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Self-Tape

Five Common Self-Tape Mistakes (and how to fix them!)

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Hey Actors! When it comes to self-tapes, these are some of the more common issues we see, (and how you can avoid them!):

#1: EYE LINE

It’s easy to overthink where you should be looking when creating self-tapes of car scenes or working on a scene with multiple characters, but the easiest solution is to keep it simple. We (and the camera) need to see your face. You can acknowledge the entrance of another character by looking slightly off camera/to the opposite side of the camera, and then bring your eye line back to the reader. For car scenes, keep your face forward and engage with the reader in the moments when you feel you would’ve turned sideways to look at them. If you’re not looking at/engaging with your reader, your performance will start to feel one-sided. Always bring your eye line back to the person who is in the room with you.

#2: FANCY EDITING TRICKS

Title cards, cross fades, fade in/out, 4K are all not necessary. Casting Directors don’t use them… you don’t have to either. If we need to edit your tape, those fancy-looking tools can make it difficult for us to find a clean cut. They also add to your file size (significantly.) If you’re wondering why it takes forever to upload your tape, this could be why. Keep it simple with hard cuts and a slate instead of a title card.

#3: FLAT ENERGY

“Doing less” because the proximity of the camera makes you feel like you can be small is a trap into which MOST actors fall. However, your energy will come across as completely flat if you’re not projecting it past that device to your reader. If there is an energetic void between you and your reader, we will sense it in your self-tape.

#4: SPENDING OODLES OF TIME ON A SELF-TAPE

If you’ve done your prep and are as ready to audition as you would be if you went in for a live read, then your self-tape shouldn’t take long. Do not do more than three takes before you watch it back to see if you have it. (You probably do.) If nothing else, you will be able to see EXACTLY what you’re aiming for in the 4th Any more than that, the performance will start to dissolve. If you spend hours on your self-tape, you’ll either end up sending one of your very first takes or you will send a take where we can see your choices coming a mile away. (Also: preserve your relationship with your reader and be efficient with your time.)

#5: IGNORING DIRECTIONS FROM CASTING

This. Happens. CONSTANTLY. Be one of the actors we admire for their professionalism and follow directions, (and for the love of all that is holy, adhere to deadlines!) Also, we put important performance notes in our self-tape requests. Look there before you read through your sides for extra context and notes.

 

All of these things are easy traps to fall into because of timing, technical issues, trying to “stand out”… but when it comes to self-tapes, all Casting wants is for them to look like an audition that took place in our office.

Keep things simple, focus on your prep and read the notes from Casting.

Self-Tape Tips: When Should I Turn My Tape In?

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Actors, I’d like to let you in on a little secret…

it does NOT matter when you turn in your self-tape, as long as you get it in by the deadline.

The reason is this: you will stand out simply by being connected in an honest, layered, human way. It will not matter where your tape falls in our viewing queue.

Actors often come to me with two common concerns:

  1. Will they miss out on notes, new sides, ample prep time, etc. if their tape is TOO early?
  2. Will Casting hire someone before the deadline?

Here’s my evergreen response to those worries:

Self-tape deadlines exist for a reason: logistics on our side, time to prepare on yours. If you need to take the time we’ve given and turn your tape in just before the deadline, so be it! If you’re the kind of actor who likes to get ‘er done and turn it in 24 hours early so you can move on, then do! The ONLY THING you need to focus on is making it by the deadline.

(Side note: give yourself a few hour buffer to upload your self-tape. It is the law of the internet that your computer will crash if you try to send your tape minutes before the deadline.)

There is no science to “first up vs last up.” Variables change from role-to-role, project-to-project. We set a deadline, but things in production are fluid; a role that was supposed to work next week now works tomorrow, for example. Or half-way into casting a role, the sides change COMPLETELY and producers want to see the new material. Casting has also extended deadlines because we find enough people require it, or a schedule arrives and we are magically gifted more time.

The process is never the same because the [insert here: role, experience, producers, budget, schedule] are always different, and often, ever-changing. The only true constant is this: “does this actor fit the role in an interesting and truthful way?” If you can remember that THAT is the key, you’ll shed a lot of unnecessary stress.

Here are a few real examples from my own personal Casting history:

On a major feature film, we read a zillion people for a lead role and then decided to try one last, out-of-the-box idea. This actor’s tape was literally the LAST one to come in and he ended up booking it.

