John Sundholm

*actual PSA to all aspiring screenwriters* Anyone who gives you advice on how to get a manager, how to formulate a "perfect" logline, how to pitch yourself in a meeting, or how to send out query emails, is essentially full of shit. Anyone who speaks like that has no actual experience in the industry. There's one piece of advice that actually matters: write really awesome shit. Don't spend time worrying about anything besides getting better as a writer. Read a ton of screenplays, good and bad, and write every single day. Don't listen to anything else. That's all that matters. Good writing always finds its way into the right hands.

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❓ 🤔 ❓ What's the best way to get pronunciation clarifications to your voice actor? ✍ There are lots of ways to do it...YouTube clips with the word mentioned, phonetic spellings, audio clips linked to the script...they all do the trick, but they also seem a little labor intensive for the client, if you ask me. 📲 Recently a client of mine did something I hadn't seen before. Instead of trying to explain things in the script with spelled out words or YouTube clips, the client just went through all the pronunciations using the voice recorder on her phone. 🗣 She'd let me know where on the page she was reading, so I could orient myself to that section of the script, and then repeated the word 2 times very clearly for the voice memo. She did this for every word or acronym that needed clarification, and I think it took her a total of 3 minutes, if that. 😊 The audio file I got from her was exactly what I needed to prep my script and make sure that I sounded fluent and confident in the terminology I was reading. I'm a fan! 👏 👉 👉👉 What methods do you use to communicate your preferred pronunciations? Have any of your methods ever backfired?

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TDious Experiences volume II: The Remote Broadcast Production Technical Director [Part 1: Mobile Unit Setup] Ask any 5 Technical Directors (TDs) to describe their role leading up to a live broadcast production and you’ll get anywhere from 5 to 50 different answers. That’s because the role has a number of seemingly dissimilar responsibilities that, in any other occupation, might be split among several different people. For example, a concert pianist generally doesn’t have to tune their own piano, assign the notes to the keys, build the conductor’s podium, compose the transitions from movement to movement, then ultimately play a three hour concerto on that piano nonstop, simultaneously monitoring each note on the piano offline to ensure tonal quality while performing LIVE before an audience of millions! Actually, that’s probably not the best analogy; a piano only has 88 keys. The world’s most popular Video Production Switcher, the Grass Valley Kayenne panel & K-Frame, has 1,326 buttons (or “keys”), 6 knobs, 4 fader bars and a joystick. The pianist in this scenario has the luxury of concerning themselves only with their ultimate performance. Everything else is taken care of for them. Not so for a remote TD. If it’s going to be a visual element within the show, it ultimately passes through the TD in one way or another. Video that will be mixed into the production itself must pass through the TD’s video switcher, while other signals, such as video going to monitors in the control room, can pass directly via the router. The router of a television mobile unit is the signal distribution core for any production. Any video or audio source that is going to be part of the production must exist within the mobile unit’s router. The TD is responsible for ensuring the correct video lands in the appropriate place in production monitor wall, its layout determined by the producer & director, as well as video switcher and all router control points in the control room. This is the part of the engineering setup that takes the most time to accomplish. The Engineer in Charge (EIC) is the sole manager of the router grid. It is critical that all inputs to the router and outputs from the router be managed by one individual. From there, especially in the IP world of media transport, every department has the ability to manage their own routing needs. It’s at this point that the TD can finally begin to focus on building out their “piano.” This begins with switcher input & output (I/O) documentation. Traditionally this is generated by the EIC, but with the increased flexibility offered in the IP world, this becomes a joint effort between the EIC, the TD and a dynamic document, such as a shared Google Sheet. In Part II I’ll delve into the mindset of the TD as they begin laying out sources for the production on the video switcher’s panel, as well as some important things to keep in mind when doing so. If you have Qs, thoughts or ideas for future TDious posts, drop a DM!

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Unsolicited Audio Advice to PICTURE Editors: Noise Reduction* I'm back with this little impromptu series (aka, I write things as I encounter them out in the world!) and wanted to share a quick and easy one. Editors, please don't use noise reduction - let that happen in the mix. Not even to "clear it up" for the "ref mix." Just avoid it - and if you encounter pushback, tell your producer/director/client that you're doing your job by not doing that. Us audio engineers will love you for dropping a note on our timeline saying "can you help this section out?" versus us getting baked + artifact heavy audio files. Then we have to likely email you or slack you asking for the raw file then waiting until we get a new AAF after you've had to bug your AE or worse, come back to your desk after you shipped prep to mix. Thank you for being open to hearing this end of it! Happy projects, gang.

