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    Business

    VO BOSS

    The VO Boss podcast blends business advice with inspiration & motivation for today’s voice talent. Each week, host Anne Ganguzza shares guest interviews + voice over industry insights to help you grow your business and stay focused on what matters…

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    Latest Episodes:
    Bilingual Audition Challenge Winners Interview May 31, 2022
    Show notes

    After holding the first ever #VOBOSS Bilingual Audition Challenge, Anne & Pilar welcome the winners onto the show. Joe Lewis, Milena Benefiel, and Ramesh Mahtani share the process behind their winning entry, what stood out to Anne & Pilar when judging the contest as well as what it means to be a bilingual voice talent in today's industry. Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast con Anne Ganguzza y Pilar Uribe. Anne: Hey, hey. Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and today we have a very, very special episode planned for you. Not only am I here with my awesome special guest co-host Pilar Uribe -- woohoo Pilar! Pilar: Hi, Anne. Anne: Thanks for being here. We are so honored to be here with our VO BOSS bilingual audition challenge winners. So a huge welcome to our English audition winner, Joe Lewis. Yay! Joe: Hello. Ramesh: Hello, Joe. Anne: And our Spanish audition winner -- Pilar: Milena Benefiel. Anne: Yay! Hey Milena. Milena: Hi. Anne: And then our best English and Spanish audition, Ramesh Mahtani. Yay! So first of all, congratulations, everybody, on your wins. Joe: Thank you. Milena: Thank you, gracias. Ramesh: Gracias. Anne: It's very exciting. For those BOSSes that are just joining us and have not joined us before now, Pilar and I ran a bilingual audition challenge contest, which featured a Toyota commercial in both English and Spanish. And this was about, I'm gonna say, three to four weeks ago, and we had a number of submissions. I think it was over what, Pilar, like 130 or something like that? Pilar: Yeah. Anne: Or close to 130. Pilar: Yeah. Anne: And so first of all, everybody did a wonderful job, but we are so, so incredibly excited to have the winners with us today to talk about being bilingual in the industry today and what it takes. So let's start with our English winner, Mr. Joe Lewis. Yay, Joe. Joe, tell us a little bit about yourself and then I wanna play your winning audition. Joe: Okay. Well thank you for having me here. First of all, it's great to be with you all. I am a bilingual voiceover and voice actor, born in the US, Spanish father, American mother. And basically I've been back and forth in the States to Spain and from Spain to the States at different points of my life. And it's been a trip or several trips. You learn to adapt where you are and you do as the Romans do. And you learn a lot of stuff because you have to leverage two cultures, two languages. It's a thing. Anne: Yeah, absolutely. So first of all, let's play your winning audition. And I wanna tell you a little bit about the specs. Our specs indicated that the voice should be confident, knowledgeable, optimistic, never take themselves too seriously, but at the same time, never come off as sarcastic either, warm human down to earth, playful spontaneous, conversational, relatable, and above all else, nothing that is typical commercial sounding, movie trailer, or announcery at all. So. Milena: All the things, all the things. Anne: All the things. Pilar: In other words, the kitchen sink. Anne: All the things. Totally. And I want to give a big shout out to the queen bee herself, Liz Atherton, and CastVoices for her sponsoring this contest and offering our winners a year pro membership to CastVoices. You guys, castvoices.com, go and get yourself an account. Liz is amazing and always has the voice talents' backs. I'll tell you what, she's amazing. So thank you Liz for that. So let's go ahead and play the warm, human, down to earth, playful, not typical commercial sounding, movie trailer or announcery English winning submission by Joe. Here we go. Joe: Beep. Beep. That is the sound of me signaling that this is a car commercial while being considerate of the fact that you may be on the road. It's exactly this kind of consideration that lets you know, you can trust Toyota and our all new 2022 Highlander SUV to get you where you need to be faster and more reliably. Beep beep beep beep beep. Oops. Sorry. I think my burrito's done. Anne: I love it. Joe: Thank you. Anne: I think that that really took every single spec into consideration. Joe, did you have any particular strategy when you were doing this audition or what is it that you do to prepare for an audition? Because we had so many submissions, but yours just kind of really stood out from the get-go. Joe: Well, thank you so much for that. I really appreciate it. As far as strategy, if it's automotive, I take it extra seriously because it's a big genre. So no matter what it is, even if it's a dealership, you know, it could turn into a long-term gig. So you take it seriously. It's always a challenge, uh, to see if it's a soft sell or if it's a harder sell, more promotional. At the same time, as you say, there's lot to consider in the styles or the trends that we work with today, uh, which are very different from 10, 15, 20 years ago. And that's as far as in general or as far as English. As far as Spanish, obviously my origin is of Castilian Spanish, uh, from Spain. So knowing that this would be for the American market, I tried to modulate that and go to a more neutral read and, and taking the specs into consideration as much as I could and have fun, have fun with it. Anne: Yeah. I think that's so important that you have fun with it. Pilar, comments about why we love Joe so much. Pilar: Listening to it again, I think what, what I really liked about it, this is probably not the right word. It wasn't folksy, but I really felt like I was listening to you, and I was listening to a real person rather than somebody reading it. Anne: Yeah, I agree. Pilar: Like, and just the small pauses, the little giggle -- there were some amazing entries, but what I found so interesting about yours was that you had this attitude from the beginning. You weren't serious, and then you went to the punchline. You had this sort of upbeat throughout the entire read. That's what really stood out for me. Anne: Yeah. Really, really warm smile, I think overall. Joe: Thank you so much. Anne: I just felt like. Pilar: Yeah, yeah. Anne: I felt like we were just longtime friends, which we are, but listening to, I felt like we were, and it really, really stood out from the beginning. So congratulations, Joe, again -- Joe: Thank you so much. Anne: -- on that. Joe: I appreciate it. Anne: So onto our winner in the Spanish division, Milena. Milena: Hi. Anne: Tell us a little bit about yourself and where you're located and your VO journey so far. Milena: All right. Well Saludos, hola, hi. Milena Benefiel. I am currently located in Orlando, well, near Orlando, Florida. I am the first generation born here in the US. Both of my parents came over from Cartagena, Colombia, woohoo and they insisted that I learned Spanish as a child, and I never understood why. Why would I ever need this other language? And look at me now, right? My background was actually in television. I worked part-time as a TV host for a Telemundo affiliate in Spanish and did a lot of commercial acting while also being an ER nurse and ICU nurse. I came from entrepreneurial parents who had multiple careers, multiple jobs, 'cause they had to, right, coming from another country. So I don't know how to not have too much on my plate. So this was kind of my side hustle. And after COVID I, I took it from part-time to full-time. I, I was kind of burnt out in the hospital, and yeah, I had the ability to go from sounding very middle America English, as you can hear in my, in my accent to speaking [Spanish] speaking in Spanish that's very neutral. It kind of like people are like, are you Colombian or Cuban or from where? So I've been very fortunate in that that I've been able to provide both sides for my clients. So it's been a really fun journey. Ramesh: Super. Anne: Yeah. Let's have a listen to the winning entry. Here we go. Milena: Bip bip. Ese es el sonido que uso para señalar que este es un comercial de autos mientras que usted podría estar conduciendo en la carretera. Este tipo de servicio es lo que le permite saber que puede confiar en Toyota y en nuestra nueva SUV Highlander 2022 para que se transporte de un lugar a otro de la manera más rápida y confiable. Bip bip bip bip bip. Vaya, lo siento, creo que mi burrito está listo. Yay! Ramesh: Super. Anne: Congratulations again, such a wonderful, warm sound. That's what I really got. And I love how, when we said have fun with this or somebody that doesn't take themselves too seriously, I really felt that in the places where you could -- it opened up to have fun, the more conversational like, "oops, I think my burrito's done." I love the way that you guys brought life to that and brought fun to that that wasn't even as expected. Pilar, your thoughts, Pilar: You had me from the beginning Milena. This was to me displayed so much warmth and reassurance. I felt like when I listen to it, you're taking me by the hand, and you're reassuring me as a consumer that it's gonna be okay. And it's like, oh yeah, I'll do whatever she says. Milena: Wow. PIlar: So that's what I got from this read. It was really, yeah, it was, it was really good read. You just, you got me. Milena: Oh my goodness. Thank you so much. I am so grateful for that feedback. That's kind of my MO when it comes to anything that I do in VO. I just, I, I wanna be warm and caring and reassuring. That's kind of my, my thing. So that you heard that feels so good because it makes me feel like, wow, okay. I'm, I'm doing what I'm supposed to do. So thank you so much. Anne: I wanna kind of tag on to what Pilar said. Like for me, I do not speak Spanish, but I could hear the story. If I listen, I could hear your story in there. And when we talk about trusting Toyota, I felt that, and I really felt that you took the words beyond just what was on the page, and really you were in the scene. And like I said, for me to not even speak Spanish but to listen and to be able to hear your storytelling, I thought that that was, that was just really wonderful. So yeah. Milena: Wow. Thank you so much. Such a huge compliment from two women that I admire very much. So this is a very surreal moment for me. So thank you so much. Anne: well deserved. Well deserved. Milena: Thank you. Anne: Okay. So onto our English Spanish combination winner. Ramesh Mahtani yay. Congratulations. Ramesh, tell us a little bit -- Ramesh: Well, thank you very much. Anne: Yeah. Tell us a little bit about yourself and your journey. Ramesh: Yeah, well, I suppose like most of us over here, very, very varied background. I mean, I was born in Karachi, Pakistan to Indian parents who perhaps were a bit disgruntled with the way things were going out over there, and they decided to move to the Canary Islands. Why, I have no idea, but that takes me back to when I was about four. So I came over here to the islands, speaking a combination of Sindi, of Hindi, of Urdu. Of course I had to learn Spanish rather quickly. And my parents always wanted me to speak English because they knew that English is the lingua franca, and you wouldn't get anywhere in the world without it. So I grew up in an American school over here in the canaries, and I was shipped off to a horrible concentration camp sort of boarding school in England, which was a nightmare. Um, I would spend four long miserable years there, which is I suppose, where I picked up the sort of vestige of an English accent. And then I went to America to do my university degree, which was a lot of fun. And I saw what the real world was like. And I didn't, I suppose, switch on to the American accent because wherever I spoke to were like, oh my God, your accent's so cool. Where are you from? Well, I'm originally from -- Oh my God. Keep on speaking. We just love your accent. So, um, no, I didn't pick up an American accent, I suppose. I just veered towards what, what I call international or neutral. So that's my story. And in voice, I I've always played around with my voice. I love switching accents between -- I speak to my parents with a bit of an -- well, my mom. My father passed away -- with an Indian accent. So it changes depending who I talk to, if it is very strong Indian community, well, it becomes Indian, otherwise it's what I speak now. And then of course, in Spanish and English and French and all these sort of, you know, weird voices going on in my head, it was but natural that I followed a voice over career. So that's what brings me here today, basically. Anne: Wow. Well now you did something interesting with your auditions. You did two takes for both English and Spanish. And so one of the things that stood out to Pilar and I were the fact that you did two different takes for each. And so let's go ahead and play now. Um, I'm gonna click on this one. I'm not sure if this is the English or the Spanish. So hang on one second because the name is, is long. So it's kind of running off my little table here. Ramesh: Sure. Anne: It could be either one. Let's put it that way. There we go. Ramesh: Beep. Beep. That is the sound of me signaling that this is a car commercial while being considerate of the fact that you may be on the road. It's exactly this kind of consideration that lets you know, you can trust Toyota and our all new 2022 Highlander SUV to get you where you need to be faster and more reliably. Beep beep beep beep beep. Oops. Sorry. I think my burrito's done. Beep. Beep. That is the sound of me signaling that this is a car commercial while being considerate of the fact that you may be on the road. It's exactly this kind of consideration that lets you know, you can trust Toyota and our all new 2022 Highlander SUV to get you where you need to be faster and more reliably. Beep beep beep beep beep. Oops. Sorry. I think my burrito's done. Anne: I love it. I wanna just make some comments before we played your Spanish entry. I thought, first of all, you had two completely different takes, and now I understand where the accent came from because you were living in the UK. So I get that now. I was not aware of that, but I really loved it because it really wasn't something that felt to me like it was obviously forced or something that wasn't natural to you. And the fact that you did completely different reads shows just some tremendous acting ability, which I think is any good casting director that can hear that knows immediately that they would be able to direct you to do anything really. And so that was, I thought was really strong about your English entry. And I also liked you had a different reaction and a different emotion about the burrito, which stood out to me, even though it was like a nuanced change. You're like, oh I think my burrito's done. Or Ooh, I think my burrito's done. It really lent a lot to the different reads and the different aspects and the showcasing of your acting abilities. Pilar. Pilar: Yeah. I felt like you were talking to two different people in the two different reads and that was really significant. And it's funny because I didn't realize it, but they were two different accents, and I was like, they sounds so different, and it's, it's like, oh yeah, duh, because he's so versatile. But that also colored the read because one was a little bit more business-like. The other one was a little bit sort…

