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**PAID** #VOICEOVER CASTING CALL (4M) $125/episode - Main Characters $2.50/line - Supporting Characters DEADLINE: 11:59 PM on Sunday, 03/26/2024 AniMedia Entertainment | Anime Audio Dramas (a @gmbjapan company) and レッド・エンタテインメント公式 partner up to produce the English dub for audio-drama #ShareLove. Audition Doc VA Casting Call RT
29,213 просмотров • 2 лет назад •via X (Twitter)
Комментарии: 10
@AniMediaEnt @gmbjapan @RED_Ent_info Oooo if I was a man, I'd jump at it! Audio dramas are such a vibe!!
Hi Mike! Not sure if this is just a me problem but I can't seem to open the link for the audition doc. Is there an alternative link by any chance?
Should be working… I just tried it. Try this?
@AniMediaEnt @gmbjapan @RED_Ent_info oh I will absolutely be submitting!
@AniMediaEnt @gmbjapan @RED_Ent_info I am so auditioning!
@AdventureNoises @AniMediaEnt @gmbjapan @RED_Ent_info @BlxssomVA @GoldieChan @FalonEcho @Ladyaema_ @LottieABourne @FaelwenStar @ZaPanda_VA @Sharki_V @starbx93 @xiosora @ScazzaScarlett @Shelly_Kitten_ @EliseMeggie @Everlasting_Fae @FauxSynderVA @MysticWaterzYT @marlaroseVA @OratrixVO @Audiblyyours
@AniMediaEnt @gmbjapan @RED_Ent_info Thanks for the opportunity Mike! Good luck with casting!
@AniMediaEnt @gmbjapan @RED_Ent_info Looks very interesting, will send an audition out soon!
@AniMediaEnt @gmbjapan @RED_Ent_info Say less! I definitely will send a submission asap!
@AdventureNoises @AniMediaEnt @gmbjapan @RED_Ent_info @SuperNovaVO @KateFarrellVA @VAMichaelaLaws @zoeytruran @Zrajab95 @DaylenZenGen @Animation_Voice @ArdentValkyrie @AndreCanada_Vo @BPJeffords @bejarana @Cinderkin @ClayCannonVO @DrewCampbellVO @Daniel_MurphyVA @damatchava @geebmachine @Jake_Vox @kendillonvo
![🚨❓🛸 Breaking: What the Heck is Going On? 👽❓🚨 Senior White House Officials: We cannot find any copies of the DIA's AAWSAP records. Robert Bigelow: "We have copies of everything [from AAWSAP]." (Please spread this far and wide and tag the appropriate people. Aaron Lukas Stephen Miller Donald J. Trump BigelowPodcast Bigelow Institute for Consciousness Studies (BICS). Let's get these folks together.) ~ Ainsley Earhardt: "....is releasing new documents that might provide proof of extraterrestrial life, including decades-old, never-before-seen UFO footage." Brian Brian Kilmeade: "Really? We should have led with this." Lawrence Jones: "Right. Peter Doocy joins us live from the White House with this exclusive. Hey, Peter." (Doocy has been kicking ass with his reporting on UAP.) Peter Doocy: "Good morning. I was summoned to an office in the West Wing yesterday for a private briefing about these files that you're about to see on your screen for the first time ever. "Let's show the first clip. It was taken by a Navy aerial photographer. His name was Delbert Newhouse. It was taken along a Utah highway. If you look closely, it looks like a drone swarm, but there were no known drones in the sky when this video was taken in 1952. "I am told they took the first and only copy of this film. They found it in the National Archives. It has been digitized into 4K to be released right here for the first time today." (I watched it today. Film footage from 1952 that's turned into 4K isn't much clearer. But...the Newhouse film clip was first released in 1956, and it was stabilized and posted on YouTube in recent years and that's much better than what was released today. I'm no expert on everything historical in ufology but I'll share something on that 1952 sighting in another post that's MUCH better than what was put out today by our government.) Doocy: "The second clip we have taken by a law enforcement officer's iPhone along a busy Colorado highway three years ago. The officer's narration and some nearby buildings have been redacted. I heard the unredacted version, though, and he is describing multiple orbs hovering over a sensitive military installation for 15 minutes at a time. This one was three years ago. "And then we have a third clip taken by a drone over the Middle East last year. It shows six objects flying in formation, destination unknown. The Pentagon looks at this, they say they do not know what they are looking at on the screen. "And then there's this. There is a newly declassified copy of an expense report, a line-by-line expense report, going through the $22 million dollars that the DIA spent to investigate repeated, years-long claims over something called Skinwalker Ranch. Claims of extra...things in the sky, UFOs, UAPs." (This was AAWSAP and it wasn't focused just on Skinwalker Ranch. Not even