great Plot...Great Story....twists and turns.

e. Crisis at the beginning is dramatic and a great start.

f. Emotional intensity. Hit some high points.

g. Escalating conflict so the structure climbs with tension and humour.

h. Strike the colours with detail so there's an atmosphere, mood...ambience.

I. Modulate charm with alarm...humour with tension...tension with humour...funny policeman nasty policeman.

j. Surprise, surprise...that's what you do to the listener, through the plot.


The principle of developing scenes


  1. Introduction.
  2. Character one...goal and objective.
  3. Character two...goal and objective.
  4. Purpose of scene in overall plot.
  5. One of the characters achieves a goal.
  6. Link to the next scene by introducing or pointing to location of next scene or presence of character in next scene.


Question marks in the mind of the listener. Always keep one, better two or three


The Principle of Character


  1. Believable and recognisable.
  2. Purpose within the plot.
  3. Characters have to have function. Character has to be consistent with function.
  4. Characters have to be intentional.
  5. Start with a stereotype to ensure rapid recognition, then twist the stereotype. Challenge the homily that there is nothing new under the sun by making it new under the moon.
  6. Give each character a dominant physical or behavioural characteristic. Make the dominant characteristic purposeful. Make it extreme.
  7. Your main character must be active.
  8. Active character / urgent plot. The character's energy has to fight the urgency of the plot and the urgency of the plot makes the character more energetic.


The principle of Hero / Heroine


  1. Listeners look up to main characters, want to admire them because we all want heroes and heroines in our lives. Life's eternal fantasy that transcendent people and transcendent moments conquer adversity.
  2. If you are very clever you can transfer the hero from the obvious to the humble and make great the inferior or character who has greater potential for human dignity.
  3. Charisma. Characters need intensity and conviction. They may not be perfect but they are attractive. You cannot identify with people who are unlike ourselves...too perfect, no beliefs...take themselves too seriously...lack a sense of humour..
  4. Give your characters private moments when they drop their guards and allow us into their minds and hearts. Make the listener privileged. Use this moment for revelation.
  5. The main character has to change and has to be changed by the plot.
  6. You must have a main character and secondary characters. Your main character changes. Your secondary characters are probably more singular in their characteristics. Your secondary characters are already committed. Your main character is still weighing up the options.
  7. You must have characters who are extreme in relation to each other...characters that are different make drama.


Where are we now?


Well, we should be here....

a. The main character is in the middle of the story.

b. You've used dominant characteristics.

c. The listener likes the main character.

d. The listener cares what happens to the main character.

e. The listener hates the antagonist.

f. The main character is developing.


Principles of Dialogue


a. Dialogue must be a response to a situation, plot or action.

b. Dialogue must be a response to each character in the scene.

c. Dialogue must be comic relief.

d. Dialogue must connect to the next scene.

e. Avoid reflective, passive and neutral. Go for active, and direct and emotional.

f. Dialogue must be believable by being specific...by being specific to the character's background and emotional state.

g. If dialogue is reacting to action or situation then it must be dramatic and poised on polarities. The goals of the characters in each scene should be different.

h. Dialogue should be continuous. Tip...characters often take a tag by repeating the last word spoken by the first character.

i. Dialogue must relate to function.

j. You can mix direct with indirect between two characters because they have different goals.

k. Humorous dialogue is not a character telling a joke but a line or lines responding to the dramatic situation.

l. Heightened dialogue vs naturalistic dialogue. Heightened language is the language of the theatre...high octane communication...poetic, philosophical...charged..the expression of the playwright...It serves not only the development of the plot and character, but it also presents the view of the writer. Works well in radio. But there is now a tendency for more naturalism. Radio producers like to go out on location and explore realism. In these situations you must stick to natural dialogue.


Principles peculiar to Radio


  1. The inner existence.
  2. The tension and conflict between the interior and exterior.
  3. More psychological.
  4. Easier to explore the real and the surreal and to delineate the line between the two.
  5. Have to work in the fifth dimension...the energy of the listener's imaginative participation.
  6. The interior existence offers exploration of personal thoughts, fantasies, emotions and conflicts.
  7. All levels of external conflict can be explored.
  8. The precipitating event through plot has to threaten the inner life of the main character. This is the kick-off in radio drama.
  9. The end or resolution in radio drama is more deeply rooted in the emotional equilibrium and insight of the main character. Changes are internal as well as external.
  10. Time transposition and translocation are faster and more rapid and more complicated. Flashbacks...flashforwards... different ages.
  11. Radio requires less rather than more characters. Characterisation needs to be strong and fascinating.
  12. Maintain the focus of the main character and plot.
  13. Economy of words underlines subtextual surprise and engagement with the listener's imagination.
  14. Wit is vital because language is so important...cleverness with words...energy with words..humour with words...Wit is advanced by surprising the listener...being aggressive with the listener..being fast, short and clever with the listener.
  15. Irony is pathos and bathos. It's conflict between the inner life and outer action.