    Full show notes at the publisher

    BOSS VOCES: Bilingual Audition Challenge May 24, 2022
    Show notes

    Anne & Pilar are casting directors! Or at least they were for the first ever #VOBOSS Bilingual Audition challenge. They share the common mistakes, honorable mentions, and (of course) the winners! Tune in to sharpen your auditioning skills & learn what the audition selection process is really like. Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast con Anne Ganguzza y Pilar Uribe. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and I am here with the one and only amazing special guest co-host Pilar Uribe. Hey Pilar. How are you? Pilar: Hola todos. ¿Cómo están hoy? Anne: Hola. So Pilar, I'm super excited today because a few weeks back we launched the VO BOSS Spanish bilingual audition challenge. Woohoo! Like it was our first bilingual audition challenge that I've ever seen actually and conducted. And I'm super excited because we sent out the casting first of all through our good friends over there at CastVoices, Liz Atherton and the team over there at CastVoices. We sent out this audition through their system, and we also sent an email to all of you BOSSes out there. And we also published far and wide on social media. So let's talk a little bit about what the specs were for this audition challenge. So the specs were, it could be male, female, non-binary, age range from 25 to 65. So the purpose of this audition challenge was primarily for educational purposes. And so we cast the net far and wide. Our specs were for male, female, and non-binary, age range from 25 to 65. So our specs also wanted to grab a diverse range of voice talent. The voice should be confident, knowledgeable, we have a lot of adjectives here, optimistic, never take themselves too seriously, but at the same time don't come off as sarcastic either, warm, human, down-to-earth, and playful. Their delivery is conversational, relatable, and above all else nothing that is typical commercial sounding ,movie trailer, or announcery at all. Sounds pretty common to me, those specs, right, Pilar? . Pilar: Yeah. And, and the thing is, is that a lot of the times you get just this three paragraphs worth of specs, 'cause they, they want to really throw the kitchen sink in. And the casting directors, they're looking for something. So they're trying to be as helpful as possible. Anne: Yes. Pilar: And sometimes as voice actors, we go, oh my gosh, they gave us so much. Anne: Sometimes it's not helpful. Pilar: Really and truly -- yeah, well right. But they're trying to give you as much information as possible -- Anne: Mm-hmm. Pilar: -- so you can make your creative choices. Anne: Absolutely. We also specified that talent should read both Spanish and English versions with or without a specific regional accent. And we were going to judge on performance. We wanted two separate MP3s delivered and labeled and named in a particular fashion. And also what else did we specify? Oh, it needed to be uploaded to a Dropbox location that we had set up for the challenge. Pilar: Well, and I think we were very conscious of what we do on a daily basis. I mean the auditions that come in from my agents are very, very similar to that. Anne: Mm-hmm. Pilar: So we wanted to make it as close to a real audition as possible. Anne: Absolutely. Pilar: And you get this list of things that you need to look at and you need to look at all the aspects of the audition. Anne: Absolutely. We also gave some references. So if people wanted to learn some more, we pointed back to a couple of episodes that you and I did about bilingual on the VO BOSS podcast. And very exciting, we have prizes. So we are going to be selecting today three winners. We are going to select the best English audition, the best Spanish audition, and the best English and Spanish combined. So the prizes are going to be an amazing choice of swag from the VO BOSS shop. And also thank you so much to, again, our friends over there at CastVoices and Liz Atherton, a one year CastVoices pro membership, courtesy of Liz and CastVoices. So very excited about that. All right. So let's talk overall what we thought about the contest and how it went. And actually we gave, I think it was almost two weeks we gave. The due date was to -- Pilar: Mm-hmm. Anne: -- have everything submitted by 6:00 PM Pacific on April 15th. And we took that very seriously because that gave you almost two weeks to submit. We did have some people that submitted a couple, and I was okay with that. Normally that's not how it works in the audition process. You wanna get your audition in probably sooner if you can, rather than later, but because this was an educational experiment, an educational process, I said it was okay to upload alternate files as long as they were in by the due date. So let's talk about the good, the bad and the ugly Pilar: Oh yeah. Anne: Let's start with the ugly. I'm just gonna say, we could probably say it together. One of the biggest things was not following directions. I mean, everything from uploading to the wrong spot and the one that you kept catching. So I know you're gonna say no slate. We requested a slate, and there was so many people that did not have a slate. And that made a difference if it came between two close contestants. So it did make a difference. Not auditioning for both spots. And I'm gonna say the ugly would be ugly audio because people didn't have a good recording environment. There might have been noise. People might have been -- noise in the background. I heard like some whirring and hissing and I don't even know, people plosive-ing on the mics. Pilar: Or they were different levels. Anne: Yep. Different levels. Pilar: One was really loud. The other one was way softer. Anne: Exactly. So yeah. What was ugly for you? Pilar: So for me, the reason why we did this was really, we wanted to simulate what a real audition is like. And the whole slating thing is just, I've been in webinars where they say, well, it doesn't really matter anymore. It really does. And I get probably, on any given day, let's say, I'll get 10 auditions, five of them say, please slate your name when you send in your MP3. Anne: Yeah. Pilar: And that's one thing and it's into highlighted. And then the other way it comes in is do not slate anywhere on your file, in bold letters, capitalized, highlighted. So the direction was, and it was really simple, just slate your name. Anne: Right. Pilar: And of -- we had 110 auditions, almost half -- Anne: I think it was 120, yeah. Pilar: 120? Anne: Yeah, okay, so half of them. Pilar: So almost half of them -- Anne: Yeah. Pilar: -- came without a slate. Anne: Yeah. Pilar: So that is just glaring because obviously people were quick to rush. Other things that we got, which weren't really necessary -- and I will tell you, because my agents in LA are a little bit more forgiving, but the agents in New York, they are very clear on their auditions that if you don't do it exactly the way they say, they are just not submitting you. Anne: Yeah. If you can't follow directions, then it's very likely that you can't follow direction. Pilar: Right. Anne: Get it? Pilar: And -- exactly. And so when it says, like your name, you slate your name. Don't slate your hometown, don't slate -- Anne: Yeah. Pilar: -- your email address. When you label -- and this is something that is, you know, you copy and you paste it. You don't try to sit there and memorize it. The reason I say this too is because as a voice actor, I saw a lot of mistakes that I have been guilty of at some point. So it was actually a real learning experience for me to go, oh, okay. Once I have done my audition, I've edited it, and I've checked all these things, I -- and I've been doing this for a while, but it really makes me understand that I have to have an eagle ear -- I go and I put it in a file. I go away, I take my headphones off, and then I come back to it and I listen to it as an MP3. Anne: Mm-hmm. Pilar: Because you can't trust your ears. And a lot of the times there are things that just, they don't correlate. So if it says, slate your name, you slate your name. And when you label, you label the way they're asking you to label. So you have to check and recheck your audition because here's the thing about auditions. Auditions are the job. This is what we do. This is what I do every day. The gigs are the hobby, and the gigs are wonderful, but really it is the job. And so if you are submitting to your agent, they need to know that you're serious. They need to know that you're gonna be able to send your auditions the way they asked you to send them. Anne: Mm-hmm. absolutely. Pilar: Because this is not a dress rehearsal. It's not something that you just slap together. It's better not even to send it in, if you're just gonna kind of do it in this sort of half-baked way. Anne: That's such a good point. What happens is, especially if you're sending to your agent, I think that if you become a person and they -- you get a lot of auditions from your agent and you submit all the time -- if you're constantly not following directions, that agent remembers it. And whether or not they mention that to you, I'm sure they will at some point, but it just sticks in their brain. It sticks in my brain when you don't follow directions, because I'm like, ah, that would was a great read, but they didn't name it right. Or I lost it; where did it go? If they had named it right, I would find it. What was that audition that was so good? Or they didn't slate. Oh yeah. What was that guy? So really it becomes something that sticks out in a way that maybe is not as positive as you'd like. And the next time you're asked to submit an audition, I think it just becomes something that gets stuck in their memory. Then it becomes like, well, again, they forgot to slate, or again, they didn't name the file correctly, so now I've gotta go and fix it here on my system. So that just really stands out, I think if you cannot follow directions. And again, if you can't follow directions, it leads me to think that you cannot follow direction either, so. Pilar: Well, and here's the thing that it's even more serious because it's your category, and it's one audition. They're probably dealing with 30 auditions on any given day -- Anne: If not more, right? Exactly. Pilar: Yeah. But let's just put 30 as a, let's just say 30 auditions on one given day. Anne: Mm-hmm. Pilar: So let's say they are submitting five of their best people, but they're sending it out to 50 people for each audition. Anne: Mm-hmm. Pilar: They don't have time to sit there and email you back and say, you did not slate. Anne: Yeah, absolutely. Pilar: Or you did something or, or there was a mistake here. They're just not gonna submit you the next time. Anne: Mm-hmm. Pilar: They're not gonna tell you because the whole thing is on you. You have to be proud of the fact that you are -- this is -- it's a craft; auditions are a craft. And so it's like, you're giving like a little mini performance. Anne: Mm-hmm. Pilar: Because you're basically saying to the person who's hearing on the other end, I can do what you asked me to. Anne: Mm-hmm. Absolutely. Pilar: So you have to make sure that it, it is all in place because if you ask them, because I have. I mean, at the very beginning, when I first started working with my agents and I wasn't booking and I, so I asked them, and they gave me some really constructive criticism. And so I went and I studied more with some specific people, and then I started booking, but they're not gonna sit there and say, oh well, you didn't slate and you keep not slating. And we can't submit you. They're just gonna ignore you. Anne: Everything contributes, everything contributes to it. Pilar: Yeah, exactly. Anne: Absolutely. Pilar: So it, it's so important. For everybody who slated, thank you. And for everybody who followed the directions, thank you. But for the people who didn't, just remember that there's more than one pair of ears listening. Anne: Yeah, absolutely. Pilar: And so for the next time, make sure that you've crossed your T's and dotted your I's when you send submissions in. Anne: I mean, every time when people are asking casting directors, what are the worst things you can do when you submit an audition? Pilar: What's your pet peeves, yeah. Anne: And that is not following directions. Now, the other thing I noticed for the ugly was the bad audio. So, you know, it's unfortunate. It is part of the business though; you do have to have a good studio or a great studio where you can produce quality audio. And if you have bad audio and, and it becomes between you and another person who had it, maybe an equally great read, I'm gonna pick the person that has the good studio or the, the studio. Because I cannot guarantee, let's say, even though you may not have the best studio sound, that you're gonna be able to come into the studio and then execute by tomorrow, if that's when I need the spot to be done. So you really have to invest in figuring out how to get the best quality audio out of your studio. Pilar: And just, it's so important to note that having the best quality studio does not mean you have to spend $5,000. Anne: Exactly. Pilar: Because what they're looking for to be able to submit to the client, what they're looking for is clean audio. It does not have to be a $10,000 studio, a $10,000 booth. It has to be clean. So there's, there are parameters that you have to follow in terms of getting that -65 DB noise floor. It's not hard, but it just takes work. And you have to be able to put in the time and find out how to get that quality. Anne: Well, the cool thing is is that once you get it set up, usually you don't have to change it. It's not like you're gonna have to improve it afterwards. Pilar: Exactly. Anne: And there's a lot of really wonderful audio engineers out there that can help you. They don't have to come to your house. Pilar: And they don't have to cost an arm and a leg either. Anne: They don't, but they're very well worth -- Pilar: There's some great people out there. Anne: They're very well worth the investment of getting that sound to be in tiptop shape. Pilar: Yeah. Yes. Because once you have it, then you've got it forever. I, yeah, absolutely. Anne: Exactly. Pilar: Good point. Anne: And that's, and it's done, you know, set and done. So let's talk about, okay, that was the ugly. There might be more if we, if we wanna talk about it more, but I'm gonna go into the bad now, which is not quite as ugly, but the bad is -- so let's think about this. Probably 90% of the time for a commercial read these days, we are being asked for conversational, nothing, typical commercial sounding or announcery. Pilar: Mm-hmm. Anne: Honest to God. Every time I see it, it's like nothing that sounds commercially. So I think that for a lot of you, it's hard to hear yourselves because I think what you're trying to do is sound like you're conversational, and you're not actually acting, and you're not actually in a scene and being conversational. So I'm just gonna say that it's not bad. It's…

