Voice Over for Animation: Auditioning for Cartoons

1. Intro: Hi, I'm Kelly Metzger. I'm an actress based out of Vancouver and I'm best known for voicing the role of Mia on the hit cartoon, Nan Jago. Welcome to my course, Voiceover for Animation Auditioning for Cartoons. In this course, I'm going to give you an insider look on the audition process. This is a beginner level course designed for anyone who's interested in pursuing voiceover for animation or has ever thought, hey, I could be a voice actor. It's also the perfect introduction for animators who want to get an insider look on this unique skill set. And see how voice bring your project to life. You're going to get a behind the scenes look at what the pros do to make those auditions sing. Join me as we get silly and creative. I'm going to guide you towards making specific vocal and acting choices that make your auditions unique and help you book the part. In the next video, I'm going to tell you about the project. Let's go. 2. The Project: The project for this course is auditioning for our imaginary prelay series, Huxley's Cosmic Crew. Prelay is a term we use in the industry for a cartoon where the vocal track is laid first and the animators work from that. Prelay is different from dubbing. In dubbing, the cartoon was produced in a different language and the voice track is dubbed on top of an already animated cartoon. If you're a voice actor play is what you're aiming for is where the money is and the fun. These are usually union productions with wide distribution on a major network or a streaming service. The show I'm on, Nin Jago is a prelay series, at least in English. It is the supplies you'll need for this course are a smartphone with voice memos or voice record, and a sound cloud account. That's how you're going to share your voice files with me so I can give you feedback and help push your auditions further. The imaginary cartoon you'll be auditioning for is called Huxley's Cosmic Crew. In the resources section of this course, you'll see a PDF of the Show Bible. The Show Bible is another industry term for a description of the show, the characters, the themes. As you read through that, you'll see the different characters that you can choose to audition for four scenes from our show. There's another PDF in the resources section labeled sides, sides, term for the audition, the lines that you're going to be reading as you audition for the part. I want you to pick one to three characters to audition four and record that audition in your smartphone. You can use voice memos or voice record. If you have a microphone and voice editing software, that's great, but you don't need it. This course is going to focus on the acting choices because fundamentally, that is the ground level based skill that you're going to need if you want to pursue this career. You can record one to two takes of each character, but make sure those takes are different. Then I want you to upload your files into a sound cloud account. Share that link to the project gallery. As you are working on your auditions, you can post your practice takes in the class discussion and I'll be happy to give you feedback. My focus here is to help you refine and deepen your acting choices. And take a script and turn it into a beautiful song. In the next video, I'm going to walk you through setting up a sound cloud account. I'll see you there. 3. Setting up a SoundCloud Account: Before we launch into the meat of this course, I want to quickly show you how to set up a Soundcloud account. When you upload your voice files onto the Soundcloud website, you can share the links onto skill share in the class discussion or project gallery. This will allow me to give you feedback on your audition and help you push it to the next level. And also share your work with your fellow classmates and inspire them. Let's get started. I'm on the Soundcloud website and I want to create an account, my e mail address. Use a strong password. Sure. Okay. I'm going to simply show you how to record a voice memo and then upload it to your sound cloud account. Okay, let's go to voice memos and I'll press record. Hi, this is Kelly Metzker from the Skill shared class voice over for Animation, auditioning for cartoons. Check out my tutorial to learn how to set up a sound cloud account so you can upload your voice files and share your auditions with me, talk to you. Okay? Label that Sound cloud to tutorial. And then I will share it with my computer. Okay, there it is. Okay. I have to verify my e mail it says to be able to upload. So confirm my e mail address. Upload your first track. Okay, now we can do it. I'm going to set it to public, but you can set it to private if you want. If you just want to share your files with just who clicks on the link, you share that within the class. And only me or students who are interested in listening to your work can click on it and hear what you're doing or see what you've posted. And it's not open to everyone. I encourage you to just share your voice with the Internet. Make it public. Choose files to upload, downloads, Soundcloud, tutorial, upload, uploaded image to my face learning, genre learning description. Check out my Tu of how to set up a cloud account and share your voice file with me. Here we are, back on the sound cloud account. I have my voice file. If I go up here, I see this little link, it says copy link. I click on it. Now I go to Skill Share, and I've looked up voice overs on Skillshare, and I see classes. And then I see my class voiceover for animation, creating characters for your demo. And I'm going