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Seriously, I mean no offense by offering up this opinion. But this change in comp, as described in this article, is reason #257 that I can't believe so many people wrote about how the writers and actors won the negotiations last fall. On top of a decrease in content spend, fewer projects, fewer tentpoles, and a pivot to more sports, now Hollywood, led by Netflix, is trying to get rid of the cost-plus model, in an effort that serious people know is an attempt to save money. The genius in this move by Netflix is that now that they've built up the premier streamer and has way more eyeballs than anyone else, talent can't really push back. Besides, who can argue with pay for performance? They can't. Again, I'm not taking a side here. I'm just pointing out that when we look back at those WGA and SAG agreements, the articles that claimed victory for the guilds probably won't hold up. What will be the best way to measure that? Guild revenue? Overall content spend? Streaming P&Ls?

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#voiceover #videoproduction #casting and #talentagent people-- Can we talk? I just finished listening to this great book by Chip and Dan Heath called Switch: How to Change Things When Change is Hard. In it, they talk about people problems vs situation problems. The "Fundamental Attribution Error" is our tendency to attribute people's behavior to something innate about them rather than to the situation they are in. According to the Harvard Business School's website: "The fundamental attribution error refers to an individual's tendency to attribute another's actions to their character or personality, while attributing their [own] behavior to external situational factors outside of their control. In other words, you tend to cut yourself a break while holding others 100 percent accountable for their actions." While some problems are "people problems," many that we encounter are actually situation problems. An example would be an intersection where there are many accidents. The Fundamental Attribution Error would be to say that all of these people are careless and need to slow down. But maybe it's a situation problem instead. An example of a solution that solves this type of issue? Roundabouts. Lots of intersections outside of urban areas (and even some within urban areas) have switched to roundabouts for better safety and flow of traffic. Within the industry, a Fundamental Attribution Error issue is talking about all of the careless voice actors who don't label their files properly. YES, voice actors should slow down and try to do so! But there are also fundamental issues getting in the way of that outcome: -The sheer volume of auditions being thrown our way every day -The inconsistency of naming conventions -And, my personal pet peeve, naming conventions that are just fundamentally unclear or have obvious typos that make it hard to follow them. (ie. including characters that are not allowed in file naming) Some voice actors have mentioned that just copy/pasting the naming convention from your agent's email into your file naming is an option, and I used to do that until my recording program just stopped letting me. And it doesn't help when the naming convention is unclear. One solution that TOTALLY solves this? SelectVO.com won't even allow you to upload the file unless the naming follows the convention given. This allows talent to realize and correct their mistake without wasting their own time or anyone else's. It's a win-win! Talent get their submissions seen and casting doesn't waste time throwing out tons of viable options because of a tiny mistake that anyone could potentially make (and obviously LOTS do). If a problem persists over time and it's not just a few people causing the problem, then it might just be an environment problem and not a people problem. What other problems do you see come up over and over again in your industry that might need an environment solution? #fundamentalattributionerror

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Here's a secret: you don't have to specialize. Early in my career I was asked, "what do you want to be?" The insinuation was that I'd need to pick a specialty within film production. "I want to be able to do it all," I responded. I was lucky enough to work at a place where that would (mostly) become possible as advances in technology began to streamline access to filmmaking tools. I could be the producer, the writer and the DP. I could more effectively leave my mark on all facets of the production process. I'm aware that this goes against popular convention. Many super-smart coaches with large followings sing the praises of specializing and, in the same vein, finding a niche. I do believe that is the smart path for many. But I don't believe it is for me. My path began at RGTV, an award-winning production company based in New York led by Roman Gackowski. I was fortunate to work with a super-talented group where everyone often pulled more than their share of the weight. I won individual Emmy awards for producing, writing and shooting. Yet, deep down I wanted more. I wanted to finish the projects I started. I wanted to be an editor. At the next stop in my career, I made that goal a reality. You could also say I flirted with specialization. In David Jasse of DMJ Studios, I met a kindred spirit. A former editor himself, he understood how the final step of the production process can make-or-break a video. It was great to be a Senior Editor for someone who so thoroughly understood the craft. Soon, another opportunity knocked. Pavan Bahl from Bellwether Culture wanted to bring me on as Head of Creative production. In this role I would need to dust off many of those hats I had left dormant in the closet: videographer, producer, writer AND editor. I couldn't resist the opportunity. The first high-profile project where I could fully live out my return to being an anti-specialist was the production of a mini-documentary for NRVLD.co, featuring co-founders Pavan Bahl and Uzo Udu and partner Dale Moss. I couldn't have created this video without the contributions of many others. John Lopez and Virtue the Artist (IG: @virtuetheartist) filmed many of the beautiful visuals. Others, including Vic Ramos helped produce and shoot interviews. It was a team effort for sure, but it was also my return to putting my imprint on all facets of the production process. I served as director/producer/editor and also added some of my own vision from behind the camera. What was created was a video that immortalized an amazing multi-day gathering. But, contrary to many "highlight videos," it also weaved in substance and storytelling. I have to believe it was integral to NRVLD partnering with elite brands the very next year, most notably Art Basel and Barry's Boot Camp. If you'd like to tell your brand's story in a more effective way, reach out to me 145 Park Productions. CLIENT: NRVLD.co *Created as an employee at Bellwether Culture