 

For the lead of a series, the woman who ended up booking the role was tape number 95 (out of 340) viewed. She was the 12th tape my producers saw. We read a LOT more people before our execs wised-up and we could hire her.

 

On another series, the woman we booked for a major recurring role was the 13th self-tape I viewed, out of 74. She was hired from her original tape, no callback or “next step” needed.

 

For a guest star, the very first self-tape that was uploaded ended up being the actor who booked that role.

 

All of this is to show you that it doesn’t matter at what point we see your audition, live or tape. If you’re the one, you’re the one. Remember that the next time you’re stressing about the “perfect” time to upload your tape. Drop that anxiety and instead focus on the things that do matter for every role, every audition: your preparation, professionalism and craft.

Pilot Season Anxiety - Where are my auditions?

Pilot Season Anxiety: Where Are My Auditions??

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Pilot season is in full swing.

You’re reading the trades every day, seeing what’s been picked up and drooling over the auditions that are surely coming your way ANY SECOND. Or maybe they’ll come tomorrow. Or you know, it’s Friday at 6pm, so they will probably call on Monday. Ok, it’s Monday at noon, and you’re refreshing your email every five seconds, waiting for word of an audition, ANY audition… WHERE ARE MY AUDITIONS?!?!

You get the picture.

It’s easy to go a little bananas during pilot season. You know that this is the time of year that auditions rain down like manna from heaven. And you hear about your fellow actors and how they’re getting three auditions per day, (and complaining about it, to be sure.) You also know that you’re good enough to compete against any of them, so why aren’t you getting out?

There could be a few reasons, but first, I guarantee that it’s not because your reps aren’t submitting or pitching you. They’re submitting and pitching their brains out. (Remember, if you don’t make money, they don’t. Pilot season is just as important for them as it is for you.) They often call and email to pitch, even when casting specifically tells them not to, and at all hours of the day. All. Hours. Of. The. Day. I promise you, they are trying their damnedest to get you an opportunity on as many pilots as possible.

So here are a few other road blocks that may be keeping you from getting a series regular audition:

1. Your materials just aren’t up to par:

Your reel is old and/or doesn’t show you off that well. You have 20 headshots up on your profile, and we can’t tell which of them are current, (and maybe none of them truly portray who you are.) Your website is impossible for us to navigate through to find what we need. You’re using a self-tape in place of a reel, and unfortunately, it’s just not compelling material. If we are unfamiliar with you and none of these things are working in your favor, the audition gods will not smile upon you.

2. Casting doesn’t think you’re right for the character or world:

Based on the breakdown, you believe that you are clearly SO RIGHT for this particular role, and somehow you still can’t get an audition. Remember, trust Casting. We know this project intimately. We are also serving this script, these producers’ collective vision, and this network’s commercial and artistic desires. We have a VERY good idea of who and what we need. We may adore you, but if you’re not right for whatever reason, we’re not going to waste your time or ours. (Mind you, things change quickly during pilot season. So while you could be “not right” on Monday, by Friday, you’re exactly what we need. Or vice versa. See #5 for more on this.)

3. Timing:

Your rep may have called and/or emailed to pitch you RIGHT when we got caught up in a session/conference call/meeting/bathroom break/other deadline, and their pitch got lost in an avalanche of message slips or a deluge of emails that we can’t bring ourselves to look at until the next morning, when inevitably, something else pulls our attention and another day goes by without us seeing their pitch. It’s not because we don’t like you or your rep, it’s because there are literally 8,000 other things that have to happen at that exact moment. (Don’t worry: your reps will continue to call and email until we look at their pitches.)

4. Timing again:

We’ve actually already selected you as someone we want to read, but we can only see so many people in a day, and your appointment will go out when our uber-talented, but overworked/underpaid staff can find a slot for you. Be patient.

5. Casting SAID they would read you, but the role you are most right for is being offered out/is changing/is no longer a regular:

If an offer is out for a role, we try not to read people simultaneously (particularly if it looks like the offer person is engaging.) We will only audition that role if we are in a time crunch (or the offer person is unlikely to be interested,) and we need to have another great option. If a character is changing or sides are about to change or the prods have MENTIONED that they THINK they MIGHT want to change the character or sides, then we put a pause on that role and focus our attention on everything else. This will put people in a bit of limbo, but I promise that Casting is working their butts off to get clarity as quickly as possible. If a role changes from a regular to a guest star, then it’s priority is down graded. We will pick up reading people for it after some of our regs are set.

