We have found 19,295 posts across 4 actor forums:
What casting sights do you recommend? by kennedydynasty • last post Nov 11th
I am not looking to become a serious actor, but I would really like to try out being an extra in films. I was on backstage but I don't want to pay for it if it is going to be mainly student films like I've seen. Are there any casting sights you recommend for just being an extra? I am in NYC and Boston area.
I have a VNS scar and I hate myself for it, do I still have acting possibilities by Creative-Diva-05 • last post Nov 11th
I want to be an actress/model. But I think I’m too ugly for it/will denied roles/jobs. For those who don’t know what VNS scars look like, there are two ((one by your heart (where the chip is) and the other on your neck (where the wire is)). The one by my heart is not noticeable but the one on my neck is (kind of). But it could easily be covered with makeup. I am more insecure about how the wire looks. Will I be denied jobs? What do you guys think? I’m not sure how to post a picture of it, but you can Google what the wire under the skin look like. I just really hate my body and don’t know if I can make it in the industry…
Any advice on how to recreate the voice acting from BK songs despite having a very deep voice? by satanicgoblin • last post Nov 11th
I've been trying to train my voice to be able to recreate Karkat's voice in [this song](https://www.youtube.com/watch?v=IWcb2pdgZTc), or perhaps like the voice actor for [Karkat in Voxus' "Lets Read Homestuck" (If timestamp link doesnt work its at 13:30)](https://youtu.be/Y1bPZMzAW6c?t=810), but I really have no idea how to begin to get it anywhere close, since my natural voice is quite deep and resonant, and I don't know of any tutorials of stuff of the like that would help with extremely specific shit like this. Any advice?
Is it possible to burn bridges with CD's? by TerribleBanana4466 • last post Nov 11th
When I first started out, I didn't always send in great quality tapes because I was still developing as an actor and (honestly) got my agent too early. I'm wondering if sending in less then amazing tapes often translates to that CD never calling you in again?
How do actors remember their details and choices of their role when they get a callback months later? by jelly_jellooooo • last post Nov 11th
(I’m talking about an in-person audition) I know some actors after getting an audition they throw their sides away so how do they remember what choices they made if they get a callback months later?
Fi Core by General_Career3251 • last post Nov 10th
Please will anyone whose gone Fi Core tell me about their experience. It seems more and more actors are choosing Fi Core (or claiming to be Fi Core when they’re not) and it’s becoming more accepted by the industry. I understand what Fi Core is and how it works, but I’d like to hear from actors who’ve switched to Fi Core in the past 2 years. Is it harder or easier to find an agent? Have you gotten more auditions or jobs. If so, what kind- commercials, theatrical, union or nonunion. Any information is appreciated.
Talent Link by Strange-Associate412 • last post Nov 10th
I’m in the Atlanta Market and I was wondering if talent link on actor access is useful for people that act in Atlanta.
Jobs. Actors life by Officialbabe • last post Nov 10th
I’m an actor but I’m very new- still sorting out my headshots and showreel and getting an agent and have auditions etc. however, I’m really struggling financially, I have done a bit acting here and there and other casual jobs here and there but not enough to support a living. I’m thinking to get a stable permanent part time job that would help to pay rent and food , while working towards my acting. Anyone been through this? Thoughts? Any advice?
Tips for a fellow Mentally Ill Actor? [Bipolar] by PrblmticThrowaway • last post Nov 10th
Hello everyone! I'm an aspiring actor with Bipolar (untreated but will get meds soon). Is there any way I can still make it through my career? I've had offers for student short films and played in one. But I'm not sure if I can ever make it due to my condition, and because of the emotional process it takes to build up a scene. I really enjoy the craft, and the characters I can play, and I want to stay long-term.Do you have any tips for me?
Headshot-Age Range-Character Type Feedback by AutoModerator • last post Nov 10th
Use this thread to post your headshots for feedback, get info on your age range/type, find good headshot photographers, ask any questions you may have about headshots. If you are posting a DIY headshot for feedback, and not just a snapshot in order to get feedback on your age range/type/etc, it is advised that you do at least some basic research on what actor headshots look like--composition, framing, lighting. You will find a Google Image search for "actor headshots" to be very helpful for this. Non-professional shots are fine for age/typecasting; please keep in mind that one picture is a difficult way to go about this. Video of you moving and speaking would be ideal, but understandably more difficult to post. ​ For what it's worth, the branding workshop at SAG-AFTRA recommends a five-year age range. That's inclusive, so for example 19-23, 25-29, 34-38, etc.
