Hair and makeup have incredible shapeshifting properties with just a few simple tricks, regardless of gender. Here are some pointers to help suggest a character or type with just the eight-by-ten.

What You’ll Find in This Article

• Shave vs. Stubble
• Know Your Hair Range
• How to Style Your Look for Period Pieces
• Best Practices for Applying Makeup for Acting Roles

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Shave vs. Stubble

Facial hair is a great way to alter your look drastically. While you may not be able to grow a full beard in time for a self tape due tomorrow, the difference between stubble and a clean-shaven face can be huge.

If you know you have a specific type of facial hair that you’re often called in for, keeping it in a place that can enhance and support it is a smart move.

Know Your Hair Range

Unless you’re rocking a bald or shaven head, most people have at least a small range of different looks they can manage with their hair.

Straight versus curly hair can dramatically change the vibe. Combed back, pinned up, or otherwise more conservative hairstyles can top off a professional look or hint at a character that is more contained. Slick it back and you’re in villain or vamp territory. Mussed-up, lank or greasy hair can suggest depression, neglect or exposure to the elements.

Knowing what looks best with your actor type, and being able to execute it, can save a lot of time and bring together a cohesive look even if you don’t have a strong wardrobe option.

How to Style Your Look for Period Pieces

If you’re called in for a period piece and don’t have enough hair or know-how to style appropriately, never fear.

Remember, for auditions, you’re suggesting a time period, not replicating it. Some big curled bangs can become victory rolls. Carefully brushed forward hair can simulate sideburns. A top knot and some teasing can go a long way towards a Gibson Girl look.

Apply the same logic as clipping back clothes for a better fit — as long as it looks good from the front, that’s all that matters.

Best Practices for Applying Makeup for Acting Roles

A little makeup goes a long way, especially on film. Beyond the base, there are a few things you can do.

For almost anyone, artfully smudged eyeliner can elevate a look. A hint of purple or red beneath the eyes can make you look tired or sick. Lipstick and a gentle, smoky eye can give you a glamorous, seductive look.

If you’re skilled with makeup, the shape of lipstick can alter not only the time period but the age and personality of the character as well.

For time periods, start to know your cheat codes: the 1940s overline the top lip in a specific shape, the 20s favor a bee-stung look, the 80s are bright and bold, etc. For a youthful or innocent appearance, a hint of white in the inner corners or even the lower waterline can create a wide-eyed look.

You don’t have to be a salon graduate to use hair and makeup to your advantage. Just like with clothes, start to get to know how your general acting types express best. The better you know yourself, the better you’ll be able to manipulate your look with simple alterations.

Final Takeaways

When you’re starting out, it’s easy to rely on clothes to define a character, but hair and makeup can be just as powerful. Even simple changes can suggest a whole new personality or time period without much effort. Here are some easy ways new actors can use what they already have to create a standout look.

• Keep your facial hair neat or clean-shaven to quickly change your character’s vibe.
• Experiment with different natural hairstyles to hint at moods or roles, like slicked-back for villains or messy for troubled characters.
• Use basic makeup tricks like smudged eyeliner or subtle lipstick shapes to suggest age, emotion or era.
• Don’t stress about perfect period styling. Suggest the look with simple hair tweaks that read well on camera.
• Learn how small changes in your appearance can save time and boost your confidence during auditions.

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For actors today, editing self tapes is an essential skill. Understanding that the majority of us want to perform rather than fiddle on our phones, the following is meant to serve as an easy guide. From selecting your best takes to exporting the final file, read on for a simple five-step approach to editing your self tapes:

Select Your “Best” Takes

Does anyone else’s anxiety just spike? Personally, “take selection” is my least favorite part of the process. Here’s what usually helps keep me from spiraling:

• Take a beat: If possible, take a short break between filming and editing. Give yourself some space between the material (even 10 minutes) to reset.
  Watch scene by scene. Go through each scene and bookmark your initial favorites (I know it’s not always fun, but you got this).
• Get a second opinion: Ask a trusted friend which takes they would choose. We aren’t always the best judges of ourselves, so an outside eye can help.
• Trust your instincts: Weigh your picks against your friends, and then go with your gut. If you settle on two contrasting takes, feel free to send both to casting (unless otherwise requested).