6. You think and feel that you are truly ready to be a series regular, but… :

This may not be your year to book a pilot. Plain and simple.

Now, to overcome some of these things:

1. Don’t compare your career to anyone else’s, ever: everyone succeeds in different ways, at different times. When your friend (who is not unlike you, type-wise,) tells you about their 10 pilot auditions, do not assume you should have the same. You are unique people, individual actors with dissimilar backgrounds and likely different reps. You are apples and oranges. Take a breath and try to be excited for your friend.

2. Update your materials: it may be too late for this pilot season, but if your reps give you that feedback, make that your priority number one.

3. Practice patience: do yoga, meditate, breathe, nap. This is a life skill that most of us don’t have. Now is a good time to work on it.

4. Change your focus: sitting around, pining for an audition will almost never result in one. Get your butt to class, pick up that script you’ve been writing, read a book, take your dog for a walk. Do ANYTHING other than twiddling your thumbs, waiting for an audition notice to come in.

5. Remember that other projects are casting right now: there are a gazillion series still in production, movies, shorts, web series, theatre… make yourself (emotionally and physically) available to those projects. Booking them can be just as rewarding.

Focus on being a good, professional actor, and do everything in your power to achieve THAT goal. (Go to class, read, do theatre, etc.)

If you do, the auditions (and bookings) will come, guaranteed.

Self-Tape Tips Part 8 - Am I Making the Right Choices?

Self-Tape Tips Part 8: Am I Making the Right Choices?

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One of the major complaints I hear regarding self-tapes, is that actors often feel like they’re acting in a vacuum.

Endless questions plague you…

  • “This character should clearly have a Southern accent, right?”
  • “Should I show the action in this scene? Do they want to see me fall?”
  • “This scene could totally be ironic and sarcastic, OR it could be heartfelt and genuine… should I do it the way it’s written, or the way I think it should be done?”
  • “How far should I go with movement/props/wardrobe?”
  • “The other character in this scene is obviously her brother… or is it her ex?”
  • “If I turn my phone vertically for the slate, will I be disqualified?”
  • “Why couldn’t they just have seen me in person?! I have so many questions!”

In terms of your character work and prep, self-tapes should be treated no differently than live auditions.

You can (and should!) use the following information to help inform your choices:

  1. The breakdown header: there is a wealth of information provided when you see who is involved in a particular project. (I ranted more about this topic in a previous post.) Header info is a great source when thinking of appropriate tonal choices.
  2. If you were given multiple scenes, each section will represent an important character aspect, trait or turn. We’re not giving you gobs of pages to test your memorization skills. Re-read the breakdown before you scan through your material, and look for different facets of the character in each scene.
  3. Any notes from Casting: if there’s a certain note that will undoubtedly be helpful to your taping process, we will provide it. (Why would we want you to audition without pertinent info? Who does that help?) If we want you to do an accent, or wear something specific, or treat the other character as your brother, even though he’s your ex, then we will tell you. If we don’t give you those kinds of notes, just use your instincts to make choices based on what you see on the page.
  4. When in doubt, use the material as your guide. Don’t assume that the stage direction or character description included therein is a ruse. This is not the SATs; the writer is not trying to trick you.
  5. Remember that we are hiring you as an ACTOR. Not as an editor, a cinematographer, a HMU artist, a set decorator, a stunt performer, etc. Make smart, simple choices on those things and let the focus be on YOU and YOUR PERFORMANCE.

And please hear my endless drumbeat on slates:

YOUR SLATE IS FOR INFORMATION. Stop stressing about it. The information is hugely helpful to us, but it is not a performance and we are not looking for it to look beautiful. Info = important; your messy house = not.

If ultimately you STILL feel concerned or in the dark about something, don’t be afraid to ask!

You can have your reps reach out to Casting with your questions, or you can have them ask if it’s ok for you to call/email directly. The Casting team may not realize that there is something vague about the material. Again, we will never PURPOSELY leave out information that would have a significant impact on your choices.

Remember to trust your instincts (and the writers/Casting team,) trust your script analysis skills, and prepare your self-tape scenes the same way you would any other audition piece.

Demo Reels: The Basics

Demo Reels: The Basics

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Your reel is so, SO important.