to go to the class discussion. I'm going to start a conversation I've posted in the class discussion. Hey students, I'm posting a tutorial on how to set up a sound cloud account and share your voice files with me. I'm inserting a link out here. I'm going to call it posting sound cloud in post. As you can see, that's the sound cloud link. Click on that, takes me to my soundcloud, press play. Hi, this is Kelly Metzker from the skill showed class voice over for animation. Auditioning for cartoons. I think that's good. 4. Finding Strong Characters: Finding your strongest characters. Here's the thing. As actors, we want to play every part, and we might believe we can. But our voice tells a story and it creates an image in someone else's imagination. Some people have these huge vocal ranges and they can make their voice sound like totally different people. Other people like me, have a more limited vocal range. If I'm auditioning for a show that has six little girl parts, I want to audition for them all. But don't, because if I audition for all six little girl characters, they're going to sound the same. I'm going to dilute myself. Nothing is going to stand out, and I won't book apart. I have to understand my voice print and my vocal range. What I do when I'm approaching an audition is I read through the character descriptions. And you'll see that in the resources section in the show Bible and above the character sides. First I'm going to obviously take a look at the lead because it's fun to carry a show and have lots of lines. But here's something to think about often, the lead isn't the most fun character, the straight man. And yes, all the action and drama happens to them. But they are often surrounded by the really funny and weird characters. Weren't we drawn to voice overs in the first place because we're a little bit weird? Next, I take a look at the secondary characters and I read the sides out loud, and I see what feels easy for me. If something feels easy, then I should audition for that character. If I'm going to audition for three different characters and one show, I'll pick one lead character and a couple secondary characters that sound very different so that I can show them. They can hire me to play multiple characters on one show. I also try to be a little strategic. I look at the characters and I think which of these characters are not very many people going to audition for? Then I try an audition for that one. A smaller pool of people auditioning for a role means I have a greater chance of booking it theoretically. Let's take a look at some of the sides for some secondary characters, and I'll walk you through it First, let's take a look at the mom and dad characters. Okay? Mom and Dad, any ethnicity, age 40 to 50. Now, I didn't include an image for these characters, because I want these roles to be as open to diversity as possible. Nowadays, your ethnicity in real life often will reflect the type of character that you can audition for in a car to. But if you look at the image for Huxley, I purposely chose an image that could be more ethnically ambiguous, so that the mum and dad characters can be anywhere. Now let's read through the descriptions so that we can get a sense of what the creative team is looking for. Huxley's mom has a voice, gentle lullaby, soothing and melodic. Think of it as a blend between the comforting tones of Mandy Moore as punzel, entangled and the nurturing warmth of Susan Calici Watson as Beth Pearson in This is us, her voice carries a sense of maternal love and tenderness. Always ready to offer support and encouragement for Huxley's dad. Huxley's dad has a voice with a hint of boyish enthusiasm, reflecting a perpetual sense of wonder and curiosity. Imagine a mix between the affable charm of Mark Ruflo and the optimistic sincerity of Chris Pratt. His voice contains a genuine love for exploration and invention, though it is occasionally tinged with the distraction of his own projects. Okay, what I would do if I was auditioning for the mum character, I would go to Youtube and look up manding more entangled. And I'd listen to that voice and try and imitate it. Then I'd look up Liti Watson, and I listen to her voice and try and imitate it. They're not looking for an impression of these people. This is more of like in the general direction. Remember that impression is a great starting off point for an original character. Now let's look at the sides. You'll see that Huxley's mom has 123 lines in these sides. That's it. You have three lines to create a full character and show the, create a team that you're the perfect person for this part. Often that's what you get. You get this huge description of who this character is and then you get three lines to show them. That's the challenge. The same with the dad. He has four lines in this scene to show who he is. If that strikes your fancy, if you think that's within your vocal range, read those slides through and see if you are inspired to edition for that character. Now let's take a look at the blurts from the planet Blk. Now these are the alien characters. There's not a description of what their voice sounds like, because as the person who invented this cartoon, I don't know what their voice is going to sound like. I know what they are. The blurts are gelatinous, blob like creatures with various shades of vivid colors, ranging from vibrant blues to neon greens. Their bodies undulated and shift, giving the impression of constantly moving living. Go okay, make a voice from that description. Maybe also what they want. So they can be any gender, any age. For these