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Why We Bought VO Atlanta, and What Comes Next

As many of you read about last week, Anna and I are thrilled to have gained the rights to keep VO Atlanta going through a sale agreement with the previous owner and conference founder Gerald Griffith. Most of you have read the articles that were published by various media sources about the acquisition, but I wanted to use this space to give you a more personal look at the reasons for the acquisition, and what comes next for the conference.

I’ve been speaking at VO Atlanta almost since the beginning, and Anna has joined me there for the last several live conferences. In some ways, it’s become a bit of a VO home for us, where we get to see our friends and colleagues, meet new ones, and it is also where we’ve watched the JMC Demos team form and come together into a cohesive unit. It’s where we met A.J. McKay, Jenn Henry, and numerous other people that our various businesses would not be as strong without…..in addition to becoming some of our dearest friends.

We’ve also watched VO Atlanta serve as a launchpad for more careers than we can count. People who are fresh off the bus one year, and expert speakers with thriving careers three or four years later. That kind of magic is something we couldn’t let disappear, so when Gerald made it clear he was stepping aside, we knew we had to find a way to step in.

As you’ve heard, I’m actually taking a secondary role in all of this. My job will be coordinating the presenter lineup, X-sessions, and making sure that the content is of the quality you have come to expect from this signature industry event, and then some. Anna, however, will be quarterbacking the event experience in her role as CEO. Indeed, her new LLC, Anna Collins Events, of which she is also CEO, is now the entity that owns VO Atlanta. I’m proud to see the strong woman that I’ve known and loved for so many years take the lead in this venture.

For those of you who have come to our EURO VO Retreats, or attended the One Voice Conference USA in Dallas in 2021, you have seen firsthand the attention to detail and quality that an Anna Collins-managed event offers. Going forward, we expect to bring the same level of personal touch and care to VO Atlanta. While we probably can’t have lobster night and serve Dom Perignon like at the retreats, we CAN make sure that the attendee experience is foremost in everything we do. That means things like free coffee and water stations, without long lines. And it means finding ways to make the experience more affordable without compromising on quality…..indeed while always looking to raise the bar.

Anna has already been engaging with hotel leadership to make clear that we’ll be expecting service improvements for future conferences. More staff, a return of room service, more frequent housekeeping, and faster service at restaurants. We expect our guests to be looked after. And this is just the start.

I do want to address the question of our relationships with other industry events because I think this is really important. Just like in the voiceover business, and the demo production business, we approach the conference business from a perspective of abundance. It is our sincere belief that there are plenty of ticket sales to go around, and that voice actors should attend a variety of events throughout the year, not just those we are involved in. VO Atlanta is our new baby, but we are excited to continue to partner with our colleagues in England to co-produce the One Voice Conference USA in Dallas. We’re also big supporters and sponsors of the other top events in our industry like That’s Voiceover and the Voice Arts Awards, VOcation, MAVO, Voxy Summit, VO North, WoVO’s mini cons, and more. Find the ones that are right for you in terms of proximity and content, and do as many as you can. They will all enrich your career in one way or another.

The voiceover industry is a community. It’s a wellspring of kindness and quality humans doing amazing things. With the continuation of VO Atlanta, our goal is to provide one of many wonderful homes for the people who make this industry such a special place. With your help, we’ll achieve that goal and more!

Improv Your Way to Better Voiceover Results

by J. Michael Collins Leave a Comment

If you ask most people to play word-association with the term “acting,” they’ll usually respond pretty quickly with the word “scripts.” Indeed, for the layman the two seem to go hand in hand. Obviously, most acted content, whether on-camera, theater, or voiceover is in fact scripted. After all, we’d be fairly lost without a story, right? However, what is often unnoticed by the average viewer, theatergoer, or listener, is just how many elements of a performance are driven by good improvisation skills.

The improv techniques actors bring to bear in their performances are often lost on the public because they seem so natural. A pause, as though in thought. A sigh, a chuckle, a conversational “well” or “but” added before a scripted line. Even a stammer or a stutter can be an extemporaneous improvisation that transforms an otherwise mechanical performance into something authentic and relatable. When done with skill and cleverness, improv is invisible.

