Hello fellow Reddit actors! I'm currently acting in a market outside of the Big 3 and was wondering if the costly CN subscription price is worth it or if I'd be practically the same sticking with AA. Thanks for your insights :)
Without an agent or manager, I have to rely on looking for projects I want to act in. Though I am not in Atlanta, New York, or LA, but the small state of West Virginia, where there is almost no acting stuff going on other than school plays. Backstage, Actors Access, and other sites have a spot that says "seeking submissions from..." and I was wondering what would happen if I submitted myself to such things. Will they ignore the submission and give me no chance? Or will they view it with possibility of me getting the role if my stuff is good enough? If they do and I get the role, will it be a local hire situation? My full question here is, will they give me a chance if I am not from the location they are seeking submissions from? Or is it totally pointless and time wasting to try?
Hello voice actors, I have currently deciding whether I should join p2p or not. I have made my commercial demo with music (all self made – I have a background in video editing, and I have spent a whole month researching plugins, effects, etc. and I am quite good at editing my voice), I have 12 diy acoustic panels, a king bee mark ii, 1 year of theatre from high school, and additional few weeks of auditioning for casting call club. I’m thinking whether I should get more experience on casting call club, or transition to sites like voices.com for more commercial work and money. If there are alternatives sites to earn income from voiceover, do you recommend voicebunny/fiverr/Upwork etc., and why? Thank you all for your responses.
Upon graduation, that is. I just finished watching "Normal People" and "Aftersun" with the rising star BAFTA-winning Irish actor, Paul Mescal, and noticed that he had bagged top representation coming out of drama school. As someone who is studying acting at a prestigious drama school in New York, how does one gain such representation if there is not much information about industry showcases? And even if one does go to these showcases, how does one even guarantee they get spotted by top agency such as Curtis Brown (for UK members who are familiar with it - where Mescal is affiliated right now) or something comparable like UTA in the USA, for reference? ​ With hundreds of mainstage shows and various different opportunities, how do you distinguish yourself?
I am hoping to become a TV Actress, but I have no clue how to start. I have 0 experience beyond high school and one minor role in a university play. I was rejected by NIDA, and can't apply till next year. No feedback from them so far either. So I have a couple of questions, where should I get started to acquire experience and break into the Industry (I'm based in Sydney)? Anyone have any tips on NIDA and what they're looking for? And are there any actors meet ups etc. to meet people and build connections in Sydney?
Hey!! I have an upcoming table read coming up for a short film of which I'm playing a large supporting character. While I have done many short films in the past, all of them were either short enough to where I could completely remember all the lines rather then remember them as a shooting schedule was given out (all of the short films beforehand never even gave out a shooting schedule.), or my role was small enough it was unneeded. This script is 28 pages, each of which I have lines on. I already checked with the team who said there will indeed be a shooting schedule given out when we're closer to filming time. For now, I have a Zoom table read coming up and just want to make absolutely sure I'm totally prepared!!! I am SO paranoid of having it turn out I SHOULD have remembered lines when I didn't
Do you prefer: 1. When the director tells you the emotions the character should be feeling, i.e. "make it sadder," "be more energetic," or "give me lust" 2. When the director shuts up and leaves you alone to make your own choices 3. When the director takes an active interest in your personal life and gives you directions based on your own real-world experiences, i.e. "like when your best friend died," "like how you feel when you're working out," or "like how you felt the first time you kissed your wife" 4. When the director gives you directions that guide you to the emotions you're meant to portray that are not based on your experiences, i.e. "as if you just lost your baby," "as if you need to rush to the bathroom," or "as if you can't think of anything but stripping her down and taking her" I'm a director who wants to get better at working with actors. I'm curious about what Reddit's actors have to say. [View Poll](https://www.reddit.com/poll/yvngpf)
Hi! I'm 18 and I know acting is what I'm going to do for the rest of my life. I studied Drama in high school for four years, applied to NIDA (Australia's biggest Drama school) and got rejected. I took a part time year-long acting course this year, got headshots done, signed with a small agent who primarily submits for TVC's. I applied again to NIDA this year and earlier today I found out I've been rejected again. I know being rejected from Drama school isn't the end of the world and plenty of actors have gone on to find success without it, but I feel like I never hear anyone go into detail about how they got their foot in the door without a family connection or a BFA (Acting) Degree. And I REALLY do want to go to Drama School, I think I'm someone who would thrive in that environment- I applied to two other Drama schools but haven't heard back and I'm thinking I need to start assessing other options. Basically, What do you recommend I do next year? Should I take short courses at NIDA? Any recommendations for Acting classes in Sydney? Or does anyone have any advice on nailing Drama school auditions? Cheers.
