This is an excellent video from the SAG Foundation LifeRaft series that was originally available only to SAG members. Whether you’re putting together your first actor reel or getting ready to re-edit and add your latest credits, there is information here for you. Top industry guests including casting directory Gary Zuckerbrod and highly sought after editor Wayne Rawley of Secret Handshake Entertainment tell what they’re looking for in a demo reel and offer sage advice on how to avoid the most common pitfalls.
Archive for the ‘Demo Reels’ category
The Real Deal on Actor Reels from SAG
January 31st, 2010Demo Reels, Pictures and Resumes – Getting Your Act Together
January 22nd, 2010The AUSTIN ACTORS CONSERVATORY PRESENTS
“GETTING YOUR ACT TOGETHER”
Demo Reels, Pictures, and Resumes
JANUARY 24, 2010 – Time: 4:00 – 6:00 PM
St. Edward’s University, 3001 S. Congress Ave, Austin, TX 78704
Ragsdale Center, Mabee Ballroom on 3rd Floor
Join the Austin Actors Conservatory for a candid discussion of what works and what doesn’t and learn how to market yourself in today’s climate.
COST: Members of the AAC: Attend for FREE. Please bring your SAG/AFTRA card for admittance (as a reminder all members of AAC must be paid up and in good standing with their unions). FREE for St. Edward’s students (must show student ID for admission) * Fans of the AAC: $20.00 *All others: $25.00.
Please RSVP for this EVENT: AustinActorsConservatory at gmail.com
Moderated by Tommy G. Kendrick
Our Panelists Include:
Pictures and Resumes:
DAMON WILLIAMS – Former Casting Director for Ricki G. Maslar Casting; Ulrich/Dawson/Kritzer Casting – in Los Angeles, Damon is a recent transplant from Los Angeles, currently casting: “Twisted Proverbs”, “The Everyday Sun Tzu”. Past projects include: “The God Project”, “Going Postal”, “Manfest”,”The Year That Trembled”, “Black Hole”, “My Best Friend’s Wife”, Speechless”, “XCU: Extreme Close-up”, “Always Greener”. Damon is also a SAG actor, AAC Committee Member and 2010 Script to Screen Chair.
Demo Reels and Other Marketing Tools:
PAMELA WEAVER – Actress, Filmmaker, Film Editor. Another transplant from Los Angeles, Pamela has been performing on stage and screen since the age of 6 years old, touring with the “Weaver Sisters” at USO shows, private clubs, aboard ship, army camps. She has performed in over 100 stage plays on both the east and west coasts, 15 films and 6 television shows. In 2006 she went behind the camera learning film editing, shot her first documentary which is currently in post and creates demo reels for actors. Her first paid gig as a film editor and DP was working for ESPN in 2007. Between acting gigs and chairing the Austin Actors Conservatory, she films and edits virtual auditions and demo reels for actors, internet advertising.
JONATHAN GRUBBS – Film editor, motion graphics designer and published writer, Jonathan has spent the last 5 years editing at a boutique post production facility in Los Angeles where he worked on trailers and television spots for major studio film releases. He now freelance edits and designs motion graphics for television commercials for markets across the nation. His current plans are to expand into visual effects, feature title design and feature editorial in the near future. Past clients have included Universal Pictures, Sony Pictures, Paramount Pictures, major pharmaceutical industry firms, a rock band, documentary and a local Austin independent comedy.
What the Professionals That Hire You Are Looking For – How to Get Their Attention!
