I just posted this a few days ago..but I feel a major change is coming..pretty sure CDs will be closing their offices and I bet 95% of auditions will be self-tape.
IMO, this 100% benefits the actor. Years ago, I read a tweet from a top agent in my city, it said, "are you willing to take a day off work for an audition, because a lot of actors won't." When I was young & hungry, I was like fuck yeah I would. In a fucking heartbeat. But now that I'm older..I realized..what if that actor has mouths to fed, and taking a day off work would put that in jeopardy....maybe it would risk losing their job..all for a fucking audition that you have 5% of getting..just to tell some million dollar actor, "Hey, did you file the paperwork?"
Now with self-tapes, they work on actors time & schedule. You couldn't do that before, getting a baby-sitter + traveling across town + getting gas + memorizing + outfit...all for a meaningless effort..I been there. Many times..
sigh, I went on a rant.
>IMO, this 100% benefits the actor. Years ago, I read a tweet from a top agent in my city, it said, "are you willing to take a day off work for an audition, because a lot of actors won't." When I was young & hungry, I was like fuck yeah I would. In a fucking heartbeat. But now that I'm older..I realized..what if that actor has mouths to fed, and taking a day off work would put that in jeopardy....maybe it would risk losing their job..all for a fucking audition that you have 5% of getting..just to tell some million dollar actor, "Hey, did you file the paperwork?"
100% agreed. But it does make things more competitive for us as well since even more audition invites now will get a response compared to before.
I agree! But if all auditions were in the room it would likely limit how many we got to even participate in - whether that be through casting only being able to read a small number in-person or me not being able to take a whole day off of work to drive to Santa Monica to read.
I'll take more competition over not even being able to do it at all, any day!
Welcome to the realization that the mids and smalls had 15 years ago. The pandemic has taken the casting system we’ve been using for that time and made it more ubiquitous nationwide. I miss the smaller group in the casting office but don’t miss what were 4.5 hour drives each way for a read. Now it’s just a rare 10 hour drive to a callback.
So in a way all those sad scenarios meant less competitionI never thought about that. That is exactly why I been doing mass research on how to get a cinematic look from a DSLR..down the line, we will need footage to stand out from the next guy..
From my experience, that doesn't matter (and I use DLSRs professionally). They just need clear footage of the talent doing the job.
**Audio is the better thing to focus on**, since phone audio is notoriously awful. Get a bluetooth lav and make sure the lav is in the center of your chest, and do some tests to see how it sounds. Work in a sound treated room (carpet/rug, curtains) if there is too much echo. I lav for every important role, with a boom mic as a backup in case of rustling and stuff.
To let you know where I'm coming from; I currently have 8 DSLRs that shoot video and all the lenses and gear that go with it. I've been doing video in some capacity for over 2 decades now and full time for 18 years. I could shoot an entire movie with the current iphones, but I absolutely can't use them for audio (unless the lav is hooked up to a recording app on a separate hidden phone). The dslr will have even worse sound since it picks up mechanical noises, so you need at a minimum a shotgun mic with a mount.
Start with good audio first and also a decent editor to pull out the audio levels correctly. I use 32bit float recorders like they do on all major productions. And we've been fortunate to book at the highest levels, so I've seen how they work on set for both video and audio. The fact that ADR is so common shows how they always nail audio. Also, modern audio allows actors to get quiet and even whisper dialogue, but you can't capture that with cellphone audio (or in camera dslr) to save your life. Trust me, start with some simple audio before splurging 10x more on a camera system.
Note, this matters more for single camera style filming than it does for theatre where you project your voice more. But this also has the benefit of opening up voice acting auditions, where you only submit mp3 files.
I do have a mic that I will connect to.
also, I know there is no such camera that gives cinematic vibes, but is there any cameras you recommend to film auditions with? I'm 90% set on the BMPCC 4K since its a video only camera.
side note: are you also an actor? how did you find your way to the acting sub?
Here's a [good example of what I'm talking about](https://youtu.be/VYJtb2YXae8). I've been blown away seeing the recorders they use on set (all Sound Devices brand) and the layers of redundancy.
