Basic Acting Terms
1.) Talent:
This is a neutral term used to refer to a performer. Actors are often referred to as "the talent".
2.) Audition:
This is usually a non-paying tryout where an actor gets the opportunity to demonstrate their acting skills and portrayal of a character, requiring the actor to read dialogue/lines from a script to showcase their abilities. Auditions will typically provide "specs", which is the detailed specifications for the role. In voice-over, this is usually recorded from the actor's home studio or a local studio if they don't have their own recording equipment. This then leads to the casting process, where a casting department, director, or client will review all of the actor submissions and then make a choice of who they want to hire.
3.) Gig:
This is a term sometimes used to refer to an acting job.
4.) Sides:
A section of dialogue from a script that an actor is given to read for an audition. It's essentially a word that refers to the audition material.
5.) Copy:
This is another word used to refer to a script or audition sides.
6.) Slate, Tail Slate:
A slate is a short introduction at the start of an audio file, typically done in auditions. In voice-over, the slate is meant to be kept short and simple (Example: "[Actor Name], reading for [character name]" though sometimes they might want you to just slate your name only). A tail-slate is when the client wants you to slate your name at the tail END of the audio file, rather than at the start. Slates are typically only done when asked for in the audition specs. Otherwise, it is not required.
7.) Booking:
This is when an actor gets hired for an acting job; they "booked" the role. This is also commonly referred to as being "cast".
8.) Shortlist:
When an actor gets "shortlisted", this means they are one of the top choices being considered for an acting role.
9.) Call-back:
This is like round 2 of an audition. The company will get in contact with the actors on their shortlist and ask each of them to read for a role again, with possibly additional direction so that the casting department can make a final decision.
10.) Avails / "on avail":
This refers to an actor's availability. When an actor is being considered for a job, they may be asked for their availability for future recording session scheduling. This does not always mean that the actor has landed the role. It could be that the actor is on the shortlist and the casting department might be comparing various actor's schedules to ensure weekly availability for recording sessions before making a final casting decision.
11.) Hold:
This is when a client or studio schedules an actor for a potential time-frame for recording and are requesting that the actor block out a certain time in their schedule to accommodate. This may change depending on circumstances with the production. (There are some circumstances where this term is used to describe being shortlisted and may not guarantee that the actor has booked the role)
12.) Released:
While a hold is a request for an actor to block off some time in their schedule, the act of "releasing" an actor is to essentially cancel the hold, freeing up the actor's availability for that time-slot. Being released could also mean an actor is being dropped from consideration for a voice-over job that they might have been on "hold" for.
13.) Call Time:
This refers to the time an actor must be on set or the starting time of a recording session.
14.) Improvisation / Improv:
When most or all of what is performed is unplanned or unscripted. Typically when there is no prepared dialogue. Training in improv is a great way to grow your creative instincts, it helps you to think on your feet, and overall it nurtures your imagination!
15.) Ad-lib:
An ad-lib is a type of improv, when more specifically there is prepared dialogue and an actor adds to it, improvising lines. It's an unscripted and spontaneous addition to the actor's performance. Ad-libbing is optional, and is usually done more often when voicing in video games and animated projects. One example of this could include adding an unscripted chuckle to the performance, perhaps when a character is recalling a fond memory before they start telling a story from their past. (Ad-libbing is not typically accepted in genres like anime dubbing, commercial VO, or promo VO. There's unfortunately not as much freedom with those genres). When auditioning for acting jobs, actors are essentially competing for roles with hundreds of other actors, so they have to stand out of that crowd by being creative. This is why ad-libbing can be greatly beneficial to an actor's performance. It is a great way to make an audition unique! However, it is recommended to not go overboard with it. Just a little sprinkle of ad-libbing is all that's need. Every choice needs to have purpose, so the improvisation must be relevant to the moment.
