I worked with Fox Sports on this piece that played to open the 2024 MLB All-Star Game. Not only do I love baseball and played as a kid and into high school, this read is always a lot of fun. They wanted me to really lean into it. Which I was happy to do. What a blast. Hold on, pardner!
Category: Video Production (Page 1 of 3)
One day about a year ago the Steelers called. That happens every day, right?
They asked if I’d be interested in voicing some in-stadium content. Since then I’ve voiced a few productions for them that promote ticket sales for upcoming games. When they called this year to see if I could voice a draft day promo in the style of the legendary John Facenda it didn’t seem real. How many voice styles do people know? Mel Blanc, Harry Kalas (another hero), Don LaFontaine, Paul Frees and a few others? And John Facenda. The voice of NFL Films. “The frozen tundra of Lambau Field…” Ya know?
This is by NO means an impression. But his bold, loping, storytelling delivery informed the approach. It’s an honor. I can only hope they keep calling. And thank you Mr. Facenda, for being one of the voices inside my childhood head.
I’ve been working with Sprouts for a few years, helping them get the word out about their beautiful produce and new grand openings. This spot is announcing a new location near Nashville. Now, PLEASE, Sprouts, open a store near me!
A new VO project for Design Blasting Services. I love digging in on a read like this – authentic, blue-collar, a little gritty, unhurried. Great vision, production and direction by Dawson Waters.
Design Blasting Services | Director’s Cut from Dawson Waters on Vimeo.
Editors are storytellers.
Post production editors, mixers, motion/graphic artists, animators, composers, cinematographers, directors, and other creative technicians often work in secluded rooms using creative vision as a compass. It’s not for everyone, but for some, it’s the only thing they could ever envision doing.
Please excuse the sharing of someone else’s work, but when I saw this tribute piece for Taylor Hawkins I was floored. I don’t know who produced and edited it, but we rarely do, do we? It hits all the right notes and deftly combines the emotional impact of losing such an inspirational figure with the artistry of this production to generate a visceral reaction. The rhythm, the shot choices, the length of each shot, the song, the timing, all of it comes together to say what words never could. It tells a story succinctly, passionately, honorably and completely.
Music is what got me into this business and it’s what prevents me from ever leaving. I have to be close to it. It’s the same for many of us. As a vo artist/audio post mixer (and drummer) navigating a career path through the intersections of creativity and commerce, it hasn’t always been an easy business to be in. But I couldn’t imagine it any other way.
RIP, Taylor Hawkins. Thanks for the music and the joy. And thanks to the lifers in this crazywacky business who remain unsung, which is most of us. And we’re fine with that. #postproduction
You love film scores? You love the music of Radiohead? You love the musical compositions of Johnny Greenwood, guitarist for Radiohead? Ok then.
Ashton Gleckman is a composer who produces a series on YouTube call “Art Of The Score”. If you’re a film score nerd you’d love it.
This episode is all about Jonny Greenwood and features analysis of and commentary on his compositional approaches and techniques used in scoring films such as Paul Thomas Anderson’s “The Master” and “There Will Be Blood“, “Spencer” about Princess Diana, “The Power of the Dog” and “Phantom Thread“.
Also, Johnny’s solo album debut and soundtrack to the documentary Bodysong.
I voiced this spot for Rugged Rugged Ridge in which they are (or, rather.. I am) talking about their AmFib Snorkel System. It allows off-road vehicles to aspirate their engines when crossing rivers and creeks while venturing off-road. Looks like a hell of a lot of fun. I asked for, and did not receive, a testing of the product in the form of an off-road adventure, backcountry-style. Check out their bad ass products and find a local dealer here: Rugged Ridge.
This Super Bowl spot I voiced last year for Therabody won the production company that produced it a Vega Award for writing and story. BlueGiant had me in to voice the spot and they did a great job with it.
The spot is titled “There’s Only One You”. Here’s the Vega Award post with the info.
There’s Only One You from Blue Giant on Vimeo.
Click here for the full voiceover site.
This is a recent promo trailer I voiced for the video game “Hidden Deep”. Video games and the media associated with them are a massive industry and a huge part of the voiceover and post-production world. It’s always a blast to work on a new project with game developers. Their imagination and vision is incredible. When you first receive a script for a part, whether it’s a trailer like this, or a part for a character, you don’t always have the benefit of a treatment, a video or even an illustration. It’s up to you to interpret their vision and bring it to life while enabling it to match what will eventually be a (virtually) living, breathing character with a backstory. It never gets old and it’s always a challenge.
Another interesting aspect, as an aside, is the audio, music and sound design. As a post production mixer and musician, I hear elements of Ableton Live in the production. If you work on Ableton you’ll hear some of the sounds and instruments.
Dan Wright, a.k.a. “Gravelthroat”, is a working voice actor and one-time vocalist for hardcore and metal bands. His raspy, gravelly vocal tones can be heard on national commercials for ACE Hardware and hockey broadcasts and promos on ESPN as well as other places in the media and internet universe. We talk shop about all things VO including breaking down copy, finding the sweet spot in your reads, coaching and gear. We stray a bit too and get into music-related topics and our past histories. This episode is something of an experiment as we’ve talked about starting our own podcast. Join us, won’t you?
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