Stunt performer to voice-over artist
A stunt performer already meets 43% of what the voice-over artist role asks for. The move turns on 8 required skills not yet in the profile.
58.1/ 100
1 How much of what a voice-over artist is expected to do is already part of a stunt performer’s work. Directional: the figure for the reverse move differs, because moving into a speciality is not the same problem as moving out of one. 2 Every skill the voice-over artist role is recorded as needing, required and optional together. What these numbers mean.
Why this move works
A voice-over artist role treats 8 of its required skills as things a stunt performer already does. You would walk in with these on day one.
- acting techniques
- adapt to acting roles
- adapt to type of media
- follow directions of the artistic director
- follow work schedule
- study media sources
What stands in the way is 8 required skills the profile does not yet cover. Table 3 groups them; Table 4 says which to take first.
Table 2 · What you already bring
Of the 11 skills that carry over, these are the ones fewest other occupations ask for. A voice-over artist role needs them, and most people applying for one will not have them already. This is the part of a stunt performer background worth leading with.
- already held adapt to acting roles communication, collaboration and creativity
- already held perform improvisation communication, collaboration and creativity
- already held acting techniques arts and humanities
- already held interact with fellow actors communication, collaboration and creativity
- already held study roles from scripts communication, collaboration and creativity
- already held study media sources information skills
All 11 carried skills, including the 8 the voice-over artist role treats as required.
Table 3 · What you may need to learn
The 19 missing skills fall into 5 areas of the ESCO skill hierarchy, numbered in the order worth working in. Areas carrying the most required skills come first, and inside each one the required skills sit above the optional ones. Nothing here is a verdict on you: it is a list of what this particular job asks for that your current one does not.
- still to learn analyse a script required
- still to learn memorise lines required
- still to learn perform scenes for filming required
- still to learn perform scripted dialogue required
- still to learn rehearse role required
- optional, not held use dialect optional
- optional, not held attend read-through optional
- optional, not held participate in music studio recordings optional
- optional, not held sing optional
- optional, not held practise singing optional
- optional, not held rehearse with fellow actors optional
- optional, not held work with a voice coach optional
- still to learn analyse the original actor's way of speaking required
- optional, not held manage personal professional development optional
- still to learn study relationships between characters required
- still to learn synchronise with mouth movements required
- optional, not held breathing techniques optional
- optional, not held pronunciation techniques optional
- optional, not held vocal techniques optional
Table 4 · Where to start
The 3 entries a voice-over artist role is least likely to hire without. The ordering is computed from the skill data, not from what pays.
- 01 analyse the original actor's way of speaking practise this
- 02 analyse a script practise this
- 03 memorise lines practise this
Each entry opens a course search for that skill. Career Overlap earns nothing from these links.
Appendix · The rest of the record
All 11 skills that carry over
- already held acting techniques knowledge
- already held adapt to acting roles skill
- already held adapt to type of media skill
- already held follow directions of the artistic director skill
- already held follow work schedule skill
- already held study media sources skill
- already held study roles from scripts skill
- already held work with an artistic team skill
- already held film production process knowledge
- already held interact with fellow actors skill
- already held perform improvisation skill
11 supplementary skills, helpful but not required
- optional, not held use dialect optional
- optional, not held attend read-through optional
- optional, not held participate in music studio recordings optional
- optional, not held sing optional
- optional, not held breathing techniques optional
- optional, not held manage personal professional development optional
- optional, not held practise singing optional
- optional, not held pronunciation techniques optional
- optional, not held rehearse with fellow actors optional
- optional, not held vocal techniques optional
- optional, not held work with a voice coach optional
34 held skills the voice-over artist role does not ask for
- not needed by the target role adapt fighting techniques for performance skill
- not needed by the target role analyse own performance skill
- not needed by the target role analyse your fight discipline expertise skill
- not needed by the target role attend rehearsals skill
- not needed by the target role collaborate on costume and make-up for performances skill
- not needed by the target role communicate expectations of fight actions skill
- not needed by the target role drive vehicles skill
- not needed by the target role express yourself physically skill
- not needed by the target role follow time cues skill
- not needed by the target role harmonise body movements skill
- not needed by the target role interact safely with animals skill
- not needed by the target role learn the choreographic material skill
- not needed by the target role lighting techniques knowledge
- not needed by the target role manage feedback skill
- not needed by the target role obtain relevant licenses skill
- not needed by the target role organise rehearsals skill
- not needed by the target role perform dances skill
- not needed by the target role perform risk analysis skill
- not needed by the target role perform stunts skill
- not needed by the target role perform with motion capture equipment skill
- not needed by the target role photography knowledge
- not needed by the target role practice dance moves skill
- not needed by the target role practice martial arts skill
- not needed by the target role practise extreme sports skill
- not needed by the target role prepare rehearsals skill
- not needed by the target role ride horses skill
- not needed by the target role search for a suitable filming location skill
- not needed by the target role self-promote skill
- not needed by the target role sword fighting knowledge
- not needed by the target role use firearms skill
- not needed by the target role work with prop makers skill
- not needed by the target role work with respect for own safety skill
- not needed by the target role work with the camera crew skill
- not needed by the target role work with the lighting crew skill
3 gaps that are knowledge rather than practice
Knowledge gaps usually close through study. Practical skill gaps usually need something you can point at.
- optional, not held breathing techniques optional
- optional, not held pronunciation techniques optional
- optional, not held vocal techniques optional
Common questions about this move
Can a stunt performer become a voice-over artist?
Yes, and it is a substantial move. A stunt performer already covers 43% of what a voice-over artist is expected to do: 11 skills carry over, 8 of which the voice-over artist role treats as required.
What skills does a stunt performer need to become a voice-over artist?
8 required skills are missing, plus 11 optional ones. They fall into 5 areas of the ESCO skill hierarchy, led by communication, collaboration and creativity. The single most important is analyse the original actor's way of speaking.
How hard is the move from stunt performer to voice-over artist?
Its learning distance is 58.1 out of 100, which is the substantial band. That accounts for both how much is missing and how specialised those skills are.
How this record was compiled
Both occupations are taken from ESCO, which lists the skills and knowledge each occupation is expected to have and marks every one required or optional. Nothing here is a prediction about hiring, and nothing here knows that a particular employer wants a particular certificate. Treat Table 3 as a starting point for your own research rather than a syllabus. The full method states what these figures can and cannot tell you.