16.) Pre-Life / Lead in:
Pre-life can be described as imagining the backstory or history of a character. This can also be used to describe the moment before a character enters a scene. Sometimes this term is used to describe ad-libbing specifically at the front of a line, meant to convey the prior moment before the character speaks the written dialogue. For example: leading in with an unscripted yawn to convey that the character just woke up. Pre-life is not always kept in the final edit, because in some cases the actor is is only utilizing the pre-life to get into character and to put themselves mentally in the scene.
17.) Demo Reel:
For voice-over specifically, a demo reel is an audio file to showcase one's acting abilities, vocal quality, and versatility. For more detailed information, you can find a whole page of information regarding demos by clicking HERE.
18.) Cold Read:
Cold reading is to read from a script out loud without any preparation beforehand. This applies to the majority of voice acting jobs.
19.) SAG-AFTRA:
In short, SAG-AFTRA is a labor union in America that represents actors, recording artists, and various other professionals working in media. "SAG" stands for Screen Actors Guild, and "AFTRA" stands for American Federation of Television and Radio Artists. These two unions merged in the year 2012. There is also the Actors' Equity Association (AEA) which is a labor union that represents American actors and stage managers in on-stage theater work specifically. (There are various other performing unions all around the world, including "ACTRA" in Canada, and "Equity" in the United Kingdom). The one-time national initiation fee to join SAG-AFTRA can end up being over $3,000, but the union offers payment plans if needed. Once an actor becomes an official member of this union, they are not permitted to work on non-union productions. Some of the benefits to SAG-AFTRA jobs include safety precautions, and negotiating fair contracts and pay rates. For more information about SAG-AFTRA, click HERE. And if you have any questions about this union that pertain to voice acting specifically, you are welcome to ask me questions via email HERE.
20.) Non-Union:
This can refer to a job that is not paid through a union. When an actor is not a part of any performer-based union, they are considered a non-union actor. As things stand right now, about 80% of voice acting jobs are non-union (this could fluctuate again over time). When working on non-union projects, an actor has to really advocate for themselves to ensure they are not getting taken advantage of.
21.) Taft-Hartley:
A Taft-Hartley is a labor law that protects non-union actors from needing to join the union for their first union job, allowing the actor to work on a union production without having to join the union immediately.
22.) SAG-E / SAG-Eligible:
This indicates that an actor has met the requirements to join SAG-AFTRA, but has yet to join officially. This allows the actor to work on both union and non-union labeled productions.
23.) "Must Join":
This refers to an actor who is SAG-E, but has reached a threshold that prevents them from working on any more union productions until they join the union as an official member. To become a "must join" with SAG, actors typically need to book three SAG-AFTRA union gigs (earning 3 vouchers), though this depends on the type of project an actor is working on and the significance of their role.
24.) Fi-Core / Financial Core:
This is a legal status that allows actors to work on both union and non-union productions.
25.) Residuals:
Residuals are additional payments made to actors for the use of their recorded performance. Some examples of this include: When an actor is in a broadcast show airing on television or a streaming service, when an actor is in a theatrical release of a movie, in-flight movies, and DVD and digital sales or rentals. Actors generally receive a percentage of the revenue generated when a production is distributed, with rates typically ranging from around 1% to 5% for each subsequent airing or sale, the highest percentage usually applying to the first year after the initial release of the production, though this can vary depending on the platform or the size of the actor's role in the production. Sometimes residuals are based on the percentage of an actor's hourly or daily recording rate that was established in the job contract, rather than a percentage of the production's gross income. Residual amounts usually decrease over time. When working union jobs through SAG-AFTRA, in the first year after the initial 90 days of a project airing, performers get a 45% residual rate. This then drops to 40% in the second year, and then drops to 35% by the third year. (Residuals are not always required with some forms of voice acting. It is extremely uncommon to receive residuals when voicing in video games or anime dubbing).
26.) Buyout:
A "total buyout" or "buyout rate" is usually found more often when working non-union jobs. This is when an actor essentially sells their recorded audio for one lump sum payment, usually including unlimited usage of the audio across multiple spots, and often opting out of residuals or royalties.
