When actors forget it’s a job, it can have surprisingly wide-reaching effects.

Any form of acting requires collaboration. If you are using acting as therapy or as a reflection of your worth, you won’t be able to be a team player. It’s difficult to trust a castmate who is ultimately in it for ego or a mental health outlet.

Besides, how it feels doesn’t always translate to how it looks. You can be pouring your heart out on stage, really feeling the moment, but if you are focused on your internal experience, oftentimes you won’t be listening to your castmates, much less reaching the audience. If it’s all about how it feels for you, you can’t be a supportive participant in lifting up the story.

Audiences are smarter than most give them credit for. They can tell when an actor is there to feel the story, rather than tell the story. They will disengage.

Such an outlook is not sustainable anyway. If you are putting your whole self on the line and at the mercy of the industry, you will burn out, and end up phoning in work that you could have otherwise invested in.

Besides the quality of the storytelling, the industry suffers when we don’t treat it like a career. Recent strikes have been a testament to what happens when those in power get used to taking advantage of artists because ‘they should be grateful for the opportunity’ or ‘they’re getting exposure.’

Healthy work boundaries don’t mean you aren’t passionate about the art. Refusing to suffer for the sake of the story does not diminish your work. And when the acting community acknowledges that it is a workplace that needs to be accountable for the safety of their workers, we end up lifting each other up and advocating for those who are less able to. Ultimately, the storytelling can only get better when we treat the storytellers with the respect they deserve.

Casting directors use Casting Networks every day to discover people like you. Sign up or log in today to get one step closer to your next role.

You may also like:

• What’s Casting: Vogue Commercial with Major Auto Brand, Goose Creek Candle, badboyboards
• Legendary Casting Director John Papsidera Talks ‘Lessons in Chemistry’ and More
• Remember, Acting is a Job, Part 1: Who You Are vs. What You Are

The post Remember, Acting is a Job, Part 2: Theatre, Not Therapy first appeared on Casting Networks.

The post Remember, Acting is a Job, Part 2: Theatre, Not Therapy appeared first on Casting Networks.

If you’re starting your voice acting career and have your home recording studio all set, you can look into filling it with the voiceover gear you’ll use to record. These items include your microphone and cables, interface, laptop and the recording software or Digital Audio Workstation (DAW) you’ll be using.

That said, there are some nuances to these items that aren’t always clear to new voice actors.

To help save you time and money, here’s a quick rundown of the equipment you’ll need, as well as some helpful insights about each piece of gear.

Laptops for Voiceover

As mentioned in our article on building a home voiceover studio, your goal is to eliminate as much noise as possible from your recording. When choosing a laptop to record your voiceovers, aim for a fanless model (the MacBook Air is a safe choice).

Here’s why a fanless laptop is the way to go: The area you’re going to record in will probably get hot, especially if your booth is a modified walk-in closet. Your laptop will heat up due to the amount of processing power, causing the fan to kick in. The noise from the fan will then find its way into your recording, making it unusable for your clients.

If the laptop you’re using already has a fan and you can’t switch to a fanless laptop, see if you can turn the fan off when you’re recording.

VO Mic Check

When looking into microphones for voiceover, make sure your microphone of choice is using an XLR input. Many new and aspiring voice actors assume they can use USB microphones for voiceover work to save money. Unfortunately, the direct USB connection signal will mess with your recording quality and you won’t book jobs.

The microphone you need depends on your space and budget. The best microphones for voiceover are high-directionality or condenser microphones because they’re designed to capture the sound in front of them, bringing out more life from vocals.

The best microphones on the market are the Neumann TLM100 series condenser microphones (the TLM 103 is a big favorite in voiceover circles) and the Sennheiser MKH-416 shotgun microphone (also a favorite). However, these are expensive and are not necessary to compete with other working voice actors. There are plenty of budget options that can handle the job just fine, such as the RØDE NT1 or the Synco D2.

As for XLR cables, any brand will work. Many voice actors swear by their Mogami Gold or Mogami Platinum cables, but you don’t have to spend $50-$100 or more on a cable to have a great recording. You’re better off investing the cash in other pieces of equipment when you’re on a limited budget.

Voiceover Interfaces

Your interface is a bit more simplified than your microphone. This is the device you’ll be plugging your microphone into for your voiceover recordings. Just make sure it has 48V phantom power and it should be OK. Like microphones, there are top-of-the-line options such as the Universal Audio Apollo Twin series, but something more modestly priced, like the Focusrite Scarlett or the SSL2, will work on a budget.

Recording Software for Voice Actors

This is the tool that you’ll be recording with on your laptop, as well as editing said recordings, and the Digital Audio Workstation (DAW) selection process is simpler than your interface. You can choose to pay monthly subscriptions for DAWs, such as Adobe Audition, or buy them outright like Reaper, Logic Pro or TwistedWave. There are also free options available such as Audacity or GarageBand if you’re a Mac user.