close. Read, "Skinwalkers at the Pentagon" by Drs. James Lacatski and Colm Kelleher, and award-winning, investigative journalist, George Knapp, for an inside look at that program. And the three follow-up books, with the last two authored by Lacatski himself). Doocy: "Harry Reid, before he passed away - this was in 2008 - got $22 million dollars to investigate this. Officials now are telling me, senior White House officials are telling me, they cannot find any copy of the records. They've got all the proof that this government contractor was spending $22 million dollars to do this investigation, but when folks high up at the White House who can just pick up the phone and say, 'I need a copy of those records,' make the call, they are being told that if these records were created, they are either lost or something happened to them. "Somebody has them; they are not available to White House officials right now. Which kind of seems like one of these UFO movies where it gets to the Oval Office and the president has to be told that there are certain things that are too classified even for the president." (Those senior White House officials should contact the guy who briefed Trump in the Oval Office in February on UFOs: Robert Bigelow. Bigelow's company, BAASS (Bigelow Aerospace Advanced Space Studies), was the contractor for that program.) Here's Bigelow on Episode 2 of The Bigelow Podcast: Bigelow: "BAASS, our organization, we have the 38 papers. We have copies of everything [from AAWSAP]." George Knapp: "The DIRDs." Bigelow: "We have everything. We have all the other papers going up to about approximately 100. So, DIA has those someplace." Knapp: "But they deny it. They say, 'We don't have 'em.'" Bigelow: "Well, I don't know. They could be buried in a frigging trailer or the back of a car somewhere in the trunk and put into a cellar. I don't know where it is, but we have ours, we have copies of everything. (Problem solved. I'm sure those senior White House officials will be on a plane to Las Vegas once they see my tweet. 🙄) Bigelow: "I don't think it's our business to go around the government and divulge ours without sanction of proof, without approval. I mean, without approval. I feel uncomfortable about that. I don't mind the 38 papers (which have been public for years). I think beyond that, I'm uncomfortable by not having some kind of official, ass-covering approval, you know?" (I disagree. The American taxpayers paid for that. Release it all. They then go on the discuss how personal details of people involved would need to be scrubbed if those papers were to ever be made public. No problem with that. But Mr. Bigelow has had a decade and a half to do that. Either way, that should NOT stop Mr. Bigelow from calling his contact at the White House (or vice verse), doubling down, and saying, "I have ALL of the AAWSAP data. Come to Vegas and I'll let you see it all.") Doocy: "But, we should stress, again, officials do not know what the objects are in these videos that are gonna go wide online after this report." Kilmeade: "Now they don't know, Peter, but do you know? Doocy: "[long pause] Can't say." [All laugh. I like the comedy.] Jones: "Well played." Kilmeade: I would check a burn bag in the FBI building. Jones: "Right, exactly." Earhardt: "He used to know, he wiped the record. They just look like white dots to me. I mean, How do we know that's not a drone?" Kilmeade: "Well, it's the 50s." Earhardt: "I know, but they're just like, white dots." (Exactly. Interesting, but it will NOT move the needle with the masses. We have no idea what those white dots represent and they're not making any incredible maneuvers. But it's still coverage of UFOs on a national news show that has a lot of viewers who aren't into UFOs, like us. So, not a bad thing.) Doocy: "Well, the one clip is from a guy in 1952, and so you look at a lot of this stuff now. It's like, oh well, maybe that's a lens flare, maybe it's a hobbyist, maybe it's a weather balloon. But in 1952, there was not a lot of stuff up in the sky. And so, when you look at a video like this, yes, it is old, but it kind of creates a decades-long storyline. We know that these are things that have been a curiosity of humans on Earth for generations, and this is why. And this is a really clear clip that puts into focus - clearer focus, 4K - what some of these guys were...said that they were seeing." (Excellent summary and context by Doocy.) Earhardt: "Were you able to look through the expense report? What are some of the expenses? How'd they spend $22 million dollars?" Kilmeade: "Wow." Earhardt: "And there are