characters, it's up to your imagination. Please read Flemenplats and clean lines for the Flemen audition. If this was a show, they'd be hiring maybe three different people for these aliens. But for the audition purposes, if you're going to audition for an Alien, read all the flem, clean lines when you do your slate, which is what you say at the beginning of your audition. You'd say something like with your own name, Kelly Metzker, reading for Flemin, that's the slate. They will often give you instructions of how they want you to slate. Mostly it's just this, Kelly Metzker, Fleming. I want to audition for Fleming, but I have to read all the Fleming splats and clean lines. So I would go something like this, maybe I'd choose it to sell on something like this. This is my loyal means today she control of us. And it all starts with the Fuzzy Fleming. Fuzzy looks quite content. Whom? Dear Flemed. That's what makes her the perfect ruler. She's been biding her time waiting for the right mommy to reveal her true color. Something like that. Just go for it. I'm very excited to hear what people come up with for this character. That's where we are with finding your strongest characters. Read through the show Bible, read through the sides, read them out loud, play around, see which one comes the easiest to you. And then pick a couple extra that are different from your main one that you want to focus on. The next lesson, we're going to go into even further detail on how to create a character. I'll see you there. 5. Creating a Characters: Creating a character. No, unfortunately, we are not the perfect person for every role. So it's important to understand our natural voice print and our vocal range. When I speak a vocal range, I'm trying to describe the different characters our voice can convincingly. Now you can modify your voice in a few ways. You can change your voice by placing it in a different resonator in your body. By changing the speed or rhythm of the way you speak with the volume or intensity. And by changing the position of your lips, jaw and tongue. Now in my course, voice over for animation, creating characters for your demo, I go into resonators in a bit more depth. If you haven't checked out that course, you might be interested in learning more about vocal resonators there. But I'll go over it briefly now. My voice teacher at the acting school Studio 58 in Vancouver, her name was Dale Geng, and she used the images of different musical instruments to illustrate different resonators in our body. Violin, viola, shellow, and deep in our guts, the double bass. When I'm working on a character, the first thing I do is pick where I'm going to have that character's voice resonate. Violin. Hello. Or the lower? It's a double low in my body. Next I'm going to make a choice about rhythm. They speak really fast. They speak really slow. Oh, is their voice quality very smooth or very staccato and quick and jumpy? Do they slur their word like my character choice for the boots or do they have very proper annunciation? Do they speak Sophie like Fleuti? Shy in my little pony. Friendship is magic. Are they really intense? How much does the character weigh? How do you convey that in their voice? What is their age? That's going to determine a lot about how their voice sounds. Each choice you make about their voice sends the character in a new direction. So some of that info is going to be in the character description. So let's take another look, one of the character sides and talk about it. Let's look at the audition for Miss Crickle, the grumpy old neighbor lady. Okay, again, any ethnicity, she's a female, age 55 to 80. But also, it might be funny if a man wanted to audition for this and put on an old lady voice, that could be pretty funny. I'm open to hearing what you guys come up with. Let's read through the voice reference. Miss Crickle's voice is like an autumn wind. Slightly raspy and filled with a touch of old world mystique. Think of it as a mix between the C, warmth, Angela Lansbury, Mrs. Potts from Beauty and the Beast. And a dash of the slim, mischievous charm of the Which of the waste from Howell's Moving Castle. Okay, I have some ideas already in my imagination. But if I was going to audition for this part, I'd also go to Youtube and look up Mrs. Pots from Beauty and the Beast. And watch some of Howell's Moving Castle, and take some inspiration from that. Again, we don't want to straight up imitation of those characters. We're using that as a reference and a place to build our character from. Okay again, Miss Cricko has 123 lines. You got three lines to make an impression. Honestly, the creative team, when they're listening to your audition, they can tell within five, 10 seconds whether you are something that is what they have in their imagination. Three lines. At this point, that's all you need. It, it's a challenge to put everything into three lines, but that's what you got to do if you want to book one of these big roles. Miss Crick, what would I do if I was auditioning for Miss Crick? I have my old voice that I start from and I won't get into it really grumpy. I make my lips really tight and scallop my face. I make it lower. Oh, you rascals. What do you think you're doing? Well, helping a bird doesn't mean bobarbing neighbor with words now, does it? Now, as you are working on your miss critical character, feel free to copy me if you don't know where to start. Because I guarantee what I'm doing here is not what you are going to do, even if you're trying to copy me. We are different people with different voices and different lives and