Using Voice Over for your PowerPoint Presentation

Add Professional Voice Over to Your PowerPoint Presentation

Why Should I Have a Voice Over for my PowerPoint Presentation?

To make a lasting impact with your PowerPoint Presentation, corporate or explainer video, you need a professional voice over narration that complements and reinforces your image and message. You can count on me as a partner for your media production needs from start to finish on any project of any scope.

Using a professional voice over enhances your communications and marketing. Giving you an engaging voice to carry the positive image of your brand. It’s not just another announcer, it’s an intelligent narrator that understands how to tell your story. And it all comes with a high quality sound that reflects the professionalism of your business.

This is a presentation I wrote, recorded, and created as an example of my work. You can also watch it as a video here:

 

How to Add Narration to Your PowerPoint Presentation

Working with me is easy, and the process is simple. Email or call me for a quote, then send me your script, and in 24 hours or less I’ll send you finished, edited audio slides, that are ready to use for your presentation, e-learning course, or video. As you can see and hear from this presentation I made, I can help with copywriting to optimize scripts for voice over.

Inserting audio from recorded files into your PowerPoint project is easy. I usually upload a copy of .wav or .mp3 files for my clients to my OneDrive folders, and share links to those files for them for download. Once you’ve downloaded my voice overs, simply go to INSERT in PowerPoint and then on the far right of the navigation bar in the MEDIA section, there is AUDIO. Choose “Audio on My PC” and then select the voice over file corresponding to that slide, and then click “Insert” A speaker icon will appear on the slide that you can move to the right area of the screen. On my example presentation, the speaker icon is in the red box at the top right. When playing the Slide Show, simply click on the icon to play the voice over. If you would like the audio to auto-play, here is the official explanation on how to do that. Note that you cannot insert audio if you only have PowerPoint Online which comes with Outlook. You will need the official licensed version of PowerPoint. For reasonable monthly rates, Office 365 is well worth it. I should know, since I narrated the Microsoft Office 365 overview video for the Canadian market!

And if you’d like to direct me live as I record, there are many options. Most of my clients choose Skype or my private URL on ipDTL, which provides free high-quality 2-way streaming audio over a Chrome Browser to anywhere in the world.

So call or write to me today for your next Power Point Presentation or other project that needs a voice over.

Audio Tour and Museum Exhibition Narration

Narration for Self-Guided Audio Tours: Setting the Right Tone

Just as I love e-learning and educational voice overs, I love being the knowledgeable, trustworthy narrator for Audio Tours. From Museum Self-Guided Tours and Installations, Touring Exhibitions, Historical Collections, or Parks and Tourist Guides, they all need an engaging voice over to connect the listener to the narrative. A good audio tour script writer paired with the right narrator to deliver it can bring a whole new dimension of enlightenment to a museum visit.

Pacing is key: the voice can neither be too rushed nor too slow. It has to allow time for the listener to look around and think about the exhibit, and yet not be dull. The voice must invite curiosity without being too cute or familiar. I study the script and subject matter and know it backwards and forwards: I try to be the expert, so I can sound like the expert: but with a friendly tone!

American English Narration for International Museum Visitors

Clarity and good diction are extremely important, especially for conveying new ideas and technical terms. I narrate with a clear American English Mid-Atlantic voice to appeal to both U.S. and international visitors alike.

With years of experience as a professional audio engineer, I provide high quality audio recordings that sound good in headphones. The sound is smooth and warm with no annoying sibilance or distortion: just like with all my voice overs! Have a listen to my Audio Tour demo below.

 

AVOLogo300

5 Health Tips for Voice Over Talents

Voice Over talents are always on call, and when we’re not recording we are actively pursuing new client relationships. So, we’re indoors. A lot. And worse, we’re sitting down most of the time. Paul Strikwerda recently made a thoughtful and honest post about voice over talents and the risks of being in bad shape and/or poor health. I’d like to share with you the tips I used in 2011 to shed the 35 pounds I accumulated as a sedentary studio denizen: and I did it all in my studio, outside of a little light jogging. Never went to a gym. Plus, I’ve kept the weight off since then by continuing using these tips.