    Full show notes at the publisher

    eVocation 2022 May 19, 2022
    Show notes

    Three days with VO industry experts + networking with peers? Sign us up! Anne gets the inside scoop on what's in store for eVOcation 2022 with co-founders Jamie Muffett and Carin Gilfry. The three chat industry advice for newcomers + seasoned voice artists, what to expect at the conference, paying it forward, and how important it is to make education a lifelong journey! Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and today I am so excited to be here with amazing talents and founders of the popular eVOcation Conference, which is devoted to the business of voiceover, Jamie Muffett and Carin Gilfry. Thank you guys so much for joining me today. Carin: Thanks for having us. We're so excited to be here. Jamie: Yeah. Thanks, Anne. Anne: I am so excited to talk to you guys about all things, eVOcation, business voiceover, because I think you guys are such an amazing team. Like you've been together for a number of years, I'm gonna say at least that I've known about -- Carin: Yeah. Anne: -- doing wonderful things for the voiceover community and supporting communities on Facebook with a wonderful conference that you're now having once or twice a year, I'm not sure. Um, we'll talk about that. . Carin: We're not really sure either, because I feel like as soon as we started this conference, then we had a global pandemic, and -- Anne: Yeah, right? Oh my gosh. Carin: So now we're like, so what, what are we doing? Jamie: Yeah. Anne: Well, so before we get to talking about eVOcation, I'd like my BOSS listeners to find out a little bit about you guys. So if you guys wouldn't mind introducing yourselves tell the BOSSes a little bit about how you got into voiceover and then ultimately how you two met and started creating these wonderful community resources. Jamie. Jamie: Carin, do you want to go -- oh. Jamie: Too polite. Carin: We're, we're just so polite. Anne: You guys are so polite to each other. That's why I let you do that. . Jamie: All right. Well, I'm gonna take the lead . I started voiceover in 2009 in the UK and knowing that I was gonna move to the US. So I sort of had this plan that was gonna sort of be a job that I could start in the UK and then try transition over. Um, only really had confidence in it because I had sort of recording knowledge. I was in the sort of studio world in the music industry. And so I knew how to record my voice. And I knew I was going to America where apparently they like English guy voices. So that's, that's all I had really coming in . I started in the UK and then we moved over ,and then I sort of continued on and gradually moved away from music into voiceover. That sort of happened actually fairly quickly. Yeah, I do a whole different array of genres of voiceover, anything that requires British guy really that I'll throw my hat in the ring. And yeah, we connected, when was that? Probably, I don't know, like 2018? Carin: 2017 maybe. Jamie: Oh, maybe earlier. Oh, right. Yeah. Maybe 2017. Carin: 'Cause I feel like it was around when Mahalia was born, my daughter, and she was born in 2017. Jamie: Yeah. And it was actually -- Carin: Sometime around there. Jamie: -- Tim Friedlander I think that introduced us, I think. Carin: I think so. Jamie: Because Tim shot me a message and was like, oh, you know, there's this lady in New York who's got this huge Facebook group for New York voice actors? I was like, no . And so we connected that way and yeah, we just sort of got on well. And I've obviously got my podcast VO School, and she had her community, and we were talking and we was like, there's nothing really in New York aside from Carin's regular classes and things like that. There was nothing big in New York, which seemed crazy . So that was sort of the sort of burgeoning discussion that eventually resulted in VOcation. Anne: A-ha. Carin? Carin: I was a theater kid. My dad's an opera singer. My parents are both performers, and really in my family, there are two options. You either become a teacher or a performer. And a teacher is really a kind of performer anyway . Anne: True. Carin: And so I ended up going to school for opera. And then after being in the opera industry for a while, I, it just, it was so stressful. It's like being an opera singer is like being like an Olympic gymnast or something, or like a professional ballet dancer where you just have to be on top of your game all the time. And if you are even a little bit below what is considered absolute pro, then you're just like, you don't exist. So it was so stressful. And I had a friend who was narrating audio books, I thought, oh, that would be a great thing to do. I can use my voice. I can use my acting abilities. And so I got into voiceover that way. What I didn't know, and this is part of the reason why we founded VOcation also is like all the other skills that you have to know in order to be a successful voice talent. You have to learn how to record yourself and edit yourself and negotiate your own contract. And you have to learn how to direct market and set up a website and make sure that your online casting profiles are set up in a way that meets all the algorithmic things that you need to meet on those sites. There's just so much, and I love every single part of it. The more I found that I could take the reins of my own career, the happier I was. Because in so many parts of the performance industry, the entertainment industry, if you're a performer, you're kind of like waiting for gatekeepers to open doors for you. And in voiceover, yeah. I find that it's not that way. You can really build your own career the way that you wanna do it, and you don't have to wait for an agent or a manager or for winning a competition. You don't have to wait for any of those things. You just kind of jump in and go. Anne: Amen. . Carin: Yeah. And it's, and it's awesome. Anne: That's one of the parts that I love about it as well. It's so refreshing to meet with a couple of people who probably love the business aspect of voiceover, as much as the creative and performance -- Carin: I love it so much. Anne: -- aspect. And I love how you said it just, it becomes, it's your own. This is something that you can direct your own business. And it's one of the reasons why I kind of diverged into three different brands myself, because I wanted to follow each passion and have that as part of my business. And I think that, honestly, there's so many people that, it's so necessary, the business aspect of it, because I'm always saying that you can have the greatest voice in the world, but it doesn't mean anything if nobody knows about it. And so -- Carin: Exactly. Anne: -- there's gotta be that aspect that you are being able to market yourself and create the business that you want in order to be successful in, hey, I gotta help pay the bills. That's for sure. Carin: Yeah. Anne: So. Carin: The other thing that, what I love about voiceover is that there are so many ways to make a career. And like, I know that you, Anne, and I have totally different approaches to how we find work. Like, you are amazing at direct marketing. And you're great at marketing yourself and branding yourself. And you just said, you have three different brands. And I don't do any of that. I started on online casting sites. And I just love to audition. And I audition all day long. And I think both approaches are valid and both approaches can result in similar outcomes. And you know, now I work with agents and managers too, and I love that part of it too. But I think Christian Lance who's, if you don't know Christian Lance, he's like -- Anne: I do. Carin: He's, yeah, he's a great voice talent. He said voice actors are kind of like drivers where like, if you say you're a driver, are you a race car driver, or are you an Uber driver or are you a truck driver or are you like, what kind of driver are you? It's the same with voiceover. There are just so many different ways to be a voice actor. Anne: Yeah. Carin: And that's why at VOcation, we bring a lot, lot of different people in to give you a lot of different approaches to doing the business of voiceover. And you take what works for you and you can toss out what doesn't work for you. So I like that. Anne: I do too. I love it. Jamie, your thoughts? Jamie: I agree. Anne: One of those things that's so funny because at conferences, when you're given choices about what classes to take, there are always the performance classes and then there are like the business classes. I've noticed year after year, people are always going for those performance classes, yet what they really need is the business aspect to it. So I can completely appreciate and love the whole concept of a conference just about the business of voiceover. And you guys have really did something successful. So talk to us a little bit about the evolution of the conference and how you guys came to be, and, and that first year, what was it like? Jamie: Well, we didn't want to just put on another conference that already existed, because what's the point in that? You know, I know things are a little different now post-COVID or well, we're in COVID still, but at the time there were a whole bunch of conferences that, although in different locations, which is most important for a lot of people in terms of access. The offering was kind of similar, you know? I mean, you'd go to one conference and the similar kind of speakers. So we wanted to do something a bit different. And like you said, a lot of conferences, people are so drawn to the performance type classes and panels and things like that. The -- they're like the sort of fast food . Anne: Yeah, right? The candy. Jamie: Yeah. The candy. Anne: Yeah, the candy. Jamie: And we are like, we're like the broccoli. Anne: Yes, exactly. Oh my God. Carin: We're totally the broccoli. Anne: yeah. I love it. Jamie: But if you go to a conference and or you go to a restaurant and it's like a salad bar, like you're gonna indulge in the salad like that you're not even gonna worry about all the other stuff. So that's, that's what we are. We're the salad bar. Anne: The salad bar. Jamie: Yeah. Anne: But I love broccoli. I'm just saying. Jamie: Yeah, I do too actually, Anne: See, there we go. Jamie: I dunno why people hate it. Carin: Delicious. Anne: There we go. So we love broccoli. So therefore we love the whole -- Jamie: Yeah, that's the big takeaway from this. Anne: There you go. We love broccoli . Jamie: So yeah. We're broccoli. Anne: Jamie: Shall I expand on that? Anne: Yes. Expand on what was the first year like, and did you have it, I think you had an in-person conference, right? The first year? Jamie: Yes. We did Symphony Space on the upper west side in New York. You know, the other thing we wanted to do is we wanted to hold it in the city. Like not in an airport like 10 miles outside of town. And that, you know, brings its own challenges. You know, you're having to bring stuff in and shepherd people around, put them where they need to go. Carin: And it's a lot more expensive. Anne: Oh, I was just gonna say, I can't imagine the cost of having it in the city. Carin: Yeah. Renting space in New York is a whole thing. It's and actually Symphony Space is wonderful because they cater to a lot of nonprofits and I mean, we're, we're not a nonprofit, but they cater to a lot of like, you know, smaller groups, and renting a theater was much better for us than renting an event space. Event spaces are just crazy in New York. Yeah. We love Symphony Space. Jamie: Yeah. And we were sort of feeling it out as we went really. It was our first big event that we put on. And, um, for both of us, we, neither of us had been to a voiceover conference before. We'd been to conferences, but not voiceover. So we didn't really have something to compare it to, but it was such a fulfilling weekend. And, you know, we think based on the feedback, everyone had a at time. So yeah, it was, it was really good. We had a whole array of business classes and panels that some were very genre based. Some were, you know, marketing, some were more businessy like tax and stuff like that, and negotiation and things like that. So there's still a huge amount of scope even within this sort of limited niche conference spare to explore lots of different avenues. Like you said, there's just so much, there's so much to it. So every year, maybe not thematically, but we'll dive into different aspects. And, you know, because like Carin said, there is no definitive one path through this industry. So you really have to sort of present, uh, many of the options as possible to people. And then they draw out what is appropriate to them and what sort of fits in their career. Anne: What I love about that is because there is no one clear path or right path to get into it, your conference is offering all of the options, and people that are just kind of finding their way in this industry, I think that's such an important resource for them to understand. Number one, as you both are saying, there's more than one path into success in voiceover, and having a resource that allows people to see all the different options, I think, is truly a wonderful thing. And I wish, you know, when I had gotten into voiceover back in the day, and I'm like, I'm old, there wasn't -- Carin: You're not that old. Anne: Well, probably older than I'd like to admit these days, but it's one of those things where there wasn't groups, there wasn't online groups. There were physical groups, but when you were just getting into voiceover, it was hard to find them. And so this has kind of evolved over the years. And I just love the fact that you guys have provided a resource solely dedicated to business, 'cause I'm a business geek. I'm fully so very excited that you guys are gonna be continuing this and, and this year, even you're having a, a virtual conference and I think an in-person conference, is that correct? Carin: We are. Anne: Cool. Carin: Finally after three years, we're now gonna do a VOcation in person again in New York at Symphony Space in September -- Anne: Nice. Carin: -- of 2022. And our virtual conference eVOcation is gonna be in June. And we're so excited that you're joining us, Anne. Anne: Yes. Thank you. I'm honored and very excited to take part in this for the first year for the virtual conference. I'm excited. Now, Carin, you moved from New York -- Carin: I did. Anne: -- to my neck of the woods, and I, and I'm originally from New York state myself and New Jersey. So now that you are in California, do you miss New York? Do you miss your peeps in New York? . Carin: I miss it so much. Oh my gosh. We left at the very beginning of the pandemic. Anne: Yeah. Carin: It was so crazy in New York at the very start. Anne: Yes, oh, I know. Carin: You know, we have two little kids and being in our little 800 square foot apartment with one bathroom and a potty training toddler and a baby and no backyard was like just impossible . So we bought a house sight unseen and moved to Southern California, and this sounds really dumb. And I feel like maybe this is a bit of hyp…

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    BOSS Voces: Audition Tips May 17, 2022
    Show notes

    Auditions are a voice actor's work day in and day out. Anne & Pilar understand how important auditions are and how much time goes into crafting one that will catch the attention of casting directors. They discuss spending time with your copy, researching the product, adding smile to your slate, respecting the concept, and more…to get you auditioning like a total #VOBOSS. Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast con Anne Ganguzza y Pilar Uribe. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and I am with my very special guest cohost Pilar Uribe. Pilar, how are you today? Pilar: I'm exhausted. Anne: You know what, I am too. And I have a question for you in regards to that, why? Pilar: Yes? Anne: Why Pilar? Pilar: Why am I exhausted? Funny you should ask that, Anne, funny you should ask that. I was up until all hours doing my auditions. Anne: Oh man. Why is it that every agent I know sends auditions at like 5:00 or 6:00 PM, when at the end of the day I am literally, I'm done. I'm like, I'm exhausted, my performance, and that's a big thing, Pilar, for me. I've got to have energy enough for performance and thought and acting, and I'm exhausted at the end of the day. And I'm like, oh no, because there's a decision, right? Do I do it at night when I'm tired and I've got to rev myself up or do I wait in the morning where I know I'm really good, but then my voice is like this, it's very low. Perhaps I can't get back down there again. Pilar: Yes. This is really true. It's kind of six of one, half dozen of the other. I really look at auditions as it's, it's work. Anne: Yes, it is work. Pilar: You know, auditions are what we do. It is the work. A good friend of mine said audition is the work and acting is what I get to do once in a while. Anne: It's our job. Pilar: Auditions are the job. Exactly. And so I like to look at auditions as sometimes I go, oh yeah, right, time to make the donuts, time to do the auditions. But other times I really like to look at them as an adventure. Anne: Yeah, like a puzzle. That's me. It's a challenge. Pilar: What is the adventure? Where's the story that I'm going on? And this may sound odd, but I have learned so much about people and about different themes just from auditions. Because when they tell you, okay, go here on, look on YouTube. Here's this reference, look at this. And then you look at it and you go, oh, wow. I didn't know about this product. I didn't know this woman had done this. Some of the images that they send you are so heart-wrenching and, and I just go, wow. I would never have known that if I hadn't auditioned. So I always try to look at the positive. [sings] "You gotta accentuate the positive." And um, yeah. I know everything is a song for me. It's really ridiculous. It's just what it is. It's a song or it's a jingle. Anne: Right? I think of you now every time I climb in my studio and I'm singing, and I'm like, yeah, I bet Pilar's singing right now. She's singing the audition. But -- Pilar: Yeah, pretty much. Anne: -- I always like to go at auditions with a strategy, right? Pilar: Yeah. Anne: I try to do something that I think that nobody else will do because in my head immediately, right, when I read the script, I'm hearing something that maybe I've heard on television before. I've heard a melody. And again, I want to make sure that I'm selected for the job. I want to get the gig. So I want to really figure out how I can be unique in that audition. And that's what most people say, what's a good strategy for auditioning, well, bring yourself to the party, do something unique, because casting directors and by the way, for anybody who's never cast before, I strongly encourage it. If you guys have an accountability group or you work out with peers, run your own casting. Because that will help you to understand what casting directors go through. I literally -- only takes one, one example, one test where you're listening to maybe a couple, even 20. Even if you just listen to like 20 auditions in a row for the same piece of copy, you're gonna find things that stand out to you and things that don't. Pilar: It's so interesting because I had the opportunity, I had to cast, uh, something, but it wasn't for a voice at all. It was for some artwork. And I was very specific, very specific in the directions. And I had this one person who basically fought me every step of the way, because we could have that interaction, which you don't usually have when you're doing voiceover auditions. But he would ask me questions and I would answer them. And every time -- I would say, this is what I need, I need one sketch. And then he would go off on a tangent and present 10. And I was like, did you not read the directions? This is what I want -- Anne: But no. Pilar: But no, exactly. And so it's -- I think the one thing that I learned from casting is casting directors, they are looking for you. They are looking for your voice, and it may not be in this particular audition or in the next one or in the next one or in the next one. But they are looking for you. So you need to present your best work and think of that. Anne: And impress them. Pilar: And impress them. Not by trying to please them, because that's another big trap that people fall into that I've fallen, fallen into so many times. Anne: What a good point. Pilar: It's not about what do they want? You know, it's like when they say we're looking for a Scarlett Johansson or Sigourney Weaver type, which I get all the time -- Anne: Yup, yup, me too. Pilar: -- they're not looking for Scarlett Johansson. They're not looking for Sigourney. It's for an essence. Anne: Right. Pilar: So watch her movies, watch their movies, listen to them. You don't need to ape them. You don't need to try to copy them exactly. But listen for their attitude. And you have to develop that attitude when you go into the booth to record. Now, everyone has a different strategy, right? Like some people print the auditions. Some people just underline, they bold. Some people just do it. Boom. They just go ahead and they go and they read, and they read a couple of times. Whatever it is that your process is, you want to try different things. You know? So you want to maybe read it a few times or maybe walk around with it. And I think in an earlier episode we mentioned singing. Anne: Of course, sing it to get you into a different frame of mind. Pilar: Exactly. Or do it like in workouts. When I do animation workouts, our teacher will say, okay, do it as if you were Cruella de Vil. And it's completely opposite, you know, and you're doing like the straight commercial copy for Charles Schwab. But when you get out of yourself -- Anne: As Cruella. Pilar: -- as Cruella, and then all of a sudden, you dive into the copy again, and it's a completely different read. Anne: Going back to the one point, which I think is almost possibly more important than, than your voice, and that is following directions. Pilar: Yes. Oh my God, yes. Anne: I wanted to revisit that. I wanted to add some commentary to that, understanding that I do some casting myself and also work with students. And so I have a number of people that I'm working with at any given time, so that when there are instructions on how to do something and perhaps where to put the audition, how to name the audition, and then there's a naming convention. Oh my goodness. That is so, so important because here's what happens if you're not following directions. First of all, I can't find your file. And if I can't find your file, I'll spend all that time, if I'm with you as a student, searching for that file, and that's your time that you've paid me for. So number one, you're kind of digging into your own time, if I cannot find the file that I've asked you to present. And also if it's not named correctly, it's not going to show up correctly in my computer. So again, I'll be hunting for something and taking up time that you have paid me for during our session. And/or if I'm casting, you've just taken up my time. And just at that point, because I've already asked you to do something, and you didn't follow directions, then I really have -- I've got a taste, kind of not a good taste in my mouth of you as an actor. Right? Pilar: Yeah, there's more of a possibility you're going to ignore the, the audition. Oh my God, fine. Whatever. Anne: I'll toss it right out the door. Sometimes it really depends because I could have 200 people, 300 people vying for that. And the people that have not followed directions, right, if I can't get to that audition quickly enough, or if I've specifically asked for something, and you've not been able to show that you can follow directions, well then how do I know you're going to be able to be directed? And that is, I want to say one of the biggest things. I think when we're auditioning for our agents and we're doing the job of auditioning, we're imagining what it sounds like, and we're trying to please, like you were mentioning before. We're trying to please the director is, this is what it should sound like. But in reality, we have to showcase so much more than that. We have to showcase our acting ability because what you hear in the commercial, when it finally runs, may not be what you auditioned with. And trust me, I think more casting directors are looking for the actor and not the sound that's in your head that you're mimicking. Pilar: Yup, yup, right. Anne: So they want to see that you can act and whether or not they direct you to that same audition in the final spot, if you get it, that's neither here nor there really. So -- and I heard a very well-known agent the other day that said, what you hear on TV is not necessarily what got you the job. Pilar: And something else, I mean, my agents are relentless when they say this, and they get this from the casting directors. I've been out here for almost three years now. And it amazes me that I still see the same language, which means people are not following directions. So when they say do not slate, we don't want anything. Don't start talking about yourself. I'm like, are you kidding me? You're sitting there talking about where you're from and you're trying to sit there and interact with the people who are going to hear it. Right? Anne: That's people trying to make things unique. Right? Pilar: Yes. Anne: So, yeah. So you've got to be careful, when all of the good advice is make yourself unique, that doesn't mean making yourself unique when you're not following directions. If people say, please don't slate, don't slate. That's not going to make you unique if you slate. So follow those directions. And then when it comes to the actual copy, then yes, I would say, be creative, bring yourself to the party and showcase your acting skills. Because a good casting director is going to be able to hear that like from note one, from the very first word. They're going to be able to tell if you're a great actor. And that is something that is attractive because when it comes time to actually laying down the spot, I mean, if you're lucky, they'll use your audition. But if they decide they want to lay down the spot later on and live direct you, they know that that's going to be a thing that they can do with you. They can direct you, you can be directable. So that is super important and follow all of those instructions. And you know what? Don't, don't follow the instructions because that way I'll have a better chance, right? That's the way I think, you know what, fine. You don't want to follow directions. Cool. Then my audition gets listened to and yours doesn't, so. Pilar: And here's something that's really interesting -- exactly -- that I learned actually recently, when they say, be creative again, you label. You slate or you don't slate. Within the boundaries of the competition itself, when you're auditioning, you can go ahead and be creative, but here's something -- there's a caveat to that. There might be like ums and ahs. You know, you, you can do something straight for your first take and then do a second take. And you want to be careful that one is different from the other, because you don't want to send them almost the exact same take. 'Cause then they're like, well, what's the difference? So if you have something that you think you can offer to them that is going to make them slow down and go, oh, okay. She can do this now. Or he can do this. Great. If you don't, just give them one take. I took a class the other day with a SAG-AFTRA foundation, SAG-AFTRA union members listening to this. There's some great free webinars. I heard this voice actor who's also casting director talk about -- he asked us, okay, who is the person who makes the decision? And there was a bunch of categories and the agent, the casting director, the producer. Nobody got the answer right, which was that the copywriter is the one who makes the decisions. Now that is open to interpretation. But I thought that that was really interesting. Anne: Oh, that's very interesting. Well, the copywriter is hired to write that voice in his head. Right? Pilar: Exactly. Anne: Represent the brand. And so I've always agreed. If you can get yourself into the copywriter's head and understand where they were, and you can figure that out and audition with that in mind, because it's going to fit nicely into the spot. 'Cause sometimes, you know, the spot, you know, has the video been completed. And the last thing they're doing is putting in the voice. Is there a scratch track already there? We don't know these things. Sometimes we have a storyboard. Sometimes we don't. I can't tell you how many times I've gotten an audition where there's absolutely nothing with it. There's no storyboard. I look at it and go, my goodness. What is that even about? And that's where your, your initial investigation into the brand, if you know what it is, can really help. Google is your friend, and that can really help you to understand the brand and how they are selling to their current clients, their potential clients. So that can help give you an idea. But I love that, like, who is it that hires you? Because that's such an interesting perspective because is it the copywriter who wrote the piece of copy? Is it the casting director, right, who is casting the project, or is it the client? So let's send in our audition, right, to our agent. The agent then shortlists us or not. Right? I don't know. It depends. You don't necessarily know if that audition got sent out to five of you or maybe 250, although sometimes that's easy to tell with certain agents where it seems like it's a big cattle call. But sometimes your agent and, and I'm sure, depending on the agent, if they know you very well, they're going to send it out to just a few people that they know would be great. So they've already in a way cast, right, yo…