Often times, it’s the very first taste we have of your abilities as an actor. Sometimes, it serves as a reminder of who you are, and occasionally, it proves that you’re capable of handling a specific role. Your reel is meant to sell you; to agents, to casting directors, to producers, execs, etc.

While there are about a billion things we can say about reels, these four points are what I consider to be the absolute basics, when compiling your demo reel:

1. Less is More: keep it short and sweet.

ONLY put your best quality (acting and technical,) and most current clips on your reel.

  • If you work often, you should update your reel with new (HIGH QUALITY) stuff as frequently as you can. (And even though you loved the work you did on CHEERS or SEINFELD, those clips are too old for us to see what you look/sound like now. Keep the credit on your resume, but take the material off of your reel.)
  • Two-three minutes worth of material is about all we need. Only have 45 seconds or one minute worth of clips? That’s ok, too.

HINT: Leaving us wanting more will often result in an audition…

2. Open with your BEST scene.

It might be the only thing we see, so start with your strongest work.

  • This also means that you should skip the opening video or photo montage. Open with a title card of your name or just jump right into the first clip. Either way, we should be seeing a scene within the first five seconds of your reel.
  • Try not to start with a scene where you are doing an accent, or are in crazy make-up or period costume. We want to see and hear YOU. Save that work for a little later in your reel, if you can. (However, if it’s truly your best scene, then put it first.)

3. Seriously, skip the fancy editing tricks.

Your reel is meant to show off your acting chops, not your Final Cut skills.

  • Sometimes, casting will need to edit your reel to pull out a specific scene, or even reorder your material. Want to know the first things that get dumped in the trash? All your cool-looking edits and fades.
  • Two basic, helpful edit tools: A title card with your name and contact (either at the beginning or the end,) and a chyron of the project name in the corner of each clip. Everything else is extraneous.

4. It doesn’t matter if your reel is one big clip, or separated out into individual scenes/clips.

Since there is no “industry standard” for this, it should be decided by you and your reps (and your bank account – these uploads/clips cost money, after all):

  • If you DO have all your material in one big clip, make sure your reps have access to the individual scenes (in a shared folder, through your website, etc.) It may help when they’re pitching you for a specific role.
  • Some people have separate reels for their comedy and drama work. Some have a separate reel for commercials or stunts. If you have enough material to fill different kinds of reels, go for it. If not, put it all together in one. Simple as that.

Remember, your reel is meant to SELL YOU.

If you’re not completely proud of a clip, don’t use it on your demo. It’s better to have no reel than one that will harm your chances of getting in the room or booking the job.

Self-Tape Tips Part 6 - Unsolicited Self-Tapes

Self-Tape Tips Part 6: Unsolicited Tapes

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Casting Directors don’t love receiving unsolicited self-tapes.

My first instinct when I receive an unsolicited self-tape is to sigh and shake my head in frustration. I value an actor’s time and effort, ESPECIALLY the effort involved in self-taping. And to receive a tape from someone who is often not right, (which is why I didn’t request them in the first place,) bums me out HARD.

Here are a few ways an unsolicited self-tape could backfire:

  1. The material is super secret. Anyone who reads has to sign an NDA and have watermarked sides. Therefore if you just get a copy of the material and send in an unrequested tape, we’re wondering who the schmuck was who broke the rules… another actor? A coach? An agent? Hard for us to appreciate your read if we have to figure out how wide-spread the leak is.
  2. While YOU might think you are absolutely PERFECT for a role… that may not actually be the case. Either we had to leave something out of the breakdown description (due to secrecy) that makes you not quite right, or the role has evolved and the characteristics you think you fit, no longer apply.
  3. The role might already be cast. Or worse, it’s been cut.
  4. You miss out on critical information, such as: when we need your tape, backstory information, which scenes to read, whether or not an accent is needed, any direction, etc. When we request self-tapes, we give out a lot of intel. Without that, you’re kind of shooting in the dark.
  5. If we’re not expecting it, it could easily get buried in our emails and never opened. Truthfully, Casting will PROBABLY watch any tape that comes in, whether or not we asked for it. But you will be much more set up for success if the request originates from us.

Actors will get material from their reps, from a class, from a coach, from a friend who urges them to tape even though Casting hasn’t requested them. Your best course of action when this happens is to have your reps ask Casting if it’s ok for you to tape. If we think it’ll be a waste of your time, we’ll say so. If we’re open to it, we’ll say yes and give you ALL of the information you need. Win-win.

