The Actor's Center Of Asheville's, Kevin Patrick Murphy directed a student created web series called Social Anxiety about 3 years ago in Charlotte, NC. The powerhouse writers, creators & co-stars of the series, Ana Shaw & Elise DuQuette decided to become pro-active by making their web-series a SAG sponsored short, which made each actor involved "SAG eligible". This is not rocket science, these are two motivated women who decided to get their priorities in order, and make things happen for themselves. This is a very attainable endeavor, that every frustrated actor who either hasn't been able to sign with an agent, or is maybe going through a "dry spell" with bookings should consider attempting as well. Even if you don't have the need to become SAGe, making your own short or web-series will not only teach you more about the inner workings of a production and all of the elements that play a vital role, it will truly humble you, helping you to appreciate the entire process. As mentioned earlier, Humility is one of the most important traits to possess as an actor. It is important to remember that not only the world, but the entertainment industry in particular, owe you nothing. Thus, it's imperative that you do not allow fear deter your journey.

{TACA}: What made you guys decide to create your own Web Series?

{ELISE DUQUETTE} : Ana and I were at an artist weekend retreat, discussing our goals. We both had “become SAGe” on our goals list. By being SAGe, it says you have been hired on a professional set, & that you are a professional with experience. We had gotten frustrated with the lack of control you have over the booking process in our industry, & were hungry for acting work. Our acting coach at the time pointed out to us that we could produce a SAG new media web Series and take control of that goal instead of waiting on bookings.
 

• : What steps did you take in order to make this a SAG low budget web-series?

: We had one member of the cast that was a SAG member, and lots of paperwork. We had to submit to SAG and get approved and send in paperwork after we shot each episode. By the way, I knew nothing about how to do this before starting the process. I called the SAG New Media office in LA all the time to ask questions…under a different name of course so they would link the “question queen” with my paperwork!
 

• : What a great way to become proactive with your acting careers in a very uncertain and sometimes frustrating industry. How did you choose to piece together your crew, actors, locations, production team?

: Playing the who do you know who game then sending out messages and emails to see if they were interested in being a part of the project. Locations were the same…for example, we needed a coffee shop and thought whats a locally owned coffee shop that supports art…and approached them.

 

• : How many of them were volunteers vs. paid staff? 

: All crew was paid. The actors were not paid monetarily but all received their SAG eligibility and they were happy with that.
 

• : How did you advertise for your extras and cast?

: We posted a casting call on Southern Casting Call.
 

• :  How did you pick a script to shoot, and how did you plan out your shoot and release schedule?

: We already had a web-series idea we wanted to shoot, so we wrote the script ourselves. We decided to shoot one weekend a month because of schedules, and I think we released twice a month. We predetermined our shoot schedule this way so that we could have all shoot weekends locked when we began shooting. However the episodes were written as we went along.
 

• : How many episodes and seasons did you make of Social Anxiety, & which method did you choose for shooting?

: 4 total with backlog as we released. We chose the backlog method mostly for consideration of everyone's schedules. It’s easier to commit to one weekend a month as opposed to 6-7 straight days, especially with low-budget. We also wanted to be able to change and modify if we saw things weren’t working as we released since we were writing the episodes as we went along.
 

• : Funding can be a daunting and discouraging part of the process for first timers, and can sometimes make or break your production. How did you tackle the financial aspect of your web-series and how much of it was out of pocket expenses?

:  We mainly used Kickstarter. The money we raised through Kickstarter paid for locations and crew. All of the craft services, costumes, props and set décor were out of pocket. I can’t remember exactly how much we spent out of pocket, but it didn't surpass what we raised with kickstarter.
 

• : How exactly did the kickstarter (fan-funding) approach help your web-series aside from the financial aspect?

:  It really helped get the word out and created buzz and anticipation before we released the episodes. It also gave us accountability, because we had an instant audience that we were "performing" and delivering for each week.
 

• : What personal resources did you find yourselves pulling from?

:  By nature, I’m a hustler. We sat down and talked to everyone we knew who had produced their own work successfully (successfully is key). Shorts, features…anything. I talked to people I knew in in the financial world, post production world. Before I do any project I think of every aspect and go “who do I know who ____?” For example, who do I know who does sound? Who do I know who is financially responsible? Etc…

• What did you find was the most difficult element in putting this project together?