Self Tape Editing App Recommendations

Editing your self tapes is fun (at least I think so. Let’s stay positive). The great thing about filming on your smartphone is that you can edit there, too. Here are some recommend tools for you to edit your self tapes on your phone:

• iMovie (FREE): You’re likely familiar with this solid editing software (it comes loaded on your iPhone). For entry-level edits, iMovie gets the job done and is easy to navigate.
• InShot (PAID): This is my go-to app, but I also enjoy editing and use it for other work. It’s simple and offers way more features than iMovie.
• Actor Specific Apps: Full disclosure, I have not tried any of these, BUT I feel it’s important to provide you with a treasure trove of information. Slatable and My Selftape are two apps specifically curated to lessen an actor’s burden. If you try them out, please let us know your thoughts!

Standard Self Tape Editing Format

Here’s how your clips should be edited together.

• Slate: Overlay text with YOUR NAME, AGENCY & CONTACT.
• Take(s): Insert your best take, followed by your second choice (if submitting more than one). If you have multiple scenes, put them in order with simple fade transitions between each.
• Final Card: Add a black screen with text stating YOUR NAME, AGENCY, CONTACT and a simple THANK YOU (it doesn’t hurt).

Self Tape Editing Tips

Now that you have the format, let’s dive deeper into specific self tape editing tips.

• Map it out: The area where you will add your clips and map everything out is called the Timeline. Here, you can easily move things around once you have files to work with.
• Trim, trim, trim-roo! Trim any unnecessary parts at the start and end of your clips (such as pressing “record,” stopping the camera or your cat popping into frame).
• Optimize lighting and sound: Most editing software will allow you to brighten up or lightly recolor your videos, and fix any sound issues if needed. Test out your software’s “noise reduction” tool if needed, knowing that sometimes it can make you sound “tinny.”
• Transitions: Use simple transitions, if any, between your clips (the “fade” and “dissolve” tools are your friends.

Exporting & Properly Submitting Your Self Tape

You’ve saved the file name, exported your self tape to the right format, etc. — it’s now time to submit your self tape! Here are some last-minute things to consider before you send your audition to casting:

• Double check: Double-check your work and make sure you’re following the given instructions. This guide works under the idea that you would export everything as one file, but sometimes casting wants each one separately.
• The name game: Speaking of following instructions, your file name matters. I know it seems trivial, but exporting your file without renaming it is disrespectful to casting. Depending on what they ask for, a tried and true template is: “Name_Role_Agency”.
• Quality control: Be sure you export in at least 720p or 1080p. Don’t let a grainy video undermine your hard work. Be sure to watch it before you upload, too.

Congratulations! You did the thing and are ready to dazzle casting. Editing may not be the most glamorous part of the gig, but it can showcase your professionalism and help you put your best foot forward. Now try your hardest to let it all go and celebrate. You’ve earned it, friend.

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The post How to Edit Self Tapes in 5 Simple Steps: Best Tips, Editor Apps & More appeared first on Casting Networks.

One that never fails to get actors in their heads is trying to decide what audition clothes to wear. This will prompt questions such as ‘Should I wear glasses in my self tape?’, ‘What color should I wear in a self tape?’ or ‘Can I wear black in a self tape?’

So how best to look both like a professional working actor and choose the correct audition attire for whatever role you’re auditioning for?

To complicate things, there are loads of conflicting audition advice when it comes to creating a successful self tape, from “Casting directors want to see the character right away, don’t make them use their imagination,” to “Don’t audition in costume, you’ll look weird and unprofessional.”

The answer lies somewhere in between, but finding that happy medium can be challenging. Here are some guidelines to help get things rolling on your audition wardrobe to help you stand out in self tapes.

Practical Considerations for Audition Clothes

More important than any costume for auditions, you want your self tape to look clean and professional. Any consideration of suggesting a character with specific audition clothes should be filtered through your primary concern: Does it look good on camera?

While you don’t need a costume designer, you’ll want to stay away from overly loud and busy patterns, or colors that are tricky on camera, such as red. For example, if your backdrop is blue, you may want to stay away from blue tones that will make you blend in. If you’re wearing layers, make sure you can still see the general build of your body, or perhaps shed a layer for the full body shot.

Stay away from wording, labels, logos, etc. as they are distracting and can take away from your performance. Once you’ve got the basics of self tape aesthetics covered, you can start making character choices for your auditions.