Think of it this way: Casting would be incredibly annoyed and/or turn you away if you crashed one of their live auditions. However, if we’ve invited you to our session, we’re looking forward to your read.

Treat self-taping the way you would an in-person appointment.

Show up when asked.

Self-Tape Tips Part 3 - Sound!

Self-Tape Tips Part 3: Sound

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Bad sound is frustrating.

Think of all of those times when you couldn’t hear someone speak clearly; did it make you want to give up on listening and walk away? If the sound on your self-tape isn’t up-to-par, it’s easy to become annoyed and stop watching. If you pay a bit of extra attention to your sound, that dreaded outcome is easily avoided.

COMMON SELF-TAPE SOUND ISSUES:

1. Your reader is 20x louder than you. This is the MOST common sound problem we see in self-tapes. (Especially egregious if your reader is not a great actor or their voice is more engaging than yours.)

2. There’s an echo. You’ve cleared your space so that you have a plain background, but now you’re in an empty room/hallway which is ripe for sound issues.

3. The ambient noise is constant and distracting. Dogs barking, kids playing, sirens, smoke detectors beeping, etc. All of these things can land in your audio and take away from your read. (Note: it’s ok if some normal ambient noises exist, but if a siren is taking over 20+ seconds of your tape, we’re losing something…)

4. The volume is just WAY lower than you expected. This generally happens at the source/on your device, but can also happen as you’re exporting and compressing your file… OR it’s because…

5. You aren’t using your full voice. Perhaps this is because the device feels like it’s in your face, or you don’t want to wake someone, but an unnecessarily whispered read feels energetically dead.

6. The sound is out of sync. Again, this is usually an export/compression issue when something truly goes awry. But it can also be the curse of taping on an old device. This is the #1 thing that will make us turn off a self-tape.

SIMPLEST SELF-TAPE SOUND SOLUTIONS:

1. BUY A MIC (lavs, shotgun, etc.) A microphone kit can be quite pricey, but if you look on eBay or another site for gently-used equipment, you can find some great products at a discount. (Videographers are constantly upgrading and re-selling their equipment!)

NOTE: You can find very affordable mics online but when it comes to sound equipment, you truly get what you pay for. Might be worth investing a little extra money if you want to buy a mic.

  • Side story: We use lavalier microphones in our office. 98% of the time, they’re AMAZING. The other 2% of the time, they’ve run out of batteries without us noticing or the “mute” button was accidentally switched on or the adapter wasn’t pushed hard enough into the camera for the sound to be picked up or a cell phone rings (on silent) and the phone waves create static. Sound afflictions happen to the best of us. So if you DO decide to buy mics, test/check them OFTEN.

2. WHEN TAPING ON A DEVICE THAT HAS AN INTERNAL MIC (phone, tablet, DSLR) PLACE THE CAMERA CLOSE TO YOU, AND HAVE YOUR READER SIT A FEW FEET BACK FROM IT. Not only will this help your frame/light, but it will clear up the issue of your reader being too loud or you being too soft.

3. AVOID LOUD AMBIENT NOISE BY MAKING SURE THAT WINDOWS AND DOORS ARE CLOSED, and your pets/children/roommates are either aware of what you’re doing, away, or asleep. You will likely always have SOME ambient sound (unless using mics,) and that’s ok. As long as it’s not massively distracting, it won’t ruin your tape.

  • Side story: we were once in an office where the AC was UNBELIEVABLY loud for some unknown reason. Even though we used lavalier mics, when the AC kicked on, you could barely hear the actor and the reader became non-existent. As such, we had to turn the AC off whenever we had sessions. (It was July, in the valley. Fun.) So as long as your ambient noise doesn’t drown you or your reader out at any point, you’re probably ok.

4. LEARN HOW TO EXPORT OR COMPRESS A FILE WITHOUT LOSING QUALITY. YouTube vids are a great way for you to pick up some exact settings for whatever program you use to edit/export.

5. AVOID AN ECHO BY MAKING SURE YOU SELF-TAPE IN A ROOM WITH SOME SORT OF SOUND-ABSORBING MATERIAL. If the emptiest place for you to tape is the hallway or stairwell in your apartment building, you will likely end up with an echo. Taping in a room with furniture or things on the walls (just not in the frame,) will almost always help you avoid this issue.

