Instruction: The biggest problem with the studio we just set up… Is that it only offers a few input channels. What this means is… it will be very difficult to record over one person at a time… And you can’t record acoustic drums, which can easily require 8 or more mics depending on the size of the kit. A studio of this caliber is fine for yourself and maybe one other person, but anything more and you’ll need some new gear. The other issue with our current studio is speed/efficiency… If you’re recording a lot, or you expect to charge clients by the hour… you should be able to work in a relatively time-efficient manner.  Which is harder to do without certain tools

Response:
So stage three follows with this new round of equipment:
Rack MountPower ConditionerMicrophone PreampHeadphone AmpMonitor ManagementVirtual InstrumentsMIDI ControllerElectronic Drum KitControl SurfaceSoftware/PluginsSnake CableUninterruptible Power SupplyDirect Box
STAGE 4: The “Pro” Studio
For 99.9% of us, STAGE 3 will have been the final level of our journey. Because the truth is… it’s tough to be successful in the pro audio business. And most of us aren’t looking to be professionals, anyway. But since many of you are at least curious about it, I might as well give you a few examples of how pro studios differ from amateur ones.
So, here’s the final list of equipment for STAGE 4:
Digital ConvertersMaster ClocksAnalog Hardware
And here’s more about each one…
1. Digital Converters
Hidden within your audio interface and many other devices in your studio… Is a device known as a digital converter that has 2 simple jobs:
converting analog audio into digital (A/D), and…converting digital audio into analog (D/A).
The reason you may not have heard of it is… in 99% of cases, digital converters exist as a side-feature within some other device.
In pro studios with big budgets, it’s common to find high-end stand-alone digital converters costing several thousand dollars each… Which have no other function than to deliver the absolute best digital conversion money can buy. Will it be the difference between a good mix and a bad one?  Probably not. But for professionals, every little advantage counts.
2. Master Clocks
Another little-known device hidden within virtually every digital recording device is… Whenever you connect digital signals from two or more devices… The individual digital “samples” must align perfectly in sync. Otherwise, the resulting audio will be filled with annoying “clicks” and “pops” from the misaligned samples. In most setups, the audio interface clock defaults as the master, and the others as slaves.  Meaning one clock leads, and the others follow.
However, with more complex systems, it’s much easier to use a stand-alone digital master clock to lead the entire system. And while there’s much debate about their impact on sound quality, some sources will tell you that a high-end master clock makes a noticeable difference.
3. Analog Hardware
Long before the days when mixing was done with software plugins… Common tools like EQ and compression existed only as stand-alone hardware in a rack. These days many of those units cost several thousand dollars each and offer only 1 or 2 channels. Now you might wonder…So wouldn’t I need dozens of those things just to mix a song? Well, the answer is… yes, you would. Luckily for us, we now live in an age where the modeled “digital versions” of these tools make our jobs both cheaper and easier…
Many of the world’s top studios still rely mainly on these ancient tools to get the job done.  Because according to too many of the best ears in the business… analog gear still sounds better than any plugin.
Many of us “normal” guys blow absurd amounts of cash on a single purchase that may (but probably won’t) be that one missing ingredient we’ve been searching for.
Would I recommend it in most cases? Not really.  But I promise I won’t judge you if you buy one, anyway.
The Auditioning Process In Television and Film
When you’re called in for an acting audition, the people present at the audition will include you, the casting director, and maybe a handful of other complete strangers. Some of these other people may be the producer, a camera operator (if they’re taping the auditions), the casting director’s bored friend or relative, a representative from the advertiser (in the case of a commercial audition), or a dance choreographer or musical director (in the case of a musical). No matter who is in the room, treat everyone in the room with respect. If someone looks like a sloppily dressed janitor, that person could actually be the producer, so play it safe and treat everyone with courtesy.
By the time it’s your turn to audition, the casting director has probably seen hundreds of other people ahead of you, which means the casting director and anyone else in the room is likely to be tired, bored, and irritable. Make the director’s job easy and you increase your chances of having a successful audition. Make the job harder (by not being ready, talking too much, and so on) and you may seriously kill any chances of getting any role.