no records?" Jones: "Nothing to show for it." Doocy: "I've got it. It's 59 pages long, and some of the stuff is still blocked out. But you know it's got dates. A lot of the stuff is 2008 and 2009. $2.8 million dollars, $3.6 million dollars, $2.1 million dollars. It's a well-respected government contractor (Bigelow's company, BAASS) that was doing this." (I have ChatGPT trying to find this 59-page document and so far it has struck out. We know they had 50 full time investigators over a 27-month period and they all had to be paid. Plus, they had to retrofit buildings in case they received classified UAP-related materials, allegedly from Lockheed, or elsewhere. And, in 2021, I was told the DIRDs cost $15,000 a piece or $570,000 for all 38 studies.) Doocy: "And again, it was Harry Reid out in Nevada who had an interest in UFOs because there are a lot of sightings out there. Harry Reid is the one who got the $22 million dollars of government money appropriated for this." (Kilmeade scoffs. He should know that it was the late Senators Reid (D), Inouye (D) and Stevens (R) who helped fund AAWSAP to the tune of $22 million. This shouldn't be a partisan issue.) Doocy: "Somebody went and investigated, and the files...they just can't find them. Maybe they will turn up at some point, but it is noteworthy that, given all of the interest and all the money that was spent, that somebody from the West Wing of the White House calls and they can't produce the files." Earhardt: "It disappeared." Kilmeade: "Should check [Reid's] estate. Check Harry Reid's closet." Earhardt: "Or someone's bank account (laughs)." (Or make a phone call to Mr. Bigelow. Long-distance calls are free nowadays. To insinuate that Reid pocketed any of that money is ridiculous, and partisan. Also...apparently, Bigelow spent $1 million of his own money to keep the program going towards the end.) Jones: "They think we're all stupid. The only person that knows is the dead senator, right? I mean, come on. Thanks, Peter." Earhardt: "Very interesting. All right, thank you Peter." Kilmeade: "There's an excellent chance they're gonna be friendly." (Based on what?) Earhardt: "Oh, the aliens?" Kilmeade; "And just tell us what they know. Why are they able to move so quick?"](https://image.24vids.com/tw-2101014195387170908/amplify_video_thumb/2101014092253433857/img/9u_HrbbeuMqbGr9M.jpg)
![Leaving work at five shouldn’t require stealth mode, but her boss made it a mission. Seedance 2.5 0n SJinn Agent Prompt SCENE CONTEXT A 30-second realistic AAA third-person stealth-action game sequence set in a Japanese corporate office at exactly 5:00 PM on a bright weekday afternoon. The player character, NAGI, has finished her work and must reach the elevator without being stopped by her boss and given another assignment. ACTIVE REFERENCES [Image] = NAGI’s facial identity, if a character reference is supplied. Use only her facial appearance as the identity reference; replace any school clothing and background with the adult office character and environment specified below. NAGI: Japanese woman, 25, long straight black hair with blunt bangs, white short-sleeve office blouse, charcoal tailored trousers, black leather belt, white minimalist sneakers, employee ID clipped to her waistband, small black work tote held close to her body. Voice: light, breathy adult female voice, speaking Japanese in a hushed whisper. Keep her face, hairstyle, outfit, proportions, and accessories identical throughout. CAST SEPARATION Four distinct adult office characters appear, each with a different silhouette, age, and hairstyle so they read as separate people: TEAM LEADER: man in his 40s, 170 cm, average build, full head of short black hair parted at the side, thin metal-framed glasses, white dress shirt with a loosened navy tie. Appears only beside the first desk cluster, checking his watch. PAPERWORK COWORKER: woman in her 20s, 160 cm, slim, brown hair in a high ponytail, beige cardigan over a white blouse, carrying a thick stack of printouts. Appears only in the printer aisle. BOSS: man in his 60s, 160 cm, stout and round-shouldered, completely bald with a shiny scalp and a fringe of white hair above the ears, round gold-rimmed glasses, charcoal three-piece suit with a company lapel badge, carrying a blue assignment folder. Appears at the corridor T-junction and remains in that connected corridor during the whiteboard sequence. OFFICE ASSISTANT: man in his early 30s, 182 cm, lean and broad-shouldered, thick full black hair swept back, short beard, navy shirt with rolled sleeves, dark trousers, no glasses. Pushes the mobile