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Just Passing Through



Joined: 04 Apr 2011
Posts: 266
PostPosted: Mon Aug 13, 2018 11:08 am Reply with quote
I thought it was the other way around... people start off in places like Funimation and Sentai as voice actors, and as time passes, they take on more roles in the place, as ADR Directors and Writers. After all, dub actor salaries are hardly enough to live on, and if you have transferrable skills and have built up XP in a company who you work for, other opportunities open up. Companies get to keep things 'in the family' which cuts down their overheads.

As for what the question asks, engineers and producers as actors, I've noticed that they usually get bit parts or wallah, at least at first, where they can do less 'damage'.
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MarshalBanana



Joined: 31 Aug 2014
Posts: 4360
PostPosted: Mon Aug 13, 2018 12:07 pm Reply with quote
Mary Elizabeth McGlynn confessed to casting herself as Julia in Cowboy Bebop, where she was ADR director, just to be with Spike. She later did the same thing in Wolf's Rain, to again be a lover of a Steve Blum character.

Monica Rial said something about how back at ADV she was working on a show with a really bad script, and she said she would write the script for the show for half the money, and that seemed to be her foot in the door for script adaptation.
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Manga Producer J.M.



Joined: 12 Aug 2018
Posts: 29
Location: Longwood, FL, United States
PostPosted: Mon Aug 13, 2018 12:21 pm Reply with quote
Thank you for teaching me about dubbing studio production! So many thing I do not know yet.

Honestly I'd love to write scripts for what the voice actors say in the animation in the U.S. and other countries and dub translation - rewriting for American audiences some day.

[EDIT: Do not double-post ~Zalis]
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Greed1914



Joined: 28 Oct 2007
Posts: 3811
PostPosted: Mon Aug 13, 2018 12:26 pm Reply with quote
Just Passing Through wrote:
I thought it was the other way around... people start off in places like Funimation and Sentai as voice actors, and as time passes, they take on more roles in the place, as ADR Directors and Writers. After all, dub actor salaries are hardly enough to live on, and if you have transferrable skills and have built up XP in a company who you work for, other opportunities open up. Companies get to keep things 'in the family' which cuts down their overheads.

As for what the question asks, engineers and producers as actors, I've noticed that they usually get bit parts or wallah, at least at first, where they can do less 'damage'.


It usually does work that way since it would be pretty tough to jump straight into things like writing and directing since it's a different beast from most other types of productions. As far as producers go, some moved up the chain long enough ago that I think some people are unaware that they started out as actors. Justin Cook would be a good example. I've also noticed that some staff members, like Clarine Harp, are cast much less than they used to be now that Funimation has expanded its actor pool.
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SHD



Joined: 05 Apr 2015
Posts: 1006
PostPosted: Mon Aug 13, 2018 12:28 pm Reply with quote
Wow. Is this something that happens regularly in the US? I worked in the dubbing industry for a number of years (not anymore though but I was production manager at a dubbing studio) and I've never heard of actors working other jobs in professional dubs. Sure, I've known an actor who had a sort of one-man dub service where he had a small studio at home where he would record stuff for a couple of steady clients (these were usually commercials that he could do a lot cheaper than if the clients were to hire a studio).

But I've never heard of something like an actor also handling the script in any capacity other than performing it, or doing any other non-acting task... let alone production using someone who is not, by profession, an actor, to act in a dub as something other than walla (unless it was absolutely necessary, which is how I ended up in a number of dubs/voiceovers in tiny minor mob roles). Never mind the person then not getting paid for it. What.

(I've also never heard of time stamping dub scripts unless absolutely necessary, but I suppose that can be chalked up to different dubbing traditions...)
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Manga Producer J.M.



Joined: 12 Aug 2018
Posts: 29
Location: Longwood, FL, United States
PostPosted: Mon Aug 13, 2018 12:37 pm Reply with quote
Greed1914 wrote:
Just Passing Through wrote:
I thought it was the other way around... people start off in places like Funimation and Sentai as voice actors, and as time passes, they take on more roles in the place, as ADR Directors and Writers. After all, dub actor salaries are hardly enough to live on, and if you have transferrable skills and have built up XP in a company who you work for, other opportunities open up. Companies get to keep things 'in the family' which cuts down their overheads.

As for what the question asks, engineers and producers as actors, I've noticed that they usually get bit parts or wallah, at least at first, where they can do less 'damage'.


