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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 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.

Self-Tape Tips Part 7 - Finding a Reader

Self-Tape Tips Part 7: Finding a Reader

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I asked my actor friends what they felt was the biggest hurdle when self-taping, and the number one response was this…

Finding a reader.

And while finding a reader for your self-tape can be frustrating, it can also be a major benefit of self-taping. You can choose someone who will give you something, whether it be chemistry, timing, direct-ability or just flexibility… when you walk into a Casting office, your reader is your reader and they are often 1. not actors and 2. cranky about getting direction from you.

Here are some tips to help you get over the reader hurdle (listed from best option to least favorable): 

1. Find an actor pal to read with you. (Obviously.) In fact, do yourself a favor and have a “self-taping group” of actor pals. This way, you aren’t stuck if your usual reader isn’t available to help out. Find your tribe, start a group text chain and use each other, as needed.

  • One caveat here: don’t let your actor pals over-direct you. The nice thing about having an actor opposite you is that they can provide you with some real perspective. But at the end of the day, it is YOUR audition. Listen their feedback, but YOU need to decide whether or not to incorporate their notes.

2. If you can’t get a reader in person, use Skype, FaceTime, Zoom, etc. Even if there’s a slight internet lag, you’ll have someone with whom you can connect. Don’t worry about the slightly tinny/mechanical quality of their voice. It’s not ideal, but in 2020, we’re all very used to the sound.

3. Find an able-bodied non-actor who can take some direction. Maybe your neighbor is a writer who understands timing or perhaps your roommate did theatre in high school, or your mom is an avid reader… as long as they can follow the dialogue and incorporate feedback from you, they’ll more than suffice. (Hot tip: summarize the scene, and then give them a few minutes to look it over so they aren’t reading it totally cold.)

  • What you don’t want in a non-actor is someone who has an overly thick accent/doesn’t really understand what they’re saying, can’t pace it up/slow it down, or is a child, (unless the scene is written between your character and a kid.)

4. Use a rehearsal app to “read with yourself.” This is a worst case scenario because it eliminates the possibility of spontaneity. The forced/planned timing involved in using these apps tend to make your beats either rushed or overly drawn out. These apps are terrific for REHEARSING/LEARNING your lines, not performing the scene. Use these as an absolute last resort.

And the I-HAVE-TO-MENTION-IT-BUT-PLEASE-FOR-THE-LOVE-OF-MIKE-DON’T-EVER-DO-THIS:

5. Don’t read with anyone. If you just say your lines and pause in silence when the other dialogue is supposed to be read, that’s not a performance. That is just saying/reading lines. This will never make a successful audition. Ever. Seriously. The best thing that could possibly come from a read like this, is that you hear from casting that we want you to do it again, but this time with a reader. But it’s more likely that we won’t be able to see enough of a performance to request another take.

Creating your “self-tape tribe” is the key to finding a reader. 

Whether your group consists of friends or coaches or family members… or all of the above… having a go-to list will relieve the anxiety around finding a reader when you’re on a tight deadline.

And don’t forget to give what you want to get back! Be as ready/willing/able to be another actor’s reader as your pals are to be yours.

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 - Choosing which and how many takes to send

Self-Tape Tips Part 5: Which Takes Should I Send?

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Arguably, one of the most difficult parts of self-taping is choosing which take(s) to send to Casting.

Which is the best take? Should I send more than one to show my range? This one has a great beginning but this one has a great moment in the middle, and this one shows I can do an accent but I don’t flub the line in this take, and and and…

You have my sympathy on this. Trying to be objective when you’re staring at yourself on video is neither easy nor pleasant.

There is no science to this, I’m afraid. I can’t give you a fail-proof method to guide you. BUT! There are ways to make the process easier for yourself.

Here are some do’s and don’t’s to assist you in choosing a take:

DO as much character prep as you can before you ever step foot in front of a camera. That way, you’ll know what you’re aiming to accomplish.

DO NOT “work it out” in front of the camera. This is the equivalent to throwing sh*t at the wall and seeing what sticks. You’ll be there forever and end up with too many options. (And you’ll have a very cranky reader.)

DO limit the number of takes you do. I like to say no more than three takes before you watch those to see if you got it (you probably did) or if there’s something missing.