whiteboard from the meeting-room alcove toward the elevator lobby. The BOSS is the only bald character in the entire video. The OFFICE ASSISTANT keeps a full head of thick black hair and a beard, stands more than 20 cm taller than the BOSS, and is clearly a different, much younger man. LOCATION MAP One unbroken spatial route the camera travels with her: Her workstation → low desk partition → printer aisle → corridor T-junction → meeting-room alcove with mobile whiteboard → elevator lobby → elevator interior. Keep the route compact and physically traversable within the 27-second continuous section. Foreground: polished linoleum floor, office desks, steel filing cabinets, rolling chairs, and reflective glass meeting-room partitions. Background: window wall on camera-right overlooking neighboring office buildings, dust suspended in the sunbeams. Light enters from camera-right along the office route. ELEVATOR GEOMETRY The elevator entrance is at the end of the office corridor. The call button is on the wall beside the entrance. The elevator is empty when NAGI enters. Inside the elevator: brushed-metal rear wall, side handrails, softly illuminated ceiling, control panel beside the doorway. No rear exit and no mirror creating a second NAGI. NAGI enters facing the rear wall, then turns to face the open elevator doors. For the final reverse shot, the camera is positioned INSIDE the elevator, immediately beside the doorway, looking inward at NAGI. The brushed-metal rear wall is behind her. The elevator doors close behind the camera, allowing her face to remain visible throughout the final shot. FIRST FRAME / BLOCKING First frame is already in motion: NAGI darts in from lower-left toward camera-right, work tote clutched to her chest, and drops into a crouch-slide behind a low desk partition beside her workstation. Camera behind her right shoulder. Game HUD fully visible from frame one. A small desk clock reads 17:00. FORMAT MODE One continuous unbroken take from 0.0s to 27.0s with no cuts of any kind, then a single HARD CUT at 27.0s to one final locked reverse shot that runs to 30.0s. Exactly one cut exists in the whole video, at 27.0s. The camera does not cut anywhere else. OPTICS One lens for the continuous section: 47° third-person over-the-shoulder framing as the baseline, breathing in to 29° on reaction beats and out to 63° for the boss encounter and moving-whiteboard concealment. All FOV changes in that section happen as smooth continuous zoom breathing, never as a jump. The final shot after the cut is a fixed 29° frontal framing of NAGI, no drift. CAMERA For the continuous section, the camera is a physical object flying with her. Chest-height, 1.5 meters behind NAGI, slightly camera-right of her spine, swinging with a soft spring delay half a beat behind her turns like an analog-stick gameplay camera. It dips to knee height when she crouches, rises when she stands, slides sideways along the filing cabinets with her, swings wide to corridor-left to reveal the boss encounter, drifts behind her for the moving whiteboard, and follows her through the open elevator doorway. The camera travels through open space around desks and partitions. It never clips through furniture, walls, the whiteboard, or elevator doors. After the cut, the camera is repositioned inside the elevator beside the doorway, looking inward at NAGI — locked off, eye level, completely static, no movement. ACTION [Beat 1 — 0.0s to 6.0s] NAGI crouch-slides behind the low desk partition, back flat against it, chest heaving. She leans out 20 cm to peek at the TEAM LEADER checking his watch beside the adjacent desk cluster, then pulls back. She whispers in Japanese: {定時だ…捕まったら終わり。} HUD flashes 【5:00 PM — SHIFT OVER】 and the mission banner 【OBJECTIVE: REACH THE ELEVATOR UNDETECTED】. The TEAM LEADER turns toward a ringing desk phone. NAGI slips behind his back, staying below the desk-partition line, and moves into the printer aisle. The camera follows without stopping. [Beat 2 — 6.0s to 12.0s] The camera stays with her beside the steel filing cabinets. NAGI presses her spine flat against the cabinets and shuffles sideways at 2 km/h, sneakers rolling heel-to-toe in silence. The camera tracks sideways with her at the same speed. The PAPERWORK COWORKER walks past the end of the row carrying a thick stack of printouts, scanning the office for someone available to help. NAGI holds her breath, pupils tracking the coworker without moving her head, and whispers: {来ないで…こっち見ないで。