27.) "In Perpetuity":
This is usually mentioned on a gig that is offering a lower pay rate than average and giving away the rights to the recorded audio forever. This is strongly considered as exploitation of an actor's service. If an actor accepts a job that mentions this phrase, this means the client will then own the right of usage forever, and they can then use the recorded voice-over wherever, whenever, and for however long they want. They can reuse if for any future commercials, radio spots, and whatever they want, without the actor receiving any compensation whenever it is used.
28.) Usage period:
This refers to how long a recorded performance is set to be broadcast or used. Depending on the length of use, a contract should be drawn up to account for residuals or royalty payments. (not every voice acting job will offer residuals)
Voice Acting Terms
29.) VO:
This is short for "Voice-Over", which is another term to refer to voice acting.
30.) Pre-Lay / Original Animation:
The pre-lay process involves an actor's voice being recorded, and then the animators animate to the actor's recorded performance, so the animation is made to match the actor's performance. Every vocally conveyed movement and expression. While there are animation supervisors and directors who lay out the general scene (such as close up shots and various character actions to relay to the storyboard artist), the actor's performance inspires expression and paints the picture for the animators. A performance needs substance that they can animate to (pauses, action efforts, pacing changes, emotional shifts, etc...). Something casting directors look for when casting for pre-lay projects is an actor's creativity. The bare minimum is not enough. Actor's have to be imaginative!
31.) ADR & Dubbing:
ADR more traditionally stands for "Automated Dialogue Replacement", and it's typically the process of recording an actor and then using that audio to replace the original dialogue. Sometimes it is needed in order to correct an audible mistake during on-camera filming, or to re-record a line that might have needed to be re-written (hence the term "we'll fix it in post"). This is a common step with post-production. One example of that can be found HERE. Dubbing is a TYPE of ADR, more specifically recreating the dialogue in a different language. This requires localization, which can include translated scripts and adapted dialogue. One of the more common examples of this is anime dubbing, when an actor dubs character voices in a different language than the original Japanese. You may also hear the term "to-picture", referring to the process of recording in sync with a video to match specific timing and visual cues.
32.) Looping & Walla:
Many people use these two terms interchangeably. This is a voice-over job that involves multiple actors getting together in a studio and being recorded speaking all at once to simulate the sound of a crowd. This creates ambiance, the sound of background chatter for various types of scenes (Examples: A crowded marketplace with the sounds of vendors selling items and customers buying produce or conversing with each other as they shop around. Another example could include the sounds of an audience shouting and cheering in the stands of a stadium. Or a restaurant scene with wait staff, chefs, bartenders, customers eating food, etc...) This job does NOT include foley, so actors do not provide any sound effects like clapping or foot stomping during these sessions. The majority of the dialogue spoken by the actors requires improvisation. Looping is sometimes referred to as "Group ADR", because in some cases the recorded audio will be used to replace some previously recorded dialogue. A group of actors in a looping session is typically referred to as a "Loop Group". In my own experience, the term "WALLA" is most often used in anime dubbing sessions, while "looping" is the term I hear most often when recording for video games and pre-lay animation. While anime walla tends to be on the far lower scale in terms of pay-rate, looping jobs can be extremely lucrative. In many cases, you will see actors who work in this genre credited as "Additional Voices" or "Loop Group" at the end credits of a project. You can hear loop groups in all types of media, including on-camera productions, like live-action movies and TV shows!
Looping in Los Angeles is a highly competitive field. If you want to pursue this type of work on a professional level, I recommend having improv training beforehand. Additionally, it is worth learning from industry professionals who specialize in the art of looping specifically. It is an exceedingly difficult genre to break into. If you truly feel you are ready to take on that challenge, try taking an in-person class with Terri Douglas and Johnny Gidcomb. And if you want to start small and work your way up to that point, I occasionally teach a WALLA class, so if you're interested in that, feel free to reach out to me HERE to request a WALLA workshop.