After brief introductions (and make sure you keep them brief), someone may ask for your headshot and resume if you haven’t already handed one in. (Don’t be afraid to pass out multiple copies of your headshot or resume.) At some auditions, someone may take your picture with a digital camera, so the casting director can review all the people who auditioned that day. Be sure to smile and look your very best. If your picture looks nothing like your headshot, you need to get a new headshot.
Every actor wants to book a job.  A booking means you’ve been hired!  What’s the audition process to getting booked?  Take at the steps below:
The Pre-Audition
The casting process begins with Casting Directors, breaking down scripts, identifying speaking roles and their descriptive profiles, and notifying agents (and online casting services if the audition will be open) of the available roles.  Agents submit client pictures, resumes, and demo reels.  For open auditions, actors can do these themselves, too.  Casting narrows their selection by actor appearance, training, and skills needed for each role.  Actors who make that first cut are contacted for auditions.
The First Audition
Generally, a script or “sides” are provided in advance of a television audition.  For feature films, you’ll need at least one prepared monologue appropriate to the tone of the film.  Prepared as you are for that first in-person audition, both features and TV sometimes rely on quick video slates to further narrowcasting options.  It’s essential to be prepared because that first audition may be no more than the few seconds it takes to state your name to a video camera.  That’s why it is stressed so much in the acting classes, and not just for the newest students.  However, what and how you wear your clothes and hair, how you enter the room, your demeanor signing in, all of your choices at even the “smallest” audition are opportunities to make an impression and show what you can do.
Every time you’re asked to come in after that initial in-person audition is a callback.  You might work the same material for the same casting personnel, or it might be entirely new for a different role before all new people.  Callback sessions still are brief, usually only a few minutes, and these are typically recorded on video to be discussed among the many casting decision-makers.  In television that’s the Casting Director, Showrunner, Creator, Director, other Executive Producers, network and studio executives though you won’t see most of them in the room just yet.   In feature films, it’s the Director, Casting Director, Producer, sometimes the Writer, and the studio or financier, though most of them stay out of the room early on, too.  But just because you don’t see them doesn’t mean they aren’t watching you!  That’s why it’s so important to be prepared.
Because so much is now viewed on tape, many actors will not be physically in the room with the producers or casting director, who could be on location filming or living elsewhere, until late in the casting process.  Casting guest-stars or co-stars for a television series is less labor-intensive than casting a pilot which often involves reviewing hundreds of actors within a one- to two-month window.  Television projects near-final casting will have the Casting Director, Creator, Showrunner, Director (especially if it’s for a pilot), in the room watching what you do.  Network or studio casting executives are involved early on, but actors won’t see them in the room until the studio or network test.
For feature film auditions, depending on the role, you may see the Casting Director early on along with the Director and possibly one or more producers or executive producers.  For smaller roles, you may only see casting subordinates and the First A.D. (Assistant Director). For more involved roles, you may be called back several times or only once and still land the job.  The closer they get to book talent, the more decision-makers may be in the room.  And if you get an avail, that means they are interested in booking you for the job but want to know your schedule.  With an avail, you’re one of the finalists!
Testing
The later stages of feature film casting involve working more closely with the material, the director, screen partners and sometimes even being put on film.  Working with other actors, especially for ensemble productions, help reveal what chemistry is or is not present among a group of performers.  Screen tests are typically done late or after production is cast and involve making hair, make-up, wardrobe, film-stock, and lighting decisions.  Feature films may use a screen test to decide final actor placement or to make difficult final casting decisions, but most of the time a production won’t spend money on-screen testing actors it doesn’t intend to use.
A network or studio test is a staple in television casting for major roles and especially for television pilots.   For television pilots, the Studio and Network test may be the first time you get to work with the director.  However, it is difficult to audition in front of people and still have no audience.
Whether you’re auditioning to one person and a video camera or fifteen decision-makers and their support staff, you can expect a little reciprocal engagement from those watching you perform. The Showrunner, Creator, studio or network executives may eat, text, e-mail, take calls or even step out while you audition!  That doesn’t mean you aren’t doing good work.  This inattention is more likely because of the taxing complexity of keeping any production on track than any deficiency in you.  Try to remember that everybody on the other side of the table is interested in and rooting for you.  They want you to be good.  If you’re good, you’ve solved all their problems!