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Ever wonder how podcast editors handle criticism on someone else's podcast? Here's a peek behind the curtain. Receiving harsh feedback about a podcast I edited was a tough pill to swallow. It covered everything from the episode design to the sound quality. As podcast editors, it’s our job to turn that criticism into a catalyst for improvement, ensuring the podcast delivers to its fullest potential. The Rule of Three: Enhanced Audio Quality: We worked on the plugins we were using and fine-tuned our cuts and fades to deliver crystal-clear sound. Streamlined Editing Process: We introduced more rigorous editing checkpoints to ensure a flawless look and feel. Collaborative Revisions: Working closely with the podcast team, we revamped episodes based on specific feedback points. Proof: After implementing these changes, the podcast has seen an increase in listener satisfaction and engagement—a true testament to the power of constructive criticism. Handling criticism effectively requires resilience and a commitment to excellence. By transforming feedback into actionable insights, we help podcasts evolve and thrive. Remember, every piece of feedback is an opportunity to excel. Embrace it. How do you transform negative feedback into positive change? Share your stories or tips below! #podcast #editing #singapore #business #india #criticism

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Stop creating more work for yourself. 4 ways you are making it harder to find a voice for your project. These are 4 common misconceptions people have about hiring a voiceover (that are totally false):  - It's too expensive  - AI voices can do just as well  - Hiring a VO is complicated  - A pro VO is too busy for my small project If you believe any of these, you are setting yourself up for failure. You are making it harder for yourself. Hiring a voiceover artist is simple if you go with a pro, every time. -------------- ✍ Thoughts? Share yours below. ➕ Repost this and help your network. -------------- P.S. If you are ready to find out how easy it is to work with a Pro VO, DM me!

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New Job at NABJcareers.org Senior Audio Producer, The Gray Area, Vox.com: , Vox Media The senior producer is the host’s key partner in producing the show week-to-week. As the sole producer on the show, this person must be self-directed and capable of leading a deadline-driven production. The ideal candidate should be equally skilled at managing a workflow and brainstorming creative episode ideas, finding and booking the perfect guest, researching and interview prep, scheduling and engineering recording sessions, cutting episodes, pulling clips, writing promos, and coaching the host.  The senior producer should have a background in ideas-driven audio journalism, the ability to manage a weekly production process, and a track record of producing in-depth interviews.  You will know what makes a great conversation and how to push and shape ideas into their sharpest forms. A curious mind and an interest in exploring philosophy, culture, and the “gray areas” of life are must-have qualities. Some sample episodes: Taking anarchism seriously Life is hard. Can philosophy help? The chaplain who doesn’t believe in God The american dream is a pyramid scheme WHO WE ARE The Gray Area is a deep-dive conversation podcast that takes a philosophy-minded look at culture, technology, politics, and the world of ideas.  Each week, we invite a guest to explore a question or topic that really matters. From the history of capitalism, to the therapeutic potential of psychedelics, to the existence of free will, each episode looks for nuance and honesty in the important conversations of our time. Vox candidly shepherds audiences through politics and policy, business and pop culture, food, science, and everything else that matters. Vox is part of Vox Media, the leading modern media company. We guide our audience from discovery to obsession. We inspire essential conversations about what’s now, what’s next, and what’s possible. As a community of journalists and storytellers, business professionals, creators and technologists, we believe it is a moral and business imperative to amplify voices: to cultivate diversity, equity, and inclusion throughout our organization and media. This applies to our candidates, our teams, our storytelling, our creative work, and our platforms, products, and partnerships.   WHAT YOU’LL DO * Pitch, produce, and edit episodes * Book guests, handling all scheduling and technical conversations, and getting books or relevant materials sent with plenty of time * Cut down and restructure a 90 minute interview into a 45 to 60 minute draft within about a day’s time * Research and prep for interviews in collaboration with the host, editor, and guest hosts * Maintain production calendars, workflow, and various projects. Be the ‘source of truth’ for scheduling and production. * Collaborate with… See more jobs on the NABJ Career Center at NABJCareers.org #NABJJobAlerts