different ideas. So feel free to copy me if you don't know where to start. Part of this is a bit of a guessing game because a lot of the times you are auditioning at home. In the olden days, when we used to go into the studio to audition, there was some communication with the director and the creative team. Oh, make your character a little bit louder. I'll smooth that out. Oh, I want this line read like this. And it was great to work with them and show them that you could take direction, but now you're at home. Using the character reference is a good place to try and give the producers what they're looking for. At this point in the course, I encourage you to press pause and really dive into the material, read through the sides, read through the show Bible, and start playing around, explore the different character references, and start making some creative choices. After you've played around with the material for a while, come back and I want to talk to you about how you can surprise the creative team with your audition. I'll see you there. 6. Surprise Them!: Surprise them. Welcome back. Hopefully you've taken a few minutes to read through the show Bible and the sides, and you've picked your one to three characters that you want to work on. And you've done a little bit of research on Youtube to try and imitate some of the voice references that they've stated they're looking for with these characters. Because sometimes the client does know exactly what they want. Everyone auditioning is going to read that character description and do their research. Because they're auditioning from home, not much communication between the creative team and the actor. They're going to try and guess what they're looking for. But then one Lone Wolf comes in and does something totally different. Guess what happens after hours of listening to the same audition, over and over and over again. This is the read that stands out and that's the person that gets the part. Let's take a look at the sides and do something totally different than what you have already practiced. Let's go back to the blurt sides here. Okay, So if you'll remember originally, my choice was to make the character sound like this. Stupidness, blob. Lots of. I make my tongue really big in my lips and keeps really loose in my yard, Flappy. But what if I made Fleming sound like this? Now that is totally different. So I might begin my audition that says Kelly Masker Fleming. Two takes and you one take were like, this is hit by the month and I do all the lines like that and then I'd say take two. This is it, My loyal minions, the day we cease control of earth. And it starts with the Fuzzy one. Are you sure Fleming? That Fuzzy looks quite content. Clean, My dear friend. That's what makes her the perfect ruler. She has been biding her time waiting for the right moment to reveal her true power. So in that one audition, I've shown the creative team my acting range and my vocal range, my imagination, and my ability to think outside the box and do something totally different. This is the exercise for this union record yourself doing one take exactly as you planned and as the character description said they wanted, and then a second take totally different. Please post this practice take in the class discussion. I would love an opportunity to work with you and give you some directions and see if we can take your choices deeper. Often, when I'm working in Nan Jago, I will have rehearsed my lines at home and I come into work and I know exactly how I want Nia to say this line. Then the something totally different. I have to take a deep breath, throw out my idea, and give them what they want. That's the job. Let's practice taking direction. Please post your practice audition in the class discussion. I'd love to hear what you're working on. After you've done that, come back and join us, because in the next lesson I'm going to talk about the little extras that you can add to your audition to really make it sing. I'll see you there. 7. Adding the Extras: Adding the extras. Okay, so far you've picked your top characters. You've made choices about resonance, rhythm, speed, tone, age, weight. Now I want to help you add the little extras that make your audition safe. Let's look at the descriptive action around your sides and see what we can do to bring this scene even more to life. What is happening in the scene? Is your character running? Are they hiding the fall? Is there a fight scene? Can make sounds. Is there an opportunity to show the characters laugh or their cry? Are they surprised by something? Are they scared? Are they excited or are they happy? What is their emotional journey? I tell you what, almost every audition I find an opportunity to add a gasp before the line because my character is surprised by something or perhaps a sigh at the end of the line. Because they're really disappointed. You're flushing out the character because you're trying to do more than just read the words. I'm going to tell you a little story. When I first started auditioning in Vancouver, there was a director in town who saw potential in me and would call me in for every audition. But he would get frustrated by what I was doing. One time he said to me, you can't just come in here and read the words. You have to do more than that I was very confused by that feedback because I thought that's what the audition was like. You give me a piece of paper and then I come in and then I read it like nobody's watching me. Why can't I just read the words? But that's not what he was saying. He wanted me to add extra things to bring that character