  1. Stand up. Try to do as many of your sessions as possible while standing. You should find that your breath control is improved while upright. If you just aren’t comfortable with that, try to do all your editing while standing and set-up a standing workstation environment to facilitate that. When I do sit for writing emails or blogs, I sit on a large excercise ball, not a chair. That forces me to have better posture, and I can also keep moving around on it shifting my body as I sit. Never stay still!
  2. Light Weights. I keep 8, 12, and 20 pound dumbells in my studio, and I play with them all day throughout the day. Even when I edit, I do light weight exercises while I’m listening to playback, and then put them down to make the edits. Any time I’m uploading or downloading client files, I might be doing a few press-ups or sit-ups.  As well as the weights I also have a 10 pound medicine ball and tension bands. All this kit is not in the closet or in a storage bin, they’re all out in the open as if to say ‘hey, use us’.
  3. Vitamin D supplements. We’re studio mushrooms. If you are a voice over talent, you likely are not getting enough sunlight, which is the only best natural way to get it. You can’t get enough of it by eating foods ‘high’ in Vitamin D. Trust me, when you’re getting enough D you’ll feel happy and motivated to do the things I’ve already listed. Don’t go for a ‘multivitamin’ to get your D. Get a supplement dedicated for Cholecalciferol vitamin D3. For male voice over talents, you might want to read up on the current studies linking D deficiency to prostate cancer for some added information.
  4. Eating well. Everyone needs to find what works best for them, but for me going for a diet that cut back red meat, soy, and dairy really helped. I’ll still eat small portions of all three. I eat mostly lots of greens and fruits with legumes and nuts and some sides of fish. I only eat whole-wheat grains but I eat more rice, quinoa, and potatoes. And I try to eat organic food as much as possible. Do the best you can – especially if you’re cooking for your family like I do – but keep in mind that the secret isn’t having a ‘restrictive’ diet but rather simple portion control. Eat off of smaller plates. Don’t go for seconds, etc. If you eat meals that are 80% smaller, you won’t have to drive yourself crazy with calorie-counting. It will work out over the course of the week that your calorie count is also down 80%. Getting to a healthy, balanced diet is a marathon, not a quick fix of cutting out the things you already eat and enjoy. I didn’t stop eating pizza or cheeseburgers when I lost my unwanted weight.
  5. Stay Hydrated! Yes, as a voice talent you absolutely need to stay well hydrated and avoid excessive amounts of caffeine and alcohol to keep your pipes in tip-top shape (and to avoid mouth noises). But also, if you drink plenty of water you’ll feel great and also full (and not so prone to over-snacking).

Now I’m going to press ‘publish’ and go do a few light reps and a little yoga. Good luck!

 

Closed-Back Headphone

Using Headphones for Voice Over

Choosing the Right Headphones for Voice Over

What kind of headphone should you use in the voice over booth? What things should you consider when choosing your set of cans? Let’s look at the pros and cons of different types and uses for headphones, to see what’s right for you. You may be comfortable with your old trusted pair, but perhaps you can do better by taking a fresh look at them.

Should You Use Headphones at All?

Some professional voice talents and coaches are recommending to completely forgo using headphones as a practice. I wouldn’t recommend that. Unless you are working on an audiobook or long-format e-learning module by yourself, you need to be able to take direction live: whether it’s from the control room on the other side of the glass, or down the line via phone-patch, Skype, ipDTL, ISDN, or Source Connect. Not using headphones can only make you less comfortable when you do need to use them.

I understand the argument that going without headphones, you hear yourself naturally. You can then hear the resonance of your head cavity which is what makes our voices sound lovely as we speak but when played back they sound slightly different and perhaps more shrill than to which we are accustomed. Also, it’s a valid point that by not using headphones one doesn’t fall into the trap of over-listening to the sound of one’s own voice. But there are several ways to use headphones and sound natural.

