Post Shoot Guide and Business Resources
1 Post Shoot
Online Proof Sheets
All of your photos from your shoot can be found online later that same day at: www.mackephotography.com/clients/2007/yourfirstandlastname/
For example, if I had my headshots online, the address would be: www.mackephotography.com/clients/2007/chrismacke/
My favorite photos will be at the top of the page. When you have decided, just click on the button called “Order My Photos”. After your photos are retouched, I will email you copies for approval. If everything looks ok, you’re ready to get your photos mass-produced.
2 Mass-producing your photos
The two best labs in town are Reproductions and Modernage. They’re both in Midtown and they’re both good. After you get the email from me with your retouched photos, all you have to do is call either of the two labs to setup your order. For Reproductions, call Maurice at 646-502-3721. For Modernage, call Joe at 212-977-1800. They have a connection to my home computer where your high-resolution images reside. These are the same files as are on the CD-ROM that I will send you. You can also go in person with your CD to setup your order. Both labs will do a test print. This is a single print made for approval before they run off your entire order. I highly recommend doing this to make sure the color is how you want it. It will change from what you see on your computer screen.
Reproductions Modernage 70 West 40th St., 3rd Fl (@ Sixth Ave) 1150 Avenue of the Americas (@ 44th St.) New York, New York 10018 New York, NY 10036 www.reproductions.com www.modernage.com (646) 502-3700 (212) 997-1800
3 Miscellaneous notes
Having Additional Prints Made From CD While I do include all of the photos from your shoot on the CD, most of them will still require retouching and other adjustments (brightness, contrast, levels, etc). It is possible for local photo labs to make prints of your other headshots, but I do not recommend going this route. Most of the labs will print the photos as they are on the CD without adjustments and the results will vary drastically from lab to lab. Also, keep in mind that you cannot see the fine details that may need retouching on the web site or proof sheets. These details will only be apparent in the full sized printed 8x10 or original image file when viewed at 100%.
Keep Your CD Safe I will send you a Master CD when you order your final prints. Keep this CD safe. It is the same as negatives with film. Make a backup copy on your computer. If the files are damaged, they are lost. Take good care of them. I do not guarantee that I will have copies in the future.
Copyright Information Copyright for a photographer is the same as a usage agreement for an actor. Actors are paid based on what the material is used for. These photos are not meant to be on a billboard in Times Square advertising a new brand of toothpaste. All photos may be used for your self-promotional purposes. For example, you can use these photos for auditions, playbills, publicity for yourself, etc. If the photos are used in any other form other than an 8x10, please provide a simple photo credit (see next page for samples). These photos may not be sold/licensed for advertising or private use. For example, you may not sell your photos to a stock photography agency or use them in advertisements for products.
4 Photo Credits
Photographers need credit? Imagine doing a show and not being listed in the Playbill. Sure, you’re getting paid, but you want some recognition. Credits are not necessary on your 8x10’s that you take to auditions. When you use them for a magazine article, newspaper article, website, CD Cover, etc., I ask that you please give me credit. Here are some samples below.
© Chris Macke © Chris Macke
Photo: Chris Macke Photo: Chris Macke
5 Introduction
Inside these pages I have compiled a resource of information about acting and the industry around it that should be helpful for actors that are just starting out. For over five years I was fortunate enough to learn about the entertainment industry by working as an agent in training in the New York offices of Bauman, Redanty & Shaul and in the commercial/print division of The William Schill Agency. Before that, I was as an actor. I have included a few articles below that you may find helpful.
Starting Out
When you are starting out, there are a couple of things you should consider. First, many people are tempted to get into this industry at the prospect of fame or money. Most successful actors have spent many long years building their careers. Few of them would have succeeded if money and fame were their sole objectives.
Great acting looks effortless, but it is really years of experience and training working together to create what you see. Take your time and invest in good training. You will come to value what you learn, become more confident and rely on it when you start working. Two good schools are The Atlantic Theater Company and The William Esper Studio (their info is listed later in this book).
Unions
SAG = Screen Actors Guild (covers almost all films and on-camera commercials.) AFTRA = American Federation of Television and Radio Artists (soaps and voice-overs.) AEA = Actors Equity Association, aka Equity (everything theater related.)
6 Choosing to join a union can be a difficult decision. On one hand, by joining, you will have the union watching over and protecting you from producers and agents. On the other hand, once you join, you’re not allowed to work on non-union projects. If you’re being offered a role on Broadway or a role in a feature film, opposite Johnny Depp, there’s no question what you should do. Often times, it’s not that obvious.
One question to ask is whether you have more competition in the non-union world or the union world. If you’re over 40, chances are there are more union actors your age than not. You might book more jobs by staying non-union. If you’re young, there is a good chance there are more non-union people your age than not. For theater, if all of your non-union friends are trying to be seen at a Broadway open call, if you’re a member of Equity, you get scheduling priority at the audition. Being a member of SAG does not really guarantee much in the way of auditions. For feature films, typically, you will only be seen if you have an agent pushing you. However, once you actually book a film or commercial, the differences between a SAG contract and a non-union contract can be staggering (money, residuals, hours, etc.).