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    BOSS Voces: When Things are Slow May 10, 2022
    Show notes

    Although we wish it were true, companies don't need VO produced 365 days a year. So what do you do when things are slow? Anne & Pilar have learned that the ebb and flow is all part of the biz. The amount of auditions you receive is not indicative of your worth, but it does feel good to be busy. Filling your time with classes, coaching, and market research during down time can prepare you for when the busy season comes again, but slow days can also be times to relax + restore your hard working voice, mind, and body like a true #VOBOSS. Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast con Anne Ganguzza y Pilar Uribe. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and I am super excited to be back with special guest cohost Pilar Uribe. Hey Pilar. How are you today? Pilar: I am good, Anne, and it's, uh, it's a little slow today. Anne: Yeah. You know what? That happens in our industry. We have days where, gosh, every time I turn around, there's something else to do. And I love those days. They're crazy days. But then there are days when it's slow. Back in the early days, Pilar, I used to like question, oh my God is what's happening? Like, should I get out of the industry? Like I haven't heard from any of my clients. I didn't book any gigs today. So what do I even do? So that would be a good topic for discussion today. Pilar: It's funny because I think that voice actors tend to equate their worth with the amount of auditions they get, which has absolutely nothing to do with them. Anne: auditions and or jobs too. So don't forget about that. Right? 'Cause they're like, oh my God, it's been slow. I haven't, I didn't book anything. I didn't get any auditions. What am I doing wrong? Pilar: Exactly. And it generally, it has nothing to do with you. There are things that you can do of course, but just remember that it's not necessarily a reflection on your ability. It's just sometimes it's the wave of what the market is doing. Anne: Yeah. The wave of the market. Pilar: I mean, there, there have been so many waves when people didn't know what was happening. And so clients and companies are still trying to figure out where to put their advertising dollars, and then that's when you see, well, what's happening? Why isn't, why isn't this coming in? Anne: I know and then you immediately blame it on yourself. Pilar: Immediately. And that's so that's so unhealthy. Anne: Yeah. It's a good thing to remember. I tell people because we do our BOSS advertising, the BOSS Blast, and a lot of times it really comes down to like what you said about the market. It is so true. We are driven by the market, right? When the market needs voiceover, they buy, not that they're not going to completely not need voiceover any given day, but there are waves. And it's always good to remember that if you're getting auditions, or you're submitting to any particular clients, corporate clients, if you're doing your own marketing, a lot of times any one particular company doesn't need a voiceover necessarily every single day. They're advertising. I don't really know one company that's advertising every single day, like hiring a voice talent. Sure, they're advertising, but it might be print. It might be email. It might be social media. They may not always be hiring a voiceover talent every single day. So remember when you send that email or that advertisement or that email for your services, remember that not every company has a new commercial every day or has a new e-learning module to do today. And that has a lot to do with offers that may come by. It just may be a whole timing issue. Pilar: Yeah, exactly. And so when those days are slow -- Anne: What do we do? Pilar: What do we do, exactly. And so one of the things that you can do is look at the business of where you are in your voiceover career. Are you sending out emails? Are you -- Anne: What's your marketing plan? Pilar: What's your marketing plan? Are you being top of mind for certain people, without being a stalker, 'cause that's something that we have to be really aware of. If you've had a client that you worked with, let's say a year ago, and you haven't heard anything or you got a new demo and you can say, hey, I just did a spot and I have a new demo. There's certain things that you can do during the slow time, during the let's say holiday times or the winter or the summer months. I was just thinking about this one very specific, slow time of the year is let's say Christmas through New Year's -- Anne: Yup, yup. Pilar: -- because nobody's thinking about that. Everybody's dealing with their Christmas presents or their Hanukkah or whatever they're getting into. Anne: Well, the majority. Pilar: The majority, true. If you're not religious, that's fine too. Anne: Yeah. International clients might be working. So there is that. Pilar: Right. Anne: Yeah. But generally slower. Pilar: It's generally slower because people don't have that. They're getting together with their families. They're planning trips. They're not necessarily thinking about the office work, and it's also end of year. So everybody's wrapping up their financial business. Anne: Well, yeah, and anything that is needed for the new year, or to end the year for the holiday, for example, any holiday advertising, hopefully they've taken care of that months before. Right? And so during that end of the year, they're hopefully planning for what's happening, you know, in the beginning of the following year. Pilar: Right. But they're not concerned with, oh, I need to hire this. They're not necessarily as concerned as they would be let's say in a heavier year for that particular company, that particular business. So it's a great opportunity to sit there and look at your plans. Anne: Absolutely, absolutely. Look at where you are right now in your career and what can you do to grow? It's the most opportune time to market yourself or figure out, if you're not marketing yourself, how you can start or how you can market your better. Pilar: Exactly. So what can you do, let's say, in those slow months? Well, you can take a class, you can work on your craft. You can look at your emails from people you've done business with, people you want to do business with, do a little bit of research. Basically we are so lucky that we live in this day and age of the Internet, because all we have to do is Google a company and see what their practices are. You can see that the health and the range of a company you're going after, you know, XYZ company, say, well, what is it that they're, they're going after? What are their spots like? What are their radio spots like? What are their TV ads? What is their marketing push, and see what could be interesting for you, let's say if you're, if you're looking at a specific company. And then when you're looking at your own stuff, everyone has a different style. Some people are really organized. Some people are not. People have, you know, little tabs that they do. They have spreadsheets. Some people are fly by night. I'm a little bit of both. I like to make lists, but I'm not necessarily a spreadsheet kind of gal. So I'll sit there and look at -- I have a very specific list where I'll look at, you know, who have I heard from? Who have I not heard? Anne: I think it's a really good time to, if you don't have a CRM or if you either invest in a CRM or take a look at your list of clients that you do have. I have a couple of different CRMs that I work with, one of them specifically because I do a marketing program, the BOSS Blast for other clients. So I am looking at that CRM and finding out, when is the last time I contacted this person, if they're not on the list to get them on that list. And I love what you were talking about in terms of researching companies that you might want to try to reach out to and contact and investigate like what's their market like? What are their new products? What is their form of reaching out to potential clients? That's one of the things that I always tell my students to do is, hey, if you want to be aligned with a company, go check out their website, sign up for their mailing list. I know I'm like, I have so much email. This is why I have like 900,000 emails that are unread, but I sign up for a lot of company email lists so that I can find out how they are marketing. And this is part of my ongoing research anyway, to make sure that I'm current and relevant in the corporate realm of things, because I do a lot of corporate narration. But that also is a very good reference for commercials as well, because companies have products, and they advertise those products. So not just for corporate narrations but for commercials and basically all sorts of voiceover applications for researching companies and finding out who they're reaching out to. Maybe they're now reaching out to a younger demographic. So what does that mean for you? So keeping that research kind of at your fingertips can really help you for when you're auditioning starts picking back up or your jobs start picking back up because you're going to be really relevant and current with trends. And I think that that's so very important that you do that, especially if you're in the middle of your career, and you may not be actively coaching with anyone right now. It's something that I do almost on a daily basis. It's market research to find out what are the trends, what are, what's getting hired? How many people that I see posting on Facebook or that are just starting off that say they don't watch commercials. Oh my goodness, no. You have to watch commercials. That's like your homework. Pilar: Yeah. I think that that is just such a goldmine that people I don't think realize. And that's part of your homework. That's, as much as it is doing research on a company, it's being aware of like big events throughout the year. Anne: Sure. Pilar: Like the Olympics. Anne: Yeah. Cultural impact. Pilar: Like the Super Bowl. Like the Oscars, all those commercials that come on, inform us what the industries are interested in right now. Anne: And why am I watching the Super Bowl mostly this year? For the commercials? Pilar: Exactly. I don't want to downplay the, the actual Super Bowl -- Anne: Oh no, I'm not downplaying, but I -- look, if your team isn't in the Super Bowl, of course. Do you know what I mean? It's not, I'm not saying I'm not watching the Super Bowl for the Super Bowl, but I also, as much as I watch the Super Bowl for the Super Bowl, I watch it for the commercials. Pilar: Exactly. And it's so interesting when there's a big event going on, you're going to see the different patterns. Like for example, if you're watching the Olympics or any Olympics or any big event, whether it's the Emmys, or Country Music Awards -- Anne: Advertising changes, yeah. Pilar: -- they are focused. They have a very, very specific demographic that they're aiming for. So it's really key as a voiceover actor to see who are they aiming for and what is it that they want, and then contributing as part of that. Because if you don't put yourself in that whole part of the process, then you're missing out on a lot. So it's really important when you do have time to think of yourself as one of the cogs in the wheel that's getting this done as you are, you're planning your financial and your email marketing throughout the year. Anne: And speaking of spending time on yourself, right, while things are slow, you can absolutely take classes. There are so many wonderful opportunities out there for educating yourself and furthering your performance, furthering your, your business acumen, all types of classes that you can take, acting classes. You know, improv, we were just talking, we had a whole episode on improv, which was phenomenal. But yeah, doing something that can help you to really get your performance kicked up a notch so that you're ready for when those auditions do come around again. Pilar: Yeah. And even, even something as simple as yoga, tai chi, centering yourself, all of that is so important because that just adds, it just gives you colors and flavors. So when you go and you do an audition, it's basically like having your own proper tools to be able to stand in front of the booth when the time comes. Because for example, this has happened to me over and over again, where I'll get an audition the night before it's due the next day, you have to come up with this accent, or you have know about this product. And I'm like, I don't know about this product. So for me, like what you're doing in terms of looking at all those emails, all the marketing, seeing how these companies work, it basically for our general knowledge, it's always, it's always important to be sort of on the pulse of what's happening. Because when the time comes and you have that audition, you have to be able to just produce it, just like that, snap. So whatever it is, whether it's a new accent or it's a new product, or it's a new idea, and you're like, okay, what is this? So that, you know, you quickly have to Google, you want to be Googling and you want to be interested and looking at the world, because that's going to help you when you're sitting there by yourself, in the booth going, what is this? Anne: Oh, yes. Look at the, I like that. Look at while you're sitting there waiting, look at the world. That's such a cool concept though. Really, get out there and look at the world. And you know, what I really love too is if you're not watching television and listening to those commercials, right, which gives you a nice, I think, pulse on trends in voiceover coming up and as they are, you know, you can also go to a really great resource on the web, like YouTube or ispotTV is amazing if you want to go check out commercials. And you know what's interesting, really understanding and really listening. You know, how many times I've gone to, I spot and you listen to a commercial. You're like, okay, in my head, I hear it this way. But in reality, if you watch it, and I noticed that you had mentioned this before is to listen with no image, right? Don't look at it, but just listen to the voiceover. And I think that's a really, really great tip. I want you to just listen to the commercial and listen to the voiceover because there's so many times where we think we hear something, but yet when you really sit back and listen without any visual, without anything else that's disrupting your focus, you're going to be able to hear those nuances. And those nuances are so, so important. A lot of times with students, I'll be like, okay, go check out this YouTube. And I don't want you to watch it. I want you to just listen to the voice and how the notes are happening and the nuances and the emotion as this piece progresses. Listen to the nuances of the voice and how they are responding and telling the story and emoting and tugging at our heart strings…