Comfort and Natural Feedback

You will be able to hear yourself naturally and not listen too much to your own voice if you consider the following recommendations:

  • Don’t use closed-back headphones that have a hard case that seal in your ear and block outside sounds. All you will hear is the feed of your voice and you’ll lose all of the tones of resonance from your body. You’ll over-listen to your voice with close-back cans and wind up often pushing your voice and breathing to sound more full. Just say no to them. Instead, use open-back headphones. If you are concerned about sound bleeding out to the microphone, try semi-open headphones as found in great models by AKG and Beyerdynamic. I’ve never had a problem with headphone leaking in any studio including my own, because 1.) I never have myself loud in the headphone mix and 2.) the control room should either not be talking loudly when you do a take or the sound engineer should have the talk-back mic kill switch engaged.
  • Turn down the volume! You won’t have to worry about the bleed of the sound of your client on the line being picked up by your microphone if you keep their level down. Also, if possible, turn the return of your voice to the microphone as low as possible. Then you certainly won’t be over-listening to your voice.
  • If you love your closed-back headphones and that’s your thing, then try using only the left or right headphone on your ear and slide the other one to the back of your head off that ear so that you can hear your voice naturally with that ear.
  • Try earbuds. If you can get your hands on a nice set that are comfortable and don’t bleed out the sound too much, give that a try. Another advantage of earbuds is that it won’t mess up your hairdo. And we all know, if you look good, you’ll sound marvelous!

Other things to consider when buying headphones are the weight and overall comfort. Choose a pair that are of high-quality, and search to see if that model holds up over time. As for the cord, do you want an easily stored elastic cord, or would that be a pain in the close quarters of your booth? In which case a straight cord is preferable.

In the end, make your choice of headphone and how you use it to minimize how much you notice it. The less you are aware of your headphones, the more natural your voice over sessions will sound.

Good luck!
-Lance

USA-Banner1.png

Social Media Shakeups and Voice Over

The Social Media Networks are Re-Inventing: So Should You.

As voice over talents and media producers, we all have our individual social media strategies for our brand. For me, I gave up on Facebook, but keep a presence there in case anyone would like to find me. Turns out so far, nobody on FB can find me. I’ve had 17 organic views on the big blue board while having a full profile and lots of quality content. I just don’t pay to promote posts, nor to advertise, and I refuse to grovel to have people ‘Like’ me anymore. That doesn’t result in lasting social media relationships anyway. Turns out, avoiding Castle Zuckerberg is good advice for many voice over talents. In discussions with to two talents with high on-line profiles this week, one got 1000 views and only one ‘Like’ for a promoted post, while another spent hundreds over two years and got no traction from it. Now, at the same time, there are voice over talents that thrive off of their investment in Facebook. Your millage may vary. I tend to stick to Google+ because the communities are active and you can actively engage and follow people from your Business Page. And, they follow you back! You can search and find real-live Audio Post Engineers on G+ and add them; whereas on Facebook, a similar search coughs up a Wikipedia entry and some tenuously related Audio Groups. I though Open Graph was supposed to be intelligent? I blame Bing on this point – I think their search results for our industries are bizarre at best (Duck Duck Go is by far the best search engine for voice over production). I also use Twitter often as that’s the best way to see what blogs and articles are being shared, as well as a quick and convenient way to message other talents and producers.

So that being said, It now looks like everything is about to change. Massively. Across all major social networks. Let’s have a look, and see how this can affect how we are social online:

Facebook Changes Messenger to Seperate App

Maybe it’s best to not turn your back on Facebook just yet. With the $19 billion purchase of WhatsApp, they seem to have designs on becoming the global messaging provider for social networking. They are seeing huge increases in use outside of the United States. Don’t discount their plans to use drones to bring the internet to Africa, either. There is a clear strategy in place to become the leader in mobile messaging. Or is there? They have also just launched their new Facebook Messenger, and interestingly, it’s a stand-alone app not directly integrated with Facebook. Not everyone is pleased with this change! How can you carve out your niche on Facebook when the company is seeking a wider global presence? Clearly, your 2013 Facebook strategies will need some tweaking in the coming months.

Google + Also About To Break Up The Suite

The head of Google Plus, Vic Gundotra, has just left a touching goodbye on his G+ profile. He was the man who insisted on connecting everything (GMail, YouTube, and Chat/Hangouts) to Google +, much to the frustration of well…everyone. His successor is Dave Besbris, who is an engineer and not a Product Visionary. Expect G+ to have its links to other services severed while remaining a kind of Twitter-like Micro-blogging platform. Why is the Mountain View gang doing this? In part because of Facebook’s move into mobile messaging described above. Google is about to aggressively go after mobile. 25% of new smartphones are being shipped without the Google Suite, and Samsung has just been coaxed into dumping some of their own app suites that mimicked Google’s.