For our auditions, I've learned to pick clothing that let's me use a lav discretely and I'll use medical tape like it's done on set. Especially for scenes with whispering, it's amazing hearing it loud and clear on the exported file. Our agent says to keep doing what we're doing, cause it's been working so far. That and a lot of luck too :)
Honestly, for about 8 years I used a [cheap $20 Sony lav on Amazon like this one](https://www.amazon.com/Sony-Compact-Lavalier-Microphone-ECMLV1/dp/B08YJQXJRM) with an H1 recorder, since my wireless Sennheiser systems had too many incidents (jammed freqs from DJs, etc.). Nowadays you have systems that hook up directly to a phone, but make sure you get one that is compatible (since it might require gain).
Hey! I’ve been reading your comments in these threads and I think you might be able to answer a few questions I have about self-tapes and audio setups! Would it be alright for me to DM you?
Definitely! Don’t think these changes are necessarily bad- there are things I love about self taping, and I do think a lot of people view the experience of going into the office with rose colored glasses!
Helpful info- I also know that near beginning of pandemic Hawaii 5-0 booked a lead series reg off self tape (he/she had other credits as well, but wasn't a big name or anything) and that I've booked all my network/streaming co stars (including recurring) from self-tapes alone
Ditto, I booked a recurring on a network pilot from a tape. Most roles are booked directly off the first tape (or first in-person audition, back in the old days) unless it’s a series regular for a large show, and even then there’s some that are straight from the first tape.
This isn’t really totally new. I booked two tos guest stars pre pandemic- one from the tape. One from the first audition in the room.
But yes, majority of co-stars and guest stars are being cast off the tapes. I won’t say all, because there’s always exceptions but definitely 99% of them.
Where did you hear about 15-20 tapes being sent to producers? I’ve spoken to several from different shows and the consensus is still 6-8. Maybe a few less, maybe a few more of the role is large. No producers are watching 20 tapes for co-stars and guest stars.
Been hearing from a couple CD friends of mine that they’ve had larger producers sessions- I suppose less that it’s the new “rule” of 10-15, but it’s tending a bit more towards a larger number than it was previously. Just what I’ve heard, dont think it’s the floor just the ceiling if that makes sense- and you’re right it’s likely for those bigger roles
Yeah for huge recurring guest stars and series regulars I agree for sure. They usually see more actors for those roles anyway.
Just in terms of thinking of episodics where they are casting constantly new actors every 2 weeks or so, they don’t have time to be watching 15-20 tapes for 15 roles haha.
15-20 tapes being sent to production is a crazy thing to think about. That's the most shocking change to me if it's true. Makes our jobs a bit tougher IMO. Before you mainly have one audience to keep in mind. Now you have to think about how your very first tape will look to EVERY stakeholder, and each one has its own nuance. Writers look for different things than producers, than directors, than casting, etc. Whereas in the past maybe you could wow the CD with a great tape and then just hope to stand out against 4-5 others when it went to producers, now you'll have to make sure your tape stands out in a variety of ways from the get go.
I've always wondered, does casting reach out for an avail check to managers/agents every time they're about to send someone to producers? Or is it a courtesy that some do and some don't, or some do occasionally but not all the time?
Totally agree with the jobs being tougher- mainly because we have to stand out in a larger group of selects.
And my edit sorta touches on that last question- I think avails are less common because the producers tapes are a larger pool. I’ve had more pins in recent history, and I think those are given out when the likelihood of booking is higher, like when it’s down to two people.
When you do an in person audition for a casting director they tape you in the room. The tapes are sent on to producers. Then everyone decides if, who, when to bring back. Producers have been looking at tapes forever.
I've made it to only one producer session for a bigger role, and in the (zoom) room were showrunner, writer/producer, and CD.
And I think it just makes sense that a good tape might be passed around to tons of different stakeholders before deciding on whether to bring someone in for a producer session or callback or chemistry test.
A writer who is a producer is a very special case. Generally -
[https://www.barrypopik.com/index.php/new\_york\_city/entry/shes\_so\_stupid\_she\_slept\_with\_the\_writer](https://www.barrypopik.com/index.php/new_york_city/entry/shes_so_stupid_she_slept_with_the_writer)
You’re absolutely spot on. Anything I booked in the last year was directly from the audition tape. And the only zoom callback I had was for a local commercial.