Agents are like buses... by justxpeachy • last post Nov 10th
Hi, so this is a follow-up on my post from yesterday, which you can read [HERE.](https://www.reddit.com/r/acting/comments/yqfnd7/to_sign_or_not_to_sign_advice_on_accepting_a/?utm_source=share&utm_medium=web2x&context=3) If you can't be bothered to read it, the gist is: I got offered rep after searching for quite a while. The agent can open doors in terms of CDs but I didn't gel with him personally so wasn't sure whether to keep looking or not. The general advice was to sign but don't bank on it being anything long-term. So, I was ready to take a leap of faith and sign. Then, I woke up this morning and I have an email from an agency asking me to self-tape and fill out some info on me/my career. This agent is well-established and has actors in the exact positions I am looking to move into. They were the one I was really hoping would get back to me. The dilemma is, agent #1 gave me three days to make a decision on whether I want to sign or not, meaning my deadline is tomorrow. This is obviously not enough time to pursue agent #2 and see who might be a better fit. Ahhhhhhh. Again, I know its my decision at the end of the day but I'm overwhelmed, feeling very put under pressure to make a decision and overall just. Would really like some support? What would you do? Take the risk or play it safe? Any advice (or kind words!) would be so appreciated.
I’m curious to know— as a complete beginner, what is “the actor’s process”? by Powerful_Network14 • last post Nov 10th
I hear words like “do the work” and things get thrown around. How does someone transform themselves into a new character or person entirely? I just began acting training and I’m curious how the days are spent? Do you first breakdown the script and memorize all your lines, then do movement/speech/other acting exercises to try to build the character over time? How does the “prep” go from basic things to getting you to act as professional actors do? A lot of great actors I’ve seen can just express things through their eyes. How does one get to that kind of level? How long would one have to meditate and work on the script to achieve that level of mastery?
The Voice Actor's Complete Guide to A Successful Directed Voiceover Session by AliceEverdeenVO • last post Nov 10th
Voiceover artists often get asked if they can take part in a "directed session", also known as a "live session", to record a script for a project. Directed sessions are a great way to maximize time, streamline efficiency, and minimize revisions, not to mention form a connection with the client, add a human element to a script, and make sure all the details are just right. However, the idea of performing live in front of a client can be daunting! Here are some tips for new voiceover artists on how to prepare for and make the most out of a directed session. ## What is a Directed Session? In a directed session, the client (or clients) is virtually present in the recording booth with you and will give you real-time direction on how they want certain lines to be delivered. They might ask for multiple takes or have specific notes on inflection and tone. ## How Does a Directed Session Work? Directed sessions take place via a virtual calling or meeting platform like ISDN, SourceConnect, Zoom, or Skype, where the producers and/or client can hear you as you read the lines. Typically, everyone hops on the call at the same time and says their hellos, and then the producer or creative team explains a little more information about the project and direction. From there, the client will usually decide to read through the script in full or line-by-line. After everyone is happy with the takes and reads, the meeting is over. After the session ends, the raw takes are edited into their finished product. Typically, the producer does the editing, and at that point, the voice actor's job is finished (though it's best practice to record and save a raw backup file of the session in case of an issue or emergency). However, in some cases, particularly with smaller clients who don't have a full creative team, they may ask the voice actor to edit the final piece of content. In this case, the voiceover artist would edit the final piece and send it off to the client. ## What's Needed for a Directed Session In order to participate in a directed session, you will need: * A high-quality microphone and interface (a USB mic is not recommended, since directed sessions are usually for companies and businesses that require very high-quality audio. An exception to this may be smaller projects or ESL content. If in doubt, check with the client), * A very quiet, acoustic-treated and soundproofed space with a noise floor of -60dB or lower, * Studio-quality, over-the-ear headphones (but earbuds will work if necessary), * A way to connect with the client, such as SourceConnect, * An editing program to record a backup version of your directed session. ## How to Prepare for a Directed Session Preparation is key. Here are some best practices for preparing for your directed session: 1. Get copies of the scripts ahead of time. Read the scripts over before you get into the booth and mark up the content with notes you need to ensure a seamless delivery. Try changing up the tone and underlying emotion to practice taking direction from the client. If you notice any points where you repeatedly get hung up or flub, practice those lines until they are smooth. 2. Ask for direction on tone and delivery. Many clients will have some idea of how they want their project to sound, but if they don't give you any direction, ask for it. 3. Prepare your equipment and settings. A directed session usually has lots of different moving parts, and you don't want technical issues (such as a faulty connection or poor sound quality) to get in the way of your performance. 4. Test out your setup. Ask a friend to hop on a meeting with you and run through a mock-directed session. Ensure that they can hear you through your studio mic, that your noise floor is -60 or lower, and that you can hear them through your headphones. 