Whether you’re auditioning for a feature or a television show, the Casting Directors, Directors, EPs, producers, etc., want to see what you can do alone, without encouragement, tweaking or help from them.  It’s like getting a base-line of your acting.  So if the sides are a two-person scene, expect a deadpan Casting Director to prompt you with flat, unresponsive delivery.  The Director may jump in to give you notes or you may get a little more than a glance—in either case, you might still get the job!  The important thing is to stay focused on your work and make confident choices.
The casting process for a film or television pilot can take days or months.  Episodic television runs on a compressed production schedule, so guest roles are cast fairly quickly.  Still, episodes can get pushed, rewritten, or shelved.  Whether casting a pilot or guest role, the Casting Director, Creator, Director and Showrunner narrow down their favorites and studio and network executives who oversee the show has the final say.
In feature films, the Casting Director and EPs may make recommendations but the Director generally completes the cast, though the financiers can reject those decisions and even pull backing.  And keep in mind that television shows change networks, Directors get dropped, financing falls out here, gets picked up there…  The casting process isn’t over until the project screens or airs.  And even then some filmmakers threaten, and have re-shot or digitally altered re-releases to remove or add whole scenes, subplots, and characters!
Getting cast doesn’t just happen.  It’s the result of consistent preparation, patience, and persistence. Whether you book the job or not, auditions are your best chance to become known by Casting Directors.  If you’re a professional, prepared, and make a good impression, they’ll remember liking you before and will keep you in mind for future roles.  Sometimes not booking can lead to better future opportunities.
The Dos & Don’ts of These Types of Auditions.
1.    The Video Audition.
There are many do’s and don’ts that go along with Video Auditions.
DON’T: You probably should not record a video audition on your phone in your living room, especially if you’re singing. Unless your phone is attached to a great camera or microphone, do not use it. The sound of a built-in microphone is not what you want, and the acoustics in your living room (or bedroom, or den…) are most likely not great.
DO: Go the extra mile for this audition. You want it to be as close to the real thing as possible. Contact a local state college or university. Find emails on their website for music department coordinators or, even better, the accompanist specifically and set up a time to meet. Take your computer or video camera to a music lab or classroom with a piano and record using the best external microphone you can get your hands on. Keep it short, introduce yourself just as you would in a live audition and state the part you are auditioning for. When you submit your video, email it or upload it to YouTube and email the link (if the file is too large to e-mail). Include your resume and headshot and remember to PAY YOUR ACCOMPANIST. At least offer. They don’t work for tips.
2.    The Director with an Agenda
Ever been to an audition where the director has an agenda? You’re reading for a role but you can’t help but feel like the part is already cast, and the director is humoring you? It’s not a good feeling. But it happens, and unfortunately, there is nothing you can do about it.
DON’T: If the director already has someone in mind for the role, then the biggest “don’t” here is, don’t push them. You can try to change their mind, absolutely! Do your very best, but when the director says, “Thank you, I’ve seen enough”, it’s time to leave. When you get the sense that his or her mind is made up about you, chances are you will not change it by reading again or singing another song. Understand that directors want who they want for their productions and it may or may not be you. Don’t embarrass yourself by pushing too hard.
DO: Come prepared to do your best. Do it. Then leave. Maybe next time, you’ll be on the director’s agenda.
3. The Botched Audition.
Okay, we’ve all been there. You get too excited; you forget your monologue or your music and all that comes out is garbage. You’re embarrassed, you’re anxious, and now that you’ve regurgitated your nerves, you’re ready to start over and do it right.
DON’T: I’m sorry to tell you this, but… don’t. This is not the time to show your resilience. If you finish your crap audition and the panel smiles and says thank you, then say thank you back and leave. There are people behind you waiting for their slot and you don’t have the right to take double the time without being given permission. I’m sorry you botched the audition, but take heart in knowing that we’ve all done it and it’s part of playing the game.         DO: However! There is one thing you CAN do! The only acceptable option for you when you botch an audition is this: you can try to wait around for a break in the action and ask the moderator if you can have a second chance. Ask the moderator because he or she will act as a middle-man between you and the directors, easing much of the awkwardness. Tell him or her you know you can do better and would like to attempt another audition if possible. If there is extra time, the director(s) may allow you to try again and most likely, they’ll admire your resilience. But if the answer is no, then you’re just going to accept that. There is a difference between resilience and stubbornness. Know the difference. Directors like resilience, they don’t like stubbornness.