MARK LANE — Producer, Capitol Motion Pictures — In 2000, Executive Producer Mark Lane produced the independent Film, The Cure for Boredom, starring Judd Nelson, Seymour Cassel and the late Joe Vitterelli. Fusing all his talent and abilities, Mark went on to form Capitol Motion Pictures, focusing on the production of quality feature films. His feature, the comedy “Checking Out” starring Peter Falk, Laura San Giacomo, David Paymer & Judge Reinhold, was released in September, 2006. Mark’s present position in the film industry culminates years of expertise both behind and in front of the camera. Mark started out as an actor in New York, eventually producing and acting in over twenty off-Broadway plays. Following the path of numerous talented New Yorkers, Mark headed west to Hollywood where he quickly gained recognition working as an actor on such network television shows and feature films such as Hill Street Blues, McGyver, Capitol, Miss Lonely Hearts, Chud 2, Friday the 13th, Fire in the Night, Mass Appeal, Sex & Bullets. Desiring to expand his creativity, Mark began working behind the camera on numerous projects for the three major networks: ABC, CBS, and NBC; as well as for several motion picture studios, including: Paramount Pictures, Universal, Warner Brothers and Lion’s Gate, to name a few. Quickly, Mark rose to Producer, heading up three feature shorts for HBO/Showtime: When Angels Cry, Galatea’s Wish, and Hope’s Creek. He also produced and directed the nominated documentary, Our Father the Bank Robber. Mark studied acting in New York City under the tutelage of Lee Strassberg, Warren Robertson, Uta Hagen & Herbert Berghoff and Alan Rich in Los Angeles. The completion of two films this year ”Bittersweet” won highest honors this years at World fest 2009 Houston starring James Brolin & Kip Pardue and “Shadows” starring William Hurt & Cary Elwes are slated for release this year. The Tribeca Film festival has requested Shadows to have our world premiere for their festival this April 2010.
GARY CHASON, Director, virtually grew up in the theater. He and his two sisters, from the moment they could walk and talk, put on shows for family and friends. He studied classical ballet at Houston Ballet’s academy as well as vocal music, singing in the chorus of the Houston Grand Opera’s production of Tales of Hoffman. He took up directing at the University of Texas and set his sights on becoming an avant garde, experimental writer/director. He created Houston Laboratory Theatre in 1970 and directed an innovative Romeo and Juliet that received excellent notices. He produced and directed one of the most controversial stage productions in Houston during the Seventies: The Beard, an erotic one-act staged at an art gallery in the Montrose District. He also directed two of his original plays at the Equinox Theater: Charlie’s Ear and Denizens. He has had a distinguished career in motion pictures as a Casting Director and Dialogue/Dialect Coach. His casting credits include: The Last Picture Show; Paper Moon; The Getaway; Pretty Baby; and Paris, Texas. He has worked closely with directors Robert Altman, Peter Bogdanovich, Sam Peckinpah, Michael Ritchie, Louis Malle, and Wim Wenders. As a Dialogue/Dialect Coach he has tutored Jeff Bridges, Cybill Shepherd, Cloris Leachman, Brooke Shields, Tatum O’Neal, C. Thomas Howell, and Ann-Margret. His first feature film as a Writer-Director, Charlie’s Ear, won the Critics’ Prize at Mannheim and all the top awards – Best Film, Actor, Director, and Cinematography – at the IMAGFIC festival in Madrid. He produced The Trust, an award-winning feature film starring Karen Black and Sam Bottoms, and has produced, directed, and/or written numerous shorts: Mama Icy’s House; From Nowheresville; Ink on Paper; Little Beauties; A Few Letters Off; More Than Two Dollars, and My Name Is Jeffrey and I’m a Serial Killer. In the field of Corporate Training Videos his clients include Service Corporation International, Shell Oil, The American Bar Association, The Texas Young Lawyers Association, Liveris Digital Productions, Hoefler Associates, and The Escape School. His first book, Acting for the Real World: Notes on Television and Motion Picture Acting, will be published soon by FSE Publishing and his screenplays, Succubus Crystal, My Princess, and Faces of Stone, won, respectively, gold, silver, and bronze awards at WorldFest Houston. As an actor, he has appeared as a supporting player in the feature films Brewster McCloud, Zombies of Sugar Hill, Burger Wars, and My Best Friend is a Vampire. His first starring role as “Dusty” in the indie feature Dear Pillow has earned rave reviews in Variety, The Orlando Weekly, Film Threat, Indie Slate Magazine, and Playback St. Louis. He produced and directed Everything or Nothing, an HD feature starring Natasha Melnick in ’04, which was finished in ‘06. It was written by Sue Rock. God Thinks You’re a Loser, an HD feature he wrote and directed, was completed in 2008.
Lost Footage From Wild At Heart
June 13th, 2009A few days ago I posted some information on posting videos to YouTube, including some possible rendering settings, software used, etc. I’m happy to say that I’ve had a few contacts from actors who have been trying to get their footage to look as good as possible on YouTube and other sites and they thanked me for my post. Cool. If you’re interested and didn’t see that post, look back a few days and you’ll find it.
