What does voice over and slack lining have in common? Let Bertrand Ruffieux tell you all about it. Bertrand explores the importance of connecting with oneself, pacing, and editing in this episode of Voice Over Experts. You won’t want to miss it!
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Hi there and welcome to Voiceover Expert, your monthly educational podcast, helping you bring your voice acting carrier to the next level with insightful, listened, present by voice voiceover coaches. My name is Bert and I'm your October coach. In today's episode, we believe into two essential aspect of the voice of a world pacing and character expressions. We'll explore how rhythm plays a crucial role at every stage of voice of a project, and discuss the art of creating an expressing characters during recording. We also provide insight on integrating this knowledge into your daily voiceover practice. Let's start by groundwork. We start by the pacing and particularly I'm going to work on the script to search for rhythm and extract the meaning. First of all, you all know that the script is a technical document. It's still a little bit drab, mostly doc or excel, difficult to understand.
Sometime in Ariel font, we take technical indication so it like you to make it your own by laying up because when you lay out the text, it brings out the rhythm, paging landscape and the center of the text. It's more like a dialogue. You choose a simple type of review and you go to line at each coma period. It'll help you to get the meaning and find the rhythm. Break down the text is also another technique because it brings clarity. It increase the understanding and separate the element because as you know, intro, text, conclusions, signature are different part of the job. You have to treat them with different rhythm, different intention. Don't hesitate to break down the text, don't try to go from the beginning till the am also in the ground work, I engage you to read aloud because reading aloud helps you to identify difficulties.
As you know, writers sometimes write beautiful texts, but they're just so difficult to tell, to express, to record, so it will help you to identify the difficulties. It'll help you to fine tune the character, and sometimes you can practice with a strong accent to help you to find the fluidity because when you play and you go with a real strong accent, it'll bypass your judgment. You say, oh no, not that way, not that. It'll just, and then when you come back to the character, you'll see it has beautiful effect. Now of the character we search for defining element
And the audience. The character is defined by what is say and who's listening to what is say is very important because it will help you. Those elements will help you to define the age, the social status and the level of educations and those element are fundamental to create and good and excellent character who's listening to. It's also very important because this is the target, the aid, the education, the fact that this is maybe a client or a student defined the tone and also the rhythm you're going to use to reach. So I encouraged you to work on between four and six main character you can daily practice on because it's really important to practice those character and to maybe specify yourself on those character like a worker, maybe a marketing director, professor guy, if it'll help you because when you jump in the studio, you just can adapt those character with the characteristic asked by the client and it'll help you.
You're going to feel confident about yourself and you have a lot of reference of many hours of practice in those character back to the audience. It's very important to understand the way the audience will understand the meaning of the text. Your voice will engage people to go to a new restaurant to try a new experience. So that part will define the tone and the intelligence also of your character. The recording session, my favorite part, and we're going to start also by the pacing. The tool we're going to use are hands works and work with a strict in section. Hands works as it say, working with your hand and your fingers seems it's not very important to be able to move in the boot, but you can use those fingers like surgery tools and you can be precise and you can keep an inflection and you can keep the tone and you can go with a different rhythm.
It helps you to deliver with precision practice every day with your finger, try to explain and to put your voice on your finger, not the finger on your voice because it's just the hand following the voice. The hand have to be just in front of the voice. Work in the section is also another way to be comfortable in the work in the booth because different parts of the text app, different rhythm, different tone and
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working in section will help you to keep the focus and save energy. You can also use, as I say, an attack
sentence because most of the time when we start a sentence, there is a louder part of the world.
So if you use attack sentence, it'll just block you. Like if you start by today, we're going to talk about, you can say Hi today, we're going to talk. It helps you with the fluidity. Now the character specifically acting, I'm going to talk about costumes and the slide line costumes. Reactor loves costumes and even if you are in your own booth or in the studio, you can wear piece of clothes that will contribute in your character. It can be just a tie or shirt or maybe heel depending on the character you are practicing. It'll define the character and it'll helps you because it brings credibility when you act with a costume. Of course, when you're on the studio, you are on representation, you meet clients or you dress yourself, but you can add a little bit something or degrade a little bit, something to be in the shoes of your character.
Now, the slack line for me acting, it's like we see in France phenomenal. It's walking on the slack line. You have to be balanced and to feel it, and it's important to be just listening to yourself how you feel, and then you start. Because if you just say, okay, now I'm going to take another take. Now, no, take your time brace, put your first feet on the slack line, feel the balance, and then add the second one and start walking, and then you'll be in the feeling and then you'll act and you'll be the character. It'll help you that sensation of the sightline, especially when you are in live session because it's important. You talk with many, many people. There was a lot of stress. So especially in relaxation, don't try to score at the first attempt. It's going to be a success. You have the time.
You can get stuck in the text. It's not a problem. Take your time, breathe, jump on the slack line, feel it, and then level up the slide line. First you start close to the ground and then you level up. You level up until the targets you are reaching for. Then the editing, and for me, editing is as important as the recording because you can change many things. First of all, it's the place where the puzzle take place, where all the pieces of the works come together and you can make a beautiful image with those different piece of puzzle. So you're going to talk about the rhythm of the delivery
And silence. First, the rhythm of delivery. You can depend of the audience and the character working on this will increase the characteristic and it'll boost the inflection. It'll capture the intention. So it is also your job as an editor, as a voiceover and your own studio voiceover editor to increase the character you create. The rhythm is very important. It show how you understand the rhythm, the voice of music, how you're able to as an instrument with your voice deliver and about the silence. We have different categories about that. We're going to talk about deep silence, breathings and work with a natural flow. First of all, deep silence. For my part, I like work with deep silence on specific characters because it increase the intelligence of the character. It capture the audience a deep silence. As a listener, you stop, you hear, and then you are very open to what comes after the other sentence, the other words.
For the breathing. It's very interesting because there are two way of thinking with or without. I think that we just keep the audience in action. So depending on the character of the situation, of the character, it could be the audience in action, so it might be very interesting to keep and keeping the emotion too without, sometimes it's a little bit technical, more like ie. Interpretation, so we have to find balance between those to attempt natural flow. I like sometimes, and to attend that natural flow. Most of the time I dim down a little bit the breathe and I cut half of the breath directly in the middle, so it'll give just a little bit of an evolution. So that's a wrap for two episode. I hope you can valuable insight into the world in voiceover, specifically focus on pacing and character expression. Remember, mastering this aspect takes times and dedication that the journey is incredibly rewarding. Subscribe to voiceover expert for free wherever you're listening, to podcast and grow your career today. My name is Bert and I'm your October coach, voiceover expert. Voiceover coach.