4. The Cold Read
Personally, I love cold read auditions. I hate choosing monologues and choosing songs, trying to fit my entire personality into 32 bars. I would rather have someone choose the material for me and take that step out of the process completely.
DON’T:  So don’t be afraid of cold reads! Half the work is already done for you! The next to don’t is don’t forget you are auditioning. Don’t bury yourself in the text and forget to interact with others in the scene. Directors are looking for chemistry between actors and your ability to use the stage.
DO: Make choices. The directors will listen to the same sides read repeatedly. You need to do something different with the material if you will stand out. Create chemistry. Move. Slap someone! Let the text motivate you to make big choices and show the directors that you can give them something to work with. If the director gives you instructions, then, by all means, listen. And play it how they instruct you. Show them you are direct-able. Trust me, they care more about those qualities than your ability to get every word right on the page.
Auditioning for an honor ensemble or musical production? Whether you’ve taken piano lessons for years or have just started with guitar lessons, auditions can be a nerve-wracking time. Here are some tried-and-true tips to ease your anxiety and have a successful audition!
Do know your music/materials inside and out, and make sure you bring all required audition elements (hard copies of music, forms, etc.). Come prepared with your repertoire and have a backup plan in case your panel wants to see more. If you mess up, IT’S OK! Keep pretending as nothing happened. Chances are, if you really sell your performance, no one will notice or will forget!
Do arrive early. As they say, “To be early is to be on time.  To be on time is to be late.” Arriving early gives you time to find your way to and familiarize yourself with your audition location, do any last-minute hair/makeup/clothing adjustments, warm-up and run through your music, look professional and prepared, and last but not least, BREATHE.
Do be polite and courteous to everyone at the audition.  Say hello and goodbye to your audition panel and thank them for their time when you’ve finished.  A little smile goes a long way in helping you stand out and shows that you’re approachable and easy to work with.
Do dress appropriately.  Wear clothes you feel good in, but that makes you look sharp and professional.  If you will be doing a lot of moving or dancing, wear clothes that will allow you to move freely.
Do ask questions. If you are asked to do something that you don’t quite understand, it’s OK to ask for clarification. The more information you have about what’s expected of you, the better off you’ll be.
Don’t apologize for messing up your audition, or contradict a compliment.  Just perform your audition, say thank you, and leave.
Don’t tell your panel you’re sick unless it’s going to physically prevent you from showing up to your audition.  Especially in vocal auditions, audition panels can detect illness in your voice and will hear the potential in your voice and intent in your emotion without you apologizing for it.  Besides, coughs and sniffles are difficult to hide over any instrument playing, so let your panel come to its own conclusions without your “help”
Don’t contradict or argue with the people auditioning you. If they ask you to do something that you don’t agree with or that’s different from what you’ve been taught, take the instruction and choose how/if you will handle it in the long term after you’ve left the audition. Being agreeable and easy to work with is a huge part of auditioning for any ensemble or production!
Don’t beat yourself up if you blow the audition. There will always be more/better opportunities, and you can use that audition as a learning experience to improve for next time!
Auditions can be stressful, but they’re also a great way to practice composure and performing under pressure. Getting to showcase your talents is an exciting opportunity, and the International School of Music is here to help. Now you have the facts. You can plan and go for your auditions confidently.
A lot goes into ensuring that you get the best sound recording studio for your professional recordings. Usually, most of the dubbed films that you come across out there get recorded in studios. To ensure that you get the best out of your audio studio, invest in the best audio interface. So how do you know which is the best audio interface to use? That is the question we will look into in this article, and by the end, you will know how to choose the best audio interface for your studio.