Choose whichever one makes the most sense to you and learn it.

Testing Your Gear

Once you’ve got everything lined up, test your recording space! You want your studio noise floor to be at -60dB to pass the sniff test. The studio noise floor is the quietest level you can record at. Your noise floor is a total of all unwanted sounds on the recording that you can’t remove, such as hiss, hum etc.

When recording, test your levels so that your voice falls between the -18dB and -6dB range. Be sure to avoid clipping, where you exceed the maximum recording levels your program can handle (most DAWs will have a setting you can toggle on and off to avoid clipping).

Sound engineers can help you with any modifications you may need for your home studio, as well as helping you learn your DAW. Some can help you create presets in your DAW so that you can set it, forget it and hit record without any concerns for your sound.

When it comes to grabbing your voiceover gear, the essential items you’ll need are your microphone, XLR cable, recording interface and DAW. There are subtle things to know about each piece of equipment, as well as budgets to keep in mind, but knowing is half the battle. Once you’ve got an understanding of what you need for your situation, getting the right gear is easy!

When you’re ready to record, be sure to test your gear to ensure your home studio sounds professional. If anything seems off, ask a sound engineer for help.

Voice acting casting calls and auditions are added to Casting Networks daily. Get in your booth and start auditioning today!

You may also like:

• Remember, Acting is a Job, Part 2: Theatre, Not Therapy
• What’s Casting: Vogue Commercial with Major Auto Brand, Goose Creek Candle, badboyboards
• Legendary Casting Director John Papsidera Talks ‘Lessons in Chemistry’ and More

The post Key Equipment for Recording Your Voiceover Projects at Home first appeared on Casting Networks.

The post Key Equipment for Recording Your Voiceover Projects at Home appeared first on Casting Networks.

The first problem with tying your identity to your career is that it creates an imbalanced power dynamic. If others hold the keys to your identity you are not in the driver’s seat. The roles you get will always feel like a reflection of your worth. You will end up pushing yourself past your boundaries (if you set any at all) in pursuit of the idealized career you’ve created in your head.

This attitude encourages and enables the abuse of that dynamic. If you are not treating acting like a job, it creates an environment where you’re more likely to agree to work for free, overlook toxic work practices and even agree to do physically dangerous things for the sake of the art. You will be less likely to speak up. Unfortunately, many a director and artistic directors out there are keenly aware of this dynamic and will push actors far past the bounds of professionalism because they know how terrified actors are of losing any opportunity.

There can be no work/life balance when your work defines your life. Every dip in your career will dominate the rest of your life, putting a strain on relationships and a lens through which you interpret all outside experiences. There have been times in my career where I would have thought Fine. I don’t need anything else but this work. It’s the most important thing to me. But there has to be more. You cannot bring your best self to work onset or on stage if you are not investing in your life outside of acting.

Furthermore, if you take everything as a reflection of yourself it puts your self-esteem in a very precarious position. The rejections will feel like measures of your worth instead of part of the numbers game. Your resiliency will suffer. It puts you at risk of becoming jaded, bitter, or reluctant to take artistic risks for fear of failure.

Aside from your mental health, the more you are wrapping up your sense of self with your success as an actor, the less you will be able to be a supportive cast mate. If you’re in it for you, you have a skewed view of the project, and the work will suffer.

For example. I recently auditioned for a show I knew I was too emotionally invested in. While I booked the show, it was an ensemble track I didn’t feel as confident in, and none of the roles I was hoping for. If I had taken that personally, it would have been easy to say, “Well if I didn’t get exactly what I wanted, I won’t be part of it at all.”

But you know what? It was a job. I needed the money. I liked the people attached to the project. Parts of it were outside my comfort zone, but it started looking like an opportunity to learn. Separating my sense of worth from the casting let me enter into the project with genuine excitement, curiosity and drive to do my best. And the paycheck allowed me to sign up for training I wouldn’t have been able to afford otherwise.

That’s the counterintuitive part of this equation. If you don’t pour all of yourself into your career, you’ll have the clarity and energy to accept more opportunities.

Casting directors use Casting Networks every day to discover people like you. Sign up or log in today to get one step closer to your next role.

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The post Remember, Acting is a Job, Part 1: Who You Are vs. What You Are first appeared on Casting Networks.

The post Remember, Acting is a Job, Part 1: Who You Are vs. What You Are appeared first on Casting Networks.

Before 2020, most voice actors relied on their local recording studios as the place to get their work done. Once the world began to lock down, studios shut down, and voice actors who already had home recording studios began getting the lion’s share of the work. With no end to the pandemic in sight, voice actors who didn’t have home recording studios adapted.