Does anyone know if MMG is a good talent agency for actors or have experience with them? Thanks.
Hey! I posted here a few weeks ago, and I am so glad for everyone who offered! I'm looking for another voice actor now! It'd be a bit of a 'whisper in the bushes' sound, preferably feminine, and I'll be wanting 10 sounds. Each sound will be like- 1-2 words so it's pretty easy. Paying $10!
So I’m a senior in high school and I am applying to the acting program at CCM (University of Cincinnati) and it requires a two monologue audition. I’m planning on performing a Cassius monologue from Shakespeare’s Julius Caesar but I’m a little stumped on what to do for the second. Now I’m aware for most auditions like this you should perform monologues from stage plays, however besides Shakespeare, I’m not much of a theater actor and I’m leaning towards acting in front of the camera. So for my second monologue I’ve thought about performing the monologue “Hark!”performed by Willem Dafoe in The Lighthouse because I adore the type of character he plays in it. Should I go for it or should I find another stage play monologue?
Apparently in the original SAG contracts when it was very first established there was a stipulation about actors being compensated for auditions but obviously this has never come to fruition. Also in the past when we would audition more in person we would at least know that someone was watching our audition in the room. Now with so many auditions being self tapes I think it would be nice to have a way to see that casting watched the audition tape (in full). Any other changes you would like to see?
A couple years ago, I sent a really bad self tape to a huge casting director. I mean so bad that I’m pretty sure when editing it and uploading it, I forgot to cut out an irrelevant convo at the end with my reader (though might be possible they never watched all of it?). However, now I’ve been signed to my agent for almost a year and have done some pretty good commercials. I’m trying to work my way into booking work on tv and films but I’m worried that if I ever resubmit to that casting director, they’ll dismiss my work because of the horrible audition I’ve sent. I’ve sent them submissions through emails multiple times in the past for open casting calls but have only been responded once to send in a tape. Do casting directors hold that against actors or would they expect the next time the actor submits to the project they’re casting, they should have grown their skills?
"How not to freeze up on your lines is considered the infamous actor’s nightmare. . ." Driving home I remembered every line, every word. Fuck! Any suggestions?
I uploaded all of my files for my audition to Actors Access yesterday and normally my agent approves it right away and sends it off to casting. But they haven’t approved it yet or given me any feedback for changes. Now, I can’t get a hold of my agent and the deadline is approaching at 3pm today. What happens if they don’t approve the materials? Does AA just delete my audition and I miss out?
I'm really confused. I thought those with acting profiles couldn't search or filter through other actors profiles on Spotlight, but I keep hearing that other people (even without profiles or accounts) can. I'm very confused. Can you only search through profiles if you have a casting director/agent account? Or am I doing something wrong/looking at the wrong place?
The headline was hard to word- so here’s an elaboration on what I’m asking: When I read a script for the first time- my brain likes to lock how I read it/ heard it my head the first time. For example, I read one of my lines: “Oh, my goodness! It’s such a pleasure to meet you!” Now every time I read it or deliver it I struggle with not repeating it exactly the same way with the same tone and inflictions. This is a struggle because reading for the first time, I’m not familiar with the context or the characters relationships and motives. This also feels very much like how if you watch a performance of a play you tend to get that delivery stuck in your head. Does anyone have any tips for this? -Chronic Overthinking Actor Thanks!
I live in the Bay Area, I’m 18, I have some experience of acting in school. I’ve always loved it but never had the support from family. I always dreamed of being the next black Panther or one of the first black spiderman, or even becoming a character in voice acting or a random dude that dies 5 minutes into a film. Always, ever since I was a kid. I just wanna try to see if I can make it and enjoy it.I’m currently school in sf for cc , i don’t rly like school but Ik it’s something I have to do. I also pursue in modeling. I’ve had mother agencies but I never got any job postings that fit the criteria lol. I have backstage and actors access but It feels like I never have time with work and school to pursue casting calls. I plan to move to sf next year since I commute now. When I move I want to really try to get myself out there, no matter how busy I can be. I’ll literally limit work and schedule times for school around acting. I know starting with backstage and actors access, but really don’t know how. How everything works haha. Once I move I want to start going to some casting calls. Realistically how can I make my dreams come true?