Broadway producer and actor Rob Schiffmann has said that in improv, “The key is to use something that is a mystery to you, and then follow it. And let it reveal itself without too much concern for solving that mystery.” Robin Williams, perhaps the most skilled improv actor showbiz has seen, said, “You’re only given one little spark of madness. You mustn’t lose it.”

The question, of course, is where does one refine that little spark of madness?

Improv skills come naturally to many, but very few actors can improvise on an elite level without exercising their abilities in an environment designed to train and grow them. To many, the first name that comes to mind when we think of improv is The Groundlings.

The Groundlings are an LA-based improv and sketch comedy organization, and have been home to many legendary performers including Will Ferrell, Kathy Griffin, Phil Hartman, Lisa Kudrow, Phil LaMarr, Conan O’Brian, and Tyra Banks, among countless others.

With more than 2,000 students per year passing through their competitive, audition-based program, having The Groundlings on your resume as an actor is instant credibility in the eyes of many casting directors both for on-camera talent and voice actors.

Yet, other options exist as well. Well-known commercial actor, voice actor, and sought-after improv coach Scott Parkin has this to say about improv in general. “Improvisation is one of the most important tools in ANY actor’s toolbox because it supports, shapes, and can define an honest performance. As a voice actor defining and maintaining your character from start to finish is an important way to compete and stand out, and improvisation is the key to character definition and development.”

Scott continues, “On stage improv is a different animal but offers the easiest access to improv training. In voice over, generally speaking, the window to improvise on your audition is much narrower than on stage, but the skill sets are grounded in the same techniques. I would say find a fun local group in your own town …you don’t need The Groundlings or UCB to learn the basics.”

For actors of all stripes, it’s clear that being able to understand the principles of improv can be key to getting traction in the industry. Even if their skills are so strong that the audience never notices that they are improvising at all.

An Interview with Paul Stefano & Sean Daeley of The VO Meter Podcast

by J. Michael Collins Leave a Comment

This week I had the chance to chat with Paul Stefano and Sean Daeley, two excellent voice actors who host one of the industry’s hottest podcasts, The VO Meter. As a podcaster myself and a big fan of The VO Meter, it was great to get a behind-the-scenes look at what makes The VO Meter so successful.

Here’s what Paul had to say about the podcast.

What sets the VO Meter apart from other podcasts in the voiceover space?

We try to be as upfront and honest about all the wrong things you can do on your way to a successful voice over career. Most people only tell you the good things that happen to them. We share EVERYTHING.

What was the genesis of the podcast? Why did you decide to do it?

It started out as a way to help people who were just getting started, like us at the time. There were a lot of podcasts for seasoned pros. We thought it would be fun to hear from somebody “just like you” so to speak who was going through the same trials and tribulations. That has changed a bit now that we are both seasoned pros, but we still keep that focus, of helping the “newbie” as much as possible.

What do you look for in a podcast guest?

We like to have people on who are like us. Tell it like it is, while also offering insight. Also, it’s important that they can laugh. Both at us, obviously, but also themselves.

Tell us about some of the most interesting guests you’ve had on.

Well, our first-ever guests were Michael Schwalbe, Moe Rock, Matthew Curtis, and Heather Costa. Prior to that we only did a back and forth conversation with ourselves. I’ll always remember that episode because frankly I was shocked anybody else wanted to talk to us! I’m also eternally grateful that we’ve been able to have most of my early mentors on as guests. People like Bob Bergen, Doug Turkel, Melissa Exelberth, Peter Bishop, Trish Basanyi, Terry Daniel, George Whittam, Dan Lenard and YOU JMC. Finally, we are very proud of the episodes we did on racial, ethnic, and sexual orientation diversity.

If there was a wish list of three guests you could get for the podcast, who would they be?