to life. An analogy might be that the audition sides are like sheet music to a song. The sheet music tells you the notes that you have to play fast to play it. The general volume and intensity and the direction they want the song to go. But you have to add the emotions and the imagination to the music to bring it to life. I want to teach you the little things that the pros do to make their auditions sing. Let's go back to the sides and look through some of the descriptive action around the lines of the characters. We're going to take a look at the Huxley, Zoe and Malik sides. Here's our three main characters, Huxley, Malik. In this scene. They're building catapult worm feeder in Huxley's backyard. Let's read through this Huxley, Malik and Zoe gather amidst the lush greenery. Their eyes sparkling with anticipation and determination. They huddle around and make shift table littered with an array of bizarre objects, ropes, planks, an old bucket, and an assortment of rusty tool. All right, then we need something that will give those worms a real boost. Okay, Huxley's thinking about something, he's looking, the objects around him. Something I might add to the lines that's not written there is I might give a little thinking sound like a all right, we need something that'll give those worms a real boost. A little thinking sound. And then ma, maybe he hears that and he gets an idea. So before I would say Malik's line, I would put my trusty old gasp in there. How about the old bucket? We could fit so many worms in here. Yeah. And then you're so excited, maybe he laughs. And that's an opportunity to show a full character and show his laugh. Malik enthusiastically holds up an old rusty bucket, so you could even show him picking the old bucket. Who to anything like that you can add after the line. Now what if we attach in tube here and take turn it Giant? She points to an old inner tube bike tire they found buried in the tool shed. Her bossy nature taking charge. Okay, so they told you this character is a little bit bossy. How do you illustrate that? They work together. Brainstorming and piecing together their worm catapult, each offering their unique perspective. Okay, What would Zoe'se, how would I say Zoe's line to put all that in there. Okay. If we attach this inner tube here and here, and then turn it into a giant shot, it'll give us the perfect angle. Just add like a little extra sound there. And then Huxley adjusting a lever. Okay, they've told you an action. Sound. Put that sound in. Maybe this lever is really heavy. It can be whatever you want because the cartoon isn't drawn yet, so maybe it's a huge lever. This should give us just the right tension. Now if I'm like, maybe it's really hard to pull. So you put that into the lines and then Zoe sees the birds in the trees starting to cherk again. Look, the birds are getting anxious. All right everyone. This is it. And so, Malik, he's going to holler to the whole yard to let everybody know what's going. So make your voice a little bit louder for the fire. The contraption creaks and grows as they load it with a worm. With worms, their eyes fixed on the nest high above, so you could even do like the worms and then maybe make them pull on the contraption. Okay. The worms shoot into the air with surprising force. But instead of reaching the nest, they land with a splat in Mrs. Crickle's yard. But actually it lands with the globe right on her head. So if you're auditioning for Miss Crickle, include that impact. Like maybe she's enjoying herself. She's guarding, oh, oh you Rascal, what did you think you're doing? Okay. And then the children freeze their eyes wide with a mixture of guilt and fear. So then Huxley sheepishly is saying this next line, Sorry Miss Crickle. It was an accident. We were just trying to help the birds. Maybe she's really still mad about that. So inclusive, kind of grumpy sound like helping the birds, doesn't mean by barbing your neighbor with words now, does it? Oh, I like take her on that little emotional journey. Show that in the sounds. And then Mal comes up and he says, oh, we promise we'll be more careful. And so she's really good at getting grandmas to love her. And so, yes, we didn't mean to cause any trouble. And maybe a sweet little giggle trying to charm her or something. And then this is what, you know, this wins Miss Crickle over maybe? Oh, all right. Just be mindful young scientists and keep those critters on your side of offense. Oh, then so maybe the kids are like, oh, laughing up and think got away with it. And then Huxley whispering, okay. He's talking to his friends. So he's tell there telling you that you're gonna bring this one down. We have to find tuner. Let's give it another go. Include a laugh there. There's so much extra that you can do to bring this audition to life. That's one of the secrets. The pros add more than just reading the lines. We add, grunts, squeaks, gasps, falls, cries. Laugh. Anything to let the creative team know that if you hire us, we will bring your project to life in a way that you couldn't even dream of. Feel free to do a take of recording the little extras in your audition and post it to the class discussion. I would love to give you feedback and help you take your audition to the next level. In the next lesson, I'm going to audition for Huxley's Cosmic Crew. I invite you to join me there and I'll share my process with you. 8. My Audition : My audition. Welcome to my Home Closet Studio. Now it's my turn to take my own advice and show you how I would audition for the role of Huxley in Huxley's Cosmic Crew. I have to be