Now, it’s standard to have a home recording studio, as most of the work is done from voice actors’ personal booths. If you’re new to voiceover, setting up a home recording studio can seem like a daunting and expensive task.

If money and space aren’t concerns, you can always invest in home booths, such as a WhisperRoom or Studiobricks and be set, but if that is out of reach, there are plenty of budget-friendly and creative ways to build your home studio.

A very important tip for new and aspiring voice actors: your home studio should come before buying your gear and after your training. For more steps to navigate your voiceover career, check out Casting Networks’ Guide To Getting Started as a Voice Actor.

Here’s a quick rundown of what you need to know when it comes to building your booth:

Finding the Right Space for Your Home Studio

Your home recording studio starts with finding the proper space to sound treat it to get the least amount of noise when recording. Spaces can range from a carpeted room with no windows to a walk-in closet. Find the quietest place you can and start mapping out your booth.

A Note About Soundproofing

Soundproofing does not exist. Sound engineers hate this term for that reason. Soundproofing means you are eliminating all sound, which is impossible. Even the quietest professional recording studio will always have some sound waves bouncing off the walls.

The term you want to use is sound treating, which is the art of making your space as quiet as possible so that you can deliver a broadcast-ready voiceover recording.

How to Sound Treat Your Home Recording Studio

To treat the sound of your home voiceover booth construction site, you’ll want to grab materials to help absorb the sound so that less can reverberate around the walls of the booth. You’ll want to cover every surface—mainly the floor, walls, ceiling, corners and door.

Materials you’ll need to use are acoustic foam panels to cover your walls, ceiling and corners (corner wedges are called bass traps) to pad out your space. Heavy moving blankets can help with door frames and provide an extra layer of coverage. This combination works best for walk-in closets, where clothes on hangers can also help with sound absorption.

Larger spaces can use sound-absorbing panels instead of, or in tandem with acoustic foam panels. To cover the floors in both situations, carpeting, such as a shag rug, will do the trick.

Another option for larger spaces is to build a booth with PVC pipes, clamps and heavy moving blankets (voiceover legend Dee Bradley Baker has an extensive guide on building out a PVC booth).

For voice actors looking to start their journey, a home recording studio is essential for your career. When it comes to building it out, several options can work depending on your space, ranging from a walk-in closet booth to a PVC pipe booth.

Here’s a quick list of the items you’ll need to build out and sound treat your home studio:

• Acoustic foam panels or sound-absorbing panels for larger spaces
• Bass traps for corners
• Heavy moving blankets
• Carpeting, such as a shag rug
• PVC pipes (for larger spaces)

If you’re unsure of which home studio setup works best for you or how it’s going, ask a sound engineer. Many offer their services to help voice actors with their setup.

Voice acting casting calls and auditions are added to Casting Networks daily. Get in your booth and start auditioning today!

Casting directors use Casting Networks every day to discover people like you. Sign up or log in today to get one step closer to your next role.

You may also like:

• The Art of Silent Expression: Acting Without Words
• Fight Director Benedetto Robinson Gets into the Nitty Gritty of Fight Choreography, What it Means to Be an Actor Combatant
• Fincannon & Associates’ Kimberly Wistedt, CSA Talks Casting Netflix’s ‘Outer Banks’ and Atlanta’s Amazing Brunches

The post Home Studio Building Essentials for Voice Actors Everywhere first appeared on Casting Networks.

The post Home Studio Building Essentials for Voice Actors Everywhere appeared first on Casting Networks.

The Power of Silence in Acting

Quietness should not be mistaken for a lack of connection; rather, it serves as an alternative means of connection. Regarding performance, silence can carry more weight than spoken language. It enables actors to communicate the complexity of their characters’ feelings, ideas and motivations through gestures, posture and eye contact. Through silence, a sense of unease can be built, secrets can be unveiled and compassion can be stirred in manners that words may struggle to achieve.

Techniques for Mastering Silent Expression

Observation and Imitation

One of the first steps in mastering silent expression is to observe people in real life. Notice how they communicate without speaking, how their emotions are reflected in their facial expressions and body language. Imitate these observations in front of a mirror or record yourself to analyze and improve.

Physical Awareness and Control

Mastering silent acting demands a keen sense of physical mindfulness and mastery. Engage in various body control practices like yoga, dance or mime to refine your skills. These pursuits will enable you to communicate emotions and intentions through gestures and movements.

Facial Expressions

The face is a powerful tool for silent expression. Enhance your ability to convey a spectrum of emotions like happiness, sorrow, rage, astonishment and more through deliberate practice in front of a mirror. Pay close attention to the eyes, eyebrows, lips and forehead to master the art of expressing various feelings without uttering a single word.