What will this mean for media freelancers and their online strategy? Don’t expect G+ to go the way of Buzz, yet. Could they ever be taken seriously again if they killed off Plus? Coca-Cola survived killing off New Coke, just saying. Prepare for this: your YouTube videos will no longer be connected to G+. Commenting and sharing videos will be in separate realms. Hangouts will be more of a separate entity too, perhaps with a Skype-like interface. If they do this, and make their amazing high-quality audio ‘Hangouts On Air’ no longer auto-publish to YouTube, then this would be a serious challenger to Skype TX as well as the other ip-solutions (ipDTL, Source Connect Now, Soundstreak) for voice over transmission and recording.

Twitter Relaunches

Twitter is changing user profile pages. You now have a large header image, pinned tweets at the top, and filtered tweets. There is a good overview of how to make the most of the new Twitter at CNET. Twitter is soul-searching for new ways to generate revenue and make it more user-friendly to the Facebook crowd. Hashtags and @ signs are on the way out. Many of the new design is intended to cut out the noise-ratio of tweets. This is great news for those of you looking to target your voice over audiences.

The Social Networks are radically re-inventing themselves. Voice Over and Media Producers need to keep up to date with the progress to make sure social media strategies work well with the new designs.

Good luck!

ipdtl.com

High Quality Voice Over Streaming and Recording with ipDTL

Full-Featured Voice Over Recording Tool

ipDTL.com has launched impressive new features and upgrades, making it a viable voice over solution for high end production audio recording, as well as podcasts, interviews, and basic voice talent sessions.

  1. You can now stream at 256 kbps Mono or 320 kbps Stereo
  2. You can now record within ipDTL and immediately download as a .wav or .mp3 to edit or share.
  3. A new Mute button which works as a talk-back kill switch. It can be released by pressing the CTRL key.
  4. Audio Send Mixer, with settings for Primary and Secondary Sources, as well as the Master level. Each has individual PFL and Mute settings as well as a fader. The feature I like best in the Mixer is there is a dedicated channel for uploading audio files: so you can reference music, previous takes, or interact with dialogue.
  5. There is now a Chat feature. No longer will you need to jump around on Skype or Google Hangouts to get session issues coordinated. Plus, once in Chat, you can upload scripts and work on them collaboratively under the ‘Script’ tab.
  6. The Link + Account URLs are now more complex for greater security. I have a Link + Account, which means that anyone with the latest Chrome Browser can connect to my studio via the URL. My account is here, and please feel free to test it out with me…just give me a little forewarning so I can be ready.

New Sound Recording Capabilities from IP Services

So how good does it sound? Here’s my voice recorded in ipDTL while streaming at 256kbps and saved via the interface as a .wav, where it was immediately sent to my download folder. I’ll admit after hearing several tests that ipDTL at the previous 128kbps level is not quite as good as ISDN-quality: perhaps 85%-95% as good as ISDN. 128kbps streaming is still fantastic for corporate videos and other non-broadcast voice over productions. Now, with the 256 kbps Mono / 320 kbps Stereo level of quality, this is a viable (and affordable) alternative to ISDN for broadcast audio. Add on top of that the great new features to make the session workflow better for both voice over talent and directors, and ipDTL is the way forward.

Update for April 23, 2014: Real-World Tests of the Re-vamped ipDTL

I did two test sessions yesterday with Darren Altman in the UK and Matt Cowlrick in Vancouver (I highly recommend both of them if you’re looking for friendly and fun English or Australian voices, respectively). Everything worked great as promised. Chat was no problem (whereas it didn’t work for me at all in tests with Source Connect Now Beta). The Script Editor was terrific, and we could both edit scripts together in real time and see the edits simultaneously. The mixer worked wonderfully. Darren figured out that you can use the Secondary Source for playback of audio files, while Matt worked out how with Soundflower and TwistedWave you can playback recorded takes of your session that you are currently working on. The feature of uploading files in the mixer and playing them worked well – the only minor issue was that the person who uploads the file can control the volume, but not the recipient. Not a big deal. When both talents were using WiFi on one session, there were noticeable dropouts at 256 kbps Mono. We logged out, switched to 128 kbps and logged back in an had no further dropouts. In another session, with better speeds, there were no issues with 256 kbps Mono, but we decided to drop down to 128 kbps to compare and it still sounded great.