33.) Incidentals / Bits:
These are the types of minor character roles that don't require an audition. These small roles typically have generic labels, such as "Male Zombie 2B", "Girl with red scarf", "Reporter 3B", "Soldier 2A", etc... Sometimes an actor will record various incidentals solo directly after a group walla session.
34.) Performance Capture (PCap), Motion Capture (MoCap), & Facial Capture:
While some may use these terms interchangeably, PCap is more detailed and comprehensive in that it includes recording the entire performance of an actor, involving the whole body and it's movements, facial expressions, and the voice, which takes place on a PCap stage, often alongside other actors. Unlike most voice acting jobs, this requires the actors to have their lines memorized. MoCap primarily focuses on recording just the actor's body movements. Facial Capture involves recording an actor's facial expressions and typically the voice as well, simultaneously. With all of these styles, the actor's performance is captured and turned into digital data.
35.) Plosive / P-Pop:
A plosive is the puff of air that leaves your lips and hits the microphone when speaking certain words. It is also known as a "P-Pop" because the "P" sound tends to produce the most prominent plosives (WOW, that's a bit of a tongue twister!). One way to solve a plosive issue is to have a pop filter (sometimes referred to as a "windscreen"), and put it in front of your microphone, preferably not too close to it. However, the pop filter doesn't stop the plosives. It can only slow down the air. Additionally, you can hover your finger in front of your mouth (like when you're motioning for someone to "shush". Make sure your finger is only hovering in front of the lips, not touching them) When you do this while speaking, the finger splits the air, avoiding a large plosive from hitting the microphone.
36.) Mouth Clicks:
Mouth clicks are the sound that saliva makes in your mouth, more often when a person is dehydrated. (if you have ever seen an ASMR whisper video, that's a good example of what mouth clicks sound like). These sounds can be difficult to edit out of audio. To reduce mouth clicks, it is important to drink a decent amount of water at least 45 minutes before you plan on recording, because your body needs time to absorb that hydration beforehand. Another trick to helping eliminate mouth clicks is eating a green apple. The acidity and tart flavor specific to Granny-Smith apples helps to counteract the dryness by producing more saliva, essentially moisturizing the mouth.
37.) Efforts / Reactions:
Sometimes referred to in a script as "reac" or "reax". Efforts are non-dialogue vocalizations, like grunts, gasps, laughs, and the sounds of physicality, which includes the sounds of a character panting while running, grunting while struggling to pick up a heavy object, or shouting with exertion as they're swinging a sword.
Tech Terms
38.) DAW:
Commonly pronounced "dah", DAW stands for "Digital Audio Workstation", and it is essentially any software program that allows you to record and edit audio. Some examples include ProTools, Adobe Audition, Logic Pro, Audacity, Reaper, and Twisted Wave. Audacity is free and a decent DAW to start with. ProTools is considered the "industry standard", but you won't usually need something that complex if you're only using it for voice-over.
39.) USB mics vs. XLR mics:
To summarize, a USB microphone connects directly to a computer via a USB cable, while an XLR microphone requires an XLR cable and an audio interface in order to connect to a computer. USB microphones tend to be cheaper in cost and quality, while XLR microphones offer higher audio quality.
40.) Audio interface:
This is a device that connects your computer to your audio equipment. This allows you to use an XLR microphone, and in many cases has the added benefit of a dedicated control knob for adjusting your input levels, also referred to as adjusting the "gain". Having an interface with a gain knob is greatly beneficial in having more control over the volume of the recorded audio.
41.) Gain:
Gain is the amount of amplification applied to a microphone's signal. It is essentially the sensitivity of the recording device that can be controlled via an audio interface or studio console.