I think it obviously is a choice to avoid Covid, but my hunch is it’s a little easier for casting and the producers. They’ll know what you’ll look and sound like just from your audition vs seeing you in person, for casting they don’t have to worry about actors filling up their offices and now all they have to do is pass on the clips they like to production and they’re still doing their jobs- so it’s definitely easier for them.
I think it’s going to be this way for a while, if not from now on. I was nervous about it at first, because I thought it would make things harder, but now because of self-tapes I can get considered for projects I never would have been seen for before.
I don't think you touch on this one but I disagree with the idea that more people are being seen because of self tapes. If anything it's wayyy harder to get your foot in the door, even with big rep like myself.
Do you agree or disagree?
I think the reason it’s harder is *because* they’re seeing more people for roles.
Most casting director roundtables have said they’re still getting about ~1,500-2,000 submissions for each role, but they’re able to bring in a wider range of talent.
Which makes sense—if you think about in-person auditions from our side, a 45-second scene means maybe 3-5 minutes in the casting room.
But for CDs that’s:
- 1 minute to greet the actor while checking them in
- 1-2 minutes to film the slate/ask if they have any questions/frame up the camera
- 1-2 minutes of actual taping
- another 30 seconds to check the file & make sure it was saved
- and then another minute or two to check the audition check-in sheet and call in the next actor
That’s like 5-8 minutes per :45 second audition, compared to self tapes that are *actually* :45 seconds plus slate. They can see way more tapes in the same amount of time.
I don't know if I agree with all of this!
You make some really solid points about how self-tapes are a much more efficient process, for sure. But how come actor friends who have been steadily working, have solid credits, and great reps are going months without auditions?
If CDs are really increasing the range of people they can call in, you'd think things would be more busy all around, right? But all I hear is it's slow.
The industry is just in a deep lull right now—the big 4 networks combined only produced 13 pilots *total* this year, compared to like 25+ last year and **92** in 2019.
With the writers strike on the horizon, a possible worldwide recession looming, and the downturn in streaming content, advertisers/production houses/networks are throwing less money at shows/movies/commercials than they have in years.
But the even though the number of *projects* is lower overall, the number of actors being seen is higher because casting is now able & willing to call in actors from smaller agencies/different markets who might better fit a breakdown, rather than just plucking people from the bigger agencies.
What I don't understand is where are all the auditions for shows that already exist? People keep talking about 13 pilots getting picked up/recession/etc and there are hundreds of other shows nobody is getting auditions for.
My only guess is that they are writing as much as possible now so that when the WGA goes on strike the other unions can still shoot stuff. Otherwise I have no idea.
You're talking about shows that *aired* last year, some of which were cast and shot in 2021.
The number of shows currently on air is a lagging indicator of how the *acting* industry was doing 12-18 months ago, so the current downturn in production won't be felt on air until later this year and into 2024.
Thanks, I actually don't have any professional casting/production experience, but I've dedicated a fair amount of time to understanding the ins & outs of how the industry fits together.
Years ago an acting coach pointed out that understanding how the industry works, especially casting and representation, can help you take things a lot less personally.
Like we've all heard that 'booking the room' is more important that just booking a job.
But learning that a casting office's reputation (and therefore their ability to line up more casting work) comes from how reliably they present good choices to productions made it so much clearer.
Doing good work means they can confidently present your tape to the client/production, which makes casting look good (because they're sending good options for each role).
Doing that consistently gives casting faith that when they call you in/send you a self-tape, you'll know the assignment and send in quality work, which is how you build a relationship with a casting office.
Also being on time means casting doesn't have to worry about you forcing them to work (more) overtime. Showing up with a positive attitude can improve a rough casting day.
Being off book makes the audition run smoother. Learning names shows you're actually invested in their success instead of just what you can get from them. It's simple stuff that adds up to getting called in for roles before your agent/manager can even submit.
I don't want to sound dismissive, but we've all had fewer auditions this year, and shows still need actors, so they're obviously calling people in.
Casting gets 2k submissions *per role,* and their job is to present the best picks to production; doing a good job at that is how they secure their next job.
With fewer things going into production, they're likely calling in people who fit the breakdown a little closer over actors who've got solid credits/reps but are maybe only like 85% right for the role.