Costuming vs. Suggesting

The main thing to remember is that there is a difference between costuming yourself and suggesting a character. General wisdom holds that for self tapes, the latter is preferred. There’s no need to head down to the costume shop and pick up a police uniform or clown shoes.

Imagine the costume your character would wear and dial it back 50%-70%. A v-neck shirt can suggest scrubs, a structured jacket can work for militaristic characters, blazers can read as lawyerly or CEO-esque and a lab coat can suggest a medical professional.

You want a wardrobe that gently nudges you and your audience into the mindset of the character without being an out-and-out costume. If you’re struggling with how to suggest a character, here are some things to consider:

• Silhouette: Silhouette is one of the biggest things that can suggest a character. Think of it as the skeleton of any costume. Are you looking for gentle, flowy, bohemian lines? Or something form-fitting? Is this a show about people who are outside and exposed to the elements? An additional layer may be your friend. If you nail the silhouette of a character, you don’t have to worry about wearing the actual uniform, material, etc. Believe it or not, it is often less distracting than wearing the proper clothing.
• Palette: Palette is something many people will be able to determine. Consider the tone of the show and the character you’re portraying. Gritty fantasy dystopian dramas are going to be full of darker neutral tones. Commercials and half-hour comedies will be brighter and cheerier. Think of the palette as the personality of your suggested costume.
• Structure: An outfit’s structure affects how you move, so your audition attire will be the most impactful element when it comes to aiding your physicality in character. For uniformed characters, uptight or anxious characters, or characters of high status, consider clothing that is more constricting, slightly more formal or less flowy. The shoes you choose can also affect your posture and bearing.

Are There Any Exceptions?

Every rule has its exceptions – and that applies to a successful self tape audition. The more you submit self tapes and the better familiarized you are with local productions and casting personnel, the sharper your rule-breaking instincts will become.

If you are considering going rogue and making a bolder wardrobe choice, the best thing to do is to take a moment and assess: Does your choice directly enhance the character and performance? Is what the choice adds to the performance worth the risk of distraction? Does the self tape still look clean and professional?

At the end of the day, use your best judgment, and remember, the most important thing is the performance itself. As long as you focus during auditions and follow the audition instructions, you’ll knock it out of the park.

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The post To Costume or Not to Costume? What to Wear in Your Self Tapes appeared first on Casting Networks.

Everything.

Let’s make sure we’re all on the same page when it comes to your self tape job list (and all the hats you’ll wear).

Here’s your current self tape job list:

Camera Operator: Your phone is usually a great option, filming horizontally (a BIG deal) with a tripod to film at eye level. Framing is a very important thing to pay attention to. The casting director should tell you (in the video or written instructions) what they are looking for.

Sound Technician: Sometimes the phone has a sufficient mic, but you might need an external mic if your phone’s isn’t cutting it (do a test). It’s important that we are able to hear you. External noise may or may not be a big deal. A plane flying by isn’t really a problem, a neighbor’s band practice, on the other hand, is.

Set design: Occasionally you are asked to be in a specific environment (in your kitchen, for example). When this is the case, declutter a bit. Your kitchen shouldn’t be more interesting than you are. Less distraction is more.

Most of the time a neutral background is requested. A blank painted wall is great, but a backdrop (photographer backdrop or pressed sheet) works just as well. Casting directors may ask that you are seated at a desk or at a counter. You don’t need a real one, just something that will work as one.

Props master: When there are props in a commercial audition scenario, you’ll need to gather them. You can make a fake prop, use something that is similar but not the exact thing or you can grab the real deal. I rarely find miming to be the best choice (who’s good at miming?).

Lighting design: Lights are more important than you think.

Make sure your light source is in front of you, not behind you. Consider purchasing a box light or ring light.

Natural light is fantastic if it conveniently works in your setup. If the natural light is on one side, make sure you have a light on the other to avoid shadows. Do yourself a favor and work on a flattering light setup for self-tapes.

Director: This is possibly the most challenging of them all. For self tapes, you’re the director. Of course, you will be given direction from casting in your self tape instructions, but that’s nothing like having someone giving you direction in real-time.

Self-directing is hard, but that’s where we find ourselves. Concentrate on a few specific and smart commercial choices and having a couple of great buttons (in addition to all the good acting stuff you know and love) and you’ll be on your way. Don’t forget blocking and sightlines.