Eye Contact

It’s commonly believed that the eyes serve as a gateway to one’s innermost self. In silent performance, establishing and sustaining eye contact with your fellow actor or spectators can establish a profound bond and communicate a wide range of feelings. By mastering the art of maintaining eye contact, one can effectively convey sentiments such as affection, animosity, apprehension or resolve.

Subtext and Inner Monologue

Understanding the subtext of a scene or character is crucial in silent acting. Develop an inner monologue for your character, even if you’re not speaking. This will help you stay in character and convey the right emotions through your non-verbal cues.

Breathing Techniques

Your breathing pattern can greatly influence your ability to express emotions silently. Practice different breathing techniques to convey calmness, anxiety, anger or sadness. Controlled breathing can also help you maintain focus and presence on stage.

The Impact of Silent Expression

On the Actor

Actors who have mastered the art of silent expression are able to delve into the intricacies of their craft. This skill compels them to communicate intricate emotions and stories without the use of words, prompting them to gain a profound insight into their characters and the narrative. Additionally, it broadens their capabilities as artists, allowing them to embrace diverse roles and excel in various genres of theater or cinema.

On the Audience

For the audience, silent expression can create a more immersive experience. This skill compels actors to communicate intricate emotions and stories without the use of words, prompting them to gain a profound insight into their characters and the narrative.

Mastering the skill of conveying emotions without words demands a profound comprehension of the role, adeptness in managing and shaping one’s body language, and a powerful bond with the spectators. As the legendary actor Charlie Chaplin once said, “Words are cheap. The biggest thing you can say is ‘elephant’.” Sometimes it’s the silent moments that speak the loudest.

Casting directors use Casting Networks every day to discover people like you. Sign up or log in today to get one step closer to your next role.

You may also like:

• Fincannon & Associates’ Kimberly Wistedt, CSA Talks Casting Netflix’s ‘Outer Banks’ and Atlanta’s Amazing Brunches
• Fincannon & Associates’ Kimberly Wistedt, CSA Talks Casting Netflix’s ‘Outer Banks’ and Atlanta’s Amazing Brunches
• What’s Casting: Frankincense & Myrrh, Tech Brand Campaign, Major Skincare Brand Commercial

The post The Art of Silent Expression: Acting Without Words first appeared on Casting Networks.

The post The Art of Silent Expression: Acting Without Words appeared first on Casting Networks.

He uses Casting Networks regularly, and is taking full advantage of our Role Tracker feature, which lets Premium members know exactly where their submissions stand in the process while helping performers gain insights to help shape and refine their submission strategies.

Pollak took time to share submission strategies for Casting Networks while giving us nuggets of wisdom for how he’s been able to sustain a 20-year acting career.

How did you decide to become an actor?

I liked attention, I guess. I know that sounds crazy, but I remember going back to the kindergarten graduation recital. Some kids were the A, the B, the C, the D, and I was the Z. I remember hearing the “Awwww” from the kindergarten graduation audience when I said “Z is for…ZHAT’S ALL!”

It was definitely the beginning of me knowing how to get a laugh, which of course was further cultivated and reinforced with seeing Joan Rivers at the makeup counter with Miss Piggy in The Muppets Take Manhattan. I never stopped talking in class, and was oftentimes in trouble, because I was usually trying to amuse and entertain my classmates rather than paying attention.

How did you first discover Casting Networks?

Oh, gosh, when I first got to LA in 2006. I was living at my parents in the New York City suburbs a couple of years after college, and then moved to California. Of course, I was very lucky. I got a very strong commercial agent and manager very quickly. They were like, “Oh, [sign up with] Casting Networks.” So, I just set it up.

What successes have you found on Casting Networks?

This is a good one. It was over the holidays several years ago, maybe five years ago. I submitted myself for Honda. It was one of the worst auditions I think I’d ever had in my life. They were seeing 17 roles in four different spots. You had to be there at a certain time and they kept you waiting anyway. I walked out of there thinking, “That was awful.” I got the callback and I had it sent to my agent. He said, “If you get this, I’m not taking a commission, because I didn’t submit you.”

I got the job and it was cut into, I think, four spots. Scale-and-a-half because it was English and Spanish. It only aired for maybe a month. The conflict was one 13-week cycle, but that was pretty honorable of him [my agent].

Photo courtesy of Stephen Pollak.

What do you find about Casting Networks to be the most helpful?

It used to be a little dicier to try to change pictures. If you wanted to update, you’d have to go down to 200 South La Brea and bring the disk or the hard copy. I don’t remember exactly when it shifted, but just the ability to upload photos, willy nilly, so to speak, whenever you feel like it or delete some, add some [is great]. Now, of course, you could take a selfie. You can send that and submit that and it’s amazing. It eliminates a lot of the legwork. I love that.