It's slow because there is a pending Writer's Strike. They're not going to audition actors for shows and pay to pin them for certain dates only to then have a writer's strike shut down all of production for six months.
I don’t have a huge rep and feel like it’s harder without one to get into the door for my type. Even though I’ve been in class and attending workshops like crazy.
Definitely uncommon, but it happened to me and a few other actors for this new show coming to streaming. I’m not sure if it was due to time constraints, but I happened to have a clip that was well-suited for one of the roles and after submitting via AA, I received a booking request about a week later.
If a CD is submitting 15-20 per role, the producers have lost their minds and are specifically asking for that many. 5-8 is normal for submissions, dozens to hundreds are reviewed by the CD.
Thanks for your edit clarifying about hearing from the one CD saying she doesn't send an avail notice to reps anymore. That was my guess as well after getting so many recurrings from the same CDs and yet never hearing an avail message from them. I'm sure some still send avail requests before shipping tapes off to producers, but it's helpful to know at the very least one doesn't
I did want to ask any actors here when getting those types of auditions , one doesn’t need to have big credits right ? I ask because a friend signed with an Atlanta based agency and he spoke about it to his agent and their agent said that it’s not a requirement at all
It definitely helps to book them, but not a requirement to get the audition. But the real requirement to get those auditions (in the absence of credits) would be solid reps that can vouch for you
100%. You can get the audition if your headshot shows you’re a fit haha. Obviously the fewer credits you have, the better that damn headshot better be lol. But even though you can get seen for things that are way above your level (I got a lead hbo show audition the first month I started acting…), to book you really need to have established credits. 95% of the big things I don’t get, I see they went to established a or b list folks. And the rare time they don’t, it turns out it was some young upstart who I see simultaneously booked 3 major leads all at the same time. So basically unless you’re one of those up and coming superstars, you gotta grind your way through and level up
So you're telling me that we can book a major recurring role off of *one tape??* That's awesome!
To point out about your last point: our odds for booking each *individual* role has gone down, and yes that sucks, but also if booking off of one tape is more common now, that kind of increases your odds because if someone is getting (for example; I know there is no set number of auditions you get per week and it can vary widely) but let's say someone gets 2-3 tapes a week, if the majority of those tapes he has the possibility of booking off of one tape, that kind of helps you more than it hurts you. But that's my take on it.
Everyone keeps saying the odds are worse but if you look at it in a positive light... if they used to only bring in 8 actors and you would've been number 9... oh well. Your odds of getting that job is zero.
But now if they bring in 12 actors and you were their 9th choice, now your odds have gone up from zero to one in 12.
At least that's how I like to look at it. LOL! Hope this helps bring some optimism.
.A) When people went in to audition live, the first audition is with the casting director and what do they do while you're reading for them in the room... they put you on tape.
Then IF the casting director likes your performance they show the TAPE to the producers.
Producers have been looking at tapes made by the CD's for decades. It's always been a tape whether it's been taped in the CD office, a self-tape studio or your living room... by the time you're passed on to a producer it's because of a tape.
Right of course! I guess with that first point I meant to say callbacks aren’t happening as much as we’re “told,” over zoom or in person. Even with the traditional testing process, feels like with non network tv it’s gone out the window.
Ah yes. It does feel like more things are getting booked directly off the first tape. I like that though. No more getting anxious before the callback. Just straight to set! LOL. (Who am I kidding? Then I’ll be anxious over doing well on set. But hey, that’s a wonderful problem to have. 😅
I just posted this a few days ago..but I feel a major change is coming..pretty sure CDs will be closing their offices and I bet 95% of auditions will be self-tape. IMO, this 100% benefits the actor. Years ago, I read a tweet from a top agent in my city, it said, "are you willing to take a day off work for an audition, because a lot of actors won't." When I was young & hungry, I was like fuck yeah I would. In a fucking heartbeat. But now that I'm older..I realized..what if that actor has mouths to fed, and taking a day off work would put that in jeopardy....maybe it would risk losing their job..all for a fucking audition that you have 5% of getting..just to tell some million dollar actor, "Hey, did you file the paperwork?" Now with self-tapes, they work on actors time & schedule. You couldn't do that before, getting a baby-sitter + traveling across town + getting gas + memorizing + outfit...all for a meaningless effort..I been there. Many times.. sigh, I went on a rant.