Did I mention this is hard?

It’s a sizable list of stuff resting on your shoulders. Anyone telling you something different isn’t being truthful. However, I’m going to add one more thing to your list of responsibilities. This one isn’t so well known and widely shared.

Commercial actors should Never ever fail to have fun. I’m not kidding. This is very important.

When you watch commercials, you’ll see that they are primarily filled with warm, likable, nice, relatable people. Obviously, you’ll want to come across as warm, likable and relatable in your audition as well.

While it’s possible to be annoyed with the process of self-taping or virtual auditions and still come across as likable in your audition, it’s tougher than you may think. Generally finding the fun in commercial self-taping is going to serve you well.

Find fun in the process. Everyone is different, but here are some ideas for finding the fun:

Have a self-tape partner: If it’s not easy to have them in person, have a Zoom call on your computer while taping with your phone. Two heads are better than one and misery loves company, right?

Try to geek out about the tech aspects: You’re on a self-taping learning curve. A small improvement is a step in the right direction (that may deserve a cookie).

Take a class where self-taping is involved: You’ll likely get great ideas from others and practice is a no-stress way to inch closer to being at ease. With ease comes the fun.

Think of self-taping as an opportunity. Your mindset is a big factor for your success. Thinking of self-taping as a gift vs. a burden is good!

Not only is it an opportunity to audition for a job, but it’s also a chance to gain new skills, stretch your knowledge or simply be grateful you can film it at your leisure without getting into your car.

Find fun in the script: This is where you put on your director hat. The goal is to find yourself thinking, “It would be hilarious if I did it this way” or “It’s funnier when I take a beat before I deliver the line.”

Sometimes finding the fun in the copy/scenario is simply bringing yourself to the role, including your own spark or charm. Are you laughing? Smiling? When you’re having fun, we (the ones watching the auditions) are having fun. Trust me, that’s a good thing.

Looking to get your big break? Sign up or login to Casting Networks and find your next role today!

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The post Commercial Actors Should Never Forget Their Self Tape Job List appeared first on Casting Networks.

One of the complaints that SAG-AFTRA members had voiced before the strike was the feeling of exploitation around self tape auditions. The COVID-19 pandemic closed casting rooms for years, resulting in a self tape boom, with increased expectations for actors. This was one of the more contentious parts of the negotiations, according to some reports.

Casting Calls, Sides and Page Limitations

Sides and casting calls must be distributed no less than 48 hours before the submission deadline, giving performers plenty of time to look over and prepare using the required materials. If a role is cast, a producer must alert performers of this if they ask about it.

Those who had issues with needing to learn too many pages for an audition had their concerns addressed, with an eight-page limit for a first self tape and 12 pages for any further callbacks.

Memorization has also been nixed.

Performers are no longer required to memorize materials for an audition, nor will they be penalized or prohibited from using sides or some kind of prompting device.

Performers with disabilities may request reasonable accommodations for materials in a format accessible to the performer.

Self Tape Requirements and Costs

One downside of the new agreement is that companies are not required to compensate performers for any self tape audition. That seems more than reasonable, however, when one considers the gains in this area.

For one thing, the quality of the self tape is no longer so high as to provide a prohibitive cost to the performer, who may not be asked to record at a resolution higher than 720p (quick tip: the action mode of a late model iPhone captures 1080p).

At the same time, producers are not allowed to use any uploading or delivery site for self tape that is not free. Nor can they demand actors use any editing software or specific equipment. No charges can be made to performers, in fact, for any general casting call or anything related to one.

Permissions and Expectations

Exploitation of performers in the form of nude scenes has been especially egregious, but that will no longer be an issue. No performer may be requested to appear nude or wearing anything more revealing than a bathing suit “that could be the word at a public pool.”

Stunts are also out. Performers can no longer be asked to perform them in an audition.

The amount of information required of a performer in an audition or self tape has also changed.

From now on, a producer is only allowed to ask the following in a slate: name, height, city of residence, current location, information about special skills and a head and shoulders and/or a full body shot in portrait orientation. For minors, a producer can ask about age and birthday.

Overall, the protections have improved across the board, and while the audition process might not be any easier than it was, the process will cost you less money and demand less of you.

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Commercial actors should never fail to get the self tape done and turn it in!