I can honestly say there isn’t anybody we haven’t had on that we’d consider a “dream guest.” Part of that is because the VO community is so giving. We’ve had so many legends on already that it’s an embarrassment of riches. Joe Cipriano, Kay Bess, Scott Brick, Mara Junot, Johnny Heller, Daniel Ross, Melissa Disney, we already mentioned Bob Bergen, the list goes on. Simon Vance reached out to US asking to be on, which blew our minds at the time. I guess I would say I hope we just continue to be blessed with people who are so giving of their time.

For those considering starting their own podcast, what are some of the benefits and drawbacks?

Don’t. Sorry, we’re full. Seriously, though, really understand what you are getting into. It takes more work than people realize. While we were new (ish) to VO when we started, I had a BS degree in broadcasting. I knew how to produce a radio show, which is essentially what a podcast is. It’s a full production. I spend hours on each episode and I think it shows in the quality.

Talk tech with us. What gear do you use to record, and what software are you using?

Well, as you may know, we have a segment called Questionable Gear Purchase, which talks about whatever gear we bought or sold since our last show. We are unabashed tech GEEKS. I almost never have the same mic from one year to the next, sometimes month. In fact, as I write this I’m waiting for FedEx to deliver a new Antelope audio mic to my house! Having said that we do love Sennheiser/Neumann products, as well as Studiobricks! Not, only because they are sponsors, LOL. I’m not only a client, I’m a member! It may be interesting to note that we record the show with Twisted Wave, over Source Connect and I still mix with Audacity.

If people want to listen to the VO Meter, where can they find it?

www.vometer.com, and follow us on Twitter @thevometer, or like our Facebook page.

Hire Paul Stefano for your next VO project at paulstefano.com

Hire Sean Daeley for your next VO project at dailyvo.com

Graeme Spicer Joins This Week in VO with J. Michael Collins with a New News Segment

by J. Michael Collins Leave a Comment

I’m thrilled to announce that This Week in VO with J. Michael Collins is bringing Graeme Spicer onto the team with an industry-first weekly news segment within the podcast.

Starting with Episode 23, which will be released this week, Graeme will bring a short roundup of the latest happenings in the world of professional voiceover, covering all aspects of our industry. Keep up to date on the stories that are making headlines in our community with this concise weekly digest, brought to you by one of our industry’s most trusted talent journalists.

Also, in the interest of ensuring that This Week in VO is in fact a weekly podcast, Graeme will fill in for me from time to time as host, stepping in when my travels or work schedule makes it impossible to host a segment that week.

More About Graeme Spicer

Graeme Spicer is not just a successful voice actor with more than two decades of experience, he is also one of the industry’s most respected moderators, interviewers, and investigators. Graeme has made his name synonymous with ethics and integrity, holding the powerful in our industry accountable and exposing abuses among those who profit from the work we do. Graeme is a frequent leader or speaker on conference and webinar panels about ethics, online casting, business, and issues facing the voiceover business.

I’m excited to add his voice to This Week in VO!

Is The Voiceover Industry Really Oversaturated?

by J. Michael Collins Leave a Comment

Feels crowded out there, doesn’t it.

In an age where work-from-home has become the rule instead of the exception, where we are experiencing the Great Resignation of people from jobs that treat and pay them poorly, and where on-camera and theater actors went more than a year without consistent work, the voiceover industry seems like the refuge of choice for many looking for a new source of income. Heck, even John McEnroe has gotten in on the trend….kind of.

With voiceover schools and coaches popping up like cicadas after a two-decade slumber, new aspirants are flooding into the field like never before.

By definition, that means there’s less pie for those who are already in the game, right? And those newbies? Good luck!

Well, there’s no doubt that the industry is as competitive as ever, but like with most things in life, there’s more to the story than a simple equation of more people equals less opportunity.

Voiceover is not taxi-driving. With respect to the folks at your local yellow cab company, anyone can learn how to drive and become familiar with their surroundings. With GPS, that last part doesn’t really even matter much anymore, does it? Driving a taxi is honest and hard work, but what it doesn’t require is inherent talent. A spark of creative genius and an actor’s soul is hardly a necessity. Voiceover, however, is a much different beast.