6. USE YOUR FULL VOICE. Remember that this is an audition: would you come in to a casting office and use a quarter of your voice because you don’t want to disturb anyone? Probably not. (If yes, then we’ve got bigger things to discuss.) A self-tape should make use of the same kind of energy, voice and breathing techniques as an in-person audition. If you feel like the scene has too much yelling/screaming and someone may call the cops on you, perhaps do that audition at a taping/coaching facility. Otherwise, don’t muffle yourself for civility’s sake or because you think you’ll be overly loud due to your proximity to the camera. Perform appropriately for the scene.

7. CHECK YOUR SELF-TAPE. I can’t stress this enough. Once you’ve picked a clip and/or compressed/exported/uploaded it, CHECK IT. Watch it back, and make sure that nothing went awry in the process. Actors are always shocked when we tell them about technical issues we’re having with their tapes. Before you send your self-tape to casting or your reps, take 30 seconds and make sure it plays the way you want it to.

Next self-tape tip… FRAME/ASPECT RATIO!

Self-Tape Tips - Lighting

Self-Tape Tips Part 2: Lighting

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Two of the most important technical elements to your self-tape are lighting and sound. If Casting can’t see or hear you, then the entire endeavor is moot.

Lighting can be unbelievably tricky. Until you find a set-up that works, this is one aspect of self-taping that can truly drive you crazy.

COMMON SELF-TAPE LIGHTING ISSUES:

  1. Lighting that creates shadows across your face. We’re not looking for dramatic ambience; we want to see you.
  2. Too MUCH light. It will blow out your skin tone and any facial feature that makes you interesting.
  3. Not ENOUGH light. We can’t see a lot of your subtle nuances.
  4. Forgetting to white-balance your camera after setting up your lighting scheme. Unless you’re shooting with the exact same light at the exact same time of day, (or in the same windowless room,) you need to white-balance your camera for every audition to avoid looking blue/yellow/orange.
  5. Lighting yourself in front of a very dark backdrop or a light-filled backdrop (see previous blog post.)
  6. ONLY using overhead lights. They will create shadows and bags on anyone, no matter how youthful you are.
  7. Trying to fix the exposure in post. This COULD work if you’re quite savvy with editing software, but more often than not, it’s too one-size-fits-all and could affect your file size and quality. You’re better off dealing with the issue at the source.

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SIMPLE SELF-TAPE LIGHTING SOLUTIONS (PROS AND CONS):

1. NATURAL DAYLIGHT.

  • PRO: Daylight really is your best friend. (Think of photos that are shot in daylight versus those with a flash… natural light is exactly that: natural.) As long as you can find a shadow-free spot, you can almost never go wrong with daylight. (And PLEASE don’t make the mistake of shooting your scene outdoors to get good light. You’ll end up with a nightmare of ambient sound.)
  • CON: Daylight is constantly shifting. If you spend an hour doing your self-tape, you will have different light in every take. Use it wisely, and quickly.
  • CON #2: If shooting your self-tape at night, daylight is obviously not an option.

2. LAMPS/LIGHTING YOU HAVE IN YOUR HOME.

  • PRO: A combination of the light from your (MANY) lamps can work, if diffused and appropriately positioned. Overhead lighting doesn’t look good on anybody, but overhead lighting in combination with directional lamps can get the job done.
  • CON: Lamps often use different wattage, so you could end up with one side of your face darker than the other. Low-wattage also means you’ll need a LOT of lamps to light yourself properly.
  • CON #2: Light bulb colors can range from blue to white to yellow. If your lamps all use different colored light bulbs, it will be hard to get a result that you’re happy with.

3. BUY A LIGHT/LIGHTING KIT.

  • PRO: You can find affordable photography lighting kits at camera stores or online. They’ll quickly take the guess-work out of lighting your self-tape. Some are even compact enough to travel with! (Bonus! Never miss an audition because you went out of town!)
  • SOFT-BOX CON: They tend to be bulky so you probably won’t want them in your living room all of the time. They can also be a bit annoying to disassemble and reassemble constantly.
  • RING LIGHT CON: They’re beauty lights… they run HOT (meaning: at best, you glow from your t-zone. At worst, you look like you’re dripping sweat.) Buy a dimmable ring light or divert the light by aiming it (at full brightness) at your white (or light-colored) ceiling.

Next self-tape topic… SOUND!