 

Voice Over Warm-up Excercises

6 Slick Voice Over Warm-up Tricks

Warming Up Your Voice for Improved Voice-Over Performance

Try these six unconventional warm-up tricks in your daily routine to get your voice to hit the ground running in your morning voice over sessions:

  1. Blow up a balloon. Not a hot air balloon, but just a common party balloon. And no, using a bicycle tire pump or gas canister is cheating. Just use long, slow breaths to fill it up the first time, then do it a second time with short, quiet breaths. Give it a go!
  2. Hold your breath underwater. Either while swimming in the pool or in the bathtub, holding your breath underwater is a great exercise for your breathing control. Take in the breath slowly and deeply, and don’t hold it too long. Focus more on having a slow and controlled exhale. Frank Sinatra and Dean Martin would use this trick – I wouldn’t recommend some of the other tricks they’d use to get ready for a gig.
  3. Massage Your Face. Your voice is lead by the expression on your face, not the other way around. Having limber and awake facial muscles are key for this. Also, working on the sides of your nose and eye areas will help your sinuses too.
  4. Tongue Workout. No, this isn’t the name of your uncle’s heavy metal band from back in the 1980s. Try to lick the tip of your nose and chin. If you can do both, you’re a freak but in a good way – your voice will be greatly aided by having an strong, alert tongue. That is, unless you have been hired to affect the slack dead-tongued voice of a Millennial for a job-seeking service Explainer Video (I am guilty as charged).
  5. Butcher the Read. Take a pass through some copy while slightly over projecting and over articulating. Don’t modulate your voice, just stretch out every consonant and vowel to a painful degree. That will get your mouth motoring!
  6. Speed Reading. Work with some online apps for speed reading. No, you don’t need to speed read for voice over sessions. It can help in terms of finding your place as you jump around in a long script. What’s important is that speed reading helps to train your eyes and mind to see the text better and with greater ease and confidence. Another side trick I like to do is to read copy in a language that I don’t understand. The Helsinki Times does the trick for me.

There. Six Slick Voice Over Tricks to try out this morning. Up an’ at ‘em!

What are your favorite personal tricks for getting up and running in the morning, fellow voice over talents? Please share them in the comments. Thanks!

 

Screenshot (32)

Popped Ps – Fixing Excessive Plosives in Voice Over Recordings

How to fix Plosives in Your Voice Over Before (or After) they Happen

The only thing that sounds worse in voice over recordings than sibilance are the popped plosive sounds of words with heavy Ps, Bs, and Ts. There are several ways to remedy this:

  1. Work on your voice control, so that you don’t push out these sounds so harshly. Think about smoothing your words together. Consider how loudly you are talking – the microphone is a sensitive instrument. It can hear you! Sometimes voice talents over-project because they don’t have enough gain in their signal chain, or they are listening to their headphones too much, or their booth/recording space is too dead. My booth has a very dead sound with no reflections, so in order to re-create natural ambiance for proper aural feedback when recording I add reverb to my headphone feed (but not to the track input). When using other studios, I only use one side of the headphone and keep my other ear open to the sound of the room.
  2. If, after working on your voice control, you still have popping plosives, then buy a professional pop screen or pop filter. They’re not that expensive, and can be picked up for $20-$30 at most musical instrument stores. Metallic screened filters are very nice, but they can resonate at times. I recommend a mesh filter.
  3. If you don’t want to shell out the money, consider hanging your microphone upside down with the diaphragm at eye level. If you are still getting plosives after that, see a doctor!
  4. When you’re proofing/editing your recorded voice over and you come across a plosive, run a hard cut of all frequencies below 80Hz, over only the area of the plosive. This will take all the boomy energy out of the pop. For example, here is the waveform of me saying “Peter Piper picked at peck of pickled peppers in Princeton” , zoomed in on just the “Peter Piper” part.

Screenshot (31)

Then, I select only the jagged, erratic ‘popped p’ section…

Screenshot (32)

…and then cut out everything below 80Hz.

Screenshot (33)

How does it sound? Well, it isn’t pretty, but it works. Here is the sentence before the fix

And here is the sentence after I cut below 80Hz on only the popped Ps:

You’ll find that this trick, when applied to a normal (and hopefully rare!) popped P in a track, will fix things and sound natural.

Hope you found this helpful, and I look forward to seeing your feedback on this.