My other favorite feature about Casting Networks is the ability to upload auditions anytime from anywhere. While I still really do miss many aspects of the in-person casting experience, the ease of being able to self-produce at home is incalculably beneficial.

I also love Role Tracker because you really are able to track which pictures might be working for certain roles. I love this new feature where when you submit, it’s gray. If it’s been selected, it’s yellow. Then if you’ve been under consideration, you’re green. You can see, “Oh, that picture isn’t really getting selected. Let me try this one,” and then it gets selected. That doesn’t mean you got the job or even got the audition, but somebody clicked it because it popped. I know that’s fairly new, but I think it’s a great feature.

Do you have any tips or advice for other members on how they can get the most out of Role Tracker?

Experiment. I would also say take one extra step and write down which picture you may have submitted for which role, and then go back at a later date. I’m not saying every day in real time or throughout the day in real time, but just keep tabs on what may or may not be working.

What’s the benefit of submitting yourself to projects when you also have a talent rep submitting you for projects as well?

For me, it makes me feel proactive. I like to feel I’m in control of my own destiny [without] leaving it to someone else to take care of it, when you may be competing within the agency for the slots. Your agent may not have as strong of a relationship with that casting director as you do.

Because I’ve been here so long, I have some casting directors that I can reach out to directly that will send me the appointment without even having my agent submit me. It just creates relationships. I mean, there’s many talent reps, agents and managers, there’s many casting directors and everybody can’t be best friends with everybody and not everybody can get called in for everything.

Whatever you can do as an actor to be proactive, which A: is going to make you feel like you’re doing something for yourself each and every day, sometimes multiple times throughout the day, depending on your category and what’s going on casting-wise. And B: it’s going to fill in the gaps where you might fall through the cracks.

Photo courtesy of Stephen Pollak.

What would you say helps somebody succeed on Casting Networks?

I lifted this from an acting teacher I had once upon a time: “Guys, it’s not brain surgery. It’s just acting. Nobody is gonna die.” So have fun and don’t take anything too seriously. Easier said than done, I know. But it works.

As long as it’s on the up-and-up, say yes. Submit to everything. You decide if you’re willing to do paying or non-paying work and what your goal is. [For example,] if your goal is to get tape to build up your theatrical reel, you can focus more on the non-paying, short films, webisodes, etc. If your focus is to get into the union, you might focus on becoming a stand-in on something where they might give you a voucher.

I would say you want to get on-set as much as possible, because nobody learns how to head a mark, in my opinion, in any other place than being on a set. You’ve got to think about what it is you want and you probably want to be on a set.

Once you have all the materials ready, the headshots or the selfies that look like headshots and you’ve filled out your resume, make sure you have Talent Scout® filled out. Whatever you’re looking for, make sure that’s reflected in Talent Scout because [talent agents and managers] are looking.

Realize that this takes time. I’ve been at this for 20 years. You move out here and you think, “Oh, I’m going to be this and this.” Careers have ebbs and flows. Maybe one day you’re the principal on some big campaign, and then six months later or the following year, you’re trying to get a day of background just to make your insurance or your pension credit. It’s okay.

You’re not more of a success because of one, or less of a success because of another. We’re here. We’re living the dream. Be grateful for every opportunity you have. Create as many opportunities as you can. Make sure the photos are updated. Track your submissions with a little log, diary kind of thing. See what’s working, see what isn’t and submit away.

And never, ever give up your day job/side hustle—even if and when you have a great year financially as an actor! I’ve been a lifeguard and swim instructor forever, and I don’t ever plan on stopping. It affords me a sense of self-reliance, enriches my life as it is a “service” profession and gives me something to do during off/down/slow times.

This interview has been edited and condensed for clarity.

Give Role Tracker a try! Log in or sign up for Premium today!

You may also like:

• Work Begets Work — The Power of Creating Your Own Projects
• Acting Up: Noomi Rapace’s Interstellar Performance on Apple TV+’s ‘Constellation’
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The post Success Story: How Stephen Pollak Uses Role Tracker to A/B Test His Casting Networks Wins first appeared on Casting Networks.

The post Success Story: How Stephen Pollak Uses Role Tracker to A/B Test His Casting Networks Wins appeared first on Casting Networks.

You can be doing all the right things (auditioning, updating media, training, etc.) putting yourself out there and you still won’t be able to break through. These times can be incredibly discouraging. However, when you aren’t being given the gigs you want, it can also be a great opportunity to create them yourself.

Take a Creative Detour With Side Projects

If you’ve been hammering away at one thing with no luck, it might be time to try a detour. Side projects such as podcasts can be a great way to channel your energies into something that feels fulfilling and reinvigorating. I know I often have projects, scripts or submissions left unfinished during busy times that I’m always meaning to get back to. The lean times can provide a great space to resurrect these.

