News

We currently have an exciting Senior Game Dialogue Engineer vacancy at the central London studios.

We’re looking a for a talented, creative and self-motivated game audio engineer, with software development skills to join us at the frontier of dialogue and performance capture production for video games.

We are a voice and face capture production company with one focus: to make performance content in games magnificent. Our raison d’être is in the belief that acting in games should at least equal the very best we find elsewhere on screen and stage. Everyone and everything at OMUK are tuned to this goal.

We are looking for someone who is passionate and curious, with wide interests and hungry to learn, explore and grow. We are looking for someone who aspires to delight in adventure at the frontiers of creativity who has a deep love and understanding of games and game development, and has the courage and ability to question status quos with wisdom.

We are a close collaborative and supportive multidisciplinary team of experts from different fields. We know that our strength lies in our diversity, our united drive and our support of one another.

Our applied expertise and interests encompass film, radio, music, theatre, games, art, writing, audio and electrical engineering, systems and software design, programming, acoustics, coffee roasting, cognitive linguistics, philosophy, physiology, swords, neuroscience, statistics, a healthy future for humanity and baking bread.

Duties and Responsibilities include:

Preparing creative and technical briefs for production, post production, mastering, QA and delivery

Preparing studios, assets, software and equipment to production specifications

Testing and verifying production specifications with clients

Ensuring production processes and delivery are complied with

Provide client technical liaison and delivery sign off

Participate at a high level with systems and software development

Contribute to studio and technical R&D, keeping abreast of trends and developments in the industry

Keeping up to date with and reporting on all technical and practice advances in performance capture, post production and mastering for video games

Ensuring technical maintenance of the recording studios, their equipment, software and computers

Recording dialogue in the studios and on location

Briefing and managing engineers and Quality Assurance staff that report to you during production

Oversee, develop, and document project pipelines and onboard new team members

Manage production audio teams, providing guidance, training and feedback on audio quality, consistency, and implementation.

Collaborate with creative and technical directors, and other key stakeholders in the development of the studios, services and production software

Qualifications and Experience

Professional level experience with ProTools, Reaper, Audition, iZotope, Nuendo

Comprehensive understanding and practical experience in every facet of game audio production, including experience with Wwise, Fmod, Unity and Unreal with at least 6 published titles.

Knowledgeable of and familiar with the use and care of Class A audio outboard, Neve, RME etc

Experience managing game dialogue production teams

Flexible, resourceful and enjoy the creative realities and the challenges of production.

Educated to degree level

Other useful experience:
Interest in project management and pipelines
A love and knowledge of video games
Component level expertise with PCs, Apple Computers, networking and Microsoft Software suites
Knowledge of more than one language
Programming skills

After Chicken Police ended 2020 with a review stating “PERHAPS THE VIDEOGAME VOICE WORK OF THE YEAR.” We’re dancing into 2021 with The Medium getting a flood of accolades for the performances. And we utterly adore the paradox of ‘the most charming, grounded lead female‘ – for a horror game.

Great reviews that recognise our contribution to a game are always received with joy. However, our work in casting, directing and recording is always a collaboration with the developer. Without the vision, without great writing and without the dedication of the development team our work would be all for nothing. So a huge hats off to Bloober Team for being visionary and dedicated to the core.

Quotes from some of the reviews:

The Gamer: The heroine is a beacon of light in The Medium’s dark landscapes, as her sarcastic asides and cheeky observations lend a glib joy to what’s otherwise an upsetting experience. She’s a realistic depiction of trauma in that she has a personality beyond being hurt, and her use of meds to cope with that hurt is never presented in a way that stigmatizes mental illness. Marianne’s actress, Kelly Burke, is put in a position where her performance could make or break the game, as so much of the script’s weight is placed on being endeared to her character. She nails it, though, and sells Marianne with one of the most charming, grounded lead female performances in gaming to date.