honest with you here, I'm a little bit nervous about sharing my process with you. Even though I've played the lead on a hit show for over ten years, it's still really vulnerable to show you what I do. Thoughts that go through my head include, am I going to suck? Is this going to be really embarrassing? Even though I've made up this show, I have this negative self talk that often comes when I begin working on something. I just have to acknowledge it, take a deep breath, and try and also know that the choices I make when I begin working on audition are not going to be where I end up after I've gone through my process and made my choices and experimented and see what works best. Step one, let's read the voice reference and do a little bit of research. I like to use the Notability app on my ipad because then I could make notes. Huxley's voice reference a blend of Jacob Trombley in Wonder and Finn Wolfhard in Stranger things. All right. What I do is I go to Youtube, but I would do it again in a heartbeat. I would do it again in a heartbeat. It took about 2 hours in the morning and then a half an hour to take it off. It took about 2 hours in the morning and about half an hour to take it off to about 2 hours, a half an hour and a half. And I had an ipad and I had an ipad, stranger thing, and I could just watch strangers thing. And that was really fun. And watching myself in the mirror, it did. It definitely, really did help me feel like Aggie, it definitely really did help me feel like Aggie, it definitely really did help me feel like Aggie, watching myself in the mirror. So I can see when I try and imitate that voice that I kind of make my mouth a little tight, maybe push it forward. And where am I resonating? I'm kind of resonating in my head and just a little bit of texture in my throat kind of put it in my body. It makes me feel like I'm just moving my body around a little bit and I don't know. It kind of makes you feel just like a little kid. Now, let's look up fin from stranger things. See what that takes me and let's put season one because I want them to be a little kid. Season one, let's see if there's any interviews here. Adventure flicks like the Goonies and stand by. Adventure flicks in the Goonies and stand by means. So once I read the script, Immediately got a feel from it. And so it was really cool. Going incredible though We weren't going to live there for such credible we lived there for like look, such a simple type of lifestyle. It was such a simple tried to lifestyle. They were they were pot that there's that there's that. It's okay. Okay. That's okay. So when I do this fin wolfo voice and I had a little bit of texture and maybe his voice is a little bit lower. Okay, so let's look a mix between maybe somebody like this, maybe somebody like this. Well, let's give it a try. So let's step one, I've made, I've done some research. I've played around a bit of where I want to place it, trying to get an idea of what the creative team is looking for. And I just kind of talk around the house, like not even seeing the lines, just saying different things. Just anything that comes to my mind to kind of practice being this kind of kid. Oh, all right, so here I am, I'm doing that. So now I'll go back to my sides here in the notability app. Okay, and maybe I'll do a first take of Huxley. He's just highlight some of these other Huxley lines here. Yeah, I just got to talk myself through it. Play around, keep myself in the zone of where I want Huxley to be. All right here, there we go. Got my lines all highlighted. No more. Go on Garage Band. Okay. Photo Garage Band. And pick a new song voice. I can't turn down my voice. I turn off the MatronomeI, don't like that thing that takes me in. And then I'm just going to give you a little go here and I'll do a little slate killing Metzker, Huxley. All right team. All right team. All right team. We need something that will give those worms a real boost. I would just deliver. I wouldn't say that at all right. Team, we need something that'll give those worms a real boof, give us just the right tension now wait. And then it shoots over the fence and a little bit sheepish. Oh, sorry Miss Crickle. That worry. Sorry Miss Crickle. That was an accident. We're just trying to help the birds. We'll have to find tune, our aim. Let's give it another go see to the blurts are there. It determined expressions on our faces. You won't get away with this blurts. Oh, you're safe now, Kitty? No, they won't. But neither will we. That was take, take one of Huxley. I'd probably do that about, I don't know, five times. Depends on if I felt like I got it all the way. I guess I don't need to do this voice anymore. Okay. Back to your regular Kelly. I'd probably do that 510 times until I felt like I got the take that I wanted. Now I'm going to take my advice and do something totally different than what they're asking for and experiment with where I can take the voice and maybe surprise them with another option. Another resonator choice that I could make with Huxley. Make really, I could put, make his resonator right in my nose. And I can make it so that my nose is actually stuffed up. Maybe Huxley has really bad allergies and even though he loves to play in the woods, he's like allergic to pollen. His nose is always stuffed up. Maybe my voice isn't as raspy. I don't put that raspy texture in my voice. I keep it a little bit clearer. That changes it. Maybe I changed the rhythm a little bit. He's always like pausing, thinking about things like this. I'll do a little take like that, I'm doing a top but also let's go through it's