Other radio drama producers in the world


Norway: NRK kulturkanalen, P2 RODD- 0340, Oslo, Norway.

Swedish Radio, SR S-105 10 Stockholm, Sweden.

YLE Finnish Broadcasting Company Radio, PO Box 79 FIN-00024 Yleisrdio, Finland.

HR, Hessischer Rundfunk Bertramstrasse 8, 60320 Frankfurt am Main, Germany.

DR Danmarks Radio, Radio Drama Department, Ewaldsgade 3-9, DK 2200, Copenhagen N Denmark.

ABC Australia, ABC Ultimo Centre, Level 5, 700 Harris Street, Ultimo NSW 2007.

CBC-SRC, Radio Drama Department, Box 500, Station A, Toronto, Ontario, Canada MSW 1E6

SDR Suddeutscher Rundfunk, Neckarstrasse 230, 70190, Stuttgart, Germany.

Radio Television Hong Kong, Broadcasting House, m 30 Broadcast Drive, Kowloon, Hong Kong, China.

Other radio drama producers, SABC, South Africa, Los Angeles Theatre Works, LA, California, Public Radio, New Zealand.

Friday, April 24, 2009

Pocholo Ramirez where the name begins

MANILA, Philippines—Philippine racing legend Pocholo Ramirez died at 1:30 a.m. Wednesday after a long battle with cancer.

He was 76.

Ramirez earned driver of the year awards six times. In 2000, he was the Blaze Super Saloon Champion at the age of 68.

Even after being diagnosed with urinary bladder cancer two and a half years ago, he still competed in local races. Up until he was 75, Ramirez would still be seen behind the wheel competing with racers less than half his age.

Ramirez, or "Tito Poch" in the motoring industry, became popular with the younger generation when, in 2005, he appeared in the TV commercial Petron Xtra Mile Challenge fuel economy run, and confidently uttered the famous "Traffic? Bring it on!" copy line.
Widely considered the "Jedi master of driving," Ramirez was admired for his smooth racing techniques.

He was born January 19, 1933 and started racing professionally at the age of 30.

His racing career spanned 45 years, with successful stints in Macau, Singapore, Malaysia, and Indonesia.

Ramirez was honored in the 2008 Car of the Year Awards with a lifetime achievement award late last year. A concert "I Heart Ramirez" was organized by motoring journalists late December 2008 in his honor.

At the popular social networking site Facebook, a follower remarked: "Tito Poch will blaze through the heavens teaching angels how to race."

Ramirez is survived by his wife Ellen Ramirez, five children Kookie, Georges, Louis, Michelle and Miguel, his daughters-in-law and sons-in-law. All four sons carry on the racing legacy of their father.

The Ramirez wake starts at 1 p.m. March 19 to March 20 at the Chapel C of Christ the King Church in Green Meadows, Quezon City. Novena mass will start at 7 p.m. The nine-day novena, starting Saturday, will be held at Valle Verde Country Club every 7 p.m.

Pocholo Ramirez where the name begins

MANILA, Philippines—Philippine racing legend Pocholo Ramirez died at 1:30 a.m. Wednesday after a long battle with cancer.

He was 76.

Ramirez earned driver of the year awards six times. In 2000, he was the Blaze Super Saloon Champion at the age of 68.

Even after being diagnosed with urinary bladder cancer two and a half years ago, he still competed in local races. Up until he was 75, Ramirez would still be seen behind the wheel competing with racers less than half his age.

Ramirez, or "Tito Poch" in the motoring industry, became popular with the younger generation when, in 2005, he appeared in the TV commercial Petron Xtra Mile Challenge fuel economy run, and confidently uttered the famous "Traffic? Bring it on!" copy line.
Widely considered the "Jedi master of driving," Ramirez was admired for his smooth racing techniques.

He was born January 19, 1933 and started racing professionally at the age of 30.

His racing career spanned 45 years, with successful stints in Macau, Singapore, Malaysia, and Indonesia.

Ramirez was honored in the 2008 Car of the Year Awards with a lifetime achievement award late last year. A concert "I Heart Ramirez" was organized by motoring journalists late December 2008 in his honor.

At the popular social networking site Facebook, a follower remarked: "Tito Poch will blaze through the heavens teaching angels how to race."

Ramirez is survived by his wife Ellen Ramirez, five children Kookie, Georges, Louis, Michelle and Miguel, his daughters-in-law and sons-in-law. All four sons carry on the racing legacy of their father.