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Annual VoiceOver reminder. I’m seeing a trend amongst a few interface makers to add stuff to your sound. I’m going to assume this is a time saving exercise for the podcasters. For the rest of us, adding stuff to a microphone sound is a big no-no. Unless you are specifically asked for audio processing, the best recordings you can send to an audio producer are raw, in-the-buff, au naturel, freshly squeezed, straight off the mic. Take Audient for example. In their guff for the iD4 they have listed as a feature: “Designed to deliver ultra- low noise and low distortion with a touch of classic analogue warmth, iD4’s Audient mic pre will give you the professional sound you deserve.” As an audio producer this makes me squirm. What happens if the brief is modern digital cold? Please turn the classic analogue warmth off. Except, in the Audient iD, I don’t think you can. Focusrite’s 4th gen 2i2 has: “Air mode, with Presence and Harmonic Drive, gives you that big console sound wherever you record.” My initial reaction was, “you can turn that off straight away!”. Fortunately with the 2i2, you can. There’s a nice easy button on the front. Adding warmth or “Harmonic Drive” is certainly nothing new. Valve amps, tube compressors, T-racks, HEAT and my personal favourite, the “Digital Radiance Generator” featured on the TC Electronic Finalizer, have been available for a long time. The Finalizer is nearly 30 years old! In springary, autumnary, winterary and summary, unless you are specifically asked for audio processing, don't. Take out some of the burps and fluffs if you must, normalise to -3db if you feel the urge, but that's all. Yours sincerely The knob twisters and fader pushers.

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Tonight at 7:30pm ET 4:30pm PT on The Voiceover Round Table we have Steve Pogatch from Pandora joining us! I discovered yesterday that Steve and I weren’t connected here - which is funny, as I connect with a LOTTA people on LinkedIn. Todays musing is about social media and networking. How do you use it? #socialmedia #vort #voiceover #voroundtable #linkedin #facebook #networking #podcast #dailywalk

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Producer friends: Might I interest you in the tale of ‘killing two birds with one stone.’ Don’t worry, it doesn’t involve bird murder. It’s a metaphor. I often hear producers in video agencies say the editing process takes an age. Which means it’s costly. And at the same time, (as much as they'd want one) there’s no budget for grading. Because that’s costly. If we unpack this a bit, who is doing the colour correction if it’s not being sent out? It’s your editor, right? Would you say they take more or less time to do that job than a professional colourist? And would you say they produce a better or worse result than a colourist might? In a lot of projects, you’re paying an editor to do the same task, but taking more time (i.e. money), and producing a lesser result. (Massive sweeping assumption there, and I’m happy to be proved wrong) What if the editor spent more time focused on what they’re best at - you know, editing. With both the time and money saved, spent on someone with the specialist skillset to give it a quick polish? That would be good, right? Better use of budget, better result? HANG ON, MIKE, (GOOD) COLOURISTS ARE EXPENSIVE. And it’s a faff. Usually, yes. Unless. Unless they have a system. Unless they have a system and are specifically set up to cater to people like you. That would be good, right? On a completely unrelated note, I’ll leave this here: https://grade.club

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Want to take your performances to the next level and captivate audiences with authenticity? Discover the power of humanization in voice acting—where non-verbal sounds like laughter, coughs, and affirmations bring characters to life in ways words alone cannot. #humanization #voiceover #Truevoiceproductions https://lnkd.in/gmMdw3-n

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Hey Music Makers, When sending your music to a music supervisor, remember that active links with no expiration date are crucial. It's best to avoid sending multiple emails with mp3's inside the bodies of your emails - it's a big headache. Opt for AIFF's instead (they support metadata!), and include the instrumentals whenever possible. 🎶🎶🎶 #MusicIndustry #MusicProduction #MusicSupervisor #SoundQuality

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Should I dub or should I sub(title)? That’s a question that comes up for many producers. Of course, it’s partly a budget issue – subtitling your video is less expensive than dubbing. But there are a few other factors involved: - who is your audience? - how important is it that they be able to follow the video with less effort? - how important is the content? For some target audiences, subtitles are the right call: - a bilingual audience – e.g. a mix of French speakers and English speakers - an international business audience - anyone who is both literate and highly motivated to watch your content BUT... Sometimes going with subtitles limits your reach. Some types of videos really should be dubbed. ☝️ For marketing content, you want to remove every possible obstacle that could interfere with your viewer’s attention. ✌️ If your viewers may have less fluent literacy skills, or if they are older and may have low vision, make it easier for them, and go with VO. And include same-language captions, too, to make sure that your video is accessible to everyone. --- My company, Power of Babel, provides top-of-class dubbing and subtitling for film and television, marketing content, non-profits, etc. Want to discuss your project? Let's connect! For public health videos, dubbing is usually the best option. (Video by Key West Video Inc. - Corporate Video Production Toronto)

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