Regardless of whether you are setting up a studio or improving an existing one, nothing confuses people most than trying to get the correct audio interface. Usually, audio interfaces perform specific functions in a sound recording studio. A small $100 interface can be perfect in a simple bedroom studio, if all you need is a single pair of outputs for your studio monitors.
Also, a pro studio that requires dozens of IN/OUTs might need several interfaces, each costing $4000 or more. With that said, being able to find an interface for your particular studio can be a hard task.
We will look at 5 interesting features to look out for when choosing an audio interface.
DAW Compatibility.Interface Connectors.Input/Output (I/O) Count.Input Channel Types.Form Factor
1. DAW Compatibility
DAW compatibility is very important. Most DAW’s work well with all interfaces, but it is not the case all the time. If you are starting out and don’t have a specific DAW that you always gravitate towards, you don’t have to worry about it because 90% of DAW’s out there are usually compatible with any interface you may use. If you have a specific DAW that you would love to use for a long time, you need to verify that it is compatible with your interface on the company’s website.
You should know though that getting this information is difficult because most companies don’t like to make that kind of information free to the public. You will end up searching for a long time before you can get information of that sort. I have heard that they don’t give out such information so as not to confuse future users who would love to get a particular DAW with a specific audio interface. Compatibility usually changes.
2. Interface Connectors.
When connecting an audio interface to a computer, you need interface connectors. You will choose the best audio interface that is best connected by a particular interface connecter that best suits your computer. There are different cables and depending on which one best suits your computer, you can’t decide to just buy any audio interface without first making sure that it works well with a particular interface connector. The different interface connectors that we have are USB, Thunderbolt, Firewire, and PCI-E.
USB–A Universal Serial Bus is an industry standard that establishes specifications for cables and connectors and protocols for connection, communication and power supply between computers, peripheral devices, and other computers. This connecter offers the slowest data transfer rates and is better for a home studio. We typically use it on cheaper home studio interfaces. It offers the slowest data transfer rate.Firewire–A firewire also known as IEEE 1394 is a connector that is used to add peripherals to your computer. It is a more expensive home studio interface compared to the USB one. It offers a significantly faster transfer rate, its use nowadays is becoming rarer as the days go by. Thunderbolt–This a fairly new form of a connector that is used to connect different peripherals to a computer. It supports high-resolution displays and high data performance through a single port. It has become popular with newer semi-pro interfaces and is way faster than either USB or Firewire.PCIe –  Peripheral Component Interconnect Express connects high-speed components. It has always been the go-to standard connection for professional interfaces. The reason a lot of professionals choose it over all the other connectors is that it offers additional processing power and fast data transfer. Every desktop PC motherboard has several PCIe slots you can use to add GPUS like video cards or graphic cards, RAID cards, Wi-Fi cards or SSD add-on cards.
Since the USB is the slowest form of connector compared to all the other three that I have mentioned above, many people use them in home studios or bedroom studios. They all work very well and perform in the best way possible, the only difference is that some are slower than the others and others are faster than the others.
3. Input/output (I/O) Count
Another factor that you need to consider when getting an audio interface is the number of inputs and outputs. The common interface has I/O counts that range anywhere from:
1-2 on a simple interface.20+ on a professional one.
Which one that best suits your studio will depend on the number of tracks you will want to record or monitor all at once.
For example, musicians who are solo acts would probably need 2 to 4 inputs while a small team of singers needs from 4 to 8 inputs and finally, sound engineers who record big bands should have at least 16 inputs to ensure that the work properly. Also, electronic drums alone may end up needing 8 or more inputs if they offer separate channels for each part of the kit. If you plan to use an electronic drum kit, note this, calculate how many inputs you would need before you settle on a specific audio interface.
4. Input Channel Types
There are different input channels, so understand what it is you are working with. This is one thing that beginners do not realize. When counting the input channels of an audio interface, note these three inputs:
Mic Input–A mic input allows you to connect a microphone directly to the interface.Line Input–A line input usually requires the addition of an extra outboard mic preamp in place of a mic channel. Optical Input–An optical input is a digital input that requires the addition of both, an outboard mic, a mic preamp and a digital converter with an optical out to a mic channel.