It usually does work that way since it would be pretty tough to jump straight into things like writing and directing since it's a different beast from most other types of productions. As far as producers go, some moved up the chain long enough ago that I think some people are unaware that they started out as actors. Justin Cook would be a good example. I've also noticed that some staff members, like Clarine Harp, are cast much less than they used to be now that Funimation has expanded its actor pool.


Oh yes. Me, voice, music, and acting theatre go way back to as far as early in my life as middle school, and as late as yesterday.

I really got a bigger break when I voluntarily signed up for a voice Knowledge Shop workshop in Winter Park voiceover (voice acting, acting, reading) with my main acting and voice teacher (so far) in Florida Ginny.
her profile: https://www.linkedin.com/in/ginny-kopf-7152817/

Next thing I know I'm watching a Megacon Video on YouTube from 2018 of the main Canadian-French-North American Totally Spies female acting trio discussing craft and animation production at a Megacon Panel(!). Their debut being in the same place with the three of their voices in one place publicly

Megacon was the Florida convention I got my comic book issues signed by (the early HBO Madhouse Spawn Catherine Winder industry kingpin himself) Todd McFarlane / Dave Sim with a grey gold sharpie marker at in the ancient prehistoric comic book animation days of 1993. None of the lines took more than an hour to stand in. McFarlane's line was 45-55 minutes or so (wasn't counting but I remember the time vividly) Dave Sim's creator / artist booth had, like, 2 people waiting if that, I don't remember saying anything to him, just getting his autograph. He was kind of glumly sort or smiling. He did give off a happy vibe at the time though. I didn't recognize his face right away, but I wasn't looking for it at the time, no one know what he looked like in 93. He was anonymous.

It's weird how much bigger conventions are now. Megacon was tiny compared to now. It's like a freaking car show lately, which is why I didn't go.

Um, Megacon started focusing on American comic creators of the 1990s then. Pretty much all they focused on. Now a mere tweet will get you attendance for a smaller name upwards of 100-200 people at a panel, like Totally Spies and YouTube!

Megacon never used to focus on the animation branch of comics or anime. Maybe it was there, but no one noticed it.


Last edited by Manga Producer J.M. on Mon Aug 13, 2018 1:23 pm; edited 4 times in total
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NearEasternerJ1





PostPosted: Mon Aug 13, 2018 12:41 pm Reply with quote
Japanese licensors don't approve or disapprove of dub casting. That's a myth. A lot of people say that Japanese licensors approve or disapprove based on the sound of the actor's voice relative to the Japanese original, but most leads sound nothing like the Japanese which debunk the myth. It seems voice actors use the myth to deflect criticism. Like Sonny Strait said that the Japanese director of Escaflowne was involved in the dub to deflect criticism.

Don't peddle the myth, Justin.
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PurpleWarrior13



Joined: 05 Sep 2009
Posts: 1902
PostPosted: Mon Aug 13, 2018 12:44 pm Reply with quote
It's the same with an actor voicing multiple roles. Chris Sabat told us at a panel once that one of the reasons he had so many DBZ roles is because they wouldn't have to pay another actor to do them.

As for royalties, I've heard that voice actors are paid a small amount when a show airs on network (ABC, NBC, CBS, FOX, PBS, CW), at least if it's a SAG-AFTRA project. That might be one reason why 4Kids was always non-union, despite allegedly paying their voice actors better than union rate.
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Manga Producer J.M.



Joined: 12 Aug 2018
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Location: Longwood, FL, United States
PostPosted: Mon Aug 13, 2018 12:45 pm Reply with quote
SHD wrote:
Wow. Is this something that happens regularly in the US? I worked in the dubbing industry for a number of years (not anymore though but I was production manager at a dubbing studio) and I've never heard of actors working other jobs in professional dubs. Sure, I've known an actor who had a sort of one-man dub service where he had a small studio at home where he would record stuff for a couple of steady clients (these were usually commercials that he could do a lot cheaper than if the clients were to hire a studio).

But I've never heard of something like an actor also handling the script in any capacity other than performing it, or doing any other non-acting task... let alone production using someone who is not, by profession, an actor, to act in a dub as something other than walla (unless it was absolutely necessary, which is how I ended up in a number of dubs/voiceovers in tiny minor mob roles). Never mind the person then not getting paid for it. What.

(I've also never heard of time stamping dub scripts unless absolutely necessary, but I suppose that can be chalked up to different dubbing traditions...)


I think in terms of organic growth, jobs come outwardly to you based on what you do most prominently in media and publishing and what you've done the longest.