If you can’t seem to create your own acting opportunities, try fostering another creative skill. It’s easy to get trapped in the mindset of feeling like a failure if you’re not getting consistent work in your specific niche.

The best part about the arts is being able to wear so many hats. What area of the arts have you always been interested in? Maybe it’s time to try writing, directing, producing or camera work. Learning a new trade as you create your own opportunities can be a great way to make new connections and learn more about yourself as an artist.

Create for Yourself

There is so much pressure on artists to be productive and monetize every craft and hobby. However, creative pursuits that are solely for pleasure are important. When you’re feeling like you’re in a creative rut, you need to reawaken your passion and drive by connecting to what you love. Take the pressure off and do something creative that is just for you.

This is the time to indulge your inner creative child. Sketch, do karaoke, write fanfiction or whatever brings you joy. Whether collaborative or on your own, it can be immensely freeing and inspiring to produce work that is simply fun, free of deadlines or critiques. It might lead you down some interesting roads, or it might just shake things up enough to create some momentum in your career.

Oftentimes, artists are made to feel that any unpaid project isn’t worth their time. And while I do not recommend undervaluing your time and talent, putting energy into creating your own work is not wasted.

The creative fulfillment, success and connections made during these passion projects often lead to unforeseen opportunities. Even if they provide new perspective and confidence, they can be well worth it. Work begets work. Don’t wait for permission to create.

Casting directors use Casting Networks every day to discover people like you. Sign up or log in today to get one step closer to your next role.

You may also like:

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• How Christopher Ian Bennett Took a Marketing-Driven Approach to Start HectiQ Artists Talent Management
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The post Work Begets Work — The Power of Creating Your Own Projects first appeared on Casting Networks.

The post Work Begets Work — The Power of Creating Your Own Projects appeared first on Casting Networks.

But today we’re talking about those times when back pocket options won’t work (or you just don’t have them. How do you pick a piece when the thought of singing in an audition fills you with dread? Here are some things I’ve found helpful to keep in mind.

What if I don’t know my voice type?

If you’re unsure of your voice type, there are multiple videos on YouTube and elsewhere that can offer you a pretty good idea based on your vocal range. Just sing along with the vocalization exercise, drop out when it is no longer comfortable, and make note of your top and bottom notes.

How do I choose a song?

Recently I had to choose a song for an audition on fairly short notice. I had the perfect idea–it showcased my range, it was funny, and it was in a style I knew the music director would like. But the more I looked at it, the more I realized it was going to require a lot of work. Changing keys, awkward cuts to fit in time, and a lot of intense rehearsal in order to get the gag of it precise. Far more work than I had time for.

Additionally, I was already nervous about this audition and getting in my head. There were a number of other demands on my preparation time (sides, playing an instrument, stage combat) that I felt better showcased me, and I couldn’t afford to devote the time to the song that it would require in order to be good. So I pivoted.

I chose a song that I had mentally deemed “wrong” on paper (didn’t show a ton of range, played against the type I thought this director would see me as, etc.) But what was right about it was that I could sing it in my sleep, I felt confident with it, and I loved the song itself. Ultimately it was the right choice for me. The audition went well, I booked, and it opened up new possibilities for myself as a singer.

So often I think when we try to apply the rules that we learn in college, in classes, from talking to industry folks, it can be constricting. This is not to say these pillars don’t have value. But many times they are better as foundational tenets than defining structure. I had spent so many auditions limiting myself, choosing songs that followed the “rules” and that honestly didn’t resonate with me or feature my most comfortable voice type. Putting that aside was liberating, and supported a better performance.
Ultimately showcasing you might not fit neatly in the boxes we are taught to identify as young actors. And that’s all right.

So, if you don’t consider yourself a singer primarily, and you don’t know the right song to choose, choose the song that feels like you, that you’re passionate about, and that you can sing well. Leave the rest up to the fates and the casting directors.

Casting directors use Casting Networks every day to discover people like you. Sign up or log in today to get one step closer to your next role.

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The post Choosing an Audition Song: Advice for Non-singers first appeared on Casting Networks.

The post Choosing an Audition Song: Advice for Non-singers appeared first on Casting Networks.

We asked Casting Networks members to tell us how they get ready for a new role, and we received many responses that piqued our interest and helped us understand your process. Here are some of our favorites:

After reading through the script and reading any descriptors of the character in the script, I think about the people I know (starting with me).

Do I know anyone like this character? How does she talk or dress? Is she patient or impatient? What happened to her in the scene? Is she mad about something? Why?

I explore all of that (credit to acting coach Peter Frisch of The Frisch Approach).