5. Explain how the session will work. If your client is not familiar with directed sessions, it's important to let them know the flow of the meeting and how to prepare. However, this is not usually necessary, as most clients who request directed sessions are familiar with them. ## Best Practices During a Directed Session Now that you know how to prepare for a directed session, here are some tips for during the session itself: * Show up early. Hop on the meeting a few minutes early and make sure all of your equipment is working properly and your settings are correct. * Turn your video on or off. Many clients don't require you to have your video turned on in a session, though many voice actors enjoy the physical interaction and choose to keep video on. I have never had a client require video. * Introduce yourself and be kind and friendly. Remember, you are more than a voice and you are representing your brand. Your clients want to work with someone who is easygoing. * Get an idea of the flow of the session. Ask the client if they'd prefer you read the script in full or line-by-line. * Once you get started, say the take number before each read (unless the producer does it for you). This helps with organization and editing later on. ("Take one. \[2 second pause\] "(line you're reading.)" Take two. \[2 second pause\] "(line you're reading.)" etc.) * Make each take sound noticeably different. No two takes should sound the same. Play with underlying tones and emotions, pacing, emphasis, and inflection. This will give the client more options for their project, ensuring that they are happy with the final product. Important vocab note: If the client asks for an "A-B-C" read, they want you to read the same line, back-to-back, in three distinctly different ways. "Wild card" reads are generally fun, off-the-cuff reads of a line and allow for a little more play and creativity. Have fun with these! Don't be afraid to be bold or silly. * Take direction. Being coachable is the key to a successful directed session. If the client gives you direction, always take it. They want to ensure that their project aligns with their brand and their vision. Be open to adjustments. Clients may ask you to make small changes, such as adjusting the inflection or pace, or they may ask for larger changes, such as re-recording a whole line. * Don't ask for *too* much direction. You are an actor and should have a good idea of how to deliver the lines. Asking for *too* much direction tells the client that you are not confident or prepared. * Get comfortable. There may be quirks or habits you do during standard recording sessions that help you get your head in the script. Don't be afraid to do them during directed sessions, as long as they're not distracting or time-consuming. For example, if I'm recording a tag for a spot, before the first take, I like to read the previous line in the script to ensure cohesion and flow going into the tag. I will do these in directed sessions as well (and typically give the client a heads-up beforehand.) * Take notes. Have a pen and paper nearby and write down which take number you are on so you don't forget. Additionally, if you are editing the final piece together, jot down which reads the client likes so you know exactly which ones to use in the final piece. * Make suggestions. Directed sessions are a collaboration between both parties, and it's okay to offer suggestions to improve the project. Just make sure to phrase them in a supportive and constructive way. * Have fun with the script. While the client has a particular "vision" in mind for the project, it's also important to be creative (to an extent). Sometimes, my "wild card" reads, where I really have fun with lines and push myself outside of my comfort zone, are the ones that end up in the finished piece. * Thank the client for the opportunity to work with them. A simple thank you goes a long way, and can potentially secure future work with the client. # Tips and Tricks to Avoid Issues After dozens of direct sessions, making lots of "rookie mistakes", and plenty of feedback from clients, I've picked up a few tricks to ensure successful and smooth directed sessions. * SourceConnect is a popular application used during live sessions to give producers access to the talent's audio without degrading the quality. There are paid versions of the program (SourceConnect Standard and Pro), as well as a free version (SourceConnect Now.) The paid versions give the producers a lot more control than the free version, so the paid version is preferred by most clients, and sometimes it's even required. If you have not used SC before, I recommend downloading the free trial, getting it set up, and then purchasing the paid version down the road when it's required for a project. Set up for SourceConnect is not easy, and may take a few hours. I personally had to hire an audio engineer to set it up and we ultimately found that the platform did not work with my home internet router provider. As a result, I stick to SourceConnect Now as often as I can. * Always record a backup file of the session. As soon as you hop on the meeting, start recording in your own audio editing system. This way, if there are any issues with the client's recording or a technical issue, you have your own copy to send over. After the session is over, send the raw file to the client using WeTransfer and let them know it's available to them. * If you don't like to hear yourself talking through your headphones, keep one side of your headphones over your ear, and slide the other side onto your head. This way, you can hear the client in one ear, and you can hear your performance in the other. * Lower your client's audio. If their volume is too loud coming through your headphones, it can get picked up on the audio recording. * Don't panic. If there is a technical issue, or if you make a mistake, stay calm and professional and communicate with the client. Chances are, they understand that mistakes happen and will work with you to find a solution. # Conclusion Directed sessions can be intimidating at first, but with a little preparation and practice, they can be a fun and successful collaboration between you and your client. Remember to trust your instincts as an actor, listen to direction, and communicate openly with the client. And most importantly, have fun! Happy recording!
