Most of my clients know what they want.
By the time a script reaches me - whether for an explainer video or video game character - it's passed through so many hands, the brief is clear.
If you're working with an excellent actor like me, I'll be able to provide you with what you need with time to spare.
So how do you make sure any additional takes offer up something 𝘐𝘕𝘛𝘌𝘙𝘌𝘚𝘛𝘐𝘕𝘎 rather than just repeating what you have?
Here are three things you can 𝘚𝘐𝘔𝘗𝘓𝘠 adjust:
1️⃣ 𝗧𝗵𝗲 𝘀𝘁𝗮𝘁𝘂𝘀.
Give both the voice talent and the audience a͟ ͟s͟t͟a͟t͟u͟s͟ ͟f͟r͟o͟m͟ ͟1͟ ͟t͟o͟ ͟5͟.͟
For example, a CEO talking to staff might be a 5 talking to a 2 - leading to a more formal and instructional tone.
Whereas peer to peer might be 3 to 3 - typically more conversational.
But that will be different from a 1 to 1 or 5 to 5, and that's when nuance comes in.
This approaches takes generalised direction like 'make it conversational' and places it in a clear context.
2️⃣ 𝗧𝗵𝗲 𝘀𝗶𝘇𝗲.
Establish what 'space' your first read was in and c͟h͟a͟n͟g͟e͟ ͟t͟h͟e͟ ͟s͟i͟z͟e͟ ͟o͟f͟ ͟i͟t͟.͟
For example, if it sounded emphatic and more presentational as if being delivered from a stage, turn the space into something quiet and intimate.
If the first read was 'comfortable', what happens if the actor imagines its much colder or hotter?
3️⃣ 𝗧𝗵𝗲 𝘀𝗽𝗲𝗲𝗱
Take the speed of the first take and t͟u͟r͟n͟ ͟i͟t͟ ͟u͟p͟ ͟o͟r͟ ͟d͟o͟w͟n͟ ͟b͟y͟ ͟2͟0͟%͟.
A good actor will be able to 'justify' this so it doesn't become a technical exercise:
They're that bit more urgent because of a tight deadline
𝘖𝘙
They're that bit slower because they're scared to say something out loud.
A second take isn't about reinventing the wheel. But it should only take a relatively minor adjustment to get a very different result.
Whether you end up using it or not, it means you've interrogated the brief thoroughly with the talent you've hired rather than just made do.
Do you have any 'go to' directions for an interesting second take?
By Chris Tester - British Male Voice Actor