If you use your interface as it is without feeling the need to add a multi-channel mic-preamp, you will have fewer inputs available for your use. This is a reality because usually, interfaces have 16 or more total input channels, but only 2-8 mic inputs so with no additional gear, the “real” number of inputs on your audio interface is the mic preamp count, NOT the same as the input count. Confirm that you have enough channels for all your purposes before you end up disappointed.
NOTE: Two other input types that you should also look for are DI inputs (if you play guitar/bass), and MIDI inputs (if you use any keyboards/MIDI controllers).
5. Form Factor
Form factor refers to the physical size and shape of an interface. It is a general term for size and shape used by computer geeks. There are two specific form factors that will guide you when you want to get an audio interface for your computer. These two are:
Desktop Interfaces–These are usually small, placed on the desk near your computer.Rack-mounted Interfaces–These are larger and usually get mounted in a standard size rack unit.
For someone who is starting out, it would be good to get the desktop interfaces because they are way cheaper and easy to use and require no special form of mounting or peripheral devices. You just plug them in and start recording.
With more advanced studios, you can go with rack-mounted interfaces, which are typically better than the desktop interfaces. They offer more I/O’s, and greater flexibility with signal routing and organization.
With all these different pointers, you can get the best audio interface that will work well for your studio. It is important to consider all of them because they are all compatible with different audio interfaces. All the best in your quest of getting audio interfaces that will improve the quality of your audio recordings.
I feel like I have researched and studied film dubbing so widely that I can write this article without the need to refer to any write-up. I have also written a lot of articles on this topic that I can start calling myself a "scholar in film dubbing"". Last time, I wrote about the comparison of dubbing and subtitling and how both processes would fair in different scenarios, we ended up noticing that subtitled films were the most consistent in almost all the scenarios because they are mostly texted while dubbed films wouldn't be the best option where there was an audio issue, noise or when one did not have ear/headphones to use.
After that, I was compelled to write on some benefits and limitations that are associated with dubbing your films. Dubbing is the layering and synchronizing of a soundtrack of the complete film dialogue which is recorded by voice actors. It is a process that has grown extensively in film production houses while still competing with subtitled films. Both processes are film translation, so it is very common to get people choosing one over the other. Some countries traditionally use subtitles (Scandinavia, the Netherlands and Dutch-speaking Belgium) whereas others prefer dubbing (France, Spain, Germany, and Italy). The choice to use one over the other is highly dependent on a country's cultural, ideological and linguistic particularities.
In this article, we look at the different benefits and limitations of using or opting for dubbed films.
Benefits of dubbing.
Hard to identify mistakes. As much as we advocate to look for professional translators, voice actors and video editors there always are potential mistakes that are made that many people end up not noticing that could be noticed by a viewer. The good thing with dubbing, it is very hard for a viewer to notice the mistakes on a dubbed film or even notice that the film has been dubbed.  Here, when the original film has content, that is not supported in a particular country or is not in tune with its cultural ideologies it is very easy to censor it and create a new storyline that is in line with the cultural ideologies of that particular place. This would not be possible for a subtitled film because the original audio remains intact with the addition of subtitles at the bottom of the screen. This happened in Spain under Franco’s dictatorship, which prohibited all original versions with subtitles and improved synchronization to change dialogues and convey so‑called higher moral values. It is the best film translation process for content that is inappropriate or that contains low moral standards. Dialogues do not need to be abbreviated. Remember how hard it used to be to abbreviate an essay of 400 words? Now imagine having to abbreviate a whole script which might be almost 2000 words depending on how long a film is. With the dubbing process, you don't have to keep up with abbreviating the text format because it deals with audio from start to finish. The only thing that one has to deal with is to create sentences that are not too long nor too short to fit in writing the timestamps set for the original scenes. Since synchronization is the main factor in the dubbing process, the words must be able to allow coordination of the original actors' lips.Views get to actually watch and enjoy the film. Do you see how you have to keep up with the subtitles when watching subtitled films? That's not applicable when watching a dubbed film. Watching a dubbed film is like watching the normal original film, more so with the many technological developments surrounding the process. You can watch the movie and enjoy it like you would the original film because of how good the dubbing has been done. Viewers don't even notice when they are watching a dubbed film, and I feel like that's exactly how it is supposed to be. I never understand people who enable subtitles when watching a film, I'm of the thought they act more like a distraction to the viewer than anything else.  The viewers can focus their attention on the images and the words at the same time, whereas in subtitled versions they constantly have to look up and down the screen to follow the story. So watching a dubbed film is such a vibe and super realistic.