CBT

Edit-Ready Voice Over for E-Learning and Corporate Video

In Voice Overs, Give Clients What They Want

Not every voice over client has the time, budget, or experience to provide professional audio post services for their corporate video or e-learning program. Being able to have the attention to detail to provide polished edit-ready audio tracks is a great way to bring added value to clients that develops long term relationships. When a start-up hires a voice artist to do their first explainer video, delivering excellent finished audio will only help the company in their marketing success, which usually leads to more work for the voice talent.

As a rule, when it comes to recording voice overs in the home studio for broadcast clients or corporate clients who are working with professional editors or production houses, the voice talent should provide clean, un-processed audio. That means:

  • No EQ
  • No Compression
  • No gating, noise reduction, or use of expanders and exciters
  • No editing beyond providing the keeper takes

Why? Because editors and sound engineers have their own workflow. They have their compression settings that they like. They like a certain amount of EQ at certain frequencies. If the voice over talent serves up an altered audio file, it makes it much harder (and more time consuming) for the engineer to fix it. Also consider that the voice over audio needs to work with music, sound-effects, and perhaps mesh with ambient sound of B-roll or interviews…or even other voice over talents. I worked in the audio department at Cramer Productions in Boston for nearly a decade, and the goal was always to capture the highest-quality sound that was easy to work with for all kinds of purposes. Compression on a voice track might sound nice in the home voice over studio – but when it ends up being played at a convention center in a massive room with a lot of music, that home studio compression is unwanted. The A1 working the show might use harsher language than that.

Process for Delivering Edit-Ready Voice Over Audio Files

I work with many clients that need my experience and attention to detail as an audio engineer to make their productions shine. My workflow for doing that is:

  1. Consult with the client on what will be the end use of the voice over. Where and how will it be played? At what resolution? Is it  going into Articulate or telephony?
  2. Record the voice over session with my CAD E100s super-cardioid microphone. It has a tight pickup-pattern like a MKH-416 and the lowest self-noise in its class (3.7dBA). I use a clean microphone preamp with no transformers or tubes/valves that can color the sound and add distortion. Such preamps sound nice for recording instruments, but often not so nice for the complexities and detail of voice. My studio has a very low noise floor, and is acoustically treated with panels and bass traps from GIK Acoustics.
  3. Save a copy of the raw audio session before I begin processing.
  4. Run a slight noise reduction pass based on a sample recording of the ambient noise in the track. I do this with Adobe Audition 3, and I always record at 48kHz/24bit or higher to ensure the cleanest processing, and then down-convert to whatever the client needs.
  5. At this point, the audio is so clean that there is no need for additional expansion or gating. I run a slight compression of never more than 3:1 over the session track.
  6. Depending on the use, I will run a touch of mastering EQ over the session, perhaps adding a bit more ‘air’ or high end to the audio, and maybe scooping out a slight bit of the 200-400 Hz range to increase clarity.
  7. Note that I do all my processing before I edit the tracks. This way, everything sounds uniform. As I edit the tracks into clean keeper takes with a half-second at the head and tail of each, I also give a little fade-in and fade-out in those half-seconds at the head and tail so that they work well as stand alone audio in any presentation, or if they are placed together in an edit by the client.
  8. All tracks are labelled and ordered exactly per the specs of the client, and made available in the cloud via dropbox, GDrive, OneDrive, or what ever file transfer service the client prefers.
  9. For projects such as these, any small script revisions are fixed free of charge. I can edit words or phrases from the original in Adobe Audition, and I can record new audio and insert them into a track in a seamless fashion, using the exact same processing.

If you need a voice over talent for your corporate video, explainer video, CBT, or E-Learning program and you don’t have full-service audio post at your disposal, choose someone who can handle the recording and editing responsibilities for you to get the best results.

Voice Over Copywriting

Business Casual: Make the most of your Corporate Video Voice Over Script

You’re making a corporate video or imagefilm. You have your vision, your storyboard, and your message finely honed. There are still some small tweaks to keep in mind before sending off that eleventh draft of the script to the voice over talent that will pay off in big ways.