i'm just really afraid i'm going to be stuck reading for co-stars for many more years than I ever thought. and it was hard enough to even get here. I was pinned 7 times in the past year, i've had so many repeats from casting, 31 offices out of the 67 I've read for have given me repeats, all major offices. I've come close so many times to booking but I still haven't. It's really frustrating. I just had my 161st theatrical audition. but now I'm starting to fear that because I'm getting older, it will be harder to level up to better reps once I do finally get some credits under my belt. I know this is just a fear and there probably isn't any merit to it. but I can't help but feel this way. Can i ask, outside of finally booking some co-stars (and better roles after), for those that leveled up agents / managers as you were getting older... how did you do it? I'm in NYC, not LA, but I'd really like to get a reputable bi-coastal agent eventually, as well as a manager with more clout to get me seen for bigger roles, as well as reps I can actually have a personal relationship with, discuss strategy, and communicate more intimately on a more regular basis. People that I feel like are actually really invested in my success and aren't just throwing me against the wall like spaghetti with a bunch of other actors. i haven't been in a class in a long time because of finances, so I never even developed a network of people / got referrals from actors further along / teachers, all of my reps have been from cold emails and 1 referral, so I feel like the whole act in a good class around working actors thing will definitely produce results in terms of quality referrals once I can finally afford to put myself in those situations. But, outside of that, for those that walked a similar path, how did you level up reps?
I know there are some very strong opinions on this topic, but please hear me out. I'm not a complete newbie actor, but unfortunately the only "demo-worthy" footage I have (in terms of quality) is from when I was first starting out as an actor, with basically no training. It's just not a good representation of my current skill level - AT ALL. I've since completed my BFA, which allowed me to join the ACTRA but, because of covid, and unfortunate timing, most of my cohort's performances were done over zoom, including shows and "on-camera class" footage. We had someone edit our zoom scenes, but they're completely unusable and, to be frank, embarrassingly awful. I'm having issues getting auditions. I know most of us are in the same boat right now. But, I can see on my youtube analytics, that my current demo (with the 5 year old footage) is getting SOME views, so I'm pretty sure that's what's throwing casting directors off of me completely, and it needs to be scrapped and replaced ASAP. I don't want to go the monologue / self-tape route because, as a union member, it just comes across as amateur. That being said, I've been looking into services that make a reel for you (writing and filming scenes, and editing). The few that I found in Toronto are either self-tape style, or shot in way that I can just do myself or with a friend and a tripod. Is there a service here in TO that will actually provide GOOD demo footage? I came across a company in New York called Reelarc. Looking through their website and youtube content, this would be the kind of thing I'm looking for - does anyone know if we have something similar in Toronto?
Sometimes, when I get down on myself as an actor and full of self-doubt, thinking I’m too cerebral, too in-my-head constantly, not instinctive/impulsive enough, not concentrated / can’t concentrate enough, not emotional enough of an actor, not imaginative enough, not inspired enough, not relaxed enough, don’t have any training, I have the thought of killing myself. I’ve thought about it many times before. Because acting and having the all the right tools necessary to act greatly is so important to me, if I can’t have the skills or training or tools necessary to help me with every role I may get, then I have the thought that I don’t want to live if I can’t be a great actor.
Hi! So I’m an aspiring actress (22f) and I’m signed with nine9, an “unagency” they call themselves. On their website, there’s castings listed and I emailed one with my headshot and resume on Sunday, they sent me sides and requested I read for 2 characters on Tuesday & asked to have them by the end of the week. I sent the self-tapes on Thursday and haven’t heard back yet. The listing said they were going to film between Nov 17-20. Do casting directors usually work on weekends? Will they email me whether I got the part / callback or not?
Hi! I know I just posted like 2 minutes ago about something else but I have a different question. How did you find an affordable agent? I’m with nine9, which I’ve just been told is a scam. (I’ll do more research on my own before I drop) but I really do want to become an actress. I’m not rich, so an agent I have will have to be affordable. Where do you find them? On a similar note- is discoveryspotlight a scam too? I have an audition in December with them, but I’ll cancel it if it’s the same as nine9.
I'm a film director. This is a problem I've had time and time again. I try normally to cast actors that have screen/camera experience. But sometimes I just can't, and I end up with theater actors. They are great, but they always end up telegraphing their emotions and tactics, even when I point this out to them. Is there any tip or exercise anyone can suggest? Especially if you've dealt with this same problem successfully (from acting or directing perspective)
EG - cast of The office, Friends. And maybe the cast of Stranger Things after it finishes.