— Serilda F. Goodwin

I try to get any information regarding my character from the casting call, establish who I am in relationship to the rest of the cast, the story and my goals in the scenes. I work through my sides and have as much fun with it [as possible] so I’m always loose.

— Gerardo Davila

In preparing for a new role, I take the time to read the full script (if available) to find out the world my character lives in. Once I know that, I break down the specific scenes/sides using script analysis. This helps me with the choices I make and need to know to bring my character to life.

— Monanik Dugar

Learning the lines as though they are my personal words. Sometimes scripts are hard because they use words I wouldn’t. I focus hard to deliver the script as it would sound as delivered by the character I’m portraying. Being able to take and execute direction is key to making the character natural and believable.

— Jack Skidmore

How I prepare to approach the process of preparing for a new role is if there is a script prepared, I mostly put myself in that character’s shoes. This includes everyday life. This process makes me more prepared and more excited for filming!

If this role does not have a script developed before shooting the film, I prepare by finding my own character within myself in everyday life.

— Kristen Duff

I relax and study the script inside and out. I make sure to analyze every single thing on the script. I make sure I know who my character is and fill in any aspects of my character not mentioned by the script.

— Eduardo Flores

After reading the script a few times, I visualize the character and see her in action: how she moves, speaks, dresses, her hand gestures, how she interacts with people, what she does when alone. Then I step into the character and feel my way through her emotions, conflicts, sorrows, scars, desires, memories and dreams.

I ask the questions: What does she want most (in a given scene and in her life)? What’s holding her back? How can she/I overcome the obstacles she faces? I feel her alive in me from the time I audition to the time I portray her. After that I let her go.

— Karen Margaret Cole

As a method actor, I immerse myself fully into the character’s world by researching their background, motivations and personality traits. I also engage in exercises to embody their physicality and mannerisms, often drawing from personal experiences or emotions to tap into the character’s psyche. This intense preparation allows me to authentically portray the character on stage or screen.

— Orest (Raz) Kuzma

I make a backstory for my character. Then I prepare by using the Meisner technique of getting in touch with my emotions and behavior, and also those of the other characters in my scene.

— Drew Ann

I record my voice on my iPhone under Voice Memos and replay it over and over until I’m satisfied with the results. I’m OCD and ADHD, so I just trust the process. It’s booked me multiple gigs. If it ain’t broke, don’t fix it.

— Owen Markus

Some responses have been edited and condensed for clarity.

We want to hear from you! Tell us about a challenging role you’ve taken on and how you succeeded. Your response may appear in future marketing materials.

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• Casting Director Melissa O’Neil Provides a Deep Dive into the World of Commercial Casting

The post How Do You Approach the Process of Preparing for a New Role? first appeared on Casting Networks.

The post How Do You Approach the Process of Preparing for a New Role? appeared first on Casting Networks.

]]> https://www.castingnetworks.com/news/casting-director-melissa-oneil-provides-a-deep-dive-into-the-world-of-commercial-casting/?utm_source=rss&utm_medium=rss&utm_campaign=casting-director-melissa-oneil-provides-a-deep-dive-into-the-world-of-commercial-casting Thu, 28 Mar 2024 16:45:04 +0000 https://www.castingnetworks.com/?post_type=news&p=132789 At a recent event exclusive to Casting Networks Premium members, Casting Director and Mel and Liz Casting partner Melissa… Read More

The post Casting Director Melissa O’Neil Provides a Deep Dive into the World of Commercial Casting first appeared on Casting Networks.

The post Casting Director Melissa O’Neil Provides a Deep Dive into the World of Commercial Casting appeared first on Casting Networks.

]]> At a recent event exclusive to Casting Networks Premium members, Casting Director and Mel and Liz Casting partner Melissa O’Neil shared a collection of insights and advice on a variety of topics. During the Q+A portion of the evening, O’Neil provided a glimpse at her process for casting commercials for her clients, her take on self tapes and more.

Here are some of the nuggets she was able to discuss.

What is your process for casting commercials?

It starts off with the client. Let’s say it’s Kraft. Maybe they want a new flavored mayonnaise. They go to their creatives at the ad agency and they’re like, “We want a new mayonnaise with garlic. What can we do?” The ad agency gets artwork on board and then starts picking directors that they want to work with.

Then the ad agency hires a director, which comes with a production team, and then the production and director hire me. I sit down with the director and the agency and we go over the boards. Then I prepare a casting call that says “Looking for great comedic actors, people who can riff, people who can improv” and whatever detail is specific to what I need. I put it out to the agents, giving them as much information as I can get.

All the agents send me their top people who they feel best represents [the call]. I go through all of those people and I bring in my cast or the people I feel that need to be scheduled and be seen for this role. You get the audition, you come in to see me and I usually put out the boards that kind of match what I was given to show you what’s happening in the commercial.