I’d guess that there are probably several hundred thousand people in North America calling themselves voice actors. Sounds like it would be pretty hard to stand out, right? But how many of these people are actually working? Chances are it’s no more than ten thousand, and out of those, maybe only a thousand or two earning anything that looks like a decent living. Indeed, it’s no surprise that when we hear major TV commercials, listen to great storytelling on documentaries, watch our favorite cartoons or play our favorite video games, the voices we are hearing are often the same few dozen people that many of us in the industry have come to know quite well over the years.

This isn’t because it’s a closed club or an old-boy network…..it is because talent and determination rise to the top.

The bottom line is that there are more people trying to do this job than ever before, but in reality it’s one in fifty or fewer that have the requisite skill to make it happen, and of those only one in five who have the business acumen to fulfill their potential. In some ways it’s like the professional poker craze of 15-20 years ago. Millions tried their hand at it, but watch the World Series of Poker and guess what, it’s still the same few dozen sharks and a handful of rising stars at the final tables.

In voiceover, what was true five years ago, ten years ago, and fifteen year ago remains true today: If you have the talent, the drive, the technical savvy and the business sense to make a go of a voiceover career, you may not get rich, but chances are you won’t go hungry either. Phil Ivey isn’t worried about the other people at the table. He’s gonna play his hand, and most of the time, he’s gonna win.

How to Adapt Your Demo Game for Industry Trends in 2022

by J. Michael Collins Leave a Comment

Can you believe we are already approaching the start of 2022? If it seems like the past ten months have been a bit of a blur to you, you’re not the only one! Now, it’s time to look with clear eyes towards the next year of our careers, and anticipate the shifts and changes that may be coming down the road. For example, how to adapt your demo game for 2022 trends.

Part of my job as a demo producer is to stay on top of trends in all of the genres JMC Demos produces for. It’s not an easy task, but with access to commercial and other broadcast copy months in advance of intended air dates through numerous agents/production companies/ad agencies, and a deep roster of non-broadcast narration clients sending scripts every day, I take pride in being able to create demos not just for what the market wants right this minute, but for what will be trending months down the line.

What changes can we expect in 2022?

BROADCAST GENRES

Commercial reels will still need to feature the somewhat offbeat and quirky humor that has dominated since the start of the pandemic. If there is a post-pandemic pivot back to sunny and silly, that isn’t showing up in copy yet. Moreover, the Delta variant delayed the expected dominance of powerful reopening reads, and has prolonged the life of somewhat more emotional pieces using warmth and proximity. With so much still in flux, commercial seems fairly status quo at the moment, with a continuing trend towards shorter, impactful pieces. Reads that showcase perseverance and earnest everyday grit are trending, and BIPOC voices will continue to be more prevalent, especially in commercial content that is targeting younger demographics.

Political Commercials are starting to heat up once again after seeing a brief decline in volume after the 2020 election. The initial post-inauguration calm and new-president honeymoon has given way to the vitriol that has become an all-too-unfortunate mainstay of American politics. Though bad news for society, it does mean that the off-season for political commercial VO was shorter than expected, and we are already getting close to election-year numbers once again. 2022 promises to be the most hotly contested mid-term election in recent memory, and both parties are poised to drop unprecedented cash into political ads, and thereby political VO as well. In 2022 you don’t necessarily have to choose a side as a VO, but your demos do. Whether you play for one team or both, current, hard-hitting reels that are geared towards relevant issues and races will win the day. And, sadly, buyers on both the left and the right continue to tell me one thing over and over….”We need to hear that they can go negative.” In 2022, moderate, gentle political demos won’t get you very far.

Documentary & TV Narration is one of the industry’s more static genres when it comes to your demo reels. Trends continue more conversational and believable, but there is still a fairly strong gap between the sounds buyers want for traditional documentaries and those they are looking for when it comes to reality TV and in-show content. Demos in this genre don’t need a massive overhaul, but if you are specifically targeting classic documentaries, or specifically targeting reality TV/more conversational & modern programs, the trend going forward is likely to involve more targeted demos for each.