A Corporate Video is not a list

A few of my repeat clients are guilty of this, and they sadly have no intention to change. It’s their corporate culture, and I respect that. To them, an corporate video is little more than parading through a checklist of their boastful claims. Everything about their product is the best. The best tube bending application in its class. The networking tool with the greatest ROI! The best water filtration system known to man. And each component of their product is the best too. Maybe the video sets out to bore the viewer in to submission, and that’s how they make a sale. I wouldn’t know. Despite this script deficiency, I do my best to make the script sound friendly and engaging – I still imagine that I’m speaking to just one person listening to the video, not a faceless large audience. I work with a microphone, not a megaphone. Listing scripts avoid the important questions, like ‘What does the client need?’ What are the challenges they are facing? How does the company engage with the client to address these needs? An engaging corporate video understands what the client is facing and presents solutions. Here’s a whiteboard video I did for OpenSpan. It’s longer than most explainer videos, but it stays focused on the client the whole way through, and that’s what I really liked about it.

 

Use Contractions

One of the best ways to have a script that works for the spoken word is to use contractions. Writing “If you do not have the boxes filled in order, you should not submit the file.” sounds a touch clunky. If your legal department insists upon avoiding contractions, I can still make it sound conversational by saying ‘do not’ and ‘should not’ quickly and smoothed together, and with nice, friendly inflection.

Don’t Use “Finally”, “However”, and “Next”

These words are so horribly overused in corporate scripts! For me, they’re some of the hardest words to say – harder than Brexpiprazole – because I try to say them casually and not with the same tone each time in order to keep these dull words sounding fresh. It’s tough, because they’re filler words that don’t have much meaning. They’re the words Charlie Brown’s teacher says. When you’re making an instructional video, every step is the ‘Next’ one, so why say that? Were you worried we might think we were jumping a head to the 82nd step? I usually record three to four takes of these words and keep the one that sounds the most natural in the final edit. They’re flow-killers.

‘However’ is filler. If your writing is clear, you don’t need to use that word. The fitting can handle up to 70 psi, however, at higher pressure it becomes less reliable. There’s no need for ‘however’: a good voice over talent or speaker can make the meaning clear without the ‘however’.

It amazes me how many times I’m sent scripts that have ‘finally’ as the start of an idea when there’s no structured order of what’s being presented. When you glance through the script and see the word ‘Finally’ in every other paragraph, it’s finally time to do a re-write. And no, using ‘Lastly’ is no improvement in this case.

Avoid Long Sentences

Often long sentences are the product of not knowing how to punctuate well, or not having the ideas organized, or both. I have the experience to deal with eighty-word sentences and instinctively put the punctuation where it belongs on-the-fly; but it’s better to give the voice over talent a script with which he or she can hit the ground running. Did you notice the semicolon in that long sentence? I can’t remember the last time I saw one in a script! People don’t talk in eighty-word sentences: or, at least not in ones lacking punctuation. They talk like this: nice, short sentences.

Oxford Commas

Voice over scripts absolutely need to employ Oxford Commas. Why?

Our services include marketing to telecommunications, recording and documentation industries in Europe, as well as the oil and gas sectors.

Include the Oxford Comma, and it is read completely differently

Our services include marketing to telecommunications, recording, and documentation industries in Europe, as well as the oil and gas sectors.

So if you use the Oxford Comma regularly, then when it’s not there, I’ll know to say that ‘Recording and Documentation’ is its own industry. Without the Oxford Comma, reading a series aloud becomes a task of random guesswork.

Script Formatting

IF YOU ARE THINKING OF SENDING YOUR TALENT A SCRIPT IN ALL CAPS, DON’T DO IT. ESPECIALLY DON’T DO IT IN ALL CAPS AND BOLD. AND IT WOULD BE SUPER-ANNOYING IF YOU ITALICIZED IT AS WELL.

Most voice over talents read their scripts off of a computer screen, iPad, or page on a stand that is two feet away. Use 12 pt. font at a minimum. Spreadsheets with the script in a narrow column with five words to a line on the side are really tricky to read aloud, as you can’t read ahead into the sentence to see where it’s going. PDFs of the story board aren’t ideal either, as the script will be too fragmented which can prevent the voice actor from having the best flow.

Don’t Forget the Dismount

So many corporate videos, especially the ones that are list-driven, fail to have any coherent ending to them. There should be some snappy summary of the challenges and solutions addressed during the video. There should be a memorable sign-off, and a detailed call to action.

Make your corporate video Business Casual: easy for the voice talent to work with and understand. Your message will be conveyed better in the resulting voice over performance, helping you to engage more with your customers.