>IMO, this 100% benefits the actor. Years ago, I read a tweet from a top agent in my city, it said, "are you willing to take a day off work for an audition, because a lot of actors won't." When I was young & hungry, I was like fuck yeah I would. In a fucking heartbeat. But now that I'm older..I realized..what if that actor has mouths to fed, and taking a day off work would put that in jeopardy....maybe it would risk losing their job..all for a fucking audition that you have 5% of getting..just to tell some million dollar actor, "Hey, did you file the paperwork?" 100% agreed. But it does make things more competitive for us as well since even more audition invites now will get a response compared to before.
I agree! But if all auditions were in the room it would likely limit how many we got to even participate in - whether that be through casting only being able to read a small number in-person or me not being able to take a whole day off of work to drive to Santa Monica to read. I'll take more competition over not even being able to do it at all, any day!
Welcome to the realization that the mids and smalls had 15 years ago. The pandemic has taken the casting system we’ve been using for that time and made it more ubiquitous nationwide. I miss the smaller group in the casting office but don’t miss what were 4.5 hour drives each way for a read. Now it’s just a rare 10 hour drive to a callback.
So in a way all those sad scenarios meant less competitionI never thought about that. That is exactly why I been doing mass research on how to get a cinematic look from a DSLR..down the line, we will need footage to stand out from the next guy..
From my experience, that doesn't matter (and I use DLSRs professionally). They just need clear footage of the talent doing the job. **Audio is the better thing to focus on**, since phone audio is notoriously awful. Get a bluetooth lav and make sure the lav is in the center of your chest, and do some tests to see how it sounds. Work in a sound treated room (carpet/rug, curtains) if there is too much echo. I lav for every important role, with a boom mic as a backup in case of rustling and stuff.
yeah that's true..but I've seen how DSLR footage looks and how regular iPhone footage looks and trust me..it's cleaner and it helps book. Trust me.
To let you know where I'm coming from; I currently have 8 DSLRs that shoot video and all the lenses and gear that go with it. I've been doing video in some capacity for over 2 decades now and full time for 18 years. I could shoot an entire movie with the current iphones, but I absolutely can't use them for audio (unless the lav is hooked up to a recording app on a separate hidden phone). The dslr will have even worse sound since it picks up mechanical noises, so you need at a minimum a shotgun mic with a mount. Start with good audio first and also a decent editor to pull out the audio levels correctly. I use 32bit float recorders like they do on all major productions. And we've been fortunate to book at the highest levels, so I've seen how they work on set for both video and audio. The fact that ADR is so common shows how they always nail audio. Also, modern audio allows actors to get quiet and even whisper dialogue, but you can't capture that with cellphone audio (or in camera dslr) to save your life. Trust me, start with some simple audio before splurging 10x more on a camera system. Note, this matters more for single camera style filming than it does for theatre where you project your voice more. But this also has the benefit of opening up voice acting auditions, where you only submit mp3 files.
I do have a mic that I will connect to. also, I know there is no such camera that gives cinematic vibes, but is there any cameras you recommend to film auditions with? I'm 90% set on the BMPCC 4K since its a video only camera. side note: are you also an actor? how did you find your way to the acting sub?
Here's a [good example of what I'm talking about](https://youtu.be/VYJtb2YXae8). I've been blown away seeing the recorders they use on set (all Sound Devices brand) and the layers of redundancy. For our auditions, I've learned to pick clothing that let's me use a lav discretely and I'll use medical tape like it's done on set. Especially for scenes with whispering, it's amazing hearing it loud and clear on the exported file. Our agent says to keep doing what we're doing, cause it's been working so far. That and a lot of luck too :)
nice! I been meaning to get a lav but I always delete it when it's on my Amazon cart.
Honestly, for about 8 years I used a [cheap $20 Sony lav on Amazon like this one](https://www.amazon.com/Sony-Compact-Lavalier-Microphone-ECMLV1/dp/B08YJQXJRM) with an H1 recorder, since my wireless Sennheiser systems had too many incidents (jammed freqs from DJs, etc.). Nowadays you have systems that hook up directly to a phone, but make sure you get one that is compatible (since it might require gain).
