VO-BB - 20 YEARS OLD!

[Karyn OBryant]

We did a video to promote our loop group up here in Portland.
I'm in it! Yay!
https://www.youtube.com/watch?v=2Bkl9u5BFks&fbclid=IwAR1Pi1JjC3pgpuzxGHgIY1eUVGprt7W4pxmx2A3TdfGDMc0DOeVk5LfB-3w
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Pretending to be other people since 1986.

www.karynobryant.com

[Deirdre]

Super Spiffy!
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[Jen Gosnell]

I'm in it too. Didn't do a fancy interview like Karyn but I'm okay with that. Good times! 😁
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[Philip Banks]

I'll respond in the style of the piece? Everyone was Awesome? Great for those not in our business because now they understand it?

[ConnieTerwilliger]

Well done! Wonder if there is anyone in San Diego that might want to do something like this...
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[Deirdre]

I thought I recognized you, Jen!
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[Bob Bergen]

Brilliant! This needs to be seen. So many haven’t a clue the talent and specifics that go into the ambience that is looping. The word walla has a bad reputation as it implies jibber jabber, which it actually used to be before surround sound and digital recording.

[todd ellis]

that's pretty cool.
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[SteveToner]

There are a bunch of loop groups in LA. I took a workshop from Johnny Gidcomb just to get a flavor for it. Not something I can really pursue right now, as I'm not in LA full time. My takeaways from the workshop, though:

It requires training. It's not something you can just do. Improv skills are more important than lip-reading skills.
Except in rare circumstances, you've got to keep what you're saying positive.
Don't use names.
Embrace the banal. This was the hardest part for me, I think, as I always want to be clever.
It's hard to get into a loop group in LA, but if you can you'll work a lot and the money's good.

I've also experienced it from the other side, working as a background actor ("extra") on Yellowstone (Kevin Costner's series on Paramount). Yeah, those background actors are miming. They may look like they're carrying on a conversation but in a lot of cases they're just moving their lips and not really mouthing any words) depends somewhat on the experience level of the bg actors, I suppose). And of course there are people who have their back to the camera who might be carrying on a conversation with someone who is facing it. So that's why I say improv skills are more important than lip reading skills...
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[Bob Bergen]

Agree with Steve. Improv is vital. You need to be an amazing listener to excel at ADR. I also think you need to be slightly psychic. There’s going to be an extra mouth flap or somethin somethin that your gut anticipates and (or) knows. Also, where you are from, what you know, etc., these are also important. If you are from Houston, and the ADR group coordinator needs actors from Houston for a film, you stand a better chance than actors who put it on. So those specialty skills, knowledge of anything and everything have value.

If the work is union, the contract mirrors the on camera day rate, which includes residuals. They aren’t as good as they used to be. My first film Gremlins I purchased when it came out on VHS for $100. Today we have on demand, 99 cent downloads, and DVDs under $10. Those first residuals on a big home video hit used to be $30,000. Today more like $5000. But do 5-10 films a year and your benefits are more than covered.

[Moe Egan]

That is so cool! I didn't realize folks did any looping outside of LA.
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Moe Egan
i want to be the voice in your head.
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