Voice-over artist to stand-in
A voice-over artist already meets 58% of what the stand-in role asks for. The move turns on 5 required skills not yet in the profile.
43/ 100
1 How much of what a stand-in is expected to do is already part of a voice-over artist’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 stand-in role is recorded as needing, required and optional together. What these numbers mean.
Why this move works
A stand-in role treats 9 of its required skills as things a voice-over artist already does. You would walk in with these on day one.
- adapt to acting roles
- adapt to type of media
- analyse a script
- follow directions of the artistic director
- follow work schedule
- interact with fellow actors
What stands in the way is 5 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 14 skills that carry over, these are the ones fewest other occupations ask for. A stand-in role needs them, and most people applying for one will not have them already. This is the part of a voice-over artist background worth leading with.
- already held perform scripted dialogue communication, collaboration and creativity
- already held adapt to acting roles communication, collaboration and creativity
- already held practise singing communication, collaboration and creativity
- already held interact with fellow actors communication, collaboration and creativity
- already held acting techniques arts and humanities
- already held study roles from scripts communication, collaboration and creativity
All 14 carried skills, including the 9 the stand-in role treats as required.
Table 3 · What you may need to learn
The 13 missing skills fall into 2 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 follow time cues required
- still to learn work with the camera crew required
- still to learn work with the director of photography required
- still to learn attend rehearsals required
- still to learn work with the lighting crew required
- optional, not held self-promote optional
- optional, not held express yourself physically optional
- optional, not held harmonise body movements optional
- optional, not held perform dances optional
- optional, not held practice dance moves optional
- optional, not held collaborate on costume and make-up for performances optional
- optional, not held lighting techniques optional
- optional, not held photography optional
Table 4 · Where to start
The 3 entries a stand-in role is least likely to hire without. The ordering is computed from the skill data, not from what pays.
- 01 follow time cues practise this
- 02 work with the camera crew practise this
- 03 work with the director of photography 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 14 skills that carry over
- already held adapt to acting roles skill
- already held adapt to type of media skill
- already held analyse a script skill
- already held follow directions of the artistic director skill
- already held follow work schedule skill
- already held interact with fellow actors skill
- already held study media sources skill
- already held study roles from scripts skill
- already held work with an artistic team skill
- already held acting techniques knowledge
- already held film production process knowledge
- already held perform scripted dialogue skill
- already held practise singing skill
- already held sing skill
8 supplementary skills, helpful but not required
- optional, not held self-promote optional
- optional, not held express yourself physically optional
- optional, not held harmonise body movements optional
- optional, not held perform dances optional
- optional, not held practice dance moves optional
- optional, not held collaborate on costume and make-up for performances optional
- optional, not held lighting techniques optional
- optional, not held photography optional
16 held skills the stand-in role does not ask for
- not needed by the target role analyse the original actor's way of speaking skill
- not needed by the target role attend read-through skill
- not needed by the target role breathing techniques knowledge
- not needed by the target role manage personal professional development skill
- not needed by the target role memorise lines skill
- not needed by the target role participate in music studio recordings skill
- not needed by the target role perform improvisation skill
- not needed by the target role perform scenes for filming skill
- not needed by the target role pronunciation techniques knowledge
- not needed by the target role rehearse role skill
- not needed by the target role rehearse with fellow actors skill
- not needed by the target role study relationships between characters skill
- not needed by the target role synchronise with mouth movements skill
- not needed by the target role use dialect skill
- not needed by the target role vocal techniques knowledge
- not needed by the target role work with a voice coach skill
2 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 lighting techniques optional
- optional, not held photography optional
Other moves recorded from voice-over artist
Common questions about this move
Can a voice-over artist become a stand-in?
Yes, and it is a moderate move. A voice-over artist already covers 58% of what a stand-in is expected to do: 14 skills carry over, 9 of which the stand-in role treats as required.
What skills does a voice-over artist need to become a stand-in?
5 required skills are missing, plus 8 optional ones. They fall into 2 areas of the ESCO skill hierarchy, led by communication, collaboration and creativity. The single most important is follow time cues.
How hard is the move from voice-over artist to stand-in?
Its learning distance is 43 out of 100, which is the moderate 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.