The Ramirez wake starts at 1 p.m. March 19 to March 20 at the Chapel C of Christ the King Church in Green Meadows, Quezon City. Novena mass will start at 7 p.m. The nine-day novena, starting Saturday, will be held at Valle Verde Country Club every 7 p.m.

Royalty Free Music Library, Stock Production Music For TV, Sound Effects, WAV Sound Clips, Background Music Beats, Loops - Audiosparx

http://www.audiosparx.com/

Royalty Free Music Library, Stock Production Music For TV, Sound Effects, WAV Sound Clips, Background Music Beats, Loops - Audiosparx

http://www.audiosparx.com/

Tuesday, April 21, 2009

FEATURE: 5 REASONS YOUR DEMO IS LESS MARKETABLE

FEATURE: 5 REASONS YOUR DEMO IS LESS MARKETABLE


(1) You try to sound like someone else

WHY DO TALENT DO THIS?: Talent mistakenly believe that another
voice is more marketable (a deeper one, a more powerful one, )
and/or they want more variety.

SOLUTION: Be yourself.

WHY?: Casting agents hire authentic voices because listeners connect
to them more than someone who affects their voice. Plus it's easy
to find/hire any type of voice by searching online and emailing a
script to wherever the talent resides. There are exceptions, such
as talent must affect their voice when narrating cartoons, talking
toys, video games, anime, NOTE for those who dislike their voice:
Don't worry about it - just think how cool it is that someone else
likes your voice SO much, that they're willing to pay you to read!


(2) You show too much variety

WHY DO TALENT DO THIS?: Talent mistakenly believe that more variety
equates to more work.

SOLUTION: Do what you do well, and nothing else.

WHY?: Casting agents will not hire you if your performance
is mediocre. Therefore it is best to only offer the styles of
voice over which you do well. "Better to narrate one style really
well than be a mediocre Jack-of-all-trades!" Example: Imagine a
restaurant where every item on the menu was amazing you'd tell
everyone about it! Now think if that restaurant had all the same
good items, but also had some items that weren't so good. Got it?


(3) You show the wrong styles

WHY DO TALENT DO THIS?: Talent forget that their voice, lifestyle,
and technical abilities play a major role in determining which
types of voice over they are marketable in.

SOLUTION: Consider the variables mentioned above, and let those
guide you into marketable voice over genres.

WHY?: Voice over is a business not just a voice. So consider what
business-model is right (marketable) for you. Examples: If you
fidget, don't narrate audiobooks. If you're not good with computers,
don't narrate home-studio work. If your voice is powerful, don't
narrate yoga instructional videos. If you can't do auditions
throughout the workday, then you won't get national commercials
and in which case, don't waste space putting them on your demo.
So on and so on ..


(4) You weren't ready to make a demo

WHY DO TALENT DO THIS?: Talent are too anxious to get work.

SOLUTION: Record a demo when you're ready. Ready means that you
can EASILY and COMFORTABLY reproduce the sound of your demo
even when in front of a picky produce, at a new studio, with a
difficult script.

WHY?: You won't get work until you're ready to get work So paying
for a demo before you're ready is the same as throwing out your
money. It would be better to spend that money on training sessions
(with Edge Studio, of course!).


(5) You weren't ready to market a demo

WHY DO TALENT DO THIS?: Talent are too anxious to get work.

SOLUTION: Learn about the voice over industry, determine where you
belong in it, and create an efficient game-plan to market BEFORE
you market. Learn the jargon, the politics of, the processes,...

WHY?: You'll likely waste your time and money marketing if you
don't know how to do it And even when you get hired, it will be
for a one-time job that barely pays off the countless hours you've
spent marketing.


In conclusion: Want help determining what is most marketable for you?
See the Weekly Special below.

FEATURE: 5 REASONS YOUR DEMO IS LESS MARKETABLE

FEATURE: 5 REASONS YOUR DEMO IS LESS MARKETABLE


(1) You try to sound like someone else

WHY DO TALENT DO THIS?: Talent mistakenly believe that another
voice is more marketable (a deeper one, a more powerful one, )
and/or they want more variety.

SOLUTION: Be yourself.

WHY?: Casting agents hire authentic voices because listeners connect
to them more than someone who affects their voice. Plus it's easy
to find/hire any type of voice by searching online and emailing a
script to wherever the talent resides. There are exceptions, such
as talent must affect their voice when narrating cartoons, talking
toys, video games, anime, NOTE for those who dislike their voice:
Don't worry about it - just think how cool it is that someone else
likes your voice SO much, that they're willing to pay you to read!