Worth Playing: The voice acting is excellent, but Kelly Burke’s performance as Marianne is stellar.

IGN: While I certainly enjoyed the strong performances from Marianne and the small supporting cast (both human and spiritual) it’s Troy Baker’s uncharacteristic and entirely unsettling turn as The Medium’s chief antagonist that really steals the show.

Game Grin: The vocal performances are equally impressive, with the whole cast doing an admirable job of imbuing their lines with the kind of emotional gravitas the story needs. Kelly Burke captures Marianne’s slowly crumbling mental state perfectly, starting off stoic and self-deprecating but becoming increasingly desperate and weary as the story continues. Troy Baker steps outside his everyman comfort zone to deliver a squirm-inducing performance as The Maw (the game’s main antagonist) and even the supporting cast of characters are voiced well (especially Sadness, a young girl Marianne spends much of the game interacting with).

BBC: The Medium’s dialogue is a strong point. The voice acting is superb all the way through from Marianne’s monologues to the short audio clips that give life to ghostly characters. One performance that clearly stands out is The Last of Us’ Troy Baker as the terrifying villain The Maw.

Game Spot: I’m not sure what well of horrific creativity that Troy Baker found in order to inform his performance, but we must ensure he never finds it again–he does way too good a job of making The Maw sound creepy as hell. I’m not even really sure how to describe the voice; it’s as if a toddler that’s struggling for air is cooing in your ear about being a serial killer. You just feel unclean listening to it. The Maw is a deeply unsettling antagonist, made all the more so because you go a great deal of the game not knowing why it wants to be inside you, but knowing that it can appear at almost any time.

We are deeply grateful to all.

We want to thank everyone who applied for applying! You were an amazing bunch of talented and passionate people. It was tough shortlisting and selecting as there were so many truly great applicants. We wish we could have hired more of you!

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We found two creative, bold, free thinking, curious, and talented individuals to join us in changing the videogaming world, one word at a time.

We’re a casting and voice recording team that is utterly dedicated to making performance in games extraordinary.

We are small, independent and collaborative. We focus on working with experimental and pioneering game developers who have strong stories to tell. Our expertise in casting and recording actors for games is unrivalled. 24 years, 1,000+ titles provide us with deep data that underpins every ounce of what we offer.

Collaboration for us means getting dirty together along with developers. It’s being innovative, breaking rules, questioning and having ideas. It’s being utterly honest at the same time as being completely supportive. We don’t take anything for granted.

We want our brains alive and engaged together. In practical terms, we think of all ‘status quos’ as potential black holes that may stifle creativity as they tend towards making compliant followers instead of shapers and leaders. We sometimes get labelled as maverick outsiders but that is the price of being independent and innovating. We’re proud of it. Our work speaks for itself.

Come join us if you love adventure.

Production Manager (London, UK)

Wanted: An experienced, supremely well organised and creative herder of cats. The cats are mostly wild and come in the form of actors, writers, directors, producers, audio lunatics, people who like shooting people and game designers.

Your job is simple: juggle them all, love them all and make magic happen. Your world is bringing words to life which will involve hunting down actors and sometimes changing the words to improve the lives they create.

Skills required: Great management, communication and negotiation skills, and a ruthless attention to detail. You’ll hopefully have a deep love of videogames, game developers, scripts, actors and all things performance. You have proven mastery of the English language and a high skill level with Excel, PCs, Slack and Google.

To find out more and to apply send your CV/Resume to production@omuk.com with the subject ‘Job Application – Production Manager’ – Good luck!

Casting Assistant (London, UK)

Joining in and supporting the above. This role is an entry level position. You’ll help with preparing and writing casting briefs, organising casting submissions and casting sessions. You’ll help with QA and script management, with maintaining the actors’ database, and liaising with agents and clients.

You’ll be self motivated, able to take initiative and know how to use Windows and Office, especially Excel. You’ll be at home with the Google suite and have strong writing skills. You’ll be well organised, articulate and flexible. You’ll love video games, film, theatre, and actors.

