Actually, worse than the typical reverberation is low frequency resonances, which are complicated and expensive to tame (you need bass traps).
Also, you need proper voice processing and dynamics processors have a learning curve.
IMHO you need to filter anything below 200Hz when dealing with speech. Most of the speech energy is in the 200Hz to 500Hz region. At the high end you can cut off at 10kHz or even less.
Generalised recipes are very hard, because it depends a lot on the individual's voice, how he/she speaks or sings, the microphone itself and the room acoustics.
That said, cutting below 150 - 200 Hz is most useful in order to avoid the proximity effect when close miking with a directional microphone (the most widely used mikes are cardioid, hence directional) unless you use a specially designed one like this (in or dear friends's terms) puppies: An ElectroVoice RE-20, but it's completely unsuited for video, although just briliant for podcasts
But you don't do close miking on video, except when using lavaliers. And these are omnidirectional. Of course you need some low frequency filtering to reduce pops, but that's another issue
A slight increase around 5 KHz, known as the "presence peak" will make the voice sound a bit punchier (actually many microphones designed for voice already have a slight 5 KHz increase by design). A dip around 400 - 500 Hz will make the voice sound a bit less nasal, which increases
intelligibility.
The more complicated part is dynamics. Using a noise gate and a compressor properly (and when using a compressor I can't recommend the "parallel compression" technique highly enough) is the real difference between a horrible and a great sound. That done, a tiny bit of carefully applied reverberation(*), mostly early reflections, will help the voice to sound "more present".
Part of the difficulty is, you need someone else to adjust this for you unless you do it in post production. And you still need a decent enough set of monitors, doing it properly on headphones is harder.
(*) I've had famous arguments with a friend who is an outstanding sax player. He loves reverb, I don´t. Well, I do but in the right dose and character. Whenever I've recorded him he always missed more reverb. To the point that sometimes I call him "Reverbniczak" (He's Polish, just replacing a couple of syllabes)