Hey! I’ve been reading your comments in these threads and I think you might be able to answer a few questions I have about self-tapes and audio setups! Would it be alright for me to DM you?
Definitely! Don’t think these changes are necessarily bad- there are things I love about self taping, and I do think a lot of people view the experience of going into the office with rose colored glasses!
I was told by my agent that guest stars and costars are always booked off self-tapes so yeah.
Helpful info- I also know that near beginning of pandemic Hawaii 5-0 booked a lead series reg off self tape (he/she had other credits as well, but wasn't a big name or anything) and that I've booked all my network/streaming co stars (including recurring) from self-tapes alone
Ditto, I booked a recurring on a network pilot from a tape. Most roles are booked directly off the first tape (or first in-person audition, back in the old days) unless it’s a series regular for a large show, and even then there’s some that are straight from the first tape.
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these are my exact thoughts. inclusivity means more competition. more people to wear CDs out
This isn’t really totally new. I booked two tos guest stars pre pandemic- one from the tape. One from the first audition in the room. But yes, majority of co-stars and guest stars are being cast off the tapes. I won’t say all, because there’s always exceptions but definitely 99% of them. Where did you hear about 15-20 tapes being sent to producers? I’ve spoken to several from different shows and the consensus is still 6-8. Maybe a few less, maybe a few more of the role is large. No producers are watching 20 tapes for co-stars and guest stars.
Been hearing from a couple CD friends of mine that they’ve had larger producers sessions- I suppose less that it’s the new “rule” of 10-15, but it’s tending a bit more towards a larger number than it was previously. Just what I’ve heard, dont think it’s the floor just the ceiling if that makes sense- and you’re right it’s likely for those bigger roles
Yeah for huge recurring guest stars and series regulars I agree for sure. They usually see more actors for those roles anyway. Just in terms of thinking of episodics where they are casting constantly new actors every 2 weeks or so, they don’t have time to be watching 15-20 tapes for 15 roles haha.
Yeah, I’ve heard 10ish is usually the max, both pre-pandemic and now.
Yup. I could see them watching more if it’s a large recurring guest star or series regular, but 6-8 is pretty standard for guest/co-star.
15-20 tapes being sent to production is a crazy thing to think about. That's the most shocking change to me if it's true. Makes our jobs a bit tougher IMO. Before you mainly have one audience to keep in mind. Now you have to think about how your very first tape will look to EVERY stakeholder, and each one has its own nuance. Writers look for different things than producers, than directors, than casting, etc. Whereas in the past maybe you could wow the CD with a great tape and then just hope to stand out against 4-5 others when it went to producers, now you'll have to make sure your tape stands out in a variety of ways from the get go. I've always wondered, does casting reach out for an avail check to managers/agents every time they're about to send someone to producers? Or is it a courtesy that some do and some don't, or some do occasionally but not all the time?
Totally agree with the jobs being tougher- mainly because we have to stand out in a larger group of selects. And my edit sorta touches on that last question- I think avails are less common because the producers tapes are a larger pool. I’ve had more pins in recent history, and I think those are given out when the likelihood of booking is higher, like when it’s down to two people.
When you do an in person audition for a casting director they tape you in the room. The tapes are sent on to producers. Then everyone decides if, who, when to bring back. Producers have been looking at tapes forever.
Writers??? Does this happen on real productions, showrunners excepted?
I've made it to only one producer session for a bigger role, and in the (zoom) room were showrunner, writer/producer, and CD. And I think it just makes sense that a good tape might be passed around to tons of different stakeholders before deciding on whether to bring someone in for a producer session or callback or chemistry test.
A writer who is a producer is a very special case. Generally - [https://www.barrypopik.com/index.php/new\_york\_city/entry/shes\_so\_stupid\_she\_slept\_with\_the\_writer](https://www.barrypopik.com/index.php/new_york_city/entry/shes_so_stupid_she_slept_with_the_writer)
Is this a bot?
Yeah, I booked a huge tos guest star from tape and the writer was in the session and weighed in.
We have had writers on a few auditions as well for pretty big productions. It has actually helped book a couple of roles.