: In my opinion, editing! I learned that editing can make or break a scene and editing the footage with the sound is difficult. Getting a quality editor that was on the same page with our vision was key.
 

• : Were you able to stick to your original plan throughout the making of Social Anxiety as a whole, or did you have to remain flexible to the process?

: A little of both, I think remaining flexible with any project is important. Things happen. We decided we didn’t like releasing the episodes in 2 parts because it felt
disconnected so 3 and 4 were released as a whole.

• : What did you learn from this experience, and what would you want to do differently the next time, if anything?

: Oh man! I learned so much. I learned first and foremost that I like producing my own work and I learned I could do it. There are tons of things I would do differently. Mostly, I would have shortened the episodes. Now, the most successful Internet videos are no longer than 5 minutes. Maybe done 10 episodes 5 min each. Also, I would have done better marketing after we started releasing them.
 

• : What other projects or short's have you worked on since Social Anxiety and how did they yield in comparison?

: Last year I created a short for the Made In Charlotte film contest called “Everyday Magic” and Aubriana Cauthen won Best Supporting Actress! Financially it was different, I did the whole thing out of pocket. This time I felt more prepared when setting up shots and knowing what I wanted. I had more confidence producing it. But like Social Anxiety, I was blessed to collaborate with talented people. The amazing people I chose to work with help make these projects come to life. This year, my goal is to produce work in Atlanta. I’m currently getting it together to produce a play, and I just finished writing a short film I want to produce.

• : What advice can you lend to your acting peers who might be interested in creating their own web-series or short film?

: DO IT!!!! If you don’t know what you are doing…DO IT! If you think it will be

Creating A Successful Web Series Requires Patience, Planning & Fun

 

Chris Atkinson

 

 

Web series are the equivalent of self-published novels for many aspiring video creators.  They have complete control over what the final product looks like, although they may not have the money to pull off their ultimate vision.  They are a way to showcase your talents and possibly move on to something bigger in the future, but for many, web series is where it's at.  It's a unique way to tell a story, and basically these shows' entire seasons can be told in the span of an episode or two of regular TV series.

1. Start With A Story

The first point that I'd like to talk about from the Tom Cruise blog post is starting with a story.  What is the story, how do you want to tell it, and basically, each of these episodes should contain a three-act structure even if it only lasts 5-6 minutes.  For easy examples of this, take a look at web series wonder The Guild, which manages to make a season that lasts around or little over an hour into something that seems much grander in scale.  It's all because each episode is packed with content and very quickly moves its story forward.

Here's the Season 4 opener:

It clearly outlines the stakes at the very beginning.  By the first 20 seconds, you know that something (racy) has occurred and it could affect the relationship with her friends.  Boom.

2. Find An Audience

We talk about this all the time, about finding the audience for your channel and directing content towards them.  You have to figure out who is going to watch your creation, because it certainly isn't going to be everybody.  It's going to be a select group, even if it proves popular.  So, your science fiction web series should be shared with blogs and sites that are dedicated to science fiction.  Maybe you share it with everyone you know who likes science fiction.  Maybe you ask those people to share it with other people.  Whatever the case may be, you'll want to find your genre, who enjoys that type of thing, and find those people on the Internet.

TomCruise.com quotes Felicia Day's own blog post, "Web Series: Four Things To Ask Yourself Before Starting."  Of course, that post is amazingly good advice in its own right, right there from a person who is considered the queen of web series.  I've expanded their own quote to include the entire first paragraph of her third step:

I think a key to web series, that builds upon points #1 and #2, is that trying to please everyone will never work on the web. The Guild is popular because we started in a niche and grew out from there. The internet isn’t TV: It’s 20 million channels rather than 200. If you can’t sit down and easily identify what kind of person will like your show and name 5 places that person might go to on the internet, you will have a hard time getting the word out, no matter how good it is.

So if your series has even limited amount of appeal, you'll have to do the homework to find out who would watch your show, and find the places those people go to advertise/share your content.