I started off an internet writer, and author and cartoonist (aspiring novelist), but I moved up to things like screenwriting and theatre (film, filmmaking, acting, voice, radio, international co-productions)
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Manga Producer J.M.



Joined: 12 Aug 2018
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Location: Longwood, FL, United States
PostPosted: Mon Aug 13, 2018 12:49 pm Reply with quote
PurpleWarrior13 wrote:

As for royalties, I've heard that voice actors are paid a small amount when a show airs on network (ABC, NBC, CBS, FOX, PBS, CW), at least if it's a SAG-AFTRA project. That might be one reason why 4Kids was always non-union, despite allegedly paying their voice actors better than union rate.


heh! You mean how Steve Jobs / John Lasseter got a small cut of studio profits on Pixar films while he was being promoted to head of Disney Corporate and General Animation Studios??
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Angel M Cazares
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PostPosted: Mon Aug 13, 2018 12:58 pm Reply with quote
NearEasternerJ1 wrote:
Japanese licensors don't approve or disapprove of dub casting. That's a myth.

Thanks for saying this. With so much miscasting in dubs I don't buy that the licensors have to approve. I buy that licensors approve dub scripts but not casting. I doubt that they asked Sentai to ruin their dubs by casting crappy VA' in lead roles.
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TrailOfDead



Joined: 09 Aug 2012
Posts: 197
PostPosted: Mon Aug 13, 2018 1:27 pm Reply with quote
NearEasternerJ1 wrote:
Japanese licensors don't approve or disapprove of dub casting. That's a myth.


It's a case-by-case thing, but some licensors can and do exercise veto power over dub casting.
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Zalis116
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Joined: 31 Mar 2005
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PostPosted: Mon Aug 13, 2018 1:41 pm Reply with quote
NearEasternerJ1 wrote:
Japanese licensors don't approve or disapprove of dub casting. That's a myth. A lot of people say that Japanese licensors approve or disapprove based on the sound of the actor's voice relative to the Japanese original, but most leads sound nothing like the Japanese which debunk the myth. It seems voice actors use the myth to deflect criticism. Like Sonny Strait said that the Japanese director of Escaflowne was involved in the dub to deflect criticism.

Don't peddle the myth, Justin.
I have to think Justin knows a few things after being in the industry for 20 years. If you're going to call him and various other industry figures a bunch of liars, why not come out and give it to us straight?

I don't think anyone's said that the licensors approve casting based on similarity to the Japanese. Japanese involvement with dubs can have wildly disparate results, as seen with cases like FLCL (good) and Love Hina (...not so good). Licensor approval of dub casting may not deliver the results you desire, but that doesn't invalidate its existence.
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Manga Producer J.M.



Joined: 12 Aug 2018
Posts: 29
Location: Longwood, FL, United States
PostPosted: Mon Aug 13, 2018 1:46 pm Reply with quote
Zalis116 wrote:
NearEasternerJ1 wrote:


Don't peddle the myth, Justin.




lol. Don't peddle that publishing and production myth, J.M.!
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NearEasternerJ1





PostPosted: Mon Aug 13, 2018 2:22 pm Reply with quote
Zalis116 wrote:
NearEasternerJ1 wrote:
Japanese licensors don't approve or disapprove of dub casting. That's a myth. A lot of people say that Japanese licensors approve or disapprove based on the sound of the actor's voice relative to the Japanese original, but most leads sound nothing like the Japanese which debunk the myth. It seems voice actors use the myth to deflect criticism. Like Sonny Strait said that the Japanese director of Escaflowne was involved in the dub to deflect criticism.

Don't peddle the myth, Justin.
I have to think Justin knows a few things after being in the industry for 20 years. If you're going to call him and various other industry figures a bunch of liars, why not come out and give it to us straight?

I don't think anyone's said that the licensors approve casting based on similarity to the Japanese. Japanese involvement with dubs can have wildly disparate results, as seen with cases like FLCL (good) and Love Hina (...not so good). Licensor approval of dub casting may not deliver the results you desire, but that doesn't invalidate its existence.


I'm not a dub hater or anything; in fact, I oppose people who make dumb generalisations about something that does not have a set quality due to its variance. But having said that, many VAs in the industry have defense mechanisms. I.E., the Japanese creators or producers selected them, they were approved by the Japanese and so on and so forth. Although dub VAs are somewhat trustworthy, they sometimes tend to exaggerate. Besides it doesn't matter if the Japanese are involved or not. Cowboy Bebop and Fate Zero are held as the gold standards of dubs and neither had Japanese involvement.
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