Now, let’s be very honest, there’s a difference between doing the best you can with what you have, and putting forth a lackluster or indifferent effort. Getting your self tape done with as little effort or not as quickly as possible isn’t going to serve anyone well. You likely won’t get the callback or the job, and the casting director won’t have a good tape to show their client. It’s a lose-lose situation.

Control what you can control. Do these things 100% of the time when given a self tape audition:

Confirm the audition.

This could be the simplest, yet most profound thing you can do to help the process move along. Click on the green check to let the casting office know you will be submitting a self tape. Double check to make sure it “went through” and then, of course, turn the self tape in! Casting directors will love you for this. I’m not kidding.

Read all the information.

The amount of info provided varies from casting director to casting director and the timeline in which they are working, not to mention NDAs. Whatever you are given, read through it carefully and several times. It’s all there to help you get the job. When you think of it that way, skimming the material seems less interesting.

Watch the self tape instructional video when one is provided.

It boggles the mind that an instructional video accompanying a self tape request may go unwatched…but it happens. Again, the sole purpose is to provide the info you need to book the job. Not all casting directors provide a video, but if they do, don’t skip watching it!

• Take notes. Write down a couple of keywords or directions that will help you stay on track. Some examples: subtle comedy, real reactions, not too big.
• Make a List. You can also make a list of the order of takes to make sure you don’t miss anything. An example: slate (hands and willing to shave), full body, take 1 and 2, answer personality question.

Prep.

This is all the pre-work you always did before self taping that will serve you well to keep doing. Watch previous commercials, check out the director’s reel if you have the name, look into the product if it isn’t familiar, memorize your copy, etc.

Include ALL the steps.

This has happened too many times: an actor neglects to do/send everything that was requested. Sometimes this is due to lack of attention (which is what I’m referring to now) and other times it’s because simply too much is being requested and it’s unrealistic (I’ll address that later). Double check all (written and video) info to make sure you didn’t miss anything before sending.

Here are some “just do your best with what you have” things to not lose your mind about:

Wardrobe.

I debated which category to put this in. Commercial wardrobe is wildly important. This is an area you might want to consistently be an overachiever; however, if you are on the road and don’t have access to your “at home” options, do the best you can! If you’d normally borrow a piece from a pal, but the timeline is too short, just do your best. Better to turn in a tape with a mediocre wardrobe than not turn in a tape at all.

Neutral background/good lighting/good sound.

A commercial casting director will oftentimes ask you to have these “basics” in place. We want to focus on you and your performance, not what is on the bookshelf behind you. We want to see your face clearly, hence the good lighting request (frankly, natural light is fantastic) and we need to be able to hear you. I’m aware some of you are feeling pressure to have a pro-level set up. I don’t think that is anyone’s expectation. Just do the best you can! Film against a wall in your apartment if you don’t have a backdrop (just temporarily take down the art). If you don’t have whatever “great light” you feel you need, use lamps! The mic on your phone will work! Don’t sweat this stuff if you don’t have everything up to what you feel is par. You can work towards what you feel is the right setup, but your performance is the most important. Don’t let anything stop you from turning in your tape.

Set/props.

A casting director may ask you to create a “set” or use a prop in their instructions. Do the best you can to accommodate the request or simply do the next best thing. If the request is to be sitting on a couch and that doesn’t work for you, for whatever reason, put two chairs together! If the script calls for you to use an iPad and you don’t have one, use a book that is about the same size, or, worst case scenario, mime it. Don’t let the lack of set/props stop you from completing the self tape.

Accommodating unrealistic requests.

Hopefully, this is lessening as commercial casting directors have moved along the learning curve, but if you feel like a request for your self tape is unrealistic or too much or impossible, just do the best you can. You will never book a job you didn’t submit on, and surely others are feeling the same way you are. Stay in the game, do the best you can to turn something in. When in doubt, ask yourself what we would do in the studio, and use that as your guiding light.

Accommodating unrealistic timelines.

Commercials are fast-paced and that hasn’t changed, but it may feel worse when it comes in self tape form. When you know the turnaround is impossible, cancel. Casting directors know when making last-minute requests that this will happen. If you can put something together, even if it isn’t under ideal circumstances, go for it!

The takeaway is: control what you can control, which is quite a lot! Watch for a temptation to give a halfhearted attempt and reject it. Simply do the best you can and turn the self tape in!