(2) You show too much variety

WHY DO TALENT DO THIS?: Talent mistakenly believe that more variety
equates to more work.

SOLUTION: Do what you do well, and nothing else.

WHY?: Casting agents will not hire you if your performance
is mediocre. Therefore it is best to only offer the styles of
voice over which you do well. "Better to narrate one style really
well than be a mediocre Jack-of-all-trades!" Example: Imagine a
restaurant where every item on the menu was amazing you'd tell
everyone about it! Now think if that restaurant had all the same
good items, but also had some items that weren't so good. Got it?


(3) You show the wrong styles

WHY DO TALENT DO THIS?: Talent forget that their voice, lifestyle,
and technical abilities play a major role in determining which
types of voice over they are marketable in.

SOLUTION: Consider the variables mentioned above, and let those
guide you into marketable voice over genres.

WHY?: Voice over is a business not just a voice. So consider what
business-model is right (marketable) for you. Examples: If you
fidget, don't narrate audiobooks. If you're not good with computers,
don't narrate home-studio work. If your voice is powerful, don't
narrate yoga instructional videos. If you can't do auditions
throughout the workday, then you won't get national commercials
and in which case, don't waste space putting them on your demo.
So on and so on ..


(4) You weren't ready to make a demo

WHY DO TALENT DO THIS?: Talent are too anxious to get work.

SOLUTION: Record a demo when you're ready. Ready means that you
can EASILY and COMFORTABLY reproduce the sound of your demo
even when in front of a picky produce, at a new studio, with a
difficult script.

WHY?: You won't get work until you're ready to get work So paying
for a demo before you're ready is the same as throwing out your
money. It would be better to spend that money on training sessions
(with Edge Studio, of course!).


(5) You weren't ready to market a demo

WHY DO TALENT DO THIS?: Talent are too anxious to get work.

SOLUTION: Learn about the voice over industry, determine where you
belong in it, and create an efficient game-plan to market BEFORE
you market. Learn the jargon, the politics of, the processes,...

WHY?: You'll likely waste your time and money marketing if you
don't know how to do it And even when you get hired, it will be
for a one-time job that barely pays off the countless hours you've
spent marketing.


In conclusion: Want help determining what is most marketable for you?
See the Weekly Special below.

MAHAL NA ARAW 2009




MARIVELES, BATAAN

MAHAL NA ARAW 2009




MARIVELES, BATAAN

Sunday, April 19, 2009

VOICEWORX 9! Basic Voice Acting and Dubbing Workshop

Start:     Jul 4, '09 09:00a
End:     Aug 31, '09
Location:     PHILIPPINE CENTER FOR VOICE ACTING
V-Force! Voice Acting Workshop 9!

Lets be Shine! In 2009!

Join VoiceWorx 9!
Its the most comprehensive works hop on Voice Acting and Dubbing for Telenovelas and Anime!

Starting this July 4, 2009 you can be part of an 8-week long seminar that will do wonders for the way you speak and perform. If you've always wanted to become a voice artist for radio and tv commer cial, dubber for telenovelas and anime, or improve how people listen to you speak, then this is the way to go!
VoiceWorx! now on its seventh run, brings you the force of voice acting within reach. Learn the art of voice acting and voice o
vers in a fun environme
nt, guaranteed to bring out the creative juices within you. See how do it..


This 2mon th Voice Acting course guarantees t o perk up that personality in your voice!

Listen to what people are saying!
"I have never found anything close to what CreatiVoices has offered, thanks to VoiceWorx! I feel more confident in speaking up and performing behind the microphone.." - Jeff Marty Dimaano, 1st batch VoiceWorx!, now also a regular du bber and President of SYVAP
"This has definitely opened up new ideas on what I can do with my voices!.." - Gabrielle Tiongson, barely 18 years old when she took the seminar, now a regular voice talent at ABS-CBN.


"I'm proud of what I have accomplished with my voice, and with the help of CreatiVoices.." - Jo Carol Fernandez, 1st place winner of H3 Dubbing Compe tition and now lead role dubber: "NANA" in the animated series "BOKURA GA ITA"
"I landed the job of Official Voiceover at Manny Pacquiao's Show, Pinoy Records!.." - Heinie Hartendorp, former Radio jock, turned professional voice actor.
"Thanks to you guys, I'm one of the cast of the English dubbed Version of Maging Sino Ka Man.." - Pia Serrapio