If there’s any dialogue, I send it out ahead of time so that you guys aren’t worried about the dialogue and you can come in and do your work because if you’re worried about the lines, you can’t act. All I see is you trying to get the lines out. Most people, when they get in the room, they don’t even want to be in the room. They just want to get out and say the lines, the way that they rehearse them in their car. They’re like, ”I’m out.”

Usually the first couple of people that I work with, we workshop the spot. The rest of the day we continue letting people bring their ideas to the commercial or what their take is on it. Then I send off the tapes.

What really happens during callbacks?

Usually it’s the director and the ad agency that are giving you the callbacks. A lot of people think it’s the casting director, and it could be because my director may say, “Mel, who do you think? If I miss someone, who do you think should be in that room?” That’s normally when I get called, but for the most part it’s the director and the ad agency. Then when we go to callbacks.

Now here’s the interesting part. What’s going on in the background is that the callback is pretty much a dress rehearsal for the shoot, and the director is probably meeting the client in person for the first time, meeting the ad agency. While you’re auditioning and you’re in the callback room, there’s a lot of things going on in the background.

You need to just put your attention on yourself and walk in with your point of view. Some people call it subtext, some people call it coming in and not being vanilla, having a choice. After the callback is over the time, sit around and with paint chips, we put up your pictures on the wall and then everyone comes up. The director’s like, “Hmm, well I loved her. I love that, I love this.” And they’ll get the whole board together. They’ll have on the top length, they will have the hero cast that they want to present and then a backup cast. Sometimes if they think their client is tricky, building a third tier [of actors].

For the most part it’s a hero and a backup per role. Well, here’s where things get interesting. You may be the director’s first choice, and then someone may come in with ”I think we need more diversity.” So then another round [or so] will go up until they finally cement everything. If you get an avail for your commercial that you audition for, you are in the top 1% of your business.

What are the odds of getting a role in one of your projects?

How many submissions do you think I get per role? Thousands. Do you know how many I bring in per role? 25 per role. Do you see the odds of getting that?
Here’s the great news. There’s room for everybody in commercials, which is why I love it. There is a massive cry for diversity, not only in race, but in sexual orientation, in gender identity, in all skin pigmentation, all shapes and sizes. And the cry today is for people who don’t look like actors so that they’re normal looking people that their clients can appreciate and relate to.

Now, the thing that is not in your control, but as part of you, you can’t separate it is your looks, right? The good news is that that trend of having a perfect scenario, they used to call it P&G, Proctor and Gamble, that kind of look is gone and it is tattoos, it’s piercings, it’s all the things that before would hinder you. And now it could be to your surface, all different hairstyles, cuts, what have you. That is my process.

There’s no way I’m looking at everyone the same way. I’m looking specifically for what the client is asking me for on this project. There’s no, “How can I be right? What makes me right?” You make you right. You make it who I’m looking for, depending on the job. One of the biggest things that I wanted to talk about is there is no set rule, it’s per project base. And that goes probably for every casting director, not just myself. Because we are given the breakdown of what the client’s needs are. What is fitting into that niche at that moment?

What’s some advice you can give for actors when it comes to auditions?

Be ready. This is the thing, when you come in, we’re asking you to play. We’re asking you to take a leap. These are the circumstances of the role. How would you do it? Be yourself. Be your authentic self. It’s so funny, the minute I get “spokesman,” everyone’s talking like this and this is the new deal and this is the thing, when you just need to be like, “Hey, I found this. It works for me. I think it’ll work for you.” We want to get to the human being part. What are you bringing? What’s your personality? What are you bringing to life, right? So I’m looking for you. I definitely think it never hurts to, if you have dialogue, have it memorized so you can play, be on time, be professional.

What are your thoughts on self tape auditions?

The world of Zoom and self tapes have really changed the game. And I’m going to tell you some of the struggles on my end. I think there’s great benefits for both. The benefit for you coming in is I get to see you, I get to work with you, we get to workshop it and I get to give you instant feedback or my session runner gets to give you instant feedback. Sometimes when I get self tapes, this is what happens. You send me the wrong audition, you forget your slate, you film in portrait mode and I can barely see you.

Say you actually want to give this time and don’t audition in your car when I need to see you up and walking. People just tape in their cars. I asked for business attire. This guy was in his bathrobe. What do you do about that? I can’t call all the people back and say, “Hey, can you retape?” And so that’s in your hands to follow the instructions that your casting director gives you carefully. And most people are really pretty thorough about what they want to see.

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The post Casting Director Melissa O’Neil Provides a Deep Dive into the World of Commercial Casting first appeared on Casting Networks.

The post Casting Director Melissa O’Neil Provides a Deep Dive into the World of Commercial Casting appeared first on Casting Networks.

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