3. The Money Problem/Dedication

The Tom Cruise blog calls this, "Show Me The Money," which is the only thing remotely Tom Cruise in this post.  I've seen a lot of web series, no matter how successful, get absolutely lost and apparently have no ability to produce a constant stream of episodes, mainly because of the money issue.  Let's face it, you aren't likely to get rich doing a web series, and where there is no money, there is also a lack of time, because you're likely working a job to get the little money you can put into a series.

Still, a successful one requires dedication.  An episode a week or every two weeks is the way to go, which is why I would suggest before even publishing your first video, you create a backlog of episodes so that you can supply content every week while you produce more.  Figure out how long it takes to create an episode, and have a corresponding amount of episodes ready to publish while you create others.

In fact, later in the post, Hitman 101 web series creator Scott Staven makes this very point when talking about how he released a constant stream of content:

There are essentially two styles of web series, the (1) kind that shoot while they release episodes and (2) those that shoot the entire season at once, edit, then release. We were the latter. We shot all 12 episodes at once like one would shoot a feature film. We did this style to try to ensure we released the episodes without fail and to ensure we kept our schedule on time.

With a web series this is possible because it's not going to require up-to-date information to produce content.  You aren't making a Philip DeFranco-style of web videos here, where the day's news supplies content.  You have a script to follow.  I think a lot of web series that I've followed and had interrupted over the last year or so could have benefited by not publishing until they were ready to publish a whole season, or at least most of it.

The Tom Cruise blog mentions that some web series have been successful in various ways, but most of the ones they cover are the ones that have had celebrities backing them, like Tom Hanks' Electric City or Lisa Kudrow's Web Therapy.  If you've got access to celebrities, your chances obviously are higher to get money, but I've seen a lot of celebrity-backed web series get less views than average, everyday videos on YouTube.

Here's the first episode of Web Therapy, with guest star Meryl Streep:

[Video removed from YouTube]

4. Using Available Resources

Skipping ahead in their post, I found this interesting section where they talk to LAWEBFEST founder Mike Ajakwe, Jr.  After hitting on some points already discussed in the article, he mentions something about "using the resources around you."  This is finding people who are eager to help and just want the experience.  Here's a great quote:

If you live in a filmmaking hub, but even if you don’t, you can find talented people will often work for free for the experience or to bolster their resume. “There are so many people around you that can help. There are sound people, hair and make-up people, wardrobe experts,” he says. “If you put an ad on Craigslist in the area of production, the people who will respond are amazing.”

Now, this is still the kind of thought process that makes web series and web-based entertainment lower than TV series in many people's eyes, because web series are still considered "starting points" or "a place to get experience."  But remember, web series and the like are still in their infancy compared to any other form of entertainment, and you can't let the perception get you down.  Web series are just like any other form of entertainment, and you can't expect to get rich doing it right away.  The key is to keep grinding and doing what you love, and one day the series might become a hit, or you might get discovered.  But the important thing is that you're not doing it for the money, even though you should do everything in your power to get it seen.

5. Have A Plan

Ajakwe also says to have a plan.  And what that means is that you're the boss and people want to follow you, and you should be a decisive leader.  It reminds me of some tips Ryan Connolly laid out in this episode of Film Riot concerning his experience on his short film Losses:

What are the biggest mistakes people make in DIY filmmaking/video?

There are a bunch of things, but some that really kill a video most are:

• Pacing: Most people make things too long, their video is 7 minutes when it easily could have been 3.
• Composition: Where the camera is placed will make a video either look like a home-movie or help it seem like something more.
• Audio: If you can't hear what the actor is saying, then it's pointless.

6. The Quality

As always, it's not that you look like a slickly produced Hollywood movie, but you should at least look like you know what you're doing, and sound and lighting are key.  Almost every bad video is upended by bad sound, and in many cases, bad lighting.  People should be able to see and hear you clearly, and if you can create even the slightest of a mood with your lighting, even more points to you.  This is something else that Hitman 101 creator Staven talks about in his interview with TomCruise.com.  I highly suggest you take a look at that discussion because it has a wealth of information.

7. Use Resources

There are a number of places you can find information on how to find success.  Our own site, ReelSEO, goes over a lot of these steps on a regular basis, but you should check out the YouTube Creator Playbook, and for awesome film/video tricks on the cheap, Revision3's Film Riot.  Also, Freddie Wong wrote this excellent post about how his channel got popular.  Another good resource is TubeFilter.tv, a great blog to stay up to date with information regarding web series.  These, in addition to the other links already posted here, should give you a really good start.