Limitations of Dubbing.
It has too many steps important in realizing a perfectly dubbed film. Have you ever heard of certain processes that undergo a lot of processes before they can be completed? There are some processes in which one can forego a certain step, and they will still end up being a success. This is not the case for the dubbing process. This process has so many steps, if we are counting they might be close to 7 steps and all the steps have the same level of importance and if one is messed up with, then the final product will have mishaps. From deciding what language you want to dub the film into, to choosing the best translator possible who will make sure that all the translated words are the same as those of the original film, to having someone to create perfect scene time stamps, to getting the best voice over actors and soundproof studios to eventually having the lip-synching done in the best perfect way possible and having the final dubbed film go through a quality check analyst, making sure all these steps are taken care of, is really not easy. To ensure you get a perfectly dubbed film, all this has to be considered.Dubbing creates the illusion of an illusion. As much as in the point above I mentioned that all the steps have to be done to perfection to ensure that the dubbed film ends up being as perfect as possible, there are things that cannot be perfect regardless of how much you try. In the dubbing process, it is the synchronizing step. It is hard to have a perfectly synchronized dubbed film. One thing you should note is that dubbing involves Holly different languages which has extremely different pronunciations which case one language might have more word in a statement than the other. This makes it hard for the synchronization to be perfect, even if when the lip movements of the actors are well synchronized with the voice in the translated version. Dubbing only creates an illusion of another illusion. Here, this is something that film production houses have had to deal with for the longest time and will continue to deal with even further because there is no solution for this issue unless someone comes up with a software that will serve as a solution for this problem.Expensive. Dubbing is one of the most expensive film processes out there, second to the production of an original film. If you would like to invest in dubbing a film, you should be ready to part with a huge chunk of your money. Therefore, it is very important to create a budget for the dubbing process. It might sound like an easy process, but a lot of things go into doing this. If you are outsourcing the dubbing services, then it would be cheaper than doing everything yourself. You need to look for translators, time coders, voice actors, perfect soundproof studios and video editors and be able to pay for all these according to their set rates whereas an outsourced service provider usually has all these factors taken care of easily and all you have to do is pay a onetime fee. This is exactly why a lot of film companies prefer subtitled films to dubbed films because the expenses to do one dubbed film could go into creating almost 10 subtitled films. Next time you wonder why film producers prefer subtitling films than dubbing, then you know that dubbing is a super expensive and complex process that needs a lot of dedication.
As you have seen from the benefits and limitations I have mentioned above, this is a process that has its fair share of benefits that do not overrule the limitations. I feel like both cancel each other and the only reason to get your film dubbed is if you have the financial capacity to carry it through because all the other benefits are only experienced after the films have been dubbed. If you do not have financial constraints, then dubbing is really the best form of film localization to go with.
In this article, I will answer all the questions that you might have regarding voice actor casting. So what is voice actor casting? This is the process in which production houses choose the best voice actors for their projects. As much as we look at it as a process in the film industry, they like to term it as an art or a science. This is because the process involves a lot of factors in coming up with the best voice actors for a particular project. Not only do they have to understand who their audience is and what voices will resonate with them, but they also have to find the perfect voice and guide it through the acting also termed as the performance.
As much as it sounds like the easiest process in film production, it really is not. There are different aspects of a voice actor needed before they get a part in any film. Their quality of their voice, their tonal variation range, their accents, their capacity to work with their voices to bring out a particular emotion and so and so forth. Regardless of how long one has been in this business and how good they are at casting voice actors, it still gets hard from time to time, to cast the best voice actor for a particular project.
Below, we will get into the different frequently asked questions regarding this process. By the end of this article, you will know all the nitty-gritty about the voice actor casting.
