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The big difference between animation voiceover and commercial voiceover is that in the latter, you are playing yourself, says Lisa Fischoff, a casting director with Broadcasters in New York.
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The big difference between animation voiceover and commercial voiceover is that in the latter, you are playing yourself, says Lisa Fischoff, a casting director with Broadcasters in New York. • To be good at commercial voiceovers, you have to know how to pull back,” she says. “It’s not about being able to project or be big.
The most important quality for success is being able to connect with the copy.” • Loving the work is also essential. Consider Krieger. A singer who toured and made records for close to two decades, she began her voiceover career 15 years ago because she was worried about her financial future. • Voiceover had always appealed to her, and she was already well-versed in the workings of a recording studio.
“I got into voiceovers to make a living supporting my music,” she says. • “I fell in love with voiceovers and never went back to the music. I never anticipated I would be doing this full time.” • Still, the voiceover performers Back Stage spoke with report an economic downturn in the business.
Steckelberg admits she had more gigs years ago, when she was in New York, suggesting that part of the problem is the large number of people trying to get into the field on the West Coast. • De Vries observes that at one time there was a viable market in Atlanta for commercial voiceover artists, but much of the work has dried up, in part because of the consolidation of advertising agencies under huge corporate umbrellas, “
This has had the effect of centralizing accounts back in L.A., New York, and Chicago, leaving secondary markets like Atlanta, Dallas, and Minneapolis with crumbs,” he says. • “And technology has in some ways contributed to the centralization.”