I am doing a project on youtube, very similar to an audio book. I'm looking for a voice actor of the other character, a young adult woman. Don't have a huge budget, I can pay 25 dollars per video/chapter. Each Chapter is about 20 lines-30 lines. I will send a link to part of the first chapter or "script". The character is sarcastic a little bit, cherry, smart? Sorry my first time doing something like this, if you need more information please dm me. [https://docs.google.com/document/d/1ZtLNNbRxp8RHQZ2mBvHC2InmiGBrz3gf1nFff3Po-lE/edit?usp=sharing](https://docs.google.com/document/d/1ZtLNNbRxp8RHQZ2mBvHC2InmiGBrz3gf1nFff3Po-lE/edit?usp=sharing)
Last night, we were having a KCACTF respondent for our college Shakespeare show. He praised the actor who played Don Pedro tremendously. And this made me jealous. He praised their ability to actively listen and he could see the gears turning in their head and that the energy they were giving out did not falter once. This is an actor who constantly is praised for their performances (which I admit, they ought to be because they’re so good), almost to the point where people kiss their ass. As someone who struggles with being confident in my skills and abilities (especially my listening skills as an actor because of my inattentive ADHD), this set me off down a little path of jealousy and insecurity. The actor who played Don Pedro has also been nominated for many Irene Ryan awards during their time here at my University, and they even won the Irene Ryan scholarship for the region our school is a part of. Meanwhile I have not been nominated once. Now I’m not saying they don’t deserve it, but it makes me feel like she is far more capable than I am at acting in general, and that her skills are far more developed than mine, which makes me feel jealous and insecure. (Granted her role was bigger than mine, so that may factor into it, but nevertheless). Now I know I shouldn’t compare myself to her. We are nothing alike, so we shouldn’t even be compared to one another. But I cannot help it. I cannot help but feel a large amount of insecurity whenever someone doesn’t praise or just glosses over my work with compliments in favor of praising another person’s acting. And I can’t help but feel bad for being insecure and jealous. How can I not let the praise of other actors get me down and feeling insecure about my own abilities and skills? How can I develop my ability and skill of actively listening more, despite listening being difficult for me?
Hello! I'm Bobby, and I'm working with my friend vsrstuff. we are in the early process of the making of an animatic series about a witch boy who spends his daily time doing small tasks for the human town and learn magic! As for now we are not looking to hire just yet, but we do want to start working on the list of people we would like to get back to later. The main character is a 14 year old trans boy (ftm), so we were hoping to find an androgynous voice, preferably the one of a queer person as well. Since the episodes will be under the 3 minute mark, we ware thinking about 20$ per script paid trough PayPal, though it's totally negotiable :> If this sounds like something that interests you feel free to contact us through vsrstuff's email: [vsrstuff2@gmail.com](mailto:vsrstuff2@gmail.com) Please include some of your work. And I believe this is it :> Thank you for reading this far and have a lovely day!
So I was able to score an audition with a larger theatre company thanks to my one of my friends who is currently working with them. But basically an actor dropped out and they sent me sides to audition for them. They gave me 4 days to memorize a 9 page scene where my character does 3 monologues. I’m also in the midst of doing another play right now so I don’t have all the time right now. Does that sound like normal for an audition with a larger theatre company?
I just moved to LA a month ago. I have a decent reel. I just graduated with an MFA in Acting. I submitted myself on Talent Link through Actors Access, but only got one bite. The bite was Johnson Talent Agency. They asked me to submit an audition tape. I did that, but I think they passed. Are there other ways to find an agent or manager in this city?
Hello, I'm looking for a voice actor like in the link below for a youtube channel, payment will be $30usd per script and scripts are usually 400/450 words long. Starting with 3 a week and then looking to do more. [https://www.youtube.com/watch?v=MlMgsIS-Paw&t=1s](https://www.youtube.com/watch?v=MlMgsIS-Paw&t=1s) Send me a sample of your voice please, if your voice doesn't fit what I'm asking for then please don't message. My discord is TheBox#8696
I love acting and i have since i was very young. i even have an acting course and i was in school drama club and did a play but unfortunately there isn’t almost any opportunity for child actors here and in my state the adult actors barely make money. i’m in india so the main industry in my country is Bollywood and it’s literally the most messed up industry and only nepotism runs it so only actors who have family connections to the industry are ever cast in any of their productions. Other people just get small roles and there’s sexual abuse, trafficking, etc. in that industry and many of the people get so poor because they don’t get roles, so that’s a really bad industry to get into . I’ve always wanted to act in hollywood (i know there are problems there too but it’s nothing compared to the industries here trust me) So how can i get international auditions? i know i can through some websites i even tried backstage but most of those auditions require u to be from a particular place. Are there any other websites or ways from which i can audition for like. european , canadian or US productions?