42.) Input & Output:
An input device is one that sends audio to a computer (example: a microphone). An output device is one that sends audio from a computer to another destination (example: headphones or speakers)
43.) Phantom Power:
This function is used to operate condenser microphones. It can often be found as a button on some interfaces and often labeled "48V"
44.) Decibel Meter:
This is a visual tool that measures and displays the volume level of sound decibels (dB). Most DAWs will have a visible dB meter so you can monitor your levels when recording and ensure you keep at a decent volume without peaking audio.
45.) Peak / Clip:
When audio peaks/clips, this means it is too loud and requires the gain to be adjusted to avoid a high decibel count on the meter, which can appear to be red when too loud.
46.) Levels:
When recording on your own equipment, you will hear differing opinions on what levels are preferred. If your recording volume is landing around -24 dB to -18 dB on the decibel meter, that is a decent place to be in most situations. When you record in-studio rather than from your home studio, then you won't have to worry about adjusting the gain. When recording with studios and working with a professional audio engineer, they will usually start the session by asking for the actor's levels so that the engineer can set the gain on his own end for your voice. This usually requires the actor to speak into the microphone at a neutral volume so they can adjust the settings accordingly.
47.) A "hot" mic:
This term has TWO meanings. It can refer to the microphone being ON, and sometimes said in warning. In some cases "hot" refers to the gain of the microphone being too loud and possibly peaking.
48.) "Ride the gain":
This term means to adjust the gain. You have to make sure you know where the gain knob sits at when you're speaking in a neutral volume, how low you need to turn down the gain when you're speaking with a loud volume (like when screaming or shouting), and how high you need to turn the gain up when you're speaking at a low or whispered volume.
49.) Room tone:
This is the ambient sound of a room with no intentional sound. This could include the sound of an AC unit being on, or noise that might leak into the room from outside.
50.) Audio Bleed:
This happens when there is unwanted sound leaking from a source and being picked up by the microphone. One example of this could be when the volume level in the headphones is loud enough that the microphone is picking up the audio signal and it can be heard in recordings, in which case you would have to turn down the headphone volume to avoid the bleed.
51.) Cans:
This is just another word for headphones.
52.) MP3 & WAV file formats:
An MP3 file is a digital audio file that is compressed. This is usually the format voice acting auditions should be exported as. In comparison, a WAV file is a digital audio file that has not been compressed, so there is no loss in data when it is being exported, and is higher in audio quality, often being larger in size than MP3 files. When recording a booked voice acting job, they require the recorded audio to be exported as a WAV file.
53.) RAW Audio:
When asked to deliver "raw" audio files, this means that they want the audio to be essentially unedited. All original sound with no digital effects or audio manipulation, often exported as a WAV file format.
54.) Source-Connect / Source-Nexus:
This is a software for remote recording with studios. This is how studios record the actor's live audio as their voice is transmitted from somewhere else. There are many different applications that allow this connection.
• Source-Connect-Now / Source-Nexus-Free: This is a free extension that requires the Google Chrome internet browser.
• Source Connect Standard / Source Nexus: This is the subscription based version, so it requires a monthly fee. Some auditions state that they require the actor to have this version in order to be considered when casting.
• Other software options include ipDTL, ConnectionOpen, and ListenTo.
Studio Terms
55.) Control Room:
This is usually a separate room from a recording room/booth. The control room typically includes the console/board where the audio engineer operates. This is where the engineer, director, producer, and client are sitting in on a recording session, often speaking to the actor through a "talkback" function by pressing a button connected to a microphone, transmitting their voice to the recording booth for the actor to hear, allowing them to communicate from separate rooms. This function is necessary when an actor is recording in-studio (in-person rather than remotely).
56.) Live Direction:
This is when directors and/or clients will sit in on a recording session and give various direction to the actor so they can adjust their performance in real-time.
57.) Bookout:
This refers to the days in which an actor is unavailable for work. If you plan on leaving town for vacation, you will need to relay the bookout dates to your agent or current clients when it is requested.
