Okay, so I’m in the middle of a pandemic in the fall of 2020 and decide to produce an audio drama. Thanks to modern technology it absolutely can be done. But what have I learned in the last 11 months about recording remotely?
THE GOOD
All of the actors were able to remain in the safety of their homes to record so no worries of exposing each other to COVID. That’s where my idea for the show first came into being. In March 2020, I was helping produce a play that went from opening night being the end of March to never to open at all. But while we were sequestered at home, I was still doing self-tape auditions for Hollywood. Okay, no in-person auditions, but as more and more self-tapes came my way, I realized how unnecessary being in-person really was. So I reached out to the actors I knew and trusted and asked them if they wanted to do a little at-home acting?
The major bonuses: I wasn’t restricted to actors who lived near me in L.A. I was able to include people I loved working with but who were in Pennsylvania and Georgia– and this has expanded all the way to jolly ol’ England now as well! Plus, the cast could record at their own convenience. I am very organized with scheduling, so I just make sure I give everyone a nice three week lead time. Aside from unexpected life issues… these talented people have been absolutely on the ball delivering their work by the due date.
The logistics of recordings are basic. I have a Google Drive with a folder for each episode. I put the script in there for the cast to download. Then they upload their recordings for me to download and insert into my editing program. I email them a character breakdown so they know what I’m looking for and also include links to the original show we’re adapting for them to get a feel for the tone. This formula has been working fabulously.
THE BAD
Microphone and recording quality! Yeah. The age-old issue faced by podcasters. I do the editing of the dialogue, but Jeremy has the task of audio engineering. That means trying to level everyone’s recordings to sound as good as possible. We’ve definitely been learning as we go and adding new filters to the editing software. No, it’s not perfect. We have friends who have invested in good microphones, sound proofing, and decent recording software. Not everyone has, but then, not all of our actors are trying to be professional voice actors. So we do what we can. Sometimes an actor will send us a demo of their mic/recording set up and we’ll approve it. Then something gets lost in the translation and the final recording is of much lower quality. We’re still learning.
Also, I can’t be there to direct anyone. I mentioned the character breakdown I send. I also put a lot of descriptive parentheticals into the dialogue to spell out what I’m looking for. The “good” of this is that I have such talented actors with such great instincts that it is super rare that they don’t perform the scene as I… well… heard it in my head while I was writing. But this inability to work directly with the actors does make me feel a bit disconnected.
THE OMG!
I’ve read many a debate on audio drama social media sites about those who prefer to record altogether at the same time and those who do it like we do where it’s separate and everyone comes together in post. For my part I will say, we’ve not had any problems with our cast’s performances without having each other to work off of “live” in the moment. Maybe it’s because we’re a comedy (although aside from Madison, every other character is in a drama). But here’s my response to those who say “acting is RE-acting” and performances suffer without everyone working together. Darlin’, welcome to Hollywood. You catch that part of my aforementioned self-tapes? Hollywood actors are trained with the skill to give a performance without anyone reading the other lines in the scene. And when you film in Hollywood, unless it’s a multi-cam sitcom (not a lot of those still around) actors will give full performances to the X of neon tape just off camera on a lighting flag, responding to the stand-in who mumbles the lines without any of the intensity of the actor who will ultimately deliver those lines in the scene. Likewise, film/TV actors are expected to repeat the one or two lines of their scene over and over before moving on to the next camera set up. So you better be able to do multiple takes right in a row with your best performance and no one there to “play off of.”
Hey, if you like recording together in a group, all power to you. We did that for our “The Shadow” bonus episode. But if you CAN’T do an outstanding performance, imagining the other characters you’re talking to in the scene, and do it repeating your line 3 times in a row before moving to the next line… it’s not that the “live” way is BETTER, but that you probably haven’t built the skills TO do that. A lot of podcasters are trained in theater performance and haven’t had any film/TV training. I’m blessed that most of our cast has a very extensive live theater background, but also has trained for camera. It doesn’t mean one way is “right” and the other “wrong.” So I’d really like to not have to keep defending what we do versus what others might choose to do. And those who voice their opposition so loudly… you might remember your high-horse the next time you’re watching TV or movies.
-Chrisi (aka Madison)
Why on EARTH would or should ANY artist in any genre have to defend their (or anyone’s) artistic style or preferences???
I think anyone who criticises or questions an artist, then they need a rather large dictionary thrown at them!! Preferably hitting them in the head in hopes of knocking some sense into them!!
You keep being your fabulous self! I will keep enjoying all you do and be honoured to be a part of anything you do!