Whether it’s a global pandemic, lack of space or resources, desire to widen your options, or the advent of technology, many creators are taking their casting processes digital. And while the goals for in-person and self-taped auditions remain the same, the methods of getting there can be very different, especially when you’re not in the room to direct talent.
Not only that, with self-tapes, actors are able to work on their auditions until they are exactly the way they want them to be. It also allows them to be considered for jobs further than their physical radius, which right now, extends to the walls of their home.
If you want actors to know how to film a great self tape before sending it through to you, you can always share our handy guide on how to make the perfect self-tape.
On the content creator side, there are some obvious differences, but also many similarities between prepping and carrying out self-taped and remote auditions. Creators worldwide are learning how to make the switch, and are casting remotely right now. Here’s how to do it.
Write the breakdown.
Like with any audition process, start with the basics. Without a breakdown, you won’t have sufficient information to send out and people won’t be compelled to apply or put themselves on tape because they don’t know enough about the characters. Write a good breakdown, then decide what other information you’ll need to send to actors for them to fulfill your needs in their audition or self-tape.
Make clear instructions for applicants.
Include the technical details.
Decide what your priorities are in terms of technical aspects of the tape, framing, props, costumes, and more. Remind actors to make sure and check the frame or do a test run before they go for the real thing to confirm the visual elements are good to go.
“Your instructions should pertain to lighting, framing, sound, file names, and your reader,” says acting coach Joseph Pearlman. Generally, “actors should be in the center of the frame with the bottom of the frame at the center of your chest and the top of the frame slightly above the top of your head.”
“Make sure to include what direction should they shoot or definitely not shoot. How should the actor be framed?” Wendy Alane Wright confirms. People are used to shooting video vertically for social platforms, so make sure to specify if you don’t want to view audition videos that way.
The creative elements.
Should actors be in costume or use props? If costumes or specific outfits aren’t required, make sure to remind them that patterns might show up in a distracting way on camera. “A video audition says you look the part, are photogenic, and are a fantastic actor while looking attractive. It’s not just about talent,” says acting coach Gwyn Gilliss.
Remember especially that an on-camera audition for a screen project shows what you will see onscreen—take advantage of that opportunity. Think about what you want or don’t want the actor to be doing during the scene. “Ideally, the camera should remain in one position throughout the scene otherwise you risk distracting your viewer (producer or casting director) from your performance,” says Joseph Pearlman. “Don’t let the person behind the camera try any artsy or fancy camera movements. Chances are, it will just look off-putting and clumsy. Listen carefully to the start of the piece and make a choice whether you’re sitting or standing throughout the scene.” If you want your actor to incorporate movement in their audition, include that in your instructions that.
Additionally, think about whether you want actors to slate or not. Make sure you specify because some CDs see this as unprofessional while some see it as absolutely necessary or a plus and actors can’t read your mind.
Help actors understand why following instructions and taking the time to put out the best possible product is important.
“We’re dealing with industry professionals with extremely demanding jobs,” says Joseph Pearlman. “If they click on your footage, and the sound is too low or they can’t see you well, they might adjust the settings on their computer or they might just as likely click to the footage of the next actor.”
Make it clear what gear is needed (or not) for self-tapes and remote auditions.
Although there’s a lot of gear actors can use to film themselves at home, it’s important to make it known they don’t need to spend a lot of money on equipment unless there is a technical aspect that is crucial to your remote audition process. Whether they have a home studio or a white wall and a propped up iPhone, make your self-tape priorities clear.
“When asking for self-tapes, I always include this line in my breakdown: ‘Please don’t spend any money recording this.’ You can read into that statement any way you like,” says CD Ken Lazer. “I’m sure there are actors who feel having an audition professionally filmed will help their chances of getting a callback or even a booking.” Really, like any audition, it primarily comes down to talent and if you’re right for the project (which they can only tell if they can see you!).
“In a lot of instances, a camera phone with a well-lit setting on a plain background will suffice,” says acting coach Amy Russ. “But if you want to invest, here are some ways to do it: lights, tripod, camera, microphone, backdrop, editing software, and a professional reader or at least a reader that is an actor.”
And speaking of readers, decide how important a reader is to you.
“It’s helpful if they can read with somebody who helps them. I’ve had some funny ones that come from a set where they’ve gotten a European cameraman reading in pidgin English back to them and it isn’t really helping them,” says CD Rachel Freck. “I know it’s tricky when an actor hasn’t got a human being to read, but it’s not helpful when they’ve recorded the lines or there’s a program on the internet that is saying their lines and it’s a bit robotic. If it’s a dialogue, always try and get another actor or somebody who can read with an element of understanding to give you something to work off of.”
You might want to remind actors that a bad reader can break an audition.
What should you and your actor know about working with a reader? “Your reader should be as close to you as possible while being off-camera, positioned just right or just left of the camera,” says Joseph Pearlman. “It’s perfectly fine if your reader is the opposite gender to the character he/she is playing. It has never made a difference in an actor booking the role off the tape.”
The “don’ts” should be as clear as possible for the actors to do their best.
Do you want separate scenes to be shot at once or separately? How should actors end or sign off? Generally, actors should know to end the scene definitively and in character, but instruct them otherwise if that’s not the case.
What if your auditions are taking place live through Skype, Facetime, Zoom, Hangouts, or another video platform? It’s not that different!
Be in a quiet space with a good internet connection and ask the same of actors. Frame yourself in a way that you can be seen clearly and there’s nothing distracting onscreen, and ask actors to frame themselves in a plain, well-lit area before the call begins. The result should be a happy medium between a self-tape and an audition happening live in the room.
Lastly, be prepared to give notes, even on a tape. If someone is good, you should be prepared to ask them to re-submit. Actors should know you might not be the only one reviewing the tape and you want to pass on the best possible audition to the decision-makers.
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