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    BOSS Voces: Know Your Worth May 03, 2022
    Show notes

    As a voice actor, you are often given the power (and burden) of setting your own rates. Now, where to begin? Anne & Pilar have been through taking low paying gigs, walking away from jobs, and even getting their way in financial negotiations. It all comes down to knowing your worth. Tune in to learn how to navigate price setting, negotiating with clients, finding strength in community, and getting paid as much as you are worth like a #VOBOSS. Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast con Anne Ganguzza y Pilar Uribe. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host, Anne Ganguzza, and with me today is very, very special guest cohost Pilar Uribe. Pilar! Pilar: Aloha. Anne: Hello, how are you? Pilar: I'm doing great today. And how are you doing? Anne: I am doing good. I'm doing really good. Except, ugh, I had a client that I had to let go the other day. Pilar: Why? Anne: Well, it was a new client that we were in a negotiation phase, and they wanted to kind of lowball me on a job. And it just turned out that what they wanted to pay, what their budget was, just did not align with where I am. And I was really standing tall and standing by what I'm worth. And I think that's a very valuable lesson that we should talk about for the BOSSes today is to know your worth. It is so very important. It's so hard to say no, to walk away from a client. Like it's terrifying I think for anybody starting out in the industry, right, to give up on an opportunity, especially when you felt like, well, I'm just getting started. I need the experience. Pilar: I wish I had known you when I was getting started, because I can't tell you how many times that happened to me. And it's interesting that you bring this up, Anne, because a lot of the times when we are starting out or let's say, you know, we've worked -- I did a lot of dubbing where the rates were standardized in Miami. Anne: So you didn't negotiate it. They were just, this is what we're paying you. Pilar: Exactly. So it's like, take it or leave it. And I was like, okay. But I think that voice actors sometimes think that there's something wrong with them because they don't know how to negotiate. And I think it's so important because this is such an industry where there is no standard set of -- there is a standard set of rates, yes, for the industry, but everybody offers a different price. So it really is up to you, the voice actor to figure out what it is that you are worth and to know how to negotiate. And so it's a skill that's learned. You may go into it, not knowing how to negotiate, but that doesn't make you any less of a voice actor. It's just, it's, it's a skill that has to be learned and it takes time. It's not something that happens immediately. Anne: It does. I think it's a skill that takes a little bit of practice. And I think you just have to be courageous. You have to be brave. And first of all, I want to just separate out, if you have an agent, the agent's job is to negotiate on your behalf, which is amazing. I love my agents who negotiate on my behalf. That's what they do. They get the work and then they negotiate the best price for us. And they're looking out for our best interests, hopefully for the most part, right? They're looking out for us getting the best price for who we are so they know what we're worth. So think about it. If you're put in a position where you are negotiating, and this job may not have come through an agent and you're got somebody that's inquiring on your website, I'd like to use your voice for this particular job, how much, that's where you have to stand firm in understanding that you are worthy of a fair market price, and a great place to go find out a baseline of rates is of course the GVAA, right? Who doesn't love the GVAA rate guide. There's also Gravy for the Brain. They have some good international rates there and SAG-AFTRA too. Pilar: SAG by the Numbers is the website. And I think that going to those different places gives you a gauge. So that will give you the confidence to be able to say, okay, this is how much I can command. Instead of taking the number out of a hat or allowing somebody to steam roll you. Anne: Yeah. It gives you a baseline. And I think too, the first time you say no, and then you're terrified, right, when you say no, or you walk away, and you're like, oh my gosh, I'll never get work in this town again. Because I've either made an assumption that is too large of a number, and everybody's laughing at me now because they're like, no, I can't pay that number -- that is part of the negotiation game, really. And you have to know that even if you're a beginner, you deserve as much as I do. I think we all deserve as much as the next person in terms of rates. Because there's so many new performers or new businesses, new voiceover artists that come to the game and say, well, I don't have the experience. You're not being hired for your experience. As a matter of fact, you're being hired for your voice and your performance. And your voice is just as worthy as my voice. So don't feel as though you cannot charge the same rate as I can. And I'm a big proponent of that because if you're not, and you're trying to undercut because you either feel you're not worthy, or maybe you just want to get the job, that doesn't do any favors to the industry either, bidding low. Because in reality, it's a market perception. I want to always bring it back to lipsticks or shoes. I have certain brands that I love, and I spend money for those brands. Let's say, maybe not lipstick or shoes, but yes, hair, but let's maybe talk tech, right? My Apple computer, my Apple iPhone. I buy brands and I pay the money. I pay the money. And so think of your voiceover business, the same way. I used to call myself Tiffany's. I don't go on sale. And I don't advertise my brand to be cheap. So anybody out here, you can do the very same. Now I'm not going to price myself out of, you know, I'm not going to be crazy high or anything, but that's where the rate guides come in handy. Right? You get a good baseline, and you take the chance to negotiate with a client. And most of the time, the best question that you can ask for this when you're starting in negotiation is do you have a budget? Okay? So if you're putting the position where they're asking you, how much would it cost? The best question to ask is, do you have a budget? Because sometimes their budget is a whole lot more than you thought. Um, that's happened to me multiple times. Well, I can't go over a $1000. Okay. I'll take that for a two-minute medical narration read. That's awesome. Yeah. I think I can make that work. That's what I've been known to say. And so it's a rule in negotiation that the person who mentions money first is usually the one that loses. So, so, there you go. So always have the question in the back of your head to ask if there is a budget. And then after that, if there is no budget, then go ahead and bid high or on the higher side of the range. Usually the rate guides, right, if you've looked at them, have ranges. Like a five minute corporate read could be $350 to $550 or whatever that is. Bid on the higher end. Because when you're starting a negotiation start high, because then the only place to go is not necessarily higher. Client's not going to say, oh no, let me pay you $800 instead of $500. Usually they're going to negotiate down. So pick the higher number that doesn't price you out of the competition like crazy and stand true to that. Because honestly, Apple doesn't care about, do you know what I mean? They're like your new iPhone is $2,000 or whatever it is, right? It's the price is that. And we choose to accept it or not. And so you as a business, same kind of thing. Pilar: Yeah. 'Cause it's like, when you go in and you buy a dress, and they tell you it's $100 or $500, you're not going to go and say, oh, can I buy $50 for the sleeve? No. Anne: Can I haggle that price? You might be able to haggle the price in some places, but not most stores that are retail. Pilar: Generally it's like, they're not going to sit there and give you half a dress because you're not going to -- Anne: At a garage sale maybe. Pilar: Maybe. Anne: Or consignment. You can negotiate those things down, but -- Pilar: We can start a trend, sleeves, just buying the sleeves. Yeah. But that's generally not going to happen. Anne: I'll take just the sleeve, please. Pilar: Exactly. Something, I think that's important though to mention is knowing your worth, yes, but also knowing your worth as to where you are and not trying to oversell yourself because I've seen this happen over and over where somebody throws out a number and then it turns out that they don't have a professional recording studio, for example. So there's nothing wrong with that. I mean, I know, I do know people who've actually worked with their USB mics. Great. So you need to be able to show your potential client, this is my studio. This is what my studio looks like. This is what my noise floor is. This is what my software is, everything. And then that way they know what they're dealing with instead of sort of projecting something that might not be true. Anne: I agree. But I feel that before you're in that position, right, before you're in the position of actually negotiating a job, you're going to make sure, hopefully, that you have a studio that can create great audio. But I totally agree with you there. If you're just starting out and you haven't had anybody evaluate that, that's one thing I think that's important, especially now, since the pandemic. We're all expected to have a quality space where we can generate great audio from. So yeah. Very important. Very important for you guys to know that. And yeah, you're right. There's that argument that demos don't necessarily showcase what your sound is like from the booth. I've actually known people to put sound files on their website. Here's what my booth sounds like, as kind of a precursor. And I actually think that's not a bad idea. I don't have it on my own website right now, but I actually thought about, here's a noise floor or here's a, here's a quick sample from my booth so you know what you're getting. Pilar: Yeah. Yeah. I think it's really important to show who you are, because just like when you walk into a store, you're seeing what the ground is like, the arrangement of the clothing, and the register, is the floor clean. So you want to be able to, since you are projecting a business out onto the world stage of voiceover, because you don't know who it's going to be reaching, you know, you want to have your office in order. And then that, that makes it just that much easier to be able to negotiate and to stand up for yourself. Anne: The presentation of a professional. I love that. Because they want to know that they're dealing with a business, right, that takes it seriously. Gosh, that brings up a whole other whole other side of things. So too like your website, right, you should have a domain name that is yourbusiness.com, anneganguzza.com. And that storefront should absolutely showcase who you are to the world professionally. A lot of times when I go to buy a product, right, online -- isn't that what we do all the time? Pilar: We Google people, we Google the product. Anne: We go to the website, we look at the -- if the website looks any kind of cheesy at all or not trustworthy, I don't buy. And so that's such a great thing that you brought up for people to understand that that helps so much in your negotiation, that you are representing yourself as a professional business. And I think it does help also in the negotiation process if, if you're known to be a full-time voice talent. If you're not, you don't necessarily have to state that. You just have to look like this is your business, and this is what you do. Sometimes I'll, if a customer's or a potential client is reaching out to me, I might throw in there full-time voice talent, just so they know that's all I do. Like I'm not, you know, doing three different jobs, and this is my business and this is how I make a living. So that's a -- what a great point that was, Pilar to present professional. Pilar: Yeah. You have to present yourself as a professional because otherwise, you know, you're not going to be taken seriously. You reminded me of when I was in my agent's office for the first time, and they were sweet as can be. And one of them was busy, and she was like, you know, don't pay attention to me because I've got all this stuff to do. Obviously she had a huge job that she had to get out at a certain time. And the only thing she said at the end, she piped up and she said, oh, we've looked at your website. We've listened to all of your material. Anne: Oh, don't you worry. Pilar: And I was like -- and it was just so interesting, 'cause I was like, oh, these people did their homework. So if somebody's looking at your stuff, believe me, they are checking you out regardless of -- Anne: Whether you know it or not. Pilar: Whether you know, but also it's, it's also a question of it doesn't have to be the fanciest thing or it doesn't have to have all the bells and whistles, just like a voiceover booth doesn't have to have all the bells and whistles. The important part is are you producing sound quality where you can literally hear where it's so quiet that you don't even hear a fish fart? I mean, I know of, I know this one very well known voice actor who does promos inside his car, and he is just fixed it so he's got the microphone, he does it in a certain way because a lot of the times he's driving, and he needs to do something. Anne: But yeah, he's not going to audition while he's driving. Just, just, just want to -- Pilar: No, no -- Anne: Just want to say that. Pilar: -- obviously, no he stops on the side of the road. He's out here and he'll have something from New York that's due at a certain time. He will stop on the side of the road. He's got his whole little preparation. I don't know what he does, but he's got a whole preparation. He does it. He sends it off. The promo gets aired that night. So it's really about, can you, you know, can you come up with the goods, and the goods are showing yourself, as you know, as I've been saying -- Anne: As a professional. Pilar: -- as a professional, this is, this is what my space is. This is where you can find my work. It's all here. It's all out on the table. It's, it'll be really easy to find. So you can hire me, and you can negotiate with me because I have all these parts of the puzzle. Anne: All the parts of the puzzle are together. Yeah. That -- absolutely. It's such a cool side piece that you don't think about, right, when you're talking about knowing your worth. I mean, understanding that you're prepared to deliver quality, audio qua…

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    BOSS Voces: Improv Apr 26, 2022
    Show notes