For theater people, if you feel like you’re at the top of your game and would be competitive with the actors, similar to your type, currently on Broadway (be honest with yourself), you should join. The same idea can be applied to the other unions. If you’re anywhere other than NYC or LA, it’s probably best to be non-union. Smaller markets rarely work with the unions.
How do I join the unions? Rules vary by union, but most commonly, you have to be offered a role in a union production. It can be tough being seen for union productions if you’re not already a member. For theater folks, there is typically a standby list at every open call. If an Equity member does not show up for their audition, and there is not another Equity member to take their place, they will bring you in. The casting director would usually rather see someone, rather than not. 7 Agents
When are you ready for an agent? Actors usually start working with agents after college or after they’ve started booking important jobs. Agents and actors usually only go hand in hand in the bigger markets like NYC and LA. They may be useful in other regions for print work and commercials. It’s important to understand that agents work for you, yet only make money if you get work.
Types of Agents There are different types of agents. A commercial agent works on commercials. A legit agent works on theater, film and television. A modeling agency works on print work/runway. A voice-over agency works on voice-overs (radio commercials, animation voices). Some offices have several agents working in different areas. There are also franchised agents and non- franchised agents. A franchised agency is one that is licensed by a union (Equity, SAG, AFTRA) to represent its actors. Franchised agents are guided by strict regulations set by the unions. A few of the rules are: the agent can not take more than 10% of your salary, they can not sell you services (like classes or headshots), and they have to be open between certain hours. Many times, franchised agents will work with a non-union actor in hopes that they will book a union job. Non-franchised agents and managers (people who work like agents) are not regulated by the unions and are free to take as much money as they want (assuming that you agree to their terms). Some states have regulations that may offer a little protection. Ideally, you want to work with a franchised agent. If you’re already a member of a union, you’re only allowed to work with franchised agents.
How do you know if an agent is franchised? Pick up a copy of “The Ross Reports.” You can find it at Barnes and Noble and Drama Books (see resources section later in this book). Next to the name of every agency, you may see the letters “A” “E” “S”. Each letter represents the union that the agent has a franchise agreement with. “A” stands for AFTRA, “E” stands for Equity, and “S” stands for SAG.
8 How do I get an agent? There are a few ways you can get an agent. The most effective way is by being seen by the agent in a show. This way the agent can get to see your work first hand and (ideally) get excited about what they see. If they like you, they’ll want to send you out on auditions. Even if you do not book the first few auditions they send you on, they will remember your work and hopefully keep trying. If an agent starts working with you without having seen your work, you might be on shaky ground if you do not book work right away. The only thing they have to go on is the feedback that they’re getting from casting directors. The next best way is through a referral by a friend who’s with the agency. If your friend gives a glowing recommendation, you will usually land an interview. Finally, you can submit your photo and resume though the mail. It will probably go in the trash. The volume of mail an agency receives on any given day can be overwhelming.
Misc agent notes Beware of anyone who asks for money (before you book a job), says that you have to pay for classes, or get new photos from a specific photographer. Keep in mind that an agent has every right to suggest you that you take a class or suggest you get new photos. You might need it. Just beware of one that says you have to take a specific class or go to a specific photographer in order to work with them. No legitimate agent or casting director will ever ask you to take of any clothes at an audition. If it happens, leave! Quickly!
Make sure that your agent has a way to get in touch with you during the day. At my old agency, a casting director would call at 6:30pm (when technically, we were closed) and ask to see "John Doe" the actor at 10am the next day. If I could not get a hold of the actor right away, they would miss the audition. If this happens with the same actor on a regular basis, the agent will stop working as hard for them. They will find someone they can get in touch with. You would be surprised how many times I got a call a week later (or longer) from "John Doe" the actor to say how sorry they were because they hadn’t checked their messages. An entire process has happened before the agent calls you. We see a character you would be right for, type up a submission, and send your photo in the mail (or electronically). The ball is rolling. Time and money is being spent on you. Then, not long after, we get the call asking to see you. Up until this point, you are not even involved. It’s very frustrating to do all this work for you and then have you miss the audition over something as simple as not getting a message.
9 Casting Director & Agent Listings
First off, there is no such thing as a “Casting Agent.” There are “Casting Directors” and “Talent Agents.” Here’s the hierarchy: A producer has lots of money and wants to do a show. The producer hires a casting director to find actors for the show. The casting director calls agents looking for actors. Often times, if an actor does not have an agent, they will not be seen for that show. When the casting director wants to see lots of people, they will have an open call. That’s when you’ll see an audition notice in the paper. An agent is like the first line of defense for a casting director. The agents are constantly seeking out the best actors for their rosters, and will do they can everything to win the affection of the casting director.
There are lots of agents and casting directors in New York. This is not a complete list. I have put together a collection of some of the busier casting directors and more respected small or midsized agencies. For a more complete list, check out either “The Ross Reports” or “Hendersons New York Agencies” / “Hendersons New York Casting Directors.” Both can be found at Barnes and Noble or Drama Books (250 West 40th Street). For a more in