, doing several voice gigs since she last attended VoiceWorx!
"Definitely more than what you bargained for.. much, much more..!" -
_user_stilissimmo [at] yahoo [dot] com">Zaphael N. Berenguer, doing live VO gigs, Telenovela translations and actual dubbing sessions.
More testimonials at: syvap.multiply.com
or CLICK HERE!
How do you join?!
Just make a P1000 reservation fee (non-refundable) to guarantee your seat for the following V4 CLASS SCHEDULES:
Regular Classes:
Once a week, every Saturdays.
Starting July 4, 2009
r1 Class A: (5 more seats left!)
Sessions 1,2,3 10:00am - 12:00nn
Sessions 4,5,6 9:00am - 12:00nn
Sessions 7 & 8 10:00am - 12:00nn
r2 Class B: (4 more seats left!)
Sessions 1,2,3 2:00pm - 4:00pm
Sessions 4,5,6 2:00pm - 5:00pm
Sessions 7 & 8 2:00pm - 4:00pm
For more details about this workshop, sign-up now by clicking on the link below:
REGISTER NOW!
Or copy and paste this link to your browser:
http://creativoices.net/blog/?page_id=10
You can also drop by at our office and pay in partial or full. The P1000 reservation fee will be deducted from your Seminar fee of P8000.00.


The good news is you can now pay bank to bank. Please make the reservation fee or downpayment to the following account:
Acct Name : CreatiVoices Productions
Bank : Bank of the Philippine Islands ( BPI)
Branch : Buendia-Dian
Acct. No. : 3716-8607-58
After which kindly fax us a bank statement with your contact details (name,address, mobile, email) at 729-7274 depositing the said amount. Also please indicate your choice of class schedule, R1 or R2. You can also email us a copy of the scanned statement at voiceworx@creativoices.com
If you wish to pay in full or may a downpayment of 50% this is also possible.
Reminder: You should pay the whole tuition fee 1 week before the first session to secure your slot because their are waiting lists.
HURRY UP, BEFORE SEATS RUN OUT!
To register offline, simply drop by at the studio at the 3rd floor Left Wing Lightblue Bldg. 1745 Dian St. Palanan Makati City. For directions on how to get there you can check our online map here.
Creativoices Studios
If the link doesn't work, copy this to your browser:
http://creativoices.net/blog/?page_id=8
There is a google map of CreatiVoices studios at the page link above, so you can easily find the exact location of the seminar area.
For directions on how to get to our workshop you may call: (632) 729.7274 or 970.0971 (from 9am - 6pm, Mon-Fridays only)
Visit our website at www.creativoices.net and creativoices.com
Let's Shine in 2009!
$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.
More information!!!
$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.
What is a Voice-Over?
" A voice over is any recording or performance by one or more unseen voices for the purpose of communicating a message" – James Alburger. Any message you hear without seeing the performer is considered to be voice-over. This means voice-over is all around us! Whether you are listening to the radio, watching movies or television, dining at your fast food restaurant or riding the rail transit, voice-overs can be heard!
Is doing Voice-overs hard?
Voice-overs can actually be done by anyone! And it's a very rewarding job indeed. A lot of Voice Talents are being paid to play and many professional voice-overs get their kick out of the industry just by enjoying what they do. Anybody can do a voice-over, but not everybody can do voice acting.
So what is Voice Acting?
Voice acting is an art. And like all other art forms it has tools and techniques which must be mastered in order for you to succeed in the level of success you want to deserve. Its about finding the kid in you. It requires dedication and passion for doing Voice-over jobs, and lots of patience to master the skills. True, not everyone can do voice acting, but anybody can benefit from learning how it works. In fact, many of the students in Creativoices Clinic don't pursue voice-over jobs, but need the voice acting skills to further themselves in their chosen field.
How do I benefit from Voice Acting lessons?

If you want to break into the world of voice-overs, then voice acting is a must for you. By knowing how to express yourself properly, you can create real and believable characters for commercials, narrations, radio drama and most especially animation. With voice acting you can liven up a conversation and get the attention you want, whether its on a business or a personal level. If you or your job requires you to:


1. Communicate with other people on the same or higher business level.
2. Prepare Scripts, Write-ups or Citations for Productions
3. Talk to customers or clients and close business deals fast and efficient.
4. Constantly talk to other people and associates by way of declamation, speech or impromptu performance.
5. Or maybe you love to sing, host or perform for an audience.
6. Express yourself in a creative and entertaining manner.
Who can do Voice-Acting?

Anyone who needs to talk can communicate better when he/she uses voice acting techniques. Which means that even salespersons, promodizers, carpenters, engineers, attorneys, teachers, draftsmen, doctors, nurses, utility personnel, front desk officers, etc.. can learn voice acting, and benefit from expressing or communicating properly and creatively, with their peers.
What about Creativoices Clinic?