Web Series: More With Less, Dedication Without Compensation

So you're probably not going to get rich and famous doing web series right now, but what you gain is valuable experience, and you should just do it to have fun.  Right now is a great time to get into this type of entertainment because your whole career doesn't depend on whether or not a whole bunch of people watched your web series.  But that doesn't mean you shouldn't try to get as many people as possible to watch it, and that you shouldn't try to find a way to make a buck.  But fun comes first.

Things to Gift Yourself for the New Year

Credit: Rebecca Strassberg | Posted Dec. 16, 2015, 2 p.m.  
 

Gifts you should give yourself this new year:

• Mary Anna Dennard, founder of College Audition Coach

Whether you are a graduating high school thespian senior, college BFA grad, or a professional actor:

1. BRANDING. The gift that keeps on giving is an online consultation with Tony Howell, founder of Creative Social Media. Jump start your online presence across all social media platforms. It is crucial that your “brand” be consistent, professional, effective, and a reflection of your true self. Learn the social no-no’s as well as proper protocol for networking with industry professionals. Never was this more important. You are an independent entrepreneur living in a world of social media.

2. HEADSHOT STAMPS! Less serious, but equally groovy are PhotoStamps gifts. Put your headshot on real stamps. Perfect for those oh-so-impressive handwritten thank you notes after auditions! College auditors, agents, and casting directors will remember your face and be impressed with your manners. All can be done in minutes online. Easy and impactful.

        SIDE NOTE: Also, sending out Heashot postcards to all of the casting directors in the southeast serve as another great tool to introduce yourself, and stay on their radar! Everytime you get new headshots, send out new postcards!

• David Patrick Green, founder of Hack Hollywood

I suggest every actor pick up a copy of “The Success Principles” by Jack Canfield. It will remind them that anything they want in life is possible if they believe in themselves. They need to remember that no one has the answers but them, everything is up to them, and the only rules is “do what works.” It’s just a very inspirational and realistic read that should revive anyone’s flagging belief that they can do this!

• Jamison Haase, founder of L.A. On-Camera Training Center

Any actor looking to get into film and television needs to have one thing: an HD camera. It doesn’t need to break the bank, but it does need to be a good camera. There are two reasons. First, actors can use it for rehearsing and working on auditions. (It’s the first thing I use in creating my own auditions.) And second, actors can use it for their self-taped auditions. Don’t settle for you iPhone, get something that looks good and helps you book!

• Tony Howell, founder of Creative Social Media

New Photos. Beyond great headshots (which are crucial...and make great profile pictures), make sure you have plenty of landscape images where you’re more left or right justified. These types of photographs are great for business cards, postcards, cabaret posters, social cover photos, and website banner images—because you can layer text over them! If you need suggestions for photographers, here are some recommendations in New York, Los Angeles, and Chicago.

• Kate McClanaghan, L.A.-based casting director

Private coaching. Every talent needs a tune-up every couple of months, regardless of the experience level. And not simply a single coaching session or two that only offers random motion and you’re out the door. You need training that honestly raises your game and challenges your comfort zone. You need technique training that will allow you to offer the most dynamic performance options, ignite your imagination, build your stamina, and effectively self-direct (especially when so many auditions are done from home or are self-taped). This is an essential part of being a reliable professional. If you’re not working your performance muscle it will atrophy. A proper coach will give you the tools and encouragement to continue. Certainly your objective is to become self-reliant as a talent, but we all need a little assistance every now and then in order to effectively raise our game, rather than remain complacent. If you’re in your first five years as a professional talent, it’s imperative you continually train. You’re a work in progress. Get to work!

• Joseph Pearlman, L.A.-based acting coach

A subscription to an online streaming service (Netflix, Amazon, etc.).

This is a golden age of television! Far too many actors who say they’re serious about wanting to launch a career in this industry, do not watch television, and they’re missing a major opportunity to familiarize and immerse themselves in the business they claim they want to be a part of. It’s like saying you want to be a member of the Los Angeles Philharmonic, yet you’ve never listened to Bach’s Cello Suites. (Yo Yo Ma’s version is simply sublime.) Being intimately familiar with what’s on TV (and in the theaters) is imperative to scouting out the directors, writers, and producers you want to work with and build relationships with.