    Every script is the answer to a question. It's up to the actor to discover (and sometimes create) that question. In this episode, Anne & Pilar are here to keep you on your toes with improv techniques + exercises. They will teach you how to stay fresh with your reads, and - more importantly - why it's necessary to know the script, scene, and emotions for everything you read. Whether it be E-Learning, IVR, or commercial, you'll be ready to tackle it with authentic reactions + diverse copy interpretations like a #VOBOSS. Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast, con Anne Ganguzza y Pilar Uribe. Anne: Hey Pilar. I'm trying to figure out how to lead into today's episode. And I've been thinking about different scenes that maybe I could place myself in. So maybe I'll come at the introduction not like I've come at the introduction like people expect, so I want to do something different. So what are you thinking? Where can I start? Pilar: Where can you start? "Let's start at the very beginning. A very good place to start." What's that from? Anne: I'm on a mountainside. Pilar: No, quick, what's that from? Anne: No wait. Okay. I'm on a mountain side in the sun and I'm feeling like I'm very happy, and I want to sing because I dunno, I like to sing when I'm happy. Pilar: And you're twirling your arms. Anne: I am twirling my arms, and I'm going to not have a dress on with an apron. Okay. So, well, let's just put it this way. I'll have a dress on that really works with the twirl, but it won't have an apron on. Pilar: Nix the apron, okay. Anne: And I'm going to be young with long flowing hair. Pilar: Long blonde flowing hair. Anne: Yep. That's it. That's it. And there's going to be animals. Pilar: Okay. Anne: There's going to be, well, there'll be cats. Of course. Actually -- Pilar: How about llamas? How about llamas? Anne: Okay, cats and llamas I think go well, lots of cats. Pilar: Except that llamas spit. Anne: Yeah, but they're not going to spit on the cats. They're going to spit on me because maybe I'm not in tune. Pilar: You're going to ride off into the sunset on top of a llama. Anne: But then I'll make friends with the llama, and I will carry the cats in my arms and hop on the llama, and ride off into the sunset because I've had a wonderful morning and day of singing on the mountain side. Pilar: And you're singing "Do, a deer" at the same time. Anne: Yes, exactly. Wow. Pilar: That's improv. Anne: Hey BOSSes. That's improv with that said, hey, everyone. I completely was so in the scene that I forgot my introduction. Pilar: You forgot who you were. Anne: I forgot who I was for just a moment. So here we go. Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, up on the mountain, singing and twirling with my cats and llamas, along with my special guest cohost Pilar Uribe. Pilar, come to the mountain and sing with me. Pilar: "The hills are alive with the sound of llamas." Anne: -- "VO BOSSes." Pilar: "Llamas and VO BOSSes." Anne: So Pilar, that was fun. Pilar: That was fun. Anne: I think understanding and practicing improv can really, really help us in our performance and in our business. So I think we should have today's episode featuring improv, and talking about improv, and how can we better our performances with improv? Pilar: Yes. Improv is something that I -- it's funny, 'cause I've always been scared of it, and I've never really understood it, although I've done it most of my acting career without realizing it. It's just really funny. We improv all the time in our lives when we're talking. So improv is all about taking what somebody is saying and you keep going. It's that? Yes. And moment with improv. That's that's like the biggest rule. Anne: Yes, and. Pilar: Yes, and, meaning -- Anne: Yes, and, and then what happens? Pilar: And then you add onto the story, and the intent is to be positive always. I mean, unless it's a tragedy kind of a thing which improv is, is really about it's taking whatever that person gives you and running with it, however you're going to do it, so. Anne: Well, I think it needs to fit into the context, right? So if we're going to try to improv and get ourselves into a scene for a script that already sits in front of us, so that maybe we can improve our auditions, right, there is some context to the script. Maybe we should just talk from genre specific right now, like commercial or corporate or e-learning, those types of -- versus character-driven spots like animation and video games. We can talk about that in a minute, but let's focus on the genres where people go in, and they have a commercial audition to get out the gate. Right? What is it that we're going to do once we look at the context of the script there, how are we going to work the improv into it? Pilar: What I've learned early on is it's so important to have a moment before. Anne: Yes. Agreed. Pilar: Especially if it's a product, let's say, that you don't know much about, or it's a storyline, let's say it's a medical narration, for example. And you're kind of, you know, what is this drug that has seven syllables? And I don't even know how to pronounce it. Well, you have to come in, if you're talking from a voice of authority, you have to come in with that knowledge. Anne: Right. Pilar: Now, you don't necessarily have to have knowledge of that particular drug. You can use something else that you have knowledge about. And then you set the stage by making up like a little sort of maybe 15-second play, which can be your lead-in which you don't have to record, but you're making the story up about this particular product and how it affected you. And you basically just start doing storytelling. Anne: Well, I think that's absolutely wonderful advice. And I think too, again, going with the context of it, let's kind of go with the medical, right? Because I do a lot of medical work, medical narration. I think it's important to know that in this storyline who you're talking to, and a lot of times people will, if want it to be conversational, they'll say something like, oh, as if you're talking to your best friend, but I think you need to go deeper into this, because you want to talk to a person that's genuinely going to be interested in that product because your task in most copy like that is either going to be to educate or to sell. So you need to be very clear as to who you're speaking with. And I think that that needs to come into your improv, understanding that let's say you might be a pharmaceutical representative, that's coming into an office and speaking to a doctor who might be interested in this particular medicine that might be able to help his patients. And so going with that, setting that scene and then improv-ing in that before you even open your mouth, because that will help you develop a point of view that makes sense and an emotion that makes sense and a voice that makes sense for that scene. Pilar: Yeah. Yeah. Very true. And what you were saying, which ties right into that is the more specific you are, the better. Anne: Yes. Agreed. Pilar: A lot of the times, if you're doing medical copy -- let's say you've got the job. It's not like you're going to rewrite it or change, necessarily change the words, but you can give it a little bit of flavor by imagining different scenarios while you're speaking. Anne: And thinking of different subtexts too. Pilar: Yeah. Even like, you know, breaths or -- Anne: Rhythm. Pilar: Yeah. And just like little inflections that aren't necessarily in the script itself are going to give it a different flavor. Anne: I like that. Pilar: Yeah. So because it can't be all about the reading. It's -- there has to be -- a lot of people say, oh, well, you know, they, they won't let me improv. And it's like, it's not necessarily, it's about using those moments of improv where you can just kind of give a little inflection here, do a little something over there. Anne: Absolutely. Absolutely. Like that scene is playing while you are voicing the script, right? There's a scene that's playing. And so that improv, it doesn't necessarily have to come out in words, right? The improv, like you said, can be in breaths. It can be in rhythm. It can be in, again, if it's a medical narration and you're informing somebody about the capabilities of the product, right, it can be that subtext where maybe you're looking at the person that you're speaking to and they're not quite understanding. So you become more confident or you've slowed down on that explanation a little bit more. And so the subtext is, let me help you understand better what I'm saying. And so that improv comes into your scene, as you are voicing and into the storyteller, the sell of the spot. It really is something that I think adds a really nice layer and a realistic, authentic layer to when you are voicing. And this, by the way, does not allow you any time to listen to what you sound like. Again, I say this over and over and over again. Right? You cannot listen to what you sound like and say, oh, does that sound like they want it? No, you have to be in that improv, that story, in that scene, and really being there and telling the story. Pilar: I just want to clarify something for the VO BOSS warriors, that everyone thinks of improv as Second City or Saturday Night Live, but improv, you can use some of those rules and those tips of improv to give your script a different flavor, whether it's medical narration, whether it's e-learning, whether it's even, let's say, IVR, and you're saying, you know, "please hold." You know, you don't have to sound like the mechanical thing that you've always heard. If you maybe make a joke to yourself right beforehand, or you imagine something very specific. Anne: Imagine the person that's picking up the phone and listening to you and they're angry. Pilar: There you go. Anne: Because they want to speak to a person, right? So you're in that scene, and they're screaming at the other end. Right? And you're like, "thank you for calling. Your call is important to us." So as they're screaming, so it can change your voice. Right? It can change the way you're responding in a very interesting way, because I always used to say that I love telephony because I imagine that that person is on the other end of the line, and that they're not happy and they're concerned, they want to get to somebody quickly. So I actually will speed up a little bit. As long as I'm articulate, I'll speed up. I'll be kinder. And I'll try not to be that annoying sound at the other end of the line that I even get annoyed with. Pilar: Yes. Yes. And the important thing is specificity, which you've just mentioned. It's just to be as specific as possible. Anne: Right, because your message, when you're, that let's say telephony, right -- and this is crazy. We're talking about improv with telephony and medical narration, like the two genres that nobody would think, right, that you would use improv with, but think about telephony for a doctor's office, right? People are typically, they're not feeling well, or they're calling for maybe a member of the family that's not feeling well; they're upset. They could be nervous. They could be scared. And so that puts a different light on how I'm going to voice my message, right? Versus maybe a party store, you know, so understanding that scene and who you're going to be talking to again, is paramount. It is so important to get yourself in that scene and then play that scene before you even start talking. Because again, that helps you hit the notes. It helps you hit the emotion, the point of view that you need to be in once you start voicing that copy. Pilar: Yeah. Yeah, absolutely. All true. Anne: Let's talk about a commercial, commercial genre, right? Pilar: Okay. Anne: Because I think a lot of people think that might be more resonant with them. It might come to them simpler if you're thinking about a commercial, because there's, I think there's more realms of scenes that can take place. There's more emotions that can take place. It could be a funny commercial. It could be a serious commercial. It could be all different types of commercials and scenarios that are, and you have to create that scene and improv your way into the voicing. Pilar: And here's the thing. If you listen to actors, when they talk about the roles that they did, when they admit, they say, well, no, actually it was all scripted, and you sit there and you go, oh, hey, how did they do that? It looked completely improv. That's because they had a very, very specific pre-life into going into the scene. Anne: Oh yeah, absolutely. Pilar: Since as voice actors, we don't have to memorize. We've got the copy right in front of us. We can mark our script up. We can imagine a scene beforehand. There's always the moment before, you know, who, what, when, where and why you're talking. Anne: Right. Pilar: And then you bring those colors in. And this is something that I always think about too, when I'm doing commercial copy. And this is Mary Lynn Wisner taught me this, what is the answer I'm giving? There's always a question. So put the question before, and then you give the answer. Anne: Right. Act, react. Pilar: Right, exactly. And all those things being specific and question and putting yourself in the scene, let's say you're a Taco Bell. Don't just read the Taco Bell. Imagine you're sitting at a Taco Bell and you're looking at, at the menu and you're going, oh my gosh, the waffle. I mean, I don't go to Taco Bell anymore because, cause I will order that big, huge mother of a waffle thing. And it's so delicious and it's so caloric. So I'd like I have to stay away from them. So I like, I give that to myself once a month as like a prize. But if you focus on the scene and that -- Anne: Maybe you're eating that in the scene. And so you'll have a different reaction. Pilar: Right. You're chomping on it. And it's like, you know, the, the sour cream and the avocados just spilling down your mouth and everything, you know, and the more colorful details you give yourself, the more that's going to come out in your read. Anne: Absolutely. Absolutely. And, and you know, what's interesting is commercial spot, I think sometimes when there's dialogue, it makes things easier for the improv when it's a dialogue or first person written. I know that when I do dialogue spots for, let's say, e-learning characters in e-learning -- when it's a written dialogue on the piece of paper, I find that there are so many -- it's harder than most people think, because I'll find that initially people will read the dialogue instead of being in the dialogue. And that's where improv can really help you because set that scene. And what it will do is if you are engaged in…

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    BOSS Voces: Dubbing, ADR, and Audio Description Apr 19, 2022
    Show notes

    Do you know the difference between dubbing, ADR, walla walla, and looping? In this episode, Anne & Pilar cover it all. Since the pandemic, there has been a boom in content creation globally. Dubbing movies & TV shows into other languages, and creating audio descriptions for the visually impaired has made content much more accessible and given voice artists more work! Stay tuned for Pilar's experience with voice dubbing + Anne's tricks for lending your voice artistry to on-screen performances like a #VOBOSS. >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast, con Anne Ganguzza y Pilar Uribe. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza along with my very special guest cohost, Pilar Uribe. Pilar. How are you today? Pilar: Hola, Anne. ¿Cómo estás? Anne: Ah, tired. I am tired. Pilar. You know, why? Pilar: Why? Anne: Because I binged watched the entire season of "Succession" last night and ah, oh my gosh. Pilar: It's so good. Anne: So good. Pilar: So many cliffhangers. Anne: I know. Oh my gosh. Pilar: Yeah. I loved it. Anne: And I'll tell you what, sometimes I stay up later than my husband, so I'm always putting on subtitles. And when I put on subtitles, it makes me think of all these shows now that are coming out in streaming media, and dubbing, and ADR and all of these techniques that are coming out and really offering a lot of jobs these days to people in the VO industry. And I thought we should talk about dubbing and ADR for a little bit. What do you think? Pilar: Yup. Dubbing is very close to my heart. Anne: Oh my goodness, and it's just since the pandemic, just an explosion of so much content and media, and you have had some experience dubbing. I personally have not had much at all. I went to a training class on dubbing, but talk to me about dubbing because that's something I think you actively do, right? Pilar: Yes. Yes. That's where I got started in voiceover. Anne: Okay. Pilar: I did like two series in Colombia. There were animated, but I actually cut my teeth on dubbing. Dubbing is a skill like any other, and it requires being a good actor. Anne: Wait, back that truck up again and say that very important, right? When you watch dubbing shows and of course, what is the latest one? When people are talking about the quality of the dubbing, there is something that was recently released, and we don't have to name it, but there was talk about how the dubbing was not great. There was not great actors. So I think acting is so, so important to be a good dubbing actor. Pilar: Well, if you want to see examples of bad dubbing, just go to the Godzilla movies. Anne: Oh yeah. Pilar: It's hysterical. Anne: You're right. Pilar: Those are so funny to watch. But since Netflix has -- and HBO as well and uh, and Amazon, since they have entered the marketplace, uh, you know, over the past couple of years, and when I started back in two thousand... I guess I started dubbing in 2010, Netflix, wasn't really doing that much. They've been doing more and more in HBO, and Netflix is just all over the place. They have so much content. So one of the things that they look for is, yes, are you a good actor? Because you have to be able to portray what is being said in whatever language it is, whether it's, you know, German or Spanish or Portuguese, you need to be able to portray those same emotions. So it's kind of like, 'cause I used to actually teach dubbing. It's kind of like, you're like a one man band stand. You remember those little, those figures of the monkey where they have -- Anne: Yes, they play the tambourine. They play the drums. Yeah, absolutely. Pilar: All at the same time. Anne: You have to do it all. Pilar: It's kind of like being a drummer because if you look at a drummer, he's got one beat going in one arm, another beat going in the other arm, and he's got two different beats going in his, with his legs. Anne: Yeah. So Pilar, just to back up just a little bit, I want to make sure that, because we are going to talk about both dubbing and ADR, what exactly is dubbing? Let's just clear up the definition. Pilar: Yes. So dubbing is when you have got a telanovela, say, or a movie in Spanish, and they are speaking in Spanish. And they want you to put your voice onto that person's body basically so it sounds -- Anne: In another language. Pilar: In another -- in English, in English. So if it's in Spanish, they want you to dub exactly what they are saying in Spanish into English. Anne: Right. Or vice versa. Pilar: Or vice versa. Anne: Or any other language. Pilar: Or any, 'cause it doesn't matter. I mean, I've dubbed in Chinese, from Chinese to English, German, Swedish. It depends on the project. Anne: Do you dub mostly in English or in Spanish? Or both? Pilar: I actually do both. Yeah. I do both. Yeah. I do more other languages to English because that's what the demand is, but I definitely do a lot of times English to Spanish. Anne: Okay. Pilar: So basically when you walk into the booth, and you are given a movie or an episode that is in whatever language it's going to be, and I will say this, just because I speak Spanish and French, that doesn't necessarily help you when you're dubbing. Sometimes it can actually be a hindrance because you're listening and you're going, wait a minute. They're not saying exactly what they're saying in English, so. Anne: Ah, yeah. There's translation there. Pilar: Yeah. You do not have to know the language that you're dubbing at all for anybody who has that kind of question. Anne: We should clarify too, you said, when you walk into the studio. Now, this is typically done in a studio, right? It's not something that we can do remotely. Pilar: Yeah. I would say when we went through the past two years, and everybody had to go inside, there was obviously, it was only remote. So I did a lot of things remotely, but ideally they want you to be in the same studio because you are recording with the same mic and in the same environment. Anne: Got it. That makes sense. Pilar: And that's when it makes it really, really makes a difference. So a lot of times they would send kits out. Studios would send kits. So everybody would have the same exact setup in their booth. Anne: Got it. And you're talking about the same mic as what was recorded in the movie? Is that what you're talking about? Or -- Pilar: No, no, because this is voiceover. So, you know, whatever, whatever the movie is, you know, they have different mix for that. Although actually -- Anne: That's what I was thinking. Like they wanted to specify what kind of mic was being used. That's what I was. Pilar: Yeah. But that was, you know, more so for, for just voiceover. Anne: Got it. Pilar: So what's ironic is that, you know, the Sennheiser, it was originally a mic used on sets, but generally for dubbing, you know, they have their own extremely high powered mics. I mean, I was in a session the other day, and I was standing very far away from the mic technically 'cause here I'm, you know, I'm standing pretty close to the mic, and that mic picks up everything. I mean that mic picks up a burp. That mic picks up a little breath, and it's, it's just amazing. So yeah, they generally want you to go into the studio, and so you get there, you walk in. And of course now with all the protocols, everything is, you know, sanitized and wiped down. And usually you're asked to bring your own headphones. You go in and you watch a piece of copy, and the dubbing director will explain. And there's also the engineer. Anne: You mean you watch a video? Pilar: Yeah. You watch a piece. Yeah. So you've got the mic in front of you. You've got the video. And so you're seeing it in the original language. So you get to see it -- now, here's the thing. Out here in LA, you actually get a dress rehearsal. The majority, I would say 99% of the time when I lived in Miami, I didn't get a dress rehearsal. It was just like -- Anne: Oh wow, go. That's tough. Pilar: Get out of the stable and go. Yeah. Anne: Because you have to match the lip. Pilar: Right. And you don't know what's coming. So when you're doing a character, but because I was doing so much of it, what I learned to do is after like an episode or two, I would see what that actor's rhythms were. So then I could mimic and kind of go with her breaths and where she did sighs and where she stopped because I was always looking at her lips. But I also -- see, that's the thing. That's why I brought in the analogy of the drummer. So what are you doing when you dub? You are watching the screen. You are acting because you're doing what the other, what that character in front of you is doing. You are voicing, you're reading, and you're adding your own breaths. So you're also usually seeing the -- I mean, at least that, that was the case in Miami, not so much out here, but you're seeing the script for the first time. Anne: Right, right. Pilar: So you're doing all these things. You're employing more than one sense, and you're doing it without a dress rehearsal. Anne: Wow. Pilar: It's kind of intense. Anne: That's a lot. And I remember my class was just like that. I mean, we did not even really know the copy that was coming up when it was coming up. And we had not really, we did not have a dress rehearsal, so it's a lot of things to do at once. And so what are the prerequisites for you as a voice actor that wants to get into dubbing? What sort of things should you do if you want to make this part of your career to get good at it? Pilar: So the most important thing is listening, and observing, and putting yourself into that character's shoes for however long you are in the booth. So I played this character a while back, and it's out on Netflix now. And it's a terror series. It's literally terrifying. I said to my mom, listen, I'm going to give you the times that my character is there because I don't want you to see anything else because it's so terrifying. It's so, so scary. Anne: Oh, I'm gonna assume that you just did this one and that you had a dress rehearsal. So you had an idea of what the whole show was about. Right? And I think that that helps, right? Pilar: Well, rehearsal means you. Yeah. You get to see the scene, but you don't really know what you're getting into because you haven't seen the moments before. You're just looking at when you are speaking as a character. Anne: Got it, got it. Pilar: So it's up to you to -- Anne: Understand the vibe. Pilar: And not just that, but that's what I mean by you really have to be completely on because you are looking and you're listening at the same time. You're evaluating what that character is doing at that moment and why -- Anne: What happened. Pilar: -- are you doing it, right. Anne: And what might've happened beforehand so you can act, right? Pilar: Exactly. Yeah. And then you have to do it and you only get one dress rehearsal. So you have to be very acutely aware. You have to be present in the booth. So what they do is you'll do a scene on, they'll give you a pass of the entire scene and then you'll go back. You'll do another take or you'll do pick-ups. They do give you headphones. But if you have really good headphones, it's great to bring those with you. 'Cause you have to hear every nuance with that character -- where are they breathing? Anne: Now, are they doing sentences at a time? Or just periods of time when this character is talking? Is there back and forth between dialogue from other characters? Pilar: Oh yes, absolutely. Yes. Anne: They will do an entire, let's say three minutes of the characters going back and forth? So you have to also watch the other character and then react. Right? Pilar: Absolutely. Yes, exactly. And so here's the thing. Back in the day, I used to get pieces of paper, and then they switched to the monitor, and now there's this thing, that's, it's a band. And it was, I think it was invented actually in France, if I'm not mistaken. And it's a band that goes at the bottom of your screen, and most of the companies that I've worked for, the studios that I've worked for, they all use this. So it's a band, and it's in your specific color for that episode. So like my character, Anna, Anna's lines are going to be in green. They're going to have the highlight green. But then I'm also listening to the other characters and their lines are there as well. Anne: But not in green, obviously. Pilar: No, they're like in purple or whatever, but I have to be very aware of who's speaking when. Anne: So you have to look at the bottom of the screen, which has the band. Plus you also have to understand where the lips are happening and when they're saying it, so you've got to go, you've got to look from the bottom of the screen to the lips. Pilar: Yes, ma'am. Anne: And so that is fast focusing I'm sure. Pilar: Totally. Anne: And total focus and it's got to be exhausting. I can't imagine like when you're doing a dubbing session, how long are you doing a dubbing session for? An hour, two hours, five hours? Pilar: The standard time is two hours. Anne: Okay. But that has got to be an exhausting two hours sometimes. Pilar: It can be exhausting, but it's really exhilarating because you're in the booth, and I always stand. Anne: I can't imagine sitting when you have to be that focused and on top of things. Pilar: Exactly. Yeah, exactly. You have to use the whole body. But I rest, like when they're doing, when they're trying to decide between the dubbing director and the engineer, you know, do we do this? Do we do that? Um, and they're rewinding and they're trying to sync it up and everything. So, so that's when I can just take a little break, drink some water. They tend to be generally two hour sessions. I've done, you know, up to four. You know, it's, it's, it is work. It's a lot of work. Anne: But so now that you have the band that's running on the screen, right, do you have a copy as well of the actual script at all in front of you? Pilar: No, nope. Anne: Because I remember when I took my class, I had both. I had the script that was down in front of me, but I also had to keep my eye on the screen as well and the lips of the actor that I was dubbing. So it was a lot, but when they were doing whatever work they needed to do in the studio, I was kind of looking at the script coming up next so I could get a little familiar with it. Pilar: Yeah. It actually depends on the studio because there was a studio that did the paper. I don't know if they still do because you know, things have evolved in the past couple of years. It kind of depends. But sometimes you do, sometimes you do get a paper, which in a way is actually worse because you have to look farther down. I'd rather have it on the screen. Anne: Yeah. Yeah. I agree. Pilar: But whatever it is that you're doing, whether you have a piece of paper in your hand, or you're looking at it on a monitor, or you're looking at the stuff on one screen and the script on another screen, 'cause that also ha…