Voice Actor Casting Frequently Asked Questions


Instruction: 1. What is challenging about Casting Voice Actors

Context: Learning resources on media production, voice acting and audio-visual translation, dubbing, subtitling and transcriprion

Response: Everybody knows that writing a script for voice over or voice acting purposes is one of the hardest things for scriptwriters to write. There are a lot of factors that come into play, that don't normally come up when writing scripts for screen, or stage acting. Recording for a scripted voice over in normally not very organic. Getting a good read from a voice-over session is a very different discipline. Regardless of whether a project is super exciting, the recording process is usually the same and all the mechanisms are unglamorous. Therefore, a lot of directors always prefer to lean more towards the natural ability, skill, and intuition of the voice actor to get the best out of the casting.


Instruction: 2. What Makes a Good Read

Response:
A good read happens when a voice actor reads out their lines out loud while in character. For it to be good, the actor needs to come through in the best way possible. They should be able to have a great command with their voice, whether it is while using a strong baritone or a squeaky soft voice. They must have a great command of their voice depending on the characteristics of the character that they are playing.
A good read is really all about the voice actor being able to control their voice in the best range and also include inflection, cadence, and pronunciation of the lines correctly. These are requirements for good performance. The talent needs to read into the script, not just be able to read the script. This doesn’t mean reading between the lines, per se. Rather, this is the necessity of apprehending what the script is trying to communicate. This goes for any kind of script.


Instruction: 3. How Important or Influential is the Script Writing in the Overall Voice Actor Performance

Response:
A lot of professional voice actors can read through any script, regardless of whether it was for voice acting. This is because of their extensive experience in working as voice actors. It is good to note though that there are scripts that written specifically for voice acting and this is always highly dependent on the writer. Regardless of the format of the script–e.g., radio ad, explainer, documentary narration, training video–it is the responsibility of the writer to not just cobble together facts, words, and bullet points, but to command the language. A good script shouldn’t fight the reader but should have a discernible flow of thought and word.
Going back to the second question, a good read really relies on the quality of the writing more than the capability of the voice actor.


Instruction: 4. How Does Casting Impact the Result

Response:
Assuming that you have a fantastic script, written specifically for voice acting, the next step is casting. This is where you get to choose the best voice actors for your script. It is very hard to get a good read if your script is not as good.
There’s an old rule of thumb for screen and stage directing that is a joke and a warning at the same time: 90% of the director’s job is casting. This is amped-up a notch with casting voice talent because of the “non-organic” nature of the recording. A director needs to cast the right voice talent–with ability, skill, and intuition–who is also the right fit for the role.
It is important to cast the best voice actors because failure to do this will end up affecting the overall quality of your film. Determine what your script calls for in its technicality, and its personality, and find the voice talent who can deliver on both, you’ll be well on your way to a good read.
5.  What Is A ‘Bad Read?’
A bad read is the opposite of a good read, and since by now you understand what a good read is, I'm sure you can tell what a bad read is. As a casting director, if you do a bad casting you will end up with a bad read, and that is why it is very important to cast the best voice actors.
If a voice actor doesn't have the technical chops and command to read a script without errors, or one who lacks natural voice qualities, then you will definitely end up with a bad read.
Most listeners will know a bad read when they hear one. Whether it’s just one line or the whole script, a bad read sounds stilted, confused, deflated, and unprofessional–qualities that undermine the credibility of your project’s final output.
It is important to note though that a bad read results from a poorly written script, confused or exhausted voice talent or poor direction from the film director.
6. How Do You Avoid A 'Bad Read'?.
It is very important to make sure you avoid a bad read by all means possible. The way to avoid a bad read is to, first, make sure you have a great script for voice acting that avoids redundancy. If you have a script that constantly has repetitive words or statements, then you will end up with a bad read.
Get a voice actor who is keen and knows exactly what they are doing. This will ensure that you are working with someone aware of how to play with their voice range to bring the best out of a particular character.
The casting director must also make sure they do their part, which is to ensure that they direct the voice actors in the best way possible. I firmly believe every voice talent wants to do their best and be a part of something they’re proud of. So it’s important for the director to go in knowing what he or she needs for the project.