Promo and TV Affiliate continues to go more conversational, more BIPOC, and younger, though there’s still plenty of work for traditional voices. While traditional network promo remains glamorous, more and more of this work involves streaming content and other new media. As always, the most important thing is that the content on your promo demo is current. Shows that have been off the air for more than a year, or topics that are dated, generally need updating.

Radio Imaging, like promo, is moving younger, more conversational, and more diverse. With numerous formats, however, it remains open to classic sounds as well, especially when paired with unexpectedly current content. A recent trend has been using counter-intuitive voices……older voices over humorous content based around pop culture, etc…. and humor overall remains hot. Radio Imaging can be a tough nut to crack, but once in the door the work can be very steady.

Animation & Gaming reels continue to require more acting chops and fewer funny voices. The trend across both genres is story-based, showing that you can sustain characters and completely inhabit them. Hackneyed stereotypes are out, and authenticity is the watchword. This will only continue in 2022. Video game work in particular is exploding, and with more and more agents of all types sending out castings every day, your reels need to be on point to get their attention.

Corporate Narration has moved away from the hard sell in most cases, and like many other genres is demanding that the voice actor demonstrate more connection with the copy. Corporate and industrials are unlikely to ever trend as young as other genres, but the late-20s/early 30s read is hot, and sincerity is key. One fun trend is the loosening-up of corporate culture to embrace more play in copy, and even an occasional bit of edgy humor. While one has to be careful and stay on-brand, dropping a read with some light shock value on your corporate demo is likely to get you more wins in 2022.

Explainers pioneered the conversational read in many ways during the early part of this century, and as such have been somewhat less subject to change than other genres. In 2022 you’ll see more explainers using live action, as the cliched whiteboard and stickman animation has started to fade. Cartoon and 3D/CGI animation will continue to be in heavy rotation, so explainers are unlikely to lose their frequently playful nature anytime soon.

E-Learning also continues to evolve into less-starchy places. While lots of E-Learning is still very classical in sound and structure, the trend is towards voices that are somewhat more whimsical or cheeky, while still maintaining professionalism. More and more companies are taking chances with edgy content, especially for new hire and onboarding content, and there is also a distinct trend towards shorter modules and more scenario-based, gamified, and role-playing content. More than ever, the E-Learning space will require acting chops in 2022, and your demo will need to reflect that.

Medical Narration has exploded since the start of the pandemic, possibly tripling in volume based on anecdotal evidence. Those who can handle even moderately complex terminology have the benefit of a tremendous supply/demand advantage in this genre. Medical Narration reels are a recent art, and generally include an empathetic read, a more corporate read with some promotional overtones, an educational read, a highly technical read, and a role-playing or gamified read.

Movie Trailer reels continue to demand the same range of classic power reads and newer brighter reads, however the really hot segment of trailer is Video Game Trailer, which has similarities to movie trailer but trends younger and more emotionally involved. Video Game Trailers were one of 2021’s hottest genres, and promise the same for 2022.

OTHER TRENDS worth being aware of include the move to require more individual samples on casting sites, and the continuing emphasis from agents on the need to be competitive in multiple genres.

For sites like Voice123, having short samples of your entire range of reads is becoming more and more important. Your traditional reels are still valuable on these platforms, especially when you are being reviewed by classic industry types from ad agencies and production companies who expect full demos. That said, many younger people who are casting today search online for very specific samples, “Fun and friendly,” “Morgan Freeman,” “Trailer voice,” etc…., and only listen to the samples related to those styles. Most demo producers will be happy to offer you single-spot rates to create fully-produced individual samples, at far less cost than a full demo.

On the other hand, more and more agents are saying during their public appearances that they want multi-tool players. These days, you need to have demos demonstrating proficiency in at least two major genres, preferably three or more, in order to get traction with top agencies. In 2022, a commercial demo by itself is not going to get the job done when seeking representation. Be ready, and don’t come light.

On behalf of myself, A.J. McKay, and the entire JMC Demos team, here’s wishing you a spectacular end to the year and start to the next as you pursue your VO goals!

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