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    BOSS Voces: Move in the Booth Apr 12, 2022
    Show notes

    Acting is more than just using your voice. It requires whole body movement, agility, and engagement. In this episode, Anne & Pilar share their favorite stretches, exercises, and warmups that can be done in and out of the booth. From Pilar's jaw release warmup to Anne's neck stretch, by the end of this episode you'll be warmed up + ready to perform like a #VOBOSS. More at https://voboss.com/move-in-the-booth Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast, con Anne Ganguzza y Pilar Uribe. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza. And I am so excited to bring back to my booth, my special guest cohost Pilar Uribe. Pilar, how are you? Pilar: Hello, Anne. Anne: Look, I feel I'm very spry. I'm very spry today in the booth. And you know why? Do you know I'm spry? Pilar: Why are you spry? Why are you spry? Why are you spry, Anne? Anne: Because I did a little warmup, so I'm kind of feeling good in the booth. And I think it's important that we always do awesome warmups and move around in the booth so we can have good energy going forth into our voiceover. Pilar: I totally agree. Anne: Thoughts? Pilar: That that is something that I, something that I just did. Do as I say, not as I do. Try not to do what I just did, honestly. VO BOSSes -- Anne: Drink dairy? Pilar: Because, well, that's one thing. Yes, of course. I had dairy. I had yogurt this morning, so of course I'm all phlegmy. Anne: Me too. Pilar: That's not, that's not fun, especially when you're going to do an audition. That's not great. So drink your water. But one of the things that I was told by a professional is it's really bad to clear your throat. You know, like when people [clear throat noise], that is like the worst thing you can do. Drink water, wait till it passes, stop doing that. But that's literally like putting sandpaper on your throat. It's the worst thing you can do. Anne: Yes, I have heard the same, and it's very hard because I think it's like a habit from before voiceover. That would be BF -- BFO, before voiceover, before voiceover, when I used to scream and do all sorts of harmful things to my vocal cords, before I realized that we need to treat this like gold, because it is our livelihood. Pilar: Okay. I have one question though. Did you say BFO? Anne: Did I say BF -- Pilar: You meant BVO, BVO. Anne: BVO, okay, okay. I was thinking like best friend in VO. So I kind of combined -- Pilar: Anne, Anne -- Anne: Pilar, that's how I think of you. Pilar: Anne, will you be my BFO? Anne: My BFO. there's -- Pilar: Will you be my BFO? Anne: -- best friend, best friend in VO. So hey -- Pilar: I love it. Anne: So being best friends, I think I want all of our BOSS listenership -- they're our friends. And I think it would be a really great episode if we talked about how moving in the booth and how warming up and just physicality in the booth can really help us to perform better and just be better all around, better mental, spiritual, physical to improve our performances. Pilar: Okay. So since we are starting our day, Anne, I invite you to do something with me. Anne: Okay. All right. Pilar: We're going to do it all together. Anne: What is this, a warmup? Pilar: This is a warmup exercise. It's a jaw release. Anne: Oh yes. Pilar: Which we don't even realize half the time how much tension we're carrying in our jaw. Anne: You know what's so funny, that I actually really need this because the other day, I woke up, and my ear was hurting, but it wasn't like an earache kind of hurt. It was an ear hurting because I might've clenched my jaw at night. And I, I know so many people that clench their jaws at night, and anything to relieve this ache in my jaw will be very helpful. Yes. Pilar: Okay. Cool. Anne: I'm ready. Pilar: All right. So I want you to place your palms on the sides of your face. Okay? I'll hold it on my headphones. You can still hear me, right? Okay. So you're going to place your palms on the side of your face and slowly massage the jaw and the cheek muscles. Okay. So you're taking the palm, and you're massaging the jaw line up and down the jaw line and also your cheekbones and, and with small circular motions. Anne: Good for when you have sinus issues too. Pilar: Yes. Anne: Or you feel it. Can you hear me going, can you hear it? Like, I'm very close to the mic. I am in circular motions. Pilar: So you can, you can go all the way up to where your cheekbone is and massage there, and you can go all the way towards the ear. Anne: Okay, BOSSes, you're doing this, I hope you're doing this with us, BOSSes. Pilar: Absolutely. Just try it. And then you go all the way down to your jaw line and go way up almost to your, your ear, almost to the ear. So continue to massage while lowering and raising your jaw. Now -- Anne: You're lowering and raising the jaw while you're doing this. Pilar: Yeah, so you're going, ahhh, in the jaw. Anne: Are we saying anything when we're doing? Pilar: No, not yet. Not yet. Just lower and raise your jaw. I can't speak right now. Anne: But you're my -- you're instructing us, so. Pilar: I am instructing you. Okay. Now -- Anne: I don't know if you can do it while you're instructing. Pilar: I will. You're going to hear it in a minute. So now keep lowering and raising your jaw while you're massaging. And now you're going to add the sound ma ma ma with a very light lip contact. So it's not, mmm. It's just a light lip contact for the mic. Anne: Now what is ] that doing? Pilar: And then you're going to change to whoa, whoa, Anne: Wait. I'm still massaging, right? Pilar: Yeah. You're still massaging, and you're changing from ma ma to wa wa. Anne: Oh, I can feel the vibration. Pilar: VO BOSSes, if you're doing this, you're hearing the resonance. That's really important because that means that you're using all those muscles. Anne: That's awesome. Pilar: We tend to think that we're just using the vocal box and that's it. And sometimes we can hear the chest. Anne: No, it's our entire it's like facial jaw. Pilar: Exactly. It's that whole, and it goes up practically -- it's like, like you're using all those muscles and all that movement there, and that will help your sound as it comes out. Anne: Love it. Pilar: So do you wanna try another one? Anne: Yeah, let's try another one. Let's try another one. Pilar: It's a lip trill. Okay. So this releases lip tension, which we tend to do and we don't even realize it. And it also helps you to connect your breathing and speaking. So place your lips loosely together. Okay? And you're going to release air in a steady stream to create a trill or a raspberry kind of a sound. So it's like [whistle-like breathing] Anne: That's a raspberry sound? Pilar: I'm not really sure what a raspberry sound is. Anne: [lip trill] Isn't that what it is, the trill? Pilar: But that's what I say -- yeah, yeah, yeah. But you can also do this. [whistle breathing] What is a raspberry sound? That is a raspberry sound, but it's like, what I'm trying to do is I'm trying to get the sound out without moving my lips, which is really cool. Hold on. [lip buzzing] That's a raspberry sound. That's a raspberry. [lip buzzing] So first try. So our microphone is getting a lot of action here. First, try it with an H sound. Then try it with a B sound. Anne: Oh my God, that tickles. Pilar: Yeah, it does, it tickles, right? Anne: I can not, I can not do it. It's like when the dentist does the teeth cleaning, the polishing, and it gets on my lip, it just, I can't. It makes me tear up. Pilar: So first try it with an H sound and then repeat with a B sound. Okay? And then [sound]. And it seems like it wouldn't be, but it is different. It's a different feeling. So now I want you to try doing the B trill. It can be either [lip trill] or it can be [lip buzz] and go up and down the scales. Okay? And whatever's comfortable. You don't have to go all the way -- whatever's comfortable at the top or the bottom. Anne: I really think for the trill, you have to let your lips just trill like that. Pilar: Because there's two ways to do it. There's [one way] which is more the H sound. And then there's the [lip trill]. Anne: That's easy. Okay. My lips are relaxed now. Pilar: Yeah. Don't they feel kind of like, they feel like you can kind of feel the reverberations. Anne: Well, once the tickle goes away, I'll, yeah. I'm not sure I can do this everyday 'cause it just tickles. I wonder if I'll get used to it. Pilar: Yeah. And there's more, there, there are other things, there's tongue trills. There's lip buzzing. We kind of did the lip buzzing, and here's one thing that's really important: humming. You can do this anywhere. You can do this while you're walking. Humming is really great. So [hums]. Anne: Oh yes. Pilar: So if you do humming and you concentrate, you will feel it in different parts of your face. Anne: Oh yeah, absolutely. Pilar: You will, you'll be able to feel it in your teeth, in your lips, and in your facial bones. So let's just try that really quickly. Just the humming. Anne: BOSSes are humming. Pilar: And if you go low, It's a different feeling from when you go high. And in your nose, if you concentrate on feeling it in your nose, you're going to feel all this vibration. Anne: Yep. I feel it my nose. And I think if you visualize where it's coming from, that helps, that helps. Now this is doing some vocal lip, trills, and hums. Now I also think any exercise around your head, neck, muscles, shoulders is very helpful in the booth. So I feel like I do a lot of the neck stretches where you take your right hand, place it on your left ear and tilt your head to the side. Right? So right hand -- Pilar: Hold on, right hand, left ear. Anne: Right-hand, left ear. Pilar: Is your hand over your head or is it under? Anne: It's over my head, over my head. And so as you breathe in through your nose for three seconds, then exhale, pull your head more to the right. Breathe in for three seconds. Hold it. And as you exhale, stretch your neck further towards your right shoulder. Breathe in for three and then exhale and stretch even further to your shoulder. And then you basically take your head and do on the other side. So take your left hand, put your left hand over your right ear. Pilar: I was doing it, I was doing it the wrong way at first. I'm like, she's crazy. And then I realized I was doing it wrong. Anne: Yeah. Breathe in through your nose. And then when you exhale, bring that head down towards your shoulder, toward the left shoulder. Exactly. Then breathe in again. And then as you exhale, bring it further towards your left shoulder. So you're stretching that neck. Pilar: Oh, that feels good. Oh yeah, you can feel it. Anne: Yeah. And then you can do that also forward. So take your hand, your right hand, put it on the top of your head, and breathe in for three through your nose and then exhale and then pull your head down to your chest. So chin to your chest. Pilar: Oh my God. I can feel it all up and down the back of my neck. Anne: So yeah, those muscles around your neck, when you warm them up, right, your vocal cords are right there. So it's super that that's warmed up as well. And in addition to the physical, like, and I also do head rolls, right? So from left to right, roll your head around the back 'til it reaches your right shoulder and then back again towards your left, and that will help you to relax those muscles around your vocal cords. Pilar: Okay. Very important. Yeah. And one other that I will suggest is interlocking your hands in front of you and then twisting them and pushing your palms out. Anne: Oh, forward, yeah. Pilar: Forward. So you're stretching those, those shoulders. Anne: Shoulder muscles. Yeah. Pilar: And then you can bring them up and, and then, and you can actually pull your left -- Anne: Over your head, right? Pilar: Over your head and then pull your left wrist with your right hand and then go to the right. Oh. And you can feel all up and down the arm. Anne: And so you're stretching to the left. So you're doing that -- Pilar: Your side. Anne: Yeah. You're doing a side stretch. Pilar: You're doing a side stretch. Right. And you're doing, yeah. And then you go to the other side. You can feel all the way up and down the side of your body. Because when you're in the booth, you're using everything. I know that a lot of people sit in terms of moving in the booth. That's an important part of this. People ask me all the time, do you sit or do you stand? And it's like, I do both. It depends on the read. However, whatever it is that you do, make sure you don't -- if you're standing for a very long time, make sure you have a chair that you can sit. And if you're sitting for a long time, make sure you get up, move around, touch your toes, raise your arms up, you know, lift your knees a little bit, because sitting or standing in the same position for a very long time will lead you to feeling tension and -- Anne: Exactly. Pilar: And so, you know, it's like, you want to be flexible. You want to be easy. Anne: So we've warmed up, and we're moving in the booth as we sit. And literally this takes a few minutes. You don't even have to spend an hour doing this, but every little bit helps. And I think that not only just warming up in the booth by moving around, 'cause now I'm like, wow, I've got some heat going on in this booth. Maybe you do it outside the booth if you don't have any ventilation, but wherever you do the, the exercises and the movement, the lip trills, and the head rolls, and the neck rolls, and all of the side stretches, that's wonderful before you get into do your auditioning for the day. And once you're there too, you can physicate while you're performing your script. And that actually is something that I tell my students every single day, get physical behind the mic. Because number one, it helps you be much more believable because it's taking away all of that energy that you focus specifically just on the words coming out of your mouth. And a lot of times that doesn't make things realistic because if all you're moving is your mouth and your vocal cords, things become very consistent, right? There's no other energy coming out of you to kind of move or shape a rhythm. That would be something that we do when we're talking to one another, right? When we talk to one another or we converse or we're interacting with other people, which is kind of what you're doing with your audience behind the mic, right, you're interacting with people, you're moving your arms. You're moving your body. You have facial expressions. There's all of this movement happening behind the mic or behind your voice. And that helps us to sound the way that we do. I mean, it, it has every bit of influence on how we sound. So if I'm just standing or sitting or standing here and I'm just here, I'm just moving my mouth and that's what I'm doing, you can notice tha…