Hi! I've been trying to get new rep and have done a three workshops where you could meet a single agent. They were kind, and one provided some constructive criticism about my audio. All very professional. However, I figured it would be a better idea to meet more agents at once, so I signed up to a 12 agent showcase (I'm sure many of you can guess which company). Holy sh\*t, I really did feel like I was on the X-Factor. Many were just NASTY. It felt like because their fellow agents could see them, they felt the need to show off with their critiques about my performance. I'm all for professional feedback, but some were quite cutting with their remarks and I felt that some of them were enjoying their moment of power a little too much. A few agents were really lovely, and for that I will always be grateful because boy, was that a horrible experience. I've done a few guest stars and multiple feature films (in another country), and I don't think I'm too bad an actor at all. However, despite trying to forget and keep my thick skin, my confidence has honestly been dented after that experience. It's like they had no empathy for someone having the guts to try hard and really put themselves out there in front of strangers. Has anyone had a similar experience at these showcases?
I regret to say that I flew out to do a job a couple of weeks ago and ended up with a dead phone and being locked out of my hotel(s) all night. To spare you the details, I did everything I could to navigate a delayed flight and a lost phone charger, but to no avail. Because of this, I couldn't report to set. After walking the streets all night, I finally found somewhere I could charge my phone. By then, it was too late. I couldn't even get a charge in time to let them know what was going on. I was so mortified and I know how this industry works, so I knew there was nothing I could say that would make it better; I ended up never contacting them about it. I booked them through Casting Networks and I'm wondering if there's some kind of ranking/rating system that actors get regarding their professionalism. Like, if I never report to set, could the people who cast me rate me poorly and hurt my chances of getting seen in future castings? Nothing like this has ever happened before and I anticipate learning from this and doing a better job of handling this kind of situation in the future. If there is some kind of shadow banning done by Casting Networks that affects actors' reputation, is there some way I can contact them to do damage control? I would hate for this experience to screw up my chances. TL;DR I screwed up a booking. Does CN have a system where actors can be rated that effectively makes their profiles more or less visible/attaches notes about them in submissions?
I was wondering what the general consensus is regarding cis actors applying for trans roles? Could a cis woman apply for the the role of a trans woman if there are no listed casting restrictions? If the script deals with the experience of being transgender, would it be disrespectful for a cis actor to apply as someone who doesn't have that experience?
Hi everyone, I got cast as Daphne in “Sugar,” a musical at my college. It is based on the classic movie “Some Like It Hot” and I’m playing the Jack Lemmon character. I’ve studied the film many times, but it has been hard feeling comfortable dressed as a woman (the character is in drag most of the time). I want to do well, but it has been hard getting used to the wig, makeup, dress, high heels, bra, pantyhose, slip, nightgown, etc. I didn’t think I would struggle like this - good thing it is also a comedy - but it has been stressful. The guy playing Josephine seems so far ahead of me and it is a good thing the play doesn’t open until the spring. We just started this week. He’s so confident - even shaves his legs well. He and a few others have told me that I need to practice more being dressed as a woman and I will soon feel more confident as Daphne. While I’m not a Method actor, my roommate is rarely home at our apt. and wouldn’t care anyway. The director’s wife offered to give me an old dress (we’re the same size) that she is going to donate to charity anyway. I don’t really know the females in the cast. I also don’t know any female impersonators and my best female friend is a tomboy. Any advice that you can give me would be greatly appreciated. 1. Have any male actors out there played a female role? If yes, how did you get comfortable playing the part? 2. Ladies, any general acting advice and any advice getting used to the clothing, high heels, etc.? Thanks, everyone, for your assistance. I really appreciate it.
I am currently casting for a fiction audio podcast to be to be recorded locally in December. I am looking for 4 non-union actors of legal age. This is a paid gig $150/day. To apply, pls email to hendersonwriter10@gmail. In the email subject of your application, please indicate which character you are auditioning for. You can only audition for one. If you do not specify this, I will delete your application. No exceptions. Casting roles are as follows: - Older male character (50-60s) - Older female character (50-60s): must be able to deliver multi-roles. - Young male character (mid to late 20s) - Young female character (mid to late 20s) I appreciate your interest!
