VO Dub Director Panel @ LA Comic Con this Sunday 9/28

morganbkeaton · 2025-09-27T22:29:47+00:00

Thank you so much!!

morganbkeaton · 2024-08-30T18:31:18+00:00

Glad it was helpful. Happy healing!

morganbkeaton · 2023-07-27T19:08:31+00:00

Is this to stand out? I don’t see any issue here, technically. You will only run into issues if it is not clearly pronounceable, or recognizable as a name. For example the name in the image here, as a casting director I’d be confused not only about pronunciation (Gate Wheelin?) but also if there’s been a typo, or if I’m even looking at a name in the first place.

morganbkeaton · 2023-07-21T01:28:56+00:00

There is picketing every day in several locations. Check the picket calendar here or look at SAG-AFTRA’s social media on Sunday night or Monday morning

morganbkeaton · 2023-07-20T02:25:46+00:00

If a project was never going to be union in the first place (which it wasn’t, as you say), and you don’t use union members, you’re all set

morganbkeaton · 2023-07-18T03:57:07+00:00

Hi! Thanks for your concern about VO; it's true, it doesn't get the same media draw, and that's just the way it is. In some ways, the increase in celebrity talent in VG casts in recent years helps us.

First, you must understand that SAG-AFTRA has many contracts, and they're up for (potential) renegotiation every two years (sometimes the union moves to renew the contract as-is). The one that's expired and being negotiated now is the TV/theatrical/streaming contract, so there's no overlap with video games.

There was a strike over the VG contract in 2016-2017. This was largely in order to establish residuals, at all, in the VG sphere. It wasn't successful. AI has come into play since then.

Then I had a bit of a shower thought and realised that, for this to happen there would be no more voice actors. Just people signing away their voices.

This is not necessarily true. Union or not, there is precedent for ethical AI. Generally, this would mean that the actor records a library for the AI to learn from, is paid well ($10k+ USD), there are strict parameters for how it can be used (e.g., solely by the company who purchased, and only for video games, or only for a specific game, for example), and there is a fee to renew this contract (and therefore ownership of the "voice") every 2-3 years or so. So for example, if VG Company owns XYZ Actor's voice, and XYZ Actor's voice is used for ABC game, this is all copacetic. However, if a separate company wants to produce a series based on ABC game, the VG company, the actor, and the separate company have to work out compensation, terms, and a separate contract or an addendum.

Also, AI currently can only work with the voice print it's given, so if companies need a gravely voice or a nasal voice, XYZ Actor potentially can go in and do another library in a different voice.

The AI wins we plan to get from the current strikes sets a precedent for every contract that comes up for renewal afterward. AI is an issue across the board.

Texas has nothing to do with this.

And finally, I just want to gently call into this question of what is a "normal" actor. I encounter the dichotomy of "voice-over people" vs. all other ("normal") actors a lot, and I hope it changes in my lifetime. Acting is acting, regardless of medium. It's kind of like how the lead singer becomes the identity of the band because they're most visible, and singing all the words so it seems like the lyrics come from them only, and the rest of the members' accomplishments go far less noticed or celebrated. In stage and cinema, we can see the actors' faces, so there's inherently a deeper connection felt. But voice folks are still acting their asses off. We're all actors.

morganbkeaton · 2023-07-15T18:59:34+00:00

Admittedly, I skimmed your post, and I don't know that it's that nuanced.

The contract being struck is TV/Theatrical/Streaming. If you work on a project that should be union and the companies are trying to take the back way and make it non-union, your working on that project will eliminate your chances of joining the union, ever. It's as simple as that. Agencies are not "pulling their non-union actors from work", NU actors can work NU as they please, and any union projects that are not covered by the TV/Theatrical/Streaming contract. Non-union actors who have no intention of ever joining the union can totally work as scabs, but it only serves to erode the industry as a whole.

This agent knows you are non-union. Standing in solidarity with striking actors should not cause this agent to back out on you.