Today, I’m going to post some ‘bonus’ footage, footage I don’t include on my demo now…deleted footage from the David Lynch film, WILD AT HEART. This scene is from a grainy work print but in the current context, I think the imperfections in the media add to the experience of seeing something that was for so long unavailable.
I no longer have the WAH footage on my demo because it’s just way too old. There was a time when I thought it helped my reel, even as a deleted scene, because of the other people involved. But time marches on and it’s time to leave this one off the newer reel.
After WAH played at Cannes, the film was trimmed substantially, so I’m told and mine is one of the scenes that did not make the final cut. David Lynch was kind enough to provide me with the footage on 3/4″ tape, state of the art for that time. Until recently I had never seen the footage in another form. Actually, the quality of the 3/4″ footage that I have is a bit better than the DVD version on Lynch’s Lime Green Set. No doubt due to compression of the footage for the DVD. I’m posting the deleted footage here because I think it might be of interest to Lynch fans and to actors who may or may not have been eliminated from a film. It’s always a let down to get cut from a project (this was not my first time and not my last) but this is the only time I’ve actually gotten to see the raw footage that we shot. Sorta fun to look back on this one.
My Actor’s Demo For The Internet
June 2nd, 2009Okay….so I’m working on a new demo for play on the internet. Each clip is kept brief in an effort limit the total file size and to maximize the quality after all the video compression takes place. It’s still a work in progress but here’s where I am today. This version was uploaded to YouTube in HD and pushed their file size limit to the max.
The first ‘reel’ is my final edit…maybe… and one that I’m happy enough with to distribute to casting sites. I’ve always tried to keep demos to 5 minutes or so, knowing that few pepole will sit through more, if that much tape on a actor’s reel. This online version is a trim 1:43.
So, while I’d like to let scenes play longer, I’m trying to reach a ‘happy medium’ of showing enough to get the character played before having to move on to the next clip, and keeping the total reel to a manageable file size. I’ve had to leave off some clips I’d like to use for various reasons….they’re good material, but just way too old, or I couldn’t find a way to put them into the mix and still keep the time and quality combination at an acceptable level for internet distribution
The issue I faced, that everyone faces when trying to put decent looking material on the net is the issue of what settings to use for conversion and rendering of the footage so that you have the best results once YouTube gets through processing your clips. This is where YouTube itself is a big help.
A search on YouTube will result in quite a few video tutorials on how to optimize your video for YouTube. Frankly I haven’t been much of a YouTube user and I’m not up to speed with all the nuances of how to use the service. But I’m learning. If you’re like me and want to take a shot at editing and publishing your own demo, it’s definitely something that can be accomplished. But even if you take your footage to a professional editor, the best choice for most of us, you can use this information to make sure that the person who cuts your demo will give you at least a version of your reel that will play nicely on the net.
Here are the rendering settings I used in Sony Vegas 9 Platinum Pro Pack to get the results above…results with which I, at least, am happy:
File Type: MP4 – Some tutorials suggest saving as WMV, others as MP4. I had the best look with MP4. If you use WMV, try the WMv 9 setting in your software
Frame Size: 1280 x 720
Frame Rate: 29.970(NTSC) – same frame rate the source material was captured in
Field Order: None (Progressive scan)
Pixel Aspec Ratio: 1.0000
Bit Rate (bps): 10,000,000 -This may be adjustable in your software – I used as high a setting as possible and still keep the final rendered file under YouTube’s 1 gig file size limit.
Audio Sample Rate (Hz): 44,100
Audio bit rate (bps): 128,000
Below is a slightly different edit of basically the same material except for a clip from Dancer,TX Pop. 81 which is not in this version:
In case anyone is interested I’m using Vegas Video 9 Platinum Pro edition to edit. Each scene is a DVD rip using DVD Decrypter, DVD Shrink and MovAvi Converter in that order. I’m converting the rips to uncompressed .avi files, bringing those files into Vegas Video for the edit. I’m now playing with various rendering schemes in order to get the best quality for YouTube and other online distribution outlets. When I get that done to my satisfaction, I’ll cut a somewhat longer version for DVD distribution to my agent, etc.