____________________________

Laurie Records (Casting Director, CCDA) has been working in the commercial realm since 2004. In 2009, Laurie launched her own company. While she casts all types of commercials, she has broadened her horizons to include casting web content for network television, television hosts, industrials, and dabbles in film from time to time. Recent commercial jobs include: Fancy Feast, Dyson, Snapchat, Toyota, and Mutual of Omaha. Over the last couple of years, she’s worked on “This Just In…” for the Cartoon Network. Laurie also cast the Movie Surfers for seasons 16-18, as well as online content for The Muppets & Muppets Now. Laurie teaches one-day online commercial classes almost every month and will go back to attending Los Angeles theatre as soon as humanly possible.

www.laurierecordscasting.com

IG: @commercialclassesbylaurie @laurierecordscasting

Twitter: @laurierecords

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The post Commercial Actors Should Never Fail to Get the Self Tape Done appeared first on Casting Networks.

The self tape bar has been rising rapidly, quality-wise. It’s amazing the speed at which the commercial industry can adapt when push comes to shove. Actors have been ordering backdrops and lights. They’ve hopped into virtual classes. They’ve tested mics and zoom setups. Believe me, casting directors and agents everywhere are grateful for the effort. It can be hard to tell a self tape from an in-person audition these days. It’s impressive!

I want to celebrate those successes, but also bring attention to some of the easier stuff that might be getting lost in the hubbub. Wait! Easy? I think we can call this good news! You may be neglecting some easy things that will make a casting director’s (and agents!) heart swell, so let’s get to it.

Commercial actors should never neglect the EASY STUFF when a self tape has been requested.

SUBMIT YOUR TAPE EARLY.

Of course, you can tell me all the times when this is not easy. I know life is complicated, you may have multiple auditions to record or were only given 2 hours’ notice. But, under normal circumstances, when you have the choice to get to work on the self tape audition sooner than later, choose sooner. Choose NOW! It will give you time and space, if something goes wrong in the process, to still get it in on time.

When it all goes well, you just may delight the casting director with your early submission. One of the worst scenarios for a casting director is not having enough actors to present to their client. Really. It’s a fundamental part of our job to deliver a proper amount of talented actors that are right for each role. When you submit early you provide reassurance to the casting office that all is on track. You want to be this actor. We notice. (An important note: a brilliant barely-on-time self tape is better than a mediocre early self tape and a self tape not-turned-in is tragedy)

CONFIRM YOUR AUDITION.

Now this one is really easy. As things are changing on Casting Networks, it’s more important than ever to confirm your audition, whatever type it is. Make it a habit to check your audition notices on a regular basis and confirm that you will be submitting a self tape as soon as possible. It puts your agent at ease and it puts the casting office at ease. Canceling as soon as possible is also a good thing. Your agent can pitch a replacement and the casting director isn’t put into a difficult spot. Really, no response is the worst response. Everything else can be dealt with.

HAVE A READER.

I admit this is easier for some than others, but you don’t have to live with someone in order to have a reader for your self tape. Readers can be, and often times are, virtual, these days. Zoom in your friend, FaceTime your mom or get someone to read with you on one device while taping on another.

Some casting directors will give permission for you to send in the audition without a reader, but I promise you one hundred percent, the audition is better with a reader, always. No one cares if they are male or female, an actor with skills or your kid who is learning to read (ok, maybe that’s not great, but you get the idea). Have a reader on call for the self tapes that require one.

NAIL YOUR SLATE.

Commercial casting directors have been talking about your slates! Let’s make it easy right now. When you are asked to slate, if given no further direction, say your first and last (stage) name only. That’s it. If a casting director wants you to do or say anything else, they will give you those instructions. Don’t throw in the extras (hands, profiles, location, agent, role name, etc) unless you are asked to do so.

Commercial slates are usually shot very close up and come at the beginning of your audition. We tend to ask for a full-body shot as well. Notice I’m not including that in the easy category. That’s a trick. But the tight shot, smiling straight to the camera and saying your first and last name, that’s easy. Get it right!

MAKE SURE YOUR FILES AREN’T TOO BIG OR SMALL.

I believe we’ve swung from one extreme to another on this issue. Whether you are emailing or uploading your self tape, a huge file is hard to handle. But, tiny files suffer in quality and end up looking fuzzy. Aim for the middle ground. Depending on the length of your audition your video file may be 75 MB – 250 MB. No huge files, no small files!