Creativoices Clinic is one of the departments of Creativoices Productions – the premier voice over solutions provider in the country. And it is now offering the Creative Voice Acting Workshop, the only one of its kind in the Philippines today. There are many voice acting schools abroad and many Voice talents offering "experience" based teaching, but none offers a detailed and thorough application and training by book and modules like Creativoices Clinic.
What do I expect from the training?
In Creative Voice Acting Workshop, you'll get:
1. Personalized, one on one voice coaching and training throughout the workshop - from real and credible Voice Acting Professionals
2. Information you need to know to become a successful voice actor and communicator.
3. Create real and believable characters from within you and learn how to bring them back when needed.
4. Training materials and assignments to keep you at pace with the workshop and rapidly develop your voice acting skills.
5. Professional Critiques to hear and identify your voice qualities and problems.
6. Knowledge on how to self-market and promote your talent, professionally.
How does it work?
The workshop lasts for about 2-3 intensive hours each session, once a week. There are 3 training modules divided into 8 sessions and categories:
Session 1: The Voice That Works
Session 2: Starting Over – What it takes to be a voice talent
Session 3: Accents, Dictions, Variety, Articulation and Movement. How to Create Voices.
Session 4: Translation and Effective Dubbing delivery
Session 5: Creating interesting and unique character voices for Dubbing
Session 6: Actors acting. Working with Dubbing dialogues and multi-voice copies.
Session 7: Fine tuning your performance, Dubbing Sessions and VO Best Kept Secrets
Session 8: One-on-One Mock Auditions with Critique board and Q & A forum
How do I Join?
Sign-up now by clicking on the link below:
REGISTER NOW!
Or copy and paste this link to your browser:


You can also drop by at our office and pay in partial or full. The P1000 reservation fee will be deducted from your Seminar fee of P8000.00.
Visit us:
Creativoices Studios If the link doesn't work, copy this to your browser:
http://creativoices.net/blog/?page_id=8
There is a google map of CreatiVoices studios at the page link above, so you can easily find the exact location of the seminar area.
For directions on how to get to our workshop you may call: (632) 729.7274 or 970.0971 (from 9am - 6pm, Mon-Fridays only)
Visit our website at www.creativoices.net and creativoices.com

How much does it cost?

For the whole program the total cost is Php 8,000 only. You should pay the whole tuition fee 1 week before the progam, these includes fees for the instructor, venue and training materials. A one time, non-refundable reservation fee of Php 1000.00 will guarantee your seat. Students may also take advantage of the referral program.




What is the referral program?

For a limited time only, students can now avail of this special program. Please review the terms and conditions carefully.
1. Applicants must be 18 years old and above and residing in the Philippines.
2. Application forms for the referral program must be fully completed.
3. Only Workshop students may apply for the referral program.
4. Applicants will get Php 1,000 per successful referral.
5. Incentives may be in form of cash or deferred through the candidate's course. Which means if you get 8 successful referrals, you study the whole program for FREE.
6. Incentives can only be claimed if the referrals has paid in full.
7. There are no limits to referrals, and students may still avail of the program even after the course.
8. Creativoices Productions reserves the right to terminate or revoke any referral program at any given time.
Schedule of Training and Workshop

Start of Classes will be on July 4, 2009 (Saturday) and every Saturday thereof:
1st class – 10:00 am to 12:00 noon
2nd class – 2:00 pm to 4:00 pm
If you have already registered/reserved your seat, then congratulations! This is your first step to that much awaited success in voice acting! We'll see you in our studio soon!
May the voice be with you!
--
$.$.$.$.$.$.$.$.$.$.$.$.$.$.
VOICEWORX! TEAM
www.creativoices.net
$.$.$.$.$.$.$.$.$.$.$.$.$.$.

VOICEWORX 9! Basic Voice Acting and Dubbing Workshop

Start:     Jul 4, '09 09:00a
End:     Aug 31, '09
Location:     PHILIPPINE CENTER FOR VOICE ACTING
V-Force! Voice Acting Workshop 9!

Lets be Shine! In 2009!

Join VoiceWorx 9!
Its the most comprehensive works hop on Voice Acting and Dubbing for Telenovelas and Anime!

Starting this July 4, 2009 you can be part of an 8-week long seminar that will do wonders for the way you speak and perform. If you've always wanted to become a voice artist for radio and tv commer cial, dubber for telenovelas and anime, or improve how people listen to you speak, then this is the way to go!
VoiceWorx! now on its seventh run, brings you the force of voice acting within reach. Learn the art of voice acting and voice o
vers in a fun environme
nt, guaranteed to bring out the creative juices within you. See how do it..


This 2mon th Voice Acting course guarantees t o perk up that personality in your voice!