And while you’re at it, I would advise every actor to do something kind for yourself. Many people eat, breathe, and sleep acting. Put it down for a second and get a massage. Take care of yourself and relax!
 

• Jackie Reid, manager, and owner of L’il Angels Unlimited

A must-have for any actor is a tripod! Requests for self-tapes are abundant. It’s the worst when the person filming your audition is holding the camera in their shaky hands. Don’t be the worst! No one wants to get seasick while watching your tape. This is a nominal cost that will pay off with big dividends.

• Mae Ross, founder of 3-2-1- Acting Studios

For all actors, the demo reel is paramount to obtaining work in the entertainment industry. Of all the things actors need most, an agent and a demo reel, If I had to choose, I would go with a demo reel. Why? Well, if you are not represented, a good demo reel will help you secure an agent, and if you are  represented a great demo reel will help your agent get you seen and called in for auditions.

A professionally filmed, high-quality demo reel will showcase your talent, range, castability, and distinguish you from the herd. Actors if you need footage for as little as $375 including custom writing, directing, shooting, editing, and delivery you can get a great reel. In Los Angeles, I recommend lareels.com and creatyourreel.com
    SIDE NOTE: If you are computer savey and know how to create your own reel with imovie or final cut, GREAT, do that and save money! If not, this is a service the Actor's Center Of Asheville can assist you with. Email us with your inquiry!

 

• Erika Shannon, founder of Don’t Dodge the Dance Call

How about asking for some balls? No seriously, these balls. Deep tissue massage balls that come with a little carry bag and an instruction booklet. Not only are they small enough to fit in your stocking, but they’re great to have in your self-care arsenal. Use them for trigger point therapy at the back of your neck and shoulder blades, or roll your feet on them for myofascial release after a long day of auditioning. Remember, our bodies can really hold us back when they’re not well, so these little tools can be essential to staying healthy, flexible, aligned, and relaxed. Along the same lines, these My-O-Balls are totally awesome to roll on your ankles, calves, shoulders, arms, etc. Self care in ’16, people!

• Denise Simon, NYC-based acting coach

Many actors may have a good quality video camera but it is in the lighting where you can look your best.

Lights on either side to eliminate shadows with a soft white light will make your self-tapes look professional. Here is a beginner lighting kit that is pretty easy to set up and won’t break the bank. Make sure you are taping in front of a solid, clean wall and that you are always prepared and memorized when you are ready to make your tape. Have fun with your new equipment and  happy holidays to all.

• Ilene Starger, casting director

Every actor should read Elia Kazan’s “A Life,” his educational, blunt, novelistic, and riveting autobiography. He had an unparalleled career in the theater and in film; he worked with giants such as Arthur Miller, Tennessee Williams, Marlon Brando, Jessica Tandy, Gregory Peck, Montgomery Clift, etc. The book also is a kind of microcosm of America during those decades: a contradictory mixture of innocence, hope, and cynicism. Kazan’s work remains stunningly adult, raw, and powerful, and has influenced innumerable actors and directors. Perhaps companion gifts to this book would be DVDs of “On the Waterfront,” “A Streetcar Named Desire,” and “A Face in the Crowd,” to name just three of his brilliantly realized films.

• Ben Whitehair, L.A.-based actor

My 12-year-old cousin just taught me to ride one of those hover board things and they’re awesome. 

Beyond that, I would create an awesome self-tape setup in your abode. Along with my iPhone 6, here’s what I use: 

• Tripod ($25+)

I use a normal tripod I got years ago. This one on Amazon looks like a great deal.

• Glif ($30)

I use a glif on the tripod to hold my iPhone. 

• External Mic ($30–$70)

It is super important to have an external mic, otherwise the reader’s voice will be louder than yours. I use a mic that isn’t sold anymore, but this Ampridge mic looks like a good option. 

• Light Kit ($110)

The lights make all the difference. I set up these lights when I tape at my house.

• A Wall

I have a painted wall in my apartment that I use. Basically you just need a solid background. If you need a stand with muslin you could use this or this.

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