DO NOT stop yourself if you’re really vibing at the end of a take. Start again immediately without futzing with your camera.

DO listen to your body. When things go really right, you FEEL it. Trust that instinct.

DO NOT let your reader/coach/taper pressure you when to stop, when to do another take, or which takes to send. This is YOUR audition. You know this character better than they do. Listen to their feedback and reasoning, but the decision is ultimately yours.

DO trust that you can get it done in one or two takes! You do it ALL THE TIME in live auditions. You can do it for your self-tapes, too. Prep the same way you would if you were going in the room and you’ll get it done quicker and with more clarity.

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Ok! Now, you’ve got a take that is really great. But there’s another take that’s pretty good, and another that’s pretty different and shows some range, so…

Should you send more than one take??

You have to follow your gut on this one. If you have a take that you feel great about, given your performance and everything you know about the project/tone/character, then that’s absolutely the one to send.

If you are thinking about sending a second take, consider these questions:

  1. Does it still fit the tone of the piece? The biggest issue we see when actors send a second “different” take is that one take fits what we’re looking for and the second take might as well be for a different project, because the energy is just TOOMUCH. If you’re TRYING to do something different, you’re schmacting. And we can see it from a mile away.
  2. Have you made choices that are different and interesting but still truthful and that fit within the world? Oftentimes, the second take is a near carbon-copy of the first. To help guide you, think about the things you CAN change vs. the things you CANNOT.
  3. Is an accent, wardrobe piece or a prop the only thing that’s different? If that’s the only change, we don’t need that take unless we specifically ask for it, which leads me to…

A few reasons Casting may ask you to send multiple takes:

  1. It’s a small/short scene and we’d like to see what you provide some options on the character/moment.
  2. Accents. We’d like to see a take WITH an accent and WITHOUT an accent.
  3. We don’t have the benefit of time, so we’d like you to do the scene with two different sets of directions (as opposed to having you adjust and re-tape later.)

Remember: if you only send one take and Casting wants to see you do something else, we can always ask you to re-tape (pending time.)

We don’t envy you having to make these selects. It’s not easy. But if you’ve done your homework, grounded yourself in the truth of the moment/character and trusted your instincts, you will make the take-choosing process easier.

Self-Tape Tips - Frame

Self-Tape Tips Part 4: Frame

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Finally, let’s talk about your self-tape frame and aspect ratio.

Here’s the good news: this is the EASIEST self-taping technical aspect to nail. Minor adjustments will get you exactly where you need.

COMMON SELF-TAPE FRAME ISSUES:

1. Your frame is too wide. We can hardly see your face and hence, miss all of your subtleties and nuances.

2. Your frame is too tight. We have full access to your facial features, but now you’re just a floating head. (Weird.)

3. You’ve filmed your scene with your camera or device held the wrong way. Aspect ratio: it’s a real thing.

SELF-TAPE FRAME SOLUTIONS:

1. You should frame yourself from around mid-bust to just above your head. Even if the scene calls for some “business” (typing on a computer, for example,) we don’t need to see what your hands are doing. Resist the urge to go wider. (Your eyes are the window; they hold OUR gaze and grab our attention… we need to be able to see your eyes/face clearly!)

Be careful not to frame yourself TOO tightly. Yes, we want to see your face, but it just feels odd and overly dramatic if that face is not attached to a neck and torso.

2. Your device or camera should ALWAYS be turned so that the image is HORIZONTAL or LANDSCAPE. It feels more natural to hold a device vertically, since that’s how we use them in our daily lives. However, it will throw off the aspect ratio and you’ll end up with giant black bars on the sides (see image above.) You will also have inadvertently shrunken the amount of space available for YOUR image.

3. Use a tripod. It will make your life so much easier. You’ll be able to set the device up, check the frame and then shoot your self-tape. If you’re propping your device up on something, it could slide. If your reader is holding it, your frame could drift or shake (doesn’t matter if they have surgeon-steady hands. Their breathing alone will cause the camera to move.)

There you have it! The self-tape basics are lighting, sound, backdrop and frame. Get a handle on those and everything else is fun.

Next self-tape tip… How many and which takes should I send?

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!