I am not looking to become a serious actor, but I would really like to try out being an extra in films. I was on backstage but I don't want to pay for it if it is going to be mainly student films like I've seen. Are there any casting sights you recommend for just being an extra? I am in NYC and Boston area.
I want to be an actress/model. But I think I’m too ugly for it/will denied roles/jobs. For those who don’t know what VNS scars look like, there are two ((one by your heart (where the chip is) and the other on your neck (where the wire is)). The one by my heart is not noticeable but the one on my neck is (kind of). But it could easily be covered with makeup. I am more insecure about how the wire looks. Will I be denied jobs? What do you guys think? I’m not sure how to post a picture of it, but you can Google what the wire under the skin look like. I just really hate my body and don’t know if I can make it in the industry…
I've been trying to train my voice to be able to recreate Karkat's voice in [this song](https://www.youtube.com/watch?v=IWcb2pdgZTc), or perhaps like the voice actor for [Karkat in Voxus' "Lets Read Homestuck" (If timestamp link doesnt work its at 13:30)](https://youtu.be/Y1bPZMzAW6c?t=810), but I really have no idea how to begin to get it anywhere close, since my natural voice is quite deep and resonant, and I don't know of any tutorials of stuff of the like that would help with extremely specific shit like this. Any advice?
When I first started out, I didn't always send in great quality tapes because I was still developing as an actor and (honestly) got my agent too early. I'm wondering if sending in less then amazing tapes often translates to that CD never calling you in again?
(I’m talking about an in-person audition) I know some actors after getting an audition they throw their sides away so how do they remember what choices they made if they get a callback months later?
Please will anyone whose gone Fi Core tell me about their experience. It seems more and more actors are choosing Fi Core (or claiming to be Fi Core when they’re not) and it’s becoming more accepted by the industry. I understand what Fi Core is and how it works, but I’d like to hear from actors who’ve switched to Fi Core in the past 2 years. Is it harder or easier to find an agent? Have you gotten more auditions or jobs. If so, what kind- commercials, theatrical, union or nonunion. Any information is appreciated.
I’m an actor but I’m very new- still sorting out my headshots and showreel and getting an agent and have auditions etc. however, I’m really struggling financially, I have done a bit acting here and there and other casual jobs here and there but not enough to support a living. I’m thinking to get a stable permanent part time job that would help to pay rent and food , while working towards my acting. Anyone been through this? Thoughts? Any advice?
Hello everyone! I'm an aspiring actor with Bipolar (untreated but will get meds soon). Is there any way I can still make it through my career? I've had offers for student short films and played in one. But I'm not sure if I can ever make it due to my condition, and because of the emotional process it takes to build up a scene. I really enjoy the craft, and the characters I can play, and I want to stay long-term.Do you have any tips for me?
Use this thread to post your headshots for feedback, get info on your age range/type, find good headshot photographers, ask any questions you may have about headshots. If you are posting a DIY headshot for feedback, and not just a snapshot in order to get feedback on your age range/type/etc, it is advised that you do at least some basic research on what actor headshots look like--composition, framing, lighting. You will find a Google Image search for "actor headshots" to be very helpful for this. Non-professional shots are fine for age/typecasting; please keep in mind that one picture is a difficult way to go about this. Video of you moving and speaking would be ideal, but understandably more difficult to post. ​ For what it's worth, the branding workshop at SAG-AFTRA recommends a five-year age range. That's inclusive, so for example 19-23, 25-29, 34-38, etc.
Hi, so this is a follow-up on my post from yesterday, which you can read [HERE.](https://www.reddit.com/r/acting/comments/yqfnd7/to_sign_or_not_to_sign_advice_on_accepting_a/?utm_source=share&utm_medium=web2x&context=3) If you can't be bothered to read it, the gist is: I got offered rep after searching for quite a while. The agent can open doors in terms of CDs but I didn't gel with him personally so wasn't sure whether to keep looking or not. The general advice was to sign but don't bank on it being anything long-term. So, I was ready to take a leap of faith and sign. Then, I woke up this morning and I have an email from an agency asking me to self-tape and fill out some info on me/my career. This agent is well-established and has actors in the exact positions I am looking to move into. They were the one I was really hoping would get back to me. The dilemma is, agent #1 gave me three days to make a decision on whether I want to sign or not, meaning my deadline is tomorrow. This is obviously not enough time to pursue agent #2 and see who might be a better fit. Ahhhhhhh. Again, I know its my decision at the end of the day but I'm overwhelmed, feeling very put under pressure to make a decision and overall just. Would really like some support? What would you do? Take the risk or play it safe? Any advice (or kind words!) would be so appreciated.