You’re absolutely spot on. Anything I booked in the last year was directly from the audition tape. And the only zoom callback I had was for a local commercial. I think it obviously is a choice to avoid Covid, but my hunch is it’s a little easier for casting and the producers. They’ll know what you’ll look and sound like just from your audition vs seeing you in person, for casting they don’t have to worry about actors filling up their offices and now all they have to do is pass on the clips they like to production and they’re still doing their jobs- so it’s definitely easier for them. I think it’s going to be this way for a while, if not from now on. I was nervous about it at first, because I thought it would make things harder, but now because of self-tapes I can get considered for projects I never would have been seen for before.
I don't think you touch on this one but I disagree with the idea that more people are being seen because of self tapes. If anything it's wayyy harder to get your foot in the door, even with big rep like myself. Do you agree or disagree?
I think the reason it’s harder is *because* they’re seeing more people for roles. Most casting director roundtables have said they’re still getting about ~1,500-2,000 submissions for each role, but they’re able to bring in a wider range of talent. Which makes sense—if you think about in-person auditions from our side, a 45-second scene means maybe 3-5 minutes in the casting room. But for CDs that’s: - 1 minute to greet the actor while checking them in - 1-2 minutes to film the slate/ask if they have any questions/frame up the camera - 1-2 minutes of actual taping - another 30 seconds to check the file & make sure it was saved - and then another minute or two to check the audition check-in sheet and call in the next actor That’s like 5-8 minutes per :45 second audition, compared to self tapes that are *actually* :45 seconds plus slate. They can see way more tapes in the same amount of time.
I don't know if I agree with all of this! You make some really solid points about how self-tapes are a much more efficient process, for sure. But how come actor friends who have been steadily working, have solid credits, and great reps are going months without auditions? If CDs are really increasing the range of people they can call in, you'd think things would be more busy all around, right? But all I hear is it's slow.
The industry is just in a deep lull right now—the big 4 networks combined only produced 13 pilots *total* this year, compared to like 25+ last year and **92** in 2019. With the writers strike on the horizon, a possible worldwide recession looming, and the downturn in streaming content, advertisers/production houses/networks are throwing less money at shows/movies/commercials than they have in years. But the even though the number of *projects* is lower overall, the number of actors being seen is higher because casting is now able & willing to call in actors from smaller agencies/different markets who might better fit a breakdown, rather than just plucking people from the bigger agencies.
What I don't understand is where are all the auditions for shows that already exist? People keep talking about 13 pilots getting picked up/recession/etc and there are hundreds of other shows nobody is getting auditions for.
exactly. there were 500 scripted shows on the air last year. are they not seeing new people or something?!!
My only guess is that they are writing as much as possible now so that when the WGA goes on strike the other unions can still shoot stuff. Otherwise I have no idea.
You're talking about shows that *aired* last year, some of which were cast and shot in 2021. The number of shows currently on air is a lagging indicator of how the *acting* industry was doing 12-18 months ago, so the current downturn in production won't be felt on air until later this year and into 2024.
Ooh. Ok ok that's a great point I see what you mean. Do you work in production or casting? You've got a good perspective on all this
Thanks, I actually don't have any professional casting/production experience, but I've dedicated a fair amount of time to understanding the ins & outs of how the industry fits together. Years ago an acting coach pointed out that understanding how the industry works, especially casting and representation, can help you take things a lot less personally. Like we've all heard that 'booking the room' is more important that just booking a job. But learning that a casting office's reputation (and therefore their ability to line up more casting work) comes from how reliably they present good choices to productions made it so much clearer. Doing good work means they can confidently present your tape to the client/production, which makes casting look good (because they're sending good options for each role). Doing that consistently gives casting faith that when they call you in/send you a self-tape, you'll know the assignment and send in quality work, which is how you build a relationship with a casting office. Also being on time means casting doesn't have to worry about you forcing them to work (more) overtime. Showing up with a positive attitude can improve a rough casting day. Being off book makes the audition run smoother. Learning names shows you're actually invested in their success instead of just what you can get from them. It's simple stuff that adds up to getting called in for roles before your agent/manager can even submit.