Self tapes can be intimidating, certainly when first trying to wrap your head around the entire process and all it entails. When meeting the challenge, don’t neglect the easy stuff. Those details matter, too!
 

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Laurie Records (Casting Director, CCDA) has been working in the commercial realm since 2004. In 2009, Laurie launched her own company. While she casts all types of commercials, she has broadened her horizons to include casting web content for network television, television hosts, industrials, and dabbles in film from time to time. Recent commercial jobs include: Fancy Feast, Dyson, Snapchat, Toyota, and Mutual of Omaha. Over the last couple of years, she’s worked on “This Just In…” for the Cartoon Network. Laurie also cast the Movie Surfers for seasons 16-18, as well as online content for The Muppets & Muppets Now. Laurie teaches one-day online commercial classes almost every month and will go back to attending Los Angeles theatre as soon as humanly possible.

Related articles:
Get To Know the Casting Director: Charisse Glenn
Commercial Audition Tales with Casting Director Karen Armstrong
Why Self Taped Auditions Are Good for Commercial Actors

The post Commercial Actors Should Never Neglect the Easy Stuff For Self Tape Requests appeared first on Casting Networks.

Setting up a self-tape studio at home, however, avoids these challenges. In your own home studio, you get unlimited time and takes as well as the flexibility to shoot self-tapes at a moment’s notice. Whether you’re new to the idea or interested in improving what you already have, consider the following tips on how to tailor the basic components of a self-tape setup to meet your needs.

Camera:

Casting wants to see you clearly so regardless of what kind of recording device you’re using—a smartphone or a camera—make sure you know how to keep it in focus. Don’t be the person who finishes a fantastic take only to realize it’s blurry. If you’re using a smartphone, keep in mind that many smartphones have the ability to shoot in 4K. Check your model to see if that’s an option before shooting.

If you want to invest in a camera for your setup, you can find affordable options that shoot high-quality video for around $500, such as this one from Panasonic. Those with bigger budgets can consider cameras at a higher price point, like this option from Canon. Research a variety of choices in your price range to make sure you’re getting the best fit for your needs.

Tripod: 

Tripods are essential. They prevent shaky video and provide a stable base for your recording device. Fortunately, they’re fairly inexpensive. You can find a perfectly good option for around $20, such as this one from AmazonBasics. It’s important to factor in your height when purchasing a tripod, so check to make sure its fully-extended length is adequate. Those shooting with smartphones can find a variety of inexpensive options for tripod attachments. And if you want to invest in a high-quality tripod, there are a number of options available, all with additional features, such as this one from Vanguard. 

Lighting:

Proper lighting ensures that your performance translates on camera. One of the more affordable options here is a ring light. It will often come with its own smartphone attachment, as with this option. This will cut the need of having to purchase a tripod separately—a plus for those working with a smaller budget. If you have the space for it and want to invest in a full studio light kit like this one, it will go a long way to providing a professional-quality look for your video. 

Sound:
Clear audio is paramount to any self-tape video. To that end, it’s critical to add an external microphone to your setup for optimal audio quality rather than relying on the in-built mic in your smartphone or camera. For smartphones, there are various cost-effective audio options, such as the Rode microphone by Apple. You can also find a shotgun mic for your camera that won’t break the bank, like this one from Takstar. Do your research, though, and make sure the one you choose is compatible with your camera. 

Background:

Your background needs to be a plain, solid color so that casting can focus on you and your performance. The most inexpensive route here is to find a blank wall in your home and use that as your background. If that’s not possible, you can rig a sheet or a blanket to hang in a way that fills the camera frame and provides a plain background. Purchasing a low-cost backdrop frame like this one will save you the trouble. You may also want to spring for at least one universal backdrop like this option in a color that works for both comedic and dramatic scenes.
With a bit of investment, even on a budget, and resourcefulness, you can take the leap to creating your own in-home self-tape studio or improve on the one you already have. Before making any purchases, do your research and determine what kind of equipment works best for you. Once you’ve created your preferred setup, just add a reader, and you’ll be good to go for all the self-tape requests coming your way this episodic season. 

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The post How to Create Your Best Self Tape Setup appeared first on Casting Networks.