} The minimap vision cone sweeps past NAGI’s marker and turns away. HUD shows 【SNEAKING MODE】. The PAPERWORK COWORKER exits frame-left. NAGI exhales, crouches beneath the edge of the last desk, and slips into the corridor with the camera still on her shoulder. [Beat 3 — 12.0s to 18.0s] The BOSS steps around the T-junction two meters in front of her, blue assignment folder in hand. He catches a brief glimpse of movement. A red exclamation marker snaps above his bald head with a sharp alert sting. The HUD edge pulses red: 【ALERT】. He starts saying in Japanese: {なぎさん、追加の仕事が…} The camera swings wide to corridor-left as NAGI reacts in one motion: hugs her tote tightly against her ribs, drops below his eye line, pivots around the corner of a tall filing cabinet, and slips into the adjacent meeting-room alcove. The cabinet fully blocks his view before he can finish approaching her. She whispers: {今だけは無理…！} HUD prints 【EVASIVE MANEUVER】 and 【BREAK LINE OF SIGHT】. The BOSS takes a step toward the place where he last saw her, looking around the cabinet. NAGI has already moved to the far side of a mobile whiteboard in the alcove. The camera falls in behind her again. [Beat 4 — 18.0s to 24.0s] The OFFICE ASSISTANT starts pushing the mobile whiteboard out of the meeting-room alcove toward the elevator lobby. The whiteboard is a tall, opaque rectangular board on a metal frame with four caster wheels. Its panel extends low enough to conceal NAGI’s crouched torso and head; only her white sneakers occasionally show below the frame. NAGI crouches on the side opposite the BOSS and shuffles with the board, matching its rolling speed exactly. She keeps her tote tucked close so it never protrudes beyond the board’s edge. The camera tracks low on her concealed side, showing her careful steps and the BOSS intermittently visible beyond the board’s far edge. The BOSS pauses, looks toward the moving whiteboard for a full beat, then turns back toward the office with his assignment folder. From behind the board, NAGI whispers: {ホワイトボード…最強。} HUD prints 【MOBILE COVER EQUIPPED】, then 【ENEMY LOST CONTACT】. The alert bar drains to green. The OFFICE ASSISTANT steers the board into a wall recess beside the elevator lobby. NAGI slips away from its concealed side as it stops. [Beat 5 — 24.0s to 27.0s] NAGI reaches the elevator call button and taps it once. A soft arrival chime sounds. The elevator is already waiting on this floor; its doors slide fully open. She slips through the clear doorway. The camera follows her inside, staying behind her shoulder. She turns to face the entrance and presses the door-close button once. Her shoulders remain tense, tote held tightly in both hands. The doors remain open until the cut. 27.0s HARD CUT [Beat 6 — 27.0s to 30.0s] Locked static reverse shot from inside the elevator beside the doorway, looking inward: NAGI stands facing camera, shoulders squared, work tote held in front of her, chest still rising fast. Behind her are the brushed-metal rear wall and a horizontal handrail. Off camera behind the lens, from the distant office corridor, the BOSS calls in Japanese: {なぎさん、ちょっといい？} The elevator doors slide closed behind the camera. Their narrowing opening is registered by the shrinking patch of corridor light across NAGI’s face and the sliding-door sound. NAGI answers brightly, looking straight down the lens: {お先に失礼します！} The doors finish closing. Her shoulders drop with relief. HUD prints 【MISSION COMPLETE】, 【STEALTH RANK: S】, 【ADRENALINE +150】, and the final notification: 【AFTER-HOURS TASK EVADED】 Final frame: NAGI facing camera, a tiny triumphant smile pulling at one corner of her mouth. PERFORMANCE Photographic human realism indistinguishable from live-action footage: skin with visible pores, fine vellus hair catching the light, subsurface scattering in the earlobes and fingertips, capillary flush across her cheeks and ears from running, individual flyaway strands lifting off her hair, wet living eyes with true window catchlights and a faint red inner rim, clean matte skin. Visible fast breathing at the collarbone, eyes darting a half-second before her head turns. Tension shown by muscle: shoulders drawn up to her ears, fingers clamped white on the tote handles, jaw set, then a full-body shoulder drop on each escape. All adults have equally real skin, real hair follicles, and natural asymmetric faces. PHYSICS Her blouse and tailored trousers crease naturally during crouches and turns. Hair lags and sweeps across her face on fast direction changes. The work tote has real weight: its handles pull taut in her hands, and its body swings with inertia before settling against her torso. The mobile whiteboard has real mass. Its caster wheels