I hear words like “do the work” and things get thrown around. How does someone transform themselves into a new character or person entirely? I just began acting training and I’m curious how the days are spent? Do you first breakdown the script and memorize all your lines, then do movement/speech/other acting exercises to try to build the character over time? How does the “prep” go from basic things to getting you to act as professional actors do? A lot of great actors I’ve seen can just express things through their eyes. How does one get to that kind of level? How long would one have to meditate and work on the script to achieve that level of mastery?
Voiceover artists often get asked if they can take part in a "directed session", also known as a "live session", to record a script for a project. Directed sessions are a great way to maximize time, streamline efficiency, and minimize revisions, not to mention form a connection with the client, add a human element to a script, and make sure all the details are just right. However, the idea of performing live in front of a client can be daunting! Here are some tips for new voiceover artists on how to prepare for and make the most out of a directed session. ## What is a Directed Session? In a directed session, the client (or clients) is virtually present in the recording booth with you and will give you real-time direction on how they want certain lines to be delivered. They might ask for multiple takes or have specific notes on inflection and tone. ## How Does a Directed Session Work? Directed sessions take place via a virtual calling or meeting platform like ISDN, SourceConnect, Zoom, or Skype, where the producers and/or client can hear you as you read the lines. Typically, everyone hops on the call at the same time and says their hellos, and then the producer or creative team explains a little more information about the project and direction. From there, the client will usually decide to read through the script in full or line-by-line. After everyone is happy with the takes and reads, the meeting is over. After the session ends, the raw takes are edited into their finished product. Typically, the producer does the editing, and at that point, the voice actor's job is finished (though it's best practice to record and save a raw backup file of the session in case of an issue or emergency). However, in some cases, particularly with smaller clients who don't have a full creative team, they may ask the voice actor to edit the final piece of content. In this case, the voiceover artist would edit the final piece and send it off to the client. ## What's Needed for a Directed Session In order to participate in a directed session, you will need: * A high-quality microphone and interface (a USB mic is not recommended, since directed sessions are usually for companies and businesses that require very high-quality audio. An exception to this may be smaller projects or ESL content. If in doubt, check with the client), * A very quiet, acoustic-treated and soundproofed space with a noise floor of -60dB or lower, * Studio-quality, over-the-ear headphones (but earbuds will work if necessary), * A way to connect with the client, such as SourceConnect, * An editing program to record a backup version of your directed session. ## How to Prepare for a Directed Session Preparation is key. Here are some best practices for preparing for your directed session: 1. Get copies of the scripts ahead of time. Read the scripts over before you get into the booth and mark up the content with notes you need to ensure a seamless delivery. Try changing up the tone and underlying emotion to practice taking direction from the client. If you notice any points where you repeatedly get hung up or flub, practice those lines until they are smooth. 2. Ask for direction on tone and delivery. Many clients will have some idea of how they want their project to sound, but if they don't give you any direction, ask for it. 3. Prepare your equipment and settings. A directed session usually has lots of different moving parts, and you don't want technical issues (such as a faulty connection or poor sound quality) to get in the way of your performance. 4. Test out your setup. Ask a friend to hop on a meeting with you and run through a mock-directed session. Ensure that they can hear you through your studio mic, that your noise floor is -60 or lower, and that you can hear them through your headphones. 5. Explain how the session will work. If your client is not familiar with directed sessions, it's important to let them know the flow of the meeting and how to prepare. However, this is not usually necessary, as most clients who request directed sessions are familiar with them. ## Best Practices During a Directed Session Now that you know how to prepare for a directed session, here are some tips for during the session itself: * Show up early. Hop on the meeting a few minutes early and make sure all of your equipment is working properly and your settings are correct. * Turn your video on or off. Many clients don't require you to have your video turned on in a session, though many voice actors enjoy the physical interaction and choose to keep video on. I have never had a client require video. * Introduce yourself and be kind and friendly. Remember, you are more than a voice and you are representing your brand. Your clients want to work with someone who is easygoing. * Get an idea of the flow of the session. Ask the client if they'd prefer you read the script in full or line-by-line. * Once you get started, say the take number before each read (unless the producer does it for you). This helps with organization and editing later on. ("Take one. \[2 second pause\] "(line you're reading.)" Take two. \[2 second pause\] "(line you're reading.)" etc.) * Make each take sound noticeably different. No two takes should sound the same. Play