    Full show notes at the publisher

    BOSS Voces: Tax Season Apr 05, 2022
    Show notes

    A peaceful life is one where your work and personal lives are balanced yet separate…but how does that translate to finances? Anne & Pilar have done it all: from TurboTax and nerve-wrecking audits to having an accountant on retainer. There is no one-size fits all plan for business finances, but keeping things organized + separated is a good start. Be ready to evolve your strategy as your business does and tackle tax season like a #VOBOSS! More at https://voboss.com/tax-season Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast con Anne Ganguzza y Pilar Uribe. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host, Anne Ganguzza, and I'm excited to welcome back to the podcast very special guest cohost Pilar Uribe. Pilar: Hi, Anne. Anne: Pilar, Pilar, I, ugh, it's that time again. Pilar: It's tax time. Anne: Pilar, I think this might be the time of year where every voiceover artist entrepreneur says, oh, 'cause we got to start the process or at least forms are coming in. We're gathering receipts. We're doing all of that good stuff to prepare for the tax season. Pilar: It's a communal flip-out. Anne: Yes, it is. Pilar: It's a hootenanny of flipping out. Anne: It is. And it's always like, oh God, I don't want to, oh. Or I want to just get a nice refund. And it's been kind of crazy with the extension last year with the pandemic and things got all out of whack, but I'll tell you, I've got a few things that I've learned along the way that may help BOSSes out there. And I'm sure you do, Pilar, may help you guys when it comes time to getting ready for tax season. Pilar: You know, I think the most important thing, Anne, is to start looking at what you've spent, how you've spent it, how you've earned it. And you know, there are people who are listening to this podcast who are going to say, oh yeah, I've got it all together. And then there are people who are just beginning their career. And so for those VO BOSSes, whatever stage you're in, it's really important to, to start it. And it doesn't matter if you don't have it all together because every single person started out not knowing what they were doing. Anne: But, but I will tell you what helped me immensely right away for my business, whether I was part-time or full-time. 'Cause I started and I did a couple of years part-time before I went full time, was getting a separate bank account, a business bank account, so that I could separate the monies that I was using for my business in and out. So that was the single most important thing I think I started, I mean, outside of researching, do I create an LLC? Do I create -- I actually started as a DBA. Do I create an LLC? Do I have an S Corp? And I think for everyone that is just starting, that's something that you want to research. You may not need to start an LLC right away, whatever it takes. I guess it depends on -- it does depend on the state. I only required a DBA when I first started. So that's what I did. And I followed the rules and did what I needed to do. Got my DBA, and made sure I had a separate bank account so that I could account for all the money coming in and flowing out as well. Pilar: Yeah. I completely agree with that statement. So here's something that I did. So all you VO BOSSes listening out there can do the opposite. I did actually, because my bank gave me that option. I had my regular checking account and my business checking account. Anne: And you didn't have to have a DBA or a -- Pilar: No. Anne: -- something that proved your business? Pilar: No. This was when I first got to Miami after Colombia, and it was, um, Wachovia, which is now Wells Fargo, but they, they just offered that and I was like, sure, I'll take it. So it was two, two different savings accounts, two different checking accounts. But here's what I didn't do. So I really wanted to get my frequent flyer miles. So I thought I'm just going to use my regular credit card for everything. Big mistake, big mistake. So I, and I didn't do it until relatively recently that I got a separate credit card for my business. So nothing that I put on my business has anything to do with my private life and what I do when I'm buying groceries or whatever has nothing to do with what I put on the expense credit card. And that is so important because what ends up happening is if you say, oh yeah, I can just put everything on one credit card and then I'll divvy it up at the end of the year, like right now, then you're just basically pouring over and over through all your statements and it becomes a nightmare. Anne: Well, that's just as bad as not having a business bank account. Pilar: Yes. I agree. Anne: And it could be worse because you tend to spend more on that credit card. Yeah. A business credit card is, I absolutely agree, one of the best things that I ever got, and you know what, I limited it to one. I actually went with American Express, and most, most places take American Express. So if I'm going to buy equipment or I'm going to make an investment, buy office supplies, whatever it is, office supplies, nice mics by the way. Those are the office supplies, Hey, a new studio, nice. Everything went on that business credit card. And it was so easy to categorize, because a lot of times they do that for you. And the other single most important thing I did, and I say this constantly, so if you guys have listened to at least one VO BOSS episode, you probably know that the accountant was the best thing I ever did. I have her on retainer. So every month she balances my accounts. She's very familiar with my company's spending and ins and outs. And we meet every other, once every three weeks or so to go over things. And she keeps my books up to date and that makes tax season super simple. Pilar: Right. Instead of a huge headache where your, like, heart is palpitating every day -- Anne: But I have had that happen. Pilar: -- which is what used to happen to me. Anne: I have had -- Pilar: Oh, I had that for years. Yeah. Anne: And it was one of those things back -- remember when there was paper with paper receipts. I mean, I'm kind of happy now that things are electronic and at least digital, because it's easy to go recover those receipts because remember when you would put those receipts in the box, and they would be those thermal paper receipts. And so at the end of the day, they would all like wear off and you're like, what did I even buy? What is that number? What does that say? So. Pilar: What a nightmare. What a nightmare. Yeah. Or you write something in pencil, remember the days of pencil, and then you can't read your writing for crying out loud. Anne: Yeah. Yeah, so I would say first tax tip is figure out what your business is. And I always say if after you make a certain amount of money, yes, you need to like incorporate. You need to look at options for your business. But I was a DBA for quite a number of years, actually, Pilar. And it served me fine. I didn't have to pay a ton of money, and up to a certain amount, if you're not making over a certain amount of money, it worked really well for me. I did have to start prepaying taxes. But again, that helps when you have an accountant on your side, that's helping you do your books every month. And once I started making more money, I had to start making prepayments. And so I kind of evolved over the years. And then most recently I think you and I were discussing, and we can talk in a minute about that, I'm now an S-corp. So I pay myself and that becomes a little more complex. Pilar: Yes. Agreed. Now, just for those of you who may not know what a DBA is -- Anne: Oh yes. Pilar: -- what it means is "doing business as," so it is actually your registered, you register your name, your business name with whatever state you are living in, and you become like your own organization. So it, it actually, it really depends on the state that you're in because every state works differently. And so you create this entity, so you can have a way of collecting checks and payments. And then when people come to your business, you can give them that name, whatever it is. And that is your business name. You're not just Anne Ganguzza. You are Anne Ganguzza, a company. Anne: Yep. Anne Ganguzza is a company name, like Voice Productions. And so a lot of times that does a lot for indicating to your clients that you are truly a professional, and you're not just a hobbyist here. Pilar: Yeah. It's the official, it's official, it's an official registration of your business name. And that's really important when you're doing business and you're not just saying, oh yeah, well, yeah, it's like $.25 a word. And here -- you have to be able to present yourself as a business because we are a business first and foremost. Anne: And at the end of the year, right, or when you have to provide w nine forms for people, you can use an EIN number instead of your Social Security number, which is a big advantage. So that EIN number is your federally assigned employer identification, if I remember correctly. Pilar: Employer Identification Number, yes. Anne: Employer Identification Number. So you don't have to share your Social Security with every Joe that you work for. Pilar: Tom, Dick, and Harry. Anne: Yeah, exactly. Exactly. Pilar: Yeah. And that's also, that makes a big, huge difference further on down the line. Because I became an S Corp as well recently, just very recently, and this has taken me years and years to understand. Anne: Did you get help from a lawyer or an accountant or? Pilar: I got help from an accountant. My accountant is my go-to person. I have a relative, who's also a tax lawyer. So that helps. But really, and truly it's, it's so important. And what you say, what you were saying gives me a great idea too, is to really have a close relationship with your accountant. I don't have her on retainer, but that's a really good idea. I call her for anytime I have to sign a paper that my agents send me. I always call and I check with her first. So we know what it is that I'm getting into because there are lots of things I don't understand. I mean, before, when I said, yes, you are first and foremost a business, we are voice actors, but that is our business. So we have to be able to do both. We have to study the craft, which is what we were talking about, you know, over the past couple of weeks. But we also have to know how to conduct ourselves in a business-like manner. Anne: Absolutely. Pilar: And that means knowing what you spend, how you spend it, having a competent CPA who will be able to help you and go over things with you. So for example, one of the things that I didn't know was that there are a lot of expenses that we have that we can deduct. Anne: Yes. Pilar: But you have to know which are the ones that you can deduct. You can't just deduct everything willy-nilly. That's what you check with your accountant for. And so my accountant every year gives me an organizer, and it's really helpful because it just, there are categories of expenses that I can look at that I may not even have realized that I can deduct. Anne: Does this change yearly? Do you get a new one every year? So -- Pilar: I do. Anne: Because the tax laws change every year. So my accountant has to stay up to date. And of course that's why I pay her. So she knows the latest. How much can I donate every year? How much can I deduct for this? How much can I deduct for that? And is this a deduction really? And so the cool thing about having one on retainer, and it's not as expensive as you might think, because she just, she's very good at it. And she does it. She just does it for a set number of clients. I'm not that complicated in reality. My business is not that -- it's not like I have retail that I'm shipping out every day and I've got all sorts of vendors that I'm purchasing from. Literally it is essentially my expense is buying equipment and things for the office and things for my business and literally people paying me. And that is a simpler business than let's say a corporation that has employees and all that sort of thing and health benefits. And so for her to manage my account, it's fairly, for what she does, inexpensive. And the nice thing about it is that because she manages it monthly, by the time tax season rolls around, usually most accountants are crazy busy. And I remember like panicking because before I had hired her on a monthly retainer, it was the end of the year, and I was scrambling, right? Oh, here, here are my forms. And I would make copies, scan my copies of everything, and send it to her because she was not local. I used to go to a local one, but you know, now she's, she lives in another state. And so I would make sure I, back in the day, faxed it, sent it securely to her so she could do the taxes, but then it was like, you know, nail-biting because she was working on other clients as well. And there was that deadline. And so she would be so crazy busy that I would be like, oh my God, did you get, you know, and then -- do I owe, do I owe? And if I, oh, I have to prepare or am I getting anything back? And so that's whole that nail-biting period of time, where a good month or two, even if I started at the end of January, here are all my forms. She was insanely busy. So she got to me when she got to me. And so sometimes I'd be waiting a month and I'd be like, do I owe money? So ultimately it's so much nicer now that she already knows my accounts well, and we meet periodically so I can explain, you know, things, money that comes in. What was that for? Where should I categorize that? And basically that's it. And she manages by the way, not just the income coming in in one payment, because I allow my clients to pay me either PayPal credit card, ACH. There's multiple ways that my clients can pay me. And she handles all of those accounts, including my personal account that comes in so that we can make sure that I get the best tax advantages that I can for the year. Pilar: Yeah. That's really important. One of the things that I think is for me, so my brother-in-law used to do my taxes way, way back when, and then one day he basically said, okay, Pilar, you're all grown up. You need to start doing your own taxes. And I was like, what? I was incensed. I was so hurt. And then I was like, yeah, it's called being a grownup. So I went to TurboTax, and I think I might've done one year. Anne: Yeah. We tried that too. It gets complicated when you're personal. And then business. Pilar: The reason why I mentioned is because that's exactly what happened to me is that I thought that I could do it all because -- I know a lot of people who do their -- I know a lot of actors who do their own taxes. And I think that that's awesome. And if you are really good with numbers, and you understand bookkeeping, good for you. But if you don't, and this is something that a really good friend of mine taught me, if there is something that you can't do when you're just butting your head against the wall, there are people who know how to do it better than you. Anne: Oh my gosh. Pilar: So stop be trying to invent the wheel. Anne: Be smart, outsource. Pilar: Exactly. Go and get…

    Full show notes at the publisher

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