The optimal distance to the diaphragm
During preparation in the recording booth, we set up the microphone very precisely. Documentaries require a different acoustic proximity than a radio advert or a corporate film. Where a commercial message often sounds tight and projected, here we aim for intimacy.
- The physical position: we place the voice actor a little further from the pop filter than for commercial work. This creates a natural, open sound without excessive bass tones.
- The reading pace: we deliberately slow the pace, allowing words to sink in between scenes.
- The dynamics: we avoid harsh outbursts. We focus on a stable, relaxed speaking tone that remains pleasant to listen to for forty minutes.
Director's tip: allow breathing to be natural
In commercial productions, technicians often mercilessly cut out every breath to save time. For a documentary, this is detrimental. When you cut breathing between sentences, the narrator quickly sounds like a robot. This removes the tension from a scene.
My consistent advice during recording: let the voice actor audibly breathe in before an emotional turn in the script. That small fraction of a second of humanity grounds the viewer in the reality of the subject. The difference between a detached report and a captivating story lies precisely in those minimal imperfections.
Be prepared to trim the script on the spot
During the recording session, we often notice that written sentences look beautiful on paper, but sound too heavy when spoken aloud. Together with the director, we then cut superfluous words on the spot. Non-fiction requires spoken language. Sentences should roll smoothly off the tongue and be understood immediately, without the viewer needing to rewind.
An experienced voice instantly senses where a sentence falters. By shaping the cadence together, we ensure the voice naturally matches the music and the silences in the soundtrack.
Finishing and rights structure
Once recording is complete, post-production begins. We clean up the audio, equalise the volume, and ensure a clear mix that holds up on both a television and a laptop.
Business-wise, we also like to keep things clear. For non-commercial projects, such as an educational documentary or cultural film, we typically work with a per-word or per-project rate. If it is a sponsored documentary with commercial broadcast rights, we structure the price with a fixed basic recording fee. This is supplemented with an appropriate fee for specific usage and duration. That way, every party knows exactly where they stand upfront.