Listen to what people are saying!
"I have never found anything close to what CreatiVoices has offered, thanks to VoiceWorx! I feel more confident in speaking up and performing behind the microphone.." - Jeff Marty Dimaano, 1st batch VoiceWorx!, now also a regular du bber and President of SYVAP
"This has definitely opened up new ideas on what I can do with my voices!.." - Gabrielle Tiongson, barely 18 years old when she took the seminar, now a regular voice talent at ABS-CBN.


"I'm proud of what I have accomplished with my voice, and with the help of CreatiVoices.." - Jo Carol Fernandez, 1st place winner of H3 Dubbing Compe tition and now lead role dubber: "NANA" in the animated series "BOKURA GA ITA"
"I landed the job of Official Voiceover at Manny Pacquiao's Show, Pinoy Records!.." - Heinie Hartendorp, former Radio jock, turned professional voice actor.
"Thanks to you guys, I'm one of the cast of the English dubbed Version of Maging Sino Ka Man.." - Pia Serrapio


, doing several voice gigs since she last attended VoiceWorx!
"Definitely more than what you bargained for.. much, much more..!" -
_user_stilissimmo [at] yahoo [dot] com">Zaphael N. Berenguer, doing live VO gigs, Telenovela translations and actual dubbing sessions.
More testimonials at: syvap.multiply.com
or CLICK HERE!
How do you join?!
Just make a P1000 reservation fee (non-refundable) to guarantee your seat for the following V4 CLASS SCHEDULES:
Regular Classes:
Once a week, every Saturdays.
Starting July 4, 2009
r1 Class A: (5 more seats left!)
Sessions 1,2,3 10:00am - 12:00nn
Sessions 4,5,6 9:00am - 12:00nn
Sessions 7 & 8 10:00am - 12:00nn
r2 Class B: (4 more seats left!)
Sessions 1,2,3 2:00pm - 4:00pm
Sessions 4,5,6 2:00pm - 5:00pm
Sessions 7 & 8 2:00pm - 4:00pm
For more details about this workshop, sign-up now by clicking on the link below:
REGISTER NOW!
Or copy and paste this link to your browser:
http://creativoices.net/blog/?page_id=10
You can also drop by at our office and pay in partial or full. The P1000 reservation fee will be deducted from your Seminar fee of P8000.00.


The good news is you can now pay bank to bank. Please make the reservation fee or downpayment to the following account:
Acct Name : CreatiVoices Productions
Bank : Bank of the Philippine Islands ( BPI)
Branch : Buendia-Dian
Acct. No. : 3716-8607-58
After which kindly fax us a bank statement with your contact details (name,address, mobile, email) at 729-7274 depositing the said amount. Also please indicate your choice of class schedule, R1 or R2. You can also email us a copy of the scanned statement at voiceworx@creativoices.com
If you wish to pay in full or may a downpayment of 50% this is also possible.
Reminder: You should pay the whole tuition fee 1 week before the first session to secure your slot because their are waiting lists.
HURRY UP, BEFORE SEATS RUN OUT!
To register offline, simply drop by at the studio at the 3rd floor Left Wing Lightblue Bldg. 1745 Dian St. Palanan Makati City. For directions on how to get there you can check our online map here.
Creativoices Studios
If the link doesn't work, copy this to your browser:
http://creativoices.net/blog/?page_id=8
There is a google map of CreatiVoices studios at the page link above, so you can easily find the exact location of the seminar area.
For directions on how to get to our workshop you may call: (632) 729.7274 or 970.0971 (from 9am - 6pm, Mon-Fridays only)
Visit our website at www.creativoices.net and creativoices.com
Let's Shine in 2009!
$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.
More information!!!
$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.$.
What is a Voice-Over?
" A voice over is any recording or performance by one or more unseen voices for the purpose of communicating a message" – James Alburger. Any message you hear without seeing the performer is considered to be voice-over. This means voice-over is all around us! Whether you are listening to the radio, watching movies or television, dining at your fast food restaurant or riding the rail transit, voice-overs can be heard!
Is doing Voice-overs hard?
Voice-overs can actually be done by anyone! And it's a very rewarding job indeed. A lot of Voice Talents are being paid to play and many professional voice-overs get their kick out of the industry just by enjoying what they do. Anybody can do a voice-over, but not everybody can do voice acting.
So what is Voice Acting?
Voice acting is an art. And like all other art forms it has tools and techniques which must be mastered in order for you to succeed in the level of success you want to deserve. Its about finding the kid in you. It requires dedication and passion for doing Voice-over jobs, and lots of patience to master the skills. True, not everyone can do voice acting, but anybody can benefit from learning how it works. In fact, many of the students in Creativoices Clinic don't pursue voice-over jobs, but need the voice acting skills to further themselves in their chosen field.
How do I benefit from Voice Acting lessons?