58.) "Hard-out":
When a director asks an actor if they have a "hard-out" the day of the recording session, they are inquiring if the actor is able to stay a little longer after the session was supposed to end. If an actor has a tight schedule, they might mention that they have a "hard-out", meaning they have to leave right on time, as soon as the recording session is scheduled to end. In some cases this could be because the actor has another recording session to get to, or an appointment that they don't want to risk being late to.
59.) Pick Up Session:
While a "pick up" is when a person re-records a portion of dialogue from a script, a pick up session is an additional recording session where an actor has to come back in on another date to do some re-recording, which could it include multiple "pickups". There are various reasons for this; whether it's to fix a mistake, like correcting a word that was mispronounced during the previous recording session, or there might have been a script rewrite and the actor has to record the newly changed dialogue. Sometimes during recording, a line might have been unintentionally skipped, in which case the actor has to come back in to record the missed line.
60.) Vocal Ref:
This is a snippet of audio, typically pulled from either the actor's audition for the role they are recording for, or from a previous recording session as that same character if they already had a previous recording session for the role. The audio is played for the actor in order for them to match the established vocal print, ensuring consistency with each session.
61.) Minimum:
A "minimum" refers to the minimum amount of hours an actor will be paid for working a job. In the Los Angeles voice acting industry, actors will often see job rates labeled with a "2 hour minimum", meaning the actor will get paid for at least 2 hours of work, even if the session is shorter in time. So if a production lists their rates as "$250/hr with a 2 hour min.", even if they don't need the actor for the full 2 hours, that actor will be paid at least $500 for the session.
62.) Scratch Tracks:
A scratch track is like a rough draft of an audio recording done by a stand-in, intended as temporary audio and often acting as a guide for the final sequence of recording. Rather than paying a voice actor twice for the same work, casting directors for animated projects will often hire the stand-in actor to essentially narrate the script beforehand, allowing for the content to be created around the script so it can sync up with the final voice-over recording.
63.) Animatic:
This is essentially a rough draft concept of a TV spot, usually with storyboard images set to music and scratch track voice-over.
64.) Take:
Used often in many areas of show business, a take is a singular performance, sometimes assigned a number if there are multiple. If an actor reads an audition all the way through once, that is one take. If they want to read that same audition again for a second option, that would be "take 2", and the first take could be labeled as "take 1", making it easier to differentiate the takes.
65.) "Off mic":
This refers to the action of not speaking directly into the microphone, sometimes turning the head away to face the side of the mic.
66.) Beat:
A beat is equivalent to a pause, so it's basically a moment of silence added to a performance. This could be used to convey a pause for thought, an emotional shift, and various other creative reasons.
67.) Billboard / Billboarding:
This is another word for "emphasis". If an actor is told to "billboard" a word, this means they need to put emphasis on the word. This direction is more often given when recording commercial voice-over. Emphasis can put more importance to a word, so the client might ask the actor to billboard the product name or the adjectives describing the product in order to highlight it's attributes and importance.
68.) Cadence / Inflection / Musicality:
Vocal cadence, sometimes referred to as inflection or musicality, is a term used to describe the way a person's voice rises and falls while they speak. It is essentially the musical notes of a person's speech.
69.) Emphasis:
This refers to the act of stressing or "highlighting" a particular word within a sentence by adjusting the vocal inflection. This can be used to convey importance to a specific word or main point of a message. Sometimes this can be referred to as a "punch" when adding more intensity to a word.
70.) False Start:
This is when an actor makes a mistake at the very beginning of recording, whether by misreading a line or stumbling in their performance. It is essentially a flub that requires the actor to start over and try again.
71.) Read:
When a director tells an actor "that was a great read", that means they were satisfied with the delivery of the spoken words. (pronounced as "reed", rather than "red")
72.) Wrap:
This term essentially means "the end", often referring to a whole production being finished, or when an actor has finished recording all of their own lines for the role they were cast as in a production. "That's a wrap!"
Voice Acting Industry Terminology