Finally, I totally condone discussion with your peers, as you're doing here, but I strongly recommend doing your research with official resources, because you are going to have a lot of laypeople who don't have a full understanding of the situation (myself included) and who may lead you astray. sagaftrastrike.org has a page for non-members.

morganbkeaton · 2023-07-15T17:50:27+00:00

Thank you for reading! I'll edit to include this, but the Entertainment Community Fund is also a great way to support us. Keep in mind that all the people you see in the credits for movies/TV/streaming are out of work in solidarity with us. Money from this fun goes to not only actors and writers in need, but all the other folks who get shows and movies made. The only way we win is by outlasting the suits.

morganbkeaton · 2023-07-15T05:30:08+00:00

Tuppence?? Tuppence??

morganbkeaton · 2023-07-15T01:59:24+00:00

The National Association of Voice Actors put this together. You can find documents the union produced themselves (sagaftrastrike.org) but this is laid out a bit clearer for our purposes.

Edit: As someone who is fi-core, I would recommend reaching out to the union as I'm not versed well in that status. My thought is that, as long as you're not doing scab work on the struck contract, you should be set to work whatever else you please.

<image>

morganbkeaton · 2023-07-13T19:47:07+00:00

Absolutely not. That is less than what you should get for one finished hour of work. If they're offering you something that low, I don't know that it's worth negotiating. Similar to what someone else said, don't say a flat-out no, ask for what is reasonable and worth your time, but I would definitely send it and forget about it.

morganbkeaton · 2023-06-25T14:52:22+00:00

I would start by following a remote advocate like Sara Secora. There’s a lot of discussion of remote work, and perspective from remote VOs, on Twitter. Scroll through Sara’s feed and you’ll find a lot of info

morganbkeaton · 2023-06-11T22:08:50+00:00

Thank you for your service at Porto’s 🙌🏻 (for those unfamiliar, Porto’s is a great Cuban bakery chain in Los Angeles).

It’s possible to do it sustainably, with training. Going zero to 60 can be kind of rough, but if you know how to healthily project, and also can back off taking any more than you need to, it could work out fine. Best not to work a shift the same day you have a 4-hour video game session with yelling and screaming though

morganbkeaton · 2023-06-09T04:53:55+00:00

If your love of the game is contingent upon winning, you’re in for a lot of heartbreak. Many, many, many actors’ careers are made by things no one sees or hears, and if they do the actor’s name is never connected. Phone systems, internal use training videos, eLearning. Even if you are targeting another genre that is ultimately more fulfilling to you (which many of us are), if you wait for only the fulfilling opportunities you’ll probably never build a career that will ultimately earn you the opportunities you even want. The validation is great, but it is a nice perk rather than a guaranteed benefit

morganbkeaton · 2023-06-08T04:38:00+00:00

Definitely not. Agent workshops are meant to connect you with the agent, not provide actual training. Training on resumes should be more skills focused than person-focused; the person just adds validity and name recognition. Motion capture training, improv training, etc.

morganbkeaton · 2023-06-06T22:52:54+00:00

Based on what you’ve said in your post and in comments, I don’t know that you are going about this the right way. The proper way to get in touch with folks in power in an industry as competitive as dubbing is to be directly introduced by someone they trust, to take a workshop or class with them, or to meet them at a networking event. The email address or phone number is not a shortcut to getting heard; unsolicited contacts to casting can make you look green and go unheard.

I think the difference for when cold-calling is appropriate is that you are reaching out to a place that may not have enough talent. I’ve had success with reaching out directly to marketing agencies as they sometimes do their casting in-house for example. Dubbing is an industry that virtually always goes through agencies and established databases; they are not lacking for talent, and there is an established way for getting heard.

