Training Actors for Voice Over & Performance Capture
Are you an actor looking to add a new direction for your talents? Or are you hoping to pursue a career in voice over, motion capture and full performance capture. Let's be honest, it's hard to live your instincts and share your most vulnerable side in performance unless you are connected from the inside. Trine knows how to facilitate performances bringing out the the best of their creativity in her students.
As a performer herself, and because of her background as a healer, Trine can help you overcome issues that get in the way rather than serving your performance. She has the sensitivity and tools to help you address damage that you may not even be aware of but that could be holding you back from expressing an authentic presence.
Trine is a sought-after VO and acting coach, Mocap trainer and director who understands intimately how to create interesting characters that come alive physically and with voice:
- Acting workshops and individual coaching
- Voice over (VO) training for video games and animation utilizing the Character First Principle
- Workshops combining the Character First Principle with performance capture
- Workshops on training for motion capture (Mocap) shoots, for games, animation, augmented and virtual reality (AR) and (VR)
- Improvisational writing workshop for actors live and online
Trine has taken my video game reads to the next level. Working with her has taught me new ways to dive deeper with my auditions for interactive characters, even when the specs are minimal and without much context. As a result, she's helped me find different aspects of characters I never would have thought of before. The proof is the bookings: during the first three months of studying with Trine, I've booked three AAA games! ~ Christopher Tergliafera, VO Actor
In partnership with VO and Mocap industry professionals
Trine launched on her own to offer voice over and motion capture workshops for games and animation, after three years as VP of OM Los Angeles (Vault 501). Based in Los Angeles, Trine works in partnership with industry professionals, teachers and theater schools in the US and Europe and, time permitting, also offers private voice over and acting coaching.
Trine's mentor and former business partner Mark Estdale a veteran in the games industry, has worked on well over 1000 video game titles in more than 23 years at OM London and Los Angeles. He is the pioneer of the Game Immersive Voice Recording (GIVR) method and developed Creative Dialogue Tools (CDT), the software that facilitates GIVR, both of which has inspired Trine's approach to teaching and directing.
That was a great workshop. I feel like I've graduated from watching Saturday morning cartoons to playing in Saturday morning cartoons. You have a kickass set-up. Thank you for taking the extra time to pick scripts that really allowed everyone to shine in their unique way. I felt like I threw down some of my best work this weekend - thanks to your supportive, intuitive, fun as hell process. Looking froward to submitting for upcoming projects - it will be a treat to play with you again soon. ~ Katherine Grant-Suttie, VO Actor
Trine C Jensen was fricken AWESOME at teaching the VO in Games Workshop. She was succinct, easy to listen to, knowledgeable, humorous, instructive, and engaging. She got a hell of a lot of info across easily and got everyone in the booth to work quickly and efficiently. EVERYONE got a lot out of the class. I was really impressed, and I've been in front of a lot of instructors. ~ Bill Millsap, VO Actor
Why are games so tough to act in?
Games are difficult because there is no preparation time. The game developers often provide little context for the actor to create an authentic performance in the moment and consequently the actor can't connect to the game environment. Games also provide their own special challenges for actors because the techniques taught in drama schools to develop character and learn context is all drawn from reading the script, rehearsing and learning the lines.
That simply isn’t possible in games, because we’re dealing with scripts containing 750,000 or more words, which are often being edited until the morning of recording. When recording in the studio we have no time for rehearsal or line memorization. The actor needs to be able to connect with the material quickly and trust their instincts to improvise as the character. That becomes possible by working from the Character First Principle. It gives the actor the freedom to improvise in character, delivering a connected and nuanced performance.