with underlying tones and emotions, pacing, emphasis, and inflection. This will give the client more options for their project, ensuring that they are happy with the final product. Important vocab note: If the client asks for an "A-B-C" read, they want you to read the same line, back-to-back, in three distinctly different ways. "Wild card" reads are generally fun, off-the-cuff reads of a line and allow for a little more play and creativity. Have fun with these! Don't be afraid to be bold or silly. * Take direction. Being coachable is the key to a successful directed session. If the client gives you direction, always take it. They want to ensure that their project aligns with their brand and their vision. Be open to adjustments. Clients may ask you to make small changes, such as adjusting the inflection or pace, or they may ask for larger changes, such as re-recording a whole line. * Don't ask for *too* much direction. You are an actor and should have a good idea of how to deliver the lines. Asking for *too* much direction tells the client that you are not confident or prepared. * Get comfortable. There may be quirks or habits you do during standard recording sessions that help you get your head in the script. Don't be afraid to do them during directed sessions, as long as they're not distracting or time-consuming. For example, if I'm recording a tag for a spot, before the first take, I like to read the previous line in the script to ensure cohesion and flow going into the tag. I will do these in directed sessions as well (and typically give the client a heads-up beforehand.) * Take notes. Have a pen and paper nearby and write down which take number you are on so you don't forget. Additionally, if you are editing the final piece together, jot down which reads the client likes so you know exactly which ones to use in the final piece. * Make suggestions. Directed sessions are a collaboration between both parties, and it's okay to offer suggestions to improve the project. Just make sure to phrase them in a supportive and constructive way. * Have fun with the script. While the client has a particular "vision" in mind for the project, it's also important to be creative (to an extent). Sometimes, my "wild card" reads, where I really have fun with lines and push myself outside of my comfort zone, are the ones that end up in the finished piece. * Thank the client for the opportunity to work with them. A simple thank you goes a long way, and can potentially secure future work with the client. # Tips and Tricks to Avoid Issues After dozens of direct sessions, making lots of "rookie mistakes", and plenty of feedback from clients, I've picked up a few tricks to ensure successful and smooth directed sessions. * SourceConnect is a popular application used during live sessions to give producers access to the talent's audio without degrading the quality. There are paid versions of the program (SourceConnect Standard and Pro), as well as a free version (SourceConnect Now.) The paid versions give the producers a lot more control than the free version, so the paid version is preferred by most clients, and sometimes it's even required. If you have not used SC before, I recommend downloading the free trial, getting it set up, and then purchasing the paid version down the road when it's required for a project. Set up for SourceConnect is not easy, and may take a few hours. I personally had to hire an audio engineer to set it up and we ultimately found that the platform did not work with my home internet router provider. As a result, I stick to SourceConnect Now as often as I can. * Always record a backup file of the session. As soon as you hop on the meeting, start recording in your own audio editing system. This way, if there are any issues with the client's recording or a technical issue, you have your own copy to send over. After the session is over, send the raw file to the client using WeTransfer and let them know it's available to them. * If you don't like to hear yourself talking through your headphones, keep one side of your headphones over your ear, and slide the other side onto your head. This way, you can hear the client in one ear, and you can hear your performance in the other. * Lower your client's audio. If their volume is too loud coming through your headphones, it can get picked up on the audio recording. * Don't panic. If there is a technical issue, or if you make a mistake, stay calm and professional and communicate with the client. Chances are, they understand that mistakes happen and will work with you to find a solution. # Conclusion Directed sessions can be intimidating at first, but with a little preparation and practice, they can be a fun and successful collaboration between you and your client. Remember to trust your instincts as an actor, listen to direction, and communicate openly with the client. And most importantly, have fun! Happy recording!
Hi y'all :) My "normal" voice is quite high (at least that is my own perception), however after going out drinking and singing my voice is much lower (not necessarily raspy or husky). This clearly shows that my voice is able to have a much wider spectrum than I can access under "normal conditions". The effect unfortunately "wears off" after a couple of days, and I am not really happy being a method actor all my life (and drinking and shouting into a pillow the night before to "unlock" the lower voice). Anyone have any tips? I tried purposely talking with a voice as low as possible for prolonged periods, but it always narrows back to my usual range. Thank you all
Weeee, you found me!
I'm your buddy Bottie, I was hiding behind the scenes, but now that you've found me I'd be happy to tell you what I'm doing.
I just wrote a few fun facts about Web For Actors
Would you like to take a look?
Click here to check them out. I hope it will cause involuntary audible response.