Hangover voice by Fresh_Floop • last post Nov 10th
Hi y'all :) My "normal" voice is quite high (at least that is my own perception), however after going out drinking and singing my voice is much lower (not necessarily raspy or husky). This clearly shows that my voice is able to have a much wider spectrum than I can access under "normal conditions". The effect unfortunately "wears off" after a couple of days, and I am not really happy being a method actor all my life (and drinking and shouting into a pillow the night before to "unlock" the lower voice). Anyone have any tips? I tried purposely talking with a voice as low as possible for prolonged periods, but it always narrows back to my usual range. Thank you all
New voice actor here, how should I start? by Cryogen2964 • last post Nov 10th
I’m a 17 soon to be 18 year old high school student and I’ve been acting and all that for most of my life, I have all the equipment and recording software I’d need for this but I’m not sure how I should format my demo tape or where I should start out like what platform would be best? Much thanks y’all ♥️
Any Auditions Available For Me? by loveshot_1 • last post Nov 10th
Hi. I’m 13F (almost 14), half asian (if that helps) and I’m an actress. I can’t seem to find any auditions for me at the moment for TV and film, do any of you know of any current big auditions or casting calls happening that fit my criteria? thank you.
Paid auditions? by ndrewsteiner • last post Nov 10th
Is it just me, or should actors be getting paid to audition? At least on projects with a decent budget. A lot of these roles take a good amount of time to shoot, memorize, edit etc... and the vast majority of the time there's not even a thank you for auditioning. We provide options and our time and effort, and unless we get the role, bubkas.
Script Feedback from an Actor? by bringmethebucket • last post Nov 10th
A Weird SAG-AFTRA/SAG-Eligibility Question? by roger_federer_goat • last post Nov 10th
Hey acting peeps! So I'm a non-union actor in New York. And while I was going through the process of being cast in a New Media Project, I remembered that I had done a Principal Role on a 2017 New Media Project (in 2019 right when I moved here). So even though the SAG-AFTRA Eligibility Tracker had always told me I was NOT SAG-eligible, I contacted them. They said that I am NOT SAG-E, but that the contract does provide a pathway to join, and I can hold onto the contract to use at any time and join (but once submitted, I'll have to join within 10 days). And I look at that I think - if I have this contract, can hold onto it indefinitely, and can join SAG at any point... is that not the definition of being eligible to join SAG aka SAG-eligible? Has anyone else had a situation like this with SAG? And does anybody know if being SAG is a big advantage over being Non-Union in terms of booking gigs? I've heard from some CDs that they rarely if ever Taft-Hartley because of the current penalties. It seems right now that I am not "officially" SAG-Eligible, and yet I've heard that's the sweet spot because it doesn't require the Taft-Hartley and you can join when you need to if you book the role and can do Non-Union in the meantime. Any advice or thoughts on all this?
Is this normal or a callback? by meetmeinthedaylight • last post Nov 10th
Last week I submitted for a project on Actors Access, then a few days later I received an eco cast invitation. So, I submitted my self tape a few days later, and today I received an email from AA with "revised sides" (which are entirely new sides)... is this a normal thing or is this a callback? I'm confused bc I haven't received anything saying where or when I should submit again or whether they actually want me to send a new self tape. I'm a new actor with no agent, so it's not like I know much, but this has never happened to me. So, I guess my question is... Is this common? Is this a callback? Or was sending me the new sides a mistake on AA's part?