end up circle in my side, different things that I could add to it. Okay, I'll make a little notes here. We've got these ropes and plates at the beginning. I could pop something down. Just write something down. I'm going to start the seed. I All right team. I brought something real heavy, like a big bucket or some contraption over to show me team, how what we're going to build this worm catapult with. Okay, adjusting the lever. I got that. Then a gas. Because the chorus, the chorus of startled chirps. Maybe that also scares me. Let's put in the trusty gap here. Then it goes fire in the hole. And that's what Malik says. A big release. I release the contraption that right beside the line. I remember contraption. Contraption. Then I see what's happened that Miss the worms have landed on Miss Criggles head. So like gasp again. We'll make it sound like that. Oh, then now I'm sheepish for this next line, right? I'm really apologetic. I can even write that down to give me a how do you spell apologetic? I don't think there's two peas, but okay, apologetic. When I say that, just to remind myself where I'm going to take that lie. Okay? We didn't get in trouble too bad. Maybe it's also got a flighty that orbs let it on her head, so maybe I put in like a giggle there, right? Remind myself that I want to put a giggle. And then remind myself that we're doing the whisper. Let's give it another go. Okay. Then the next seed fight it with the flu. Maybe I got to do. When I jump out of the bushes here, a rustling in the bushes startles them. I step forward, maybe I do like a ha ha, put that in the head at the time. Get away this sports I rescue here. Then I, Ally rushes forward, pick them up, and then I pet him. Maybe rush forward, and then I pet him. While I say this line, Pet, pet pet. Well, say this like yours lived out kitty. And then disparos, retreat. Disparo. Maybe there's a sigh that I'm relieved. Like, I'm relieved that the blurts are gone. No need it. Then on this line, I'm determined all these are little things because when I start Like I can get lost of where I'm going to take the seed. So I put these little notes around so I can keep the flow of my scene. I'm going to show you how quickly I go from one character to the next. I'm going to do it one way first. I'm going to do it like this. Kind of kind of husky little boy, this do it a little dirty way. I'm going to show you two takes right in a row and I'm going to do my slate. Maybe this is a take that I would hand see how it goes like sometimes. I don't even know. Oh, but first let's start like this, okay? Think I've talked myself all over the place. Let's see Kelly Metzker, Huxley, But all right team, we need something that'll give those worms a real boost. This should give us just the right tension. Now if we go, oh sorry Miss Crickle. It was an accident. We were just trying to help the birds. We'll have to find you in our aim. Let's give it another go. You won't get away with this forts. Oh, you're safe now, Kitty? No, they won't. But neither will we Take two. Hurry team. We need something that will give those worms a real boost. Oh, oh. Did she give it just the right tension now? If we, Who? Wow. Oh sorry Miss Crickle. It was an accident. Just trying to help the birds do well. We'll have to find tune, our aim. Let's give it another go. You won't get away with this blurts. Oh, you're safe now, Kitty? No, they won't. But neither will we. Let's give that a listen. Kelly Metzker, Huxley. All right team. Okay, pretty good my songs. I label it, I'll label it Huxley two takes then put it to a wave file. Then I put it in a converter app to change it to a MP three because that's usually, that's usually how they like to hear your auditions in that file format. Just let go to my files in my converter app. Here it is. Okay. So I convert it. Great. I'm going to upload this audition to soundcloud and then post it in the project gallery. I strongly encourage you to post your auditions in the project gallery as well. I love to hear what you work on. It blows me away, honestly, what you come up with, you're all so talented and so creative and it blows my mind. Please post it. I'd love to give you feedback and help you work on your stuff and take it to the next level. Um, and just hear what you've done. It's great to share. You've made it through the course. I hope seeing my process has given you a little bit of insight on how you can work on these auditions and how I tackle the auditions that I get, and you've made it to the end of the course. Congratulations. 9. Conclusion: Conclusion, thank you for taking this course. You learned what types of characters you might audition for in a kids cartoon, and how to bring color to your sides to really make your auditions sing. If you enjoyed this class, please leave a review. It helps me and it helps other students find this class. If you think you're ready to start working on your voiceover demo, check out my other course, Voiceover for Animation, Creating characters for your depo. In that course, I go over how to create a variety of original characters that illustrate your range as a performer. You can check out my Youtube channel at Kelly Metzker Creative if you're interested in learning about my journey into voiceovers or to just check out my blog it with Metzker. Finally, I would like to congratulate you for being vulnerable and brave, and sharing your creativity with the community. I guarantee you that your willingness to share your voice has been an inspiration to your fellow students to do the same. Congratulations and I'll see you in the next one.