Clucking Chicken Police are on a roll… The idea, then the writing is where the magic lies and that credit goes to Balint Bank Varga and The Wild Gentlemen. The task of casting, recording and directing was our contribution. Mark Estdale discovered the game on the indie floor at Reboot Blue and helped the developer on the journey from dream, to publisher, to here. We’re very proud of the results.

” it’s perhaps the videogame voice work of the year.” fingerguns
“Superbly voice acted” TheXboxHub
“remarkable voice acting” Forbes
“… honestly. This shit is fantastic. ” Player2
“Exquisite voice acting.” GamingBoulevard
“brilliantly voiced” BonusStage
“The voiceacting is just superb.” 3rd-strike.com

So you know where we stand. Trump stated that the black live matter movement was “treason, sedition, insurrection”. We say bring it on. Defending, sustaining and profiting from what is human injustice is unacceptable to us. We choose to be accountable and proactive in supporting positive change.

At OM we have taken Covid-19 action and have chosen to work in isolation for the health and safety of all. BUT we are still providing full production casting and recording services.

We are sending all actors in isolation professional recording equipment and are giving them training so they can record from home to help sustain creative wonderfulness in these crazy times.

Please email us to find out more. Keep safe and keep creative.

It’s been a busy few weeks at OM towers.

Congratulations to Daedalic for the release of the much awaited ‘A Year of Rain’! A dynamic RTS game that throws you into a fantasy skirmish of epic proportions.

Reviews are in for Felix the Reaper, the fabulous 3D puzzler from Kong Orange and Daedalic, recorded at Vault 501. Available on Steam, Xbox One, PS4 and Nintendo Switch, who wouldn’t love a dancing rom-com about death?

9/10 “The developers at Kong Orange have successfully danced their way into our hearts” – Gamespace

8/10 “A breath of fresh air” – GameReactor

“A tender Puzzle game about gruesome deaths” – Kotaku

4/5 “One of the best puzzlers of 2019” Hardcore Gamer

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Congratulations to the ace devs at Illusion Ray Studios for the release of their survival horror game The Beast Inside, recorded at OM London. Check out The Beast Inside on Steam https://store.steampowered.com/app/792300/The_Beast_Inside/

Congratulations to Blue Byte and Bloober on their 2019 Golden Joystick Awards nominations!
OM London had the pleasure of recording two of the outstanding nominees, Anno 1800 for PC Game of the Year and Blair Witch for Xbox Game of the Year. Cast your votes now!

October also saw the release for Frozenbyte’s greatly anticipated Trine 4: The Nightmare Prince. The iconic side-scrolling puzzle platformer follows Amadeus, Pontius and Zoya on their epic quest to retrieve Prince Selius. Released on Nintendo Switch, PS4, Xbox One and PC.

“The biggest and best Trine yet” – Eurogamer

Every Trine game has been recorded at OM and it’s been an incredible journey with the most talented developers. We can’t wait to see what our friends at Frozenbyte do next.

Check back in soon for more production news.

Mark and Megan will be joining the masses to do the usual business catch-ups, to play and be awed. So, if you’re going and have exciting stuff to share, please do get in touch with us, We’d love to make the time to meet you.

We are particularly into interesting stories, narrative, characters and gnarly performance challenges. And of course, we are sharing news about OM voice recording, face capture and the Los Angeles studios as well as a fine cold Kölsch or three.

Mark will be delivering both talks and workshops at the upcoming Voice Over Network Event “Get Your Game On” in April.

Mark will be working alongside Victoria Atkin, Andrea Toyias and Stephane Cornicard to promote excellence in acting and performance for video games.

The event will take place on Friday 26th April 2019 and will be followed by a weekend on intense workshops on a variety of subjects within the discipline.

To lean more and to book your tickets please visit the VON website