rotate against the floor, swivel when steered, and rattle lightly over a flooring seam. The board wobbles subtly when the OFFICE ASSISTANT starts and stops it. NAGI moves with her own visible footsteps; the board does not drag or transport her. The coworker’s printouts flex slightly while walking. The BOSS’s folder stays in his hand. Elevator doors slide smoothly on fixed tracks and close only after NAGI and the camera are fully inside. Contact shadows stay glued under every foot, every knee, every furniture leg, and every caster wheel. LIGHTING One continuous light logic across the office route: bright late-afternoon sun at 5600K entering from the window wall on camera-right, throwing long window-frame stripes across the floor. NAGI passes through light and shadow as she travels. Soft bounce fill off the pale linoleum lifts her face. Fine dust hangs suspended in the sunbeams. The elevator lobby receives the same window light. Inside the elevator, neutral overhead illumination provides continuous soft fill. In the final reverse shot, the same corridor daylight enters from camera-left through the open doorway, raking across her cheek. As the doors close behind the lens, this daylight narrows and disappears naturally, leaving the elevator’s established overhead light. Exposure rolls smoothly as she moves between bright and shadowed stretches, and the color temperature matches exactly across the cut. HUD GTA-style real-time game HUD locked to fixed screen positions for the whole 30 seconds, with every on-screen word written in English: Circular minimap bottom-left with the player arrow and yellow vision cones for the office characters; health and stamina bars top-left; alert-state bar shifting green to amber to red; controller button prompts bottom-right; English mission objective text top-center; floating red exclamation markers over alerted characters; notification cards sliding in from screen-right. The HUD stays in the same screen positions across the cut. No subtitles or caption bars anywhere on screen. The HUD is a clean flat graphic overlay composited on top of fully photographic live-action-grade footage. AUDIO Tense minimalist stealth synth loop with a pulsing heartbeat underneath, running unbroken across the cut and resolving to a short bright victory fanfare at the end. Ambience carries continuously through the cut. Office sounds become naturally muffled as the elevator doors close. All dialogue is spoken in Japanese. STYLE Photoreal live-action realism, real human beings and real fabric, natural skin tones with true-to-life color science, physically correct materials, realistic human proportions and anatomy, real optical depth of field, real floor reflections, subtle handheld gameplay motion blur, fine film grain at 5%, sharp detail intent. OUTPUT SETTINGS 16:9, real-time speed throughout, one continuous 27-second take plus one 3-second locked shot after a single hard cut. POSITIVE LOCKS Exactly one cut in the entire video, at 27.0s — everything before it is a single unbroken take with the camera connected to NAGI. NAGI is consistently an adult office employee, 25, with the same face, long black hair with blunt bangs, white office blouse, charcoal tailored trousers, black belt, white sneakers, clipped employee ID, and black work tote throughout, with dry clean skin. The work tote stays with her throughout. The mobile whiteboard appears only from the meeting-room alcove onward and is physically pushed by the OFFICE ASSISTANT. It remains between NAGI and the BOSS during the concealment beat. The bald BOSS in the charcoal suit and the tall bearded OFFICE ASSISTANT with thick black hair are unmistakably different men. The office route remains spatially continuous. Characters do not teleport between locations. NAGI enters the elevator before turning toward its doors. In the final shot, the camera is inside the elevator beside the doorway, with NAGI facing the lens and the brushed-metal rear wall behind her. The doors close behind the camera; they never pass between the lens and her face. All on-screen text is English. The last 3 seconds hold a locked frontal eye-level shot of NAGI facing camera. HUD elements stay in the same screen corners throughout. One single NAGI on screen at all times. All spoken lines are in Japanese. Sunlight direction stays consistent across the office route, with a physically motivated transition to elevator lighting as the doors close. Final notification: 【AFTER-HOURS TASK EVADED】.](https://image.24vids.com/tw-2099440985872933199/amplify_video_thumb/2099439622300262404/img/ApTPKT_DRHsOPaZ1.jpg)