If you want to break into the world of voice-overs, then voice acting is a must for you. By knowing how to express yourself properly, you can create real and believable characters for commercials, narrations, radio drama and most especially animation. With voice acting you can liven up a conversation and get the attention you want, whether its on a business or a personal level. If you or your job requires you to:


1. Communicate with other people on the same or higher business level.
2. Prepare Scripts, Write-ups or Citations for Productions
3. Talk to customers or clients and close business deals fast and efficient.
4. Constantly talk to other people and associates by way of declamation, speech or impromptu performance.
5. Or maybe you love to sing, host or perform for an audience.
6. Express yourself in a creative and entertaining manner.
Who can do Voice-Acting?

Anyone who needs to talk can communicate better when he/she uses voice acting techniques. Which means that even salespersons, promodizers, carpenters, engineers, attorneys, teachers, draftsmen, doctors, nurses, utility personnel, front desk officers, etc.. can learn voice acting, and benefit from expressing or communicating properly and creatively, with their peers.
What about Creativoices Clinic?

Creativoices Clinic is one of the departments of Creativoices Productions – the premier voice over solutions provider in the country. And it is now offering the Creative Voice Acting Workshop, the only one of its kind in the Philippines today. There are many voice acting schools abroad and many Voice talents offering "experience" based teaching, but none offers a detailed and thorough application and training by book and modules like Creativoices Clinic.
What do I expect from the training?
In Creative Voice Acting Workshop, you'll get:
1. Personalized, one on one voice coaching and training throughout the workshop - from real and credible Voice Acting Professionals
2. Information you need to know to become a successful voice actor and communicator.
3. Create real and believable characters from within you and learn how to bring them back when needed.
4. Training materials and assignments to keep you at pace with the workshop and rapidly develop your voice acting skills.
5. Professional Critiques to hear and identify your voice qualities and problems.
6. Knowledge on how to self-market and promote your talent, professionally.
How does it work?
The workshop lasts for about 2-3 intensive hours each session, once a week. There are 3 training modules divided into 8 sessions and categories:
Session 1: The Voice That Works
Session 2: Starting Over – What it takes to be a voice talent
Session 3: Accents, Dictions, Variety, Articulation and Movement. How to Create Voices.
Session 4: Translation and Effective Dubbing delivery
Session 5: Creating interesting and unique character voices for Dubbing
Session 6: Actors acting. Working with Dubbing dialogues and multi-voice copies.
Session 7: Fine tuning your performance, Dubbing Sessions and VO Best Kept Secrets
Session 8: One-on-One Mock Auditions with Critique board and Q & A forum
How do I Join?
Sign-up now by clicking on the link below:
REGISTER NOW!
Or copy and paste this link to your browser:


You can also drop by at our office and pay in partial or full. The P1000 reservation fee will be deducted from your Seminar fee of P8000.00.
Visit us:
Creativoices Studios If the link doesn't work, copy this to your browser:
http://creativoices.net/blog/?page_id=8
There is a google map of CreatiVoices studios at the page link above, so you can easily find the exact location of the seminar area.
For directions on how to get to our workshop you may call: (632) 729.7274 or 970.0971 (from 9am - 6pm, Mon-Fridays only)
Visit our website at www.creativoices.net and creativoices.com

How much does it cost?

For the whole program the total cost is Php 8,000 only. You should pay the whole tuition fee 1 week before the progam, these includes fees for the instructor, venue and training materials. A one time, non-refundable reservation fee of Php 1000.00 will guarantee your seat. Students may also take advantage of the referral program.




What is the referral program?

For a limited time only, students can now avail of this special program. Please review the terms and conditions carefully.
1. Applicants must be 18 years old and above and residing in the Philippines.
2. Application forms for the referral program must be fully completed.
3. Only Workshop students may apply for the referral program.
4. Applicants will get Php 1,000 per successful referral.
5. Incentives may be in form of cash or deferred through the candidate's course. Which means if you get 8 successful referrals, you study the whole program for FREE.
6. Incentives can only be claimed if the referrals has paid in full.
7. There are no limits to referrals, and students may still avail of the program even after the course.
8. Creativoices Productions reserves the right to terminate or revoke any referral program at any given time.
Schedule of Training and Workshop

Start of Classes will be on July 4, 2009 (Saturday) and every Saturday thereof:
1st class – 10:00 am to 12:00 noon
2nd class – 2:00 pm to 4:00 pm
If you have already registered/reserved your seat, then congratulations! This is your first step to that much awaited success in voice acting! We'll see you in our studio soon!
May the voice be with you!
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VOICEWORX! TEAM
www.creativoices.net
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