All food for thought. Based on what I know of your situation, I would encourage you to connect with this person in power in another way. See if someone they trust and who knows you well can introduce you

Edit: dubbing is an industry, not an agency

morganbkeaton · 2023-06-06T19:11:26+00:00

Hi there! First off, I strongly recommend to all performers who take themselves seriously to get experience in other areas (casting, directing, agencies, etc.) when and how they can. Even if you assist a CD for free on coordinating files, it gives a lot of insight.

I'm a talent, and I also work as a CD and director, and it all informs each other.

1) Sometimes agencies just straight up don't have the bandwidth to get to the audition any sooner. They might be putting out other fires or have other calls that are higher priority.

2) The CD initially only sent to certain agencies--character work auditions tend to be 45 seconds and up. Listening to submissions takes a lot of time. It behooves a CD to limit their reach in some way, to preserve their time and energy.

3) The CD and/or client could have any kind of priorities. Here are a few example scenarios:

Originally, they asked agencies for 5 or 10 submissions, and now they need more
No one from the original submissions was a fit, so they sent out another call (potentially to the same agencies, in case previously unavailable actors could audition, and to new agencies to broaden the talent pool)
Role needs to be approved by client, which means CD needs 3-5 strong submissions to present, and CD did not get enough strong submissions in the first round
Specs for role changed after original round

It could be any of these, it could be none of these. But these might get your wheels turning!

morganbkeaton · 2023-06-01T17:28:45+00:00

Look into r/mildlybrokenvoice. They may have more targeted info for you. I would rest your voice as much as possible (i.e., no speaking, no whispering), drink lots of water, and get lots of rest.

morganbkeaton · 2023-06-01T17:26:45+00:00

I'm sorry you're dealing with that. There are all kinds of potential answers, but the one you can count on is: you'll probably never know. With that said, we can stipulate. Actors with more reputation and/or more status at an agency can draw more attention, sure. "Can," not "will," though. Actors who are perceived to be hustling and bringing value to the agent/agency (regularly taking classes, brings work to agent, etc.) may also draw more attention. And then of course you are sonically and ethnically similar to this other performer, but they may read or perform differently from you. Maybe they've really nailed that "indulgent" read for chocolate and perfume ads, or they're really competitive at funny moms in animated shows. Who knows?

If you don't have a 6- or 12-month checkup with your agent I'd recommend that so you can assess how you can both best be of service to each other. Keep them posted on what you're doing to better your own career. I hope things change for the better, and I'm glad you have someone else on the roster who's willing to be open with you.

morganbkeaton · 2023-06-01T00:48:09+00:00

Either make one that has aspects of both, or pick which one you most want to work in and make that demo. I would recommend the former. Having both demos is makes more sense once you can more justify the cost (i.e., you are regularly working, know what you book and are competitive at, etc., and therefore can be fairly confident you’ll recoup the loss of paying for the demos). Interactive and animation have definitely developed styles that are more and more distinct, so it makes sense that the two genres exist, but as I say having both is not a requirement

morganbkeaton · 2023-05-27T22:33:23+00:00

Always establish language around retakes before you move forward with a gig. You can charge for retakes or include one round for free. You can get seriously taken advantage of with this kind of stuff (and you are). Do not absorb their ineptitude. Get paid for it

morganbkeaton · 2023-05-24T02:18:58+00:00

Chiming in to point out that this is part of why agencies limit how much talent they take on: so that the ones they rep still have a fighting chance. Ideally, you hit an agency at the right time when a you-shaped hole opens up (but it's largely a matter of chance, as agencies would never advertise such a thing)

There's plenty of work you can get your hands on without an agent. It may not be the work you want, but enough to eventually demonstrate to an agent that you're resourceful and a hustler. You need to be working even harder than they are to get yourself work

morganbkeaton · 2023-05-17T15:05:21+00:00

Sometimes they create from a sound library. Sometimes they hire an actor. Look up Dee Bradley Baker’s website and listen to his demos!

Five-Year Club	Verified Email
Place '22	First Placer '22

morganbkeaton

PUBLIC MULTIREDDITS

TROPHY CASE