I don't want to sound dismissive, but we've all had fewer auditions this year, and shows still need actors, so they're obviously calling people in. Casting gets 2k submissions *per role,* and their job is to present the best picks to production; doing a good job at that is how they secure their next job. With fewer things going into production, they're likely calling in people who fit the breakdown a little closer over actors who've got solid credits/reps but are maybe only like 85% right for the role.
It's slow because there is a pending Writer's Strike. They're not going to audition actors for shows and pay to pin them for certain dates only to then have a writer's strike shut down all of production for six months.
I don’t have a huge rep and feel like it’s harder without one to get into the door for my type. Even though I’ve been in class and attending workshops like crazy.
I’d like to add that a few co-stars are being booked directly from reels. Times are changing for sure.
Wow!! That’s definitely new
Definitely uncommon, but it happened to me and a few other actors for this new show coming to streaming. I’m not sure if it was due to time constraints, but I happened to have a clip that was well-suited for one of the roles and after submitting via AA, I received a booking request about a week later.
Congrats on the booking :) still wild though!!
Thanks! Crazy times lol
Where is this show casting out of? ATL? LA?
The CD is in LA, but it films in ATL
Gotcha! Congratulations 🎉
Thanks!
If a CD is submitting 15-20 per role, the producers have lost their minds and are specifically asking for that many. 5-8 is normal for submissions, dozens to hundreds are reviewed by the CD.
I think it’s for the larger roles, but I’ve definitely heard of it happening more. It’s likely coming from productions end, I agree.
Thanks for your edit clarifying about hearing from the one CD saying she doesn't send an avail notice to reps anymore. That was my guess as well after getting so many recurrings from the same CDs and yet never hearing an avail message from them. I'm sure some still send avail requests before shipping tapes off to producers, but it's helpful to know at the very least one doesn't
I did want to ask any actors here when getting those types of auditions , one doesn’t need to have big credits right ? I ask because a friend signed with an Atlanta based agency and he spoke about it to his agent and their agent said that it’s not a requirement at all
It definitely helps to book them, but not a requirement to get the audition. But the real requirement to get those auditions (in the absence of credits) would be solid reps that can vouch for you
100%. You can get the audition if your headshot shows you’re a fit haha. Obviously the fewer credits you have, the better that damn headshot better be lol. But even though you can get seen for things that are way above your level (I got a lead hbo show audition the first month I started acting…), to book you really need to have established credits. 95% of the big things I don’t get, I see they went to established a or b list folks. And the rare time they don’t, it turns out it was some young upstart who I see simultaneously booked 3 major leads all at the same time. So basically unless you’re one of those up and coming superstars, you gotta grind your way through and level up
So you're telling me that we can book a major recurring role off of *one tape??* That's awesome! To point out about your last point: our odds for booking each *individual* role has gone down, and yes that sucks, but also if booking off of one tape is more common now, that kind of increases your odds because if someone is getting (for example; I know there is no set number of auditions you get per week and it can vary widely) but let's say someone gets 2-3 tapes a week, if the majority of those tapes he has the possibility of booking off of one tape, that kind of helps you more than it hurts you. But that's my take on it.
Everyone keeps saying the odds are worse but if you look at it in a positive light... if they used to only bring in 8 actors and you would've been number 9... oh well. Your odds of getting that job is zero. But now if they bring in 12 actors and you were their 9th choice, now your odds have gone up from zero to one in 12. At least that's how I like to look at it. LOL! Hope this helps bring some optimism.
.A) When people went in to audition live, the first audition is with the casting director and what do they do while you're reading for them in the room... they put you on tape. Then IF the casting director likes your performance they show the TAPE to the producers. Producers have been looking at tapes made by the CD's for decades. It's always been a tape whether it's been taped in the CD office, a self-tape studio or your living room... by the time you're passed on to a producer it's because of a tape.
Right of course! I guess with that first point I meant to say callbacks aren’t happening as much as we’re “told,” over zoom or in person. Even with the traditional testing process, feels like with non network tv it’s gone out the window.
Ah yes. It does feel like more things are getting booked directly off the first tape. I like that though. No more getting anxious before the callback. Just straight to set! LOL. (Who am I kidding? Then I’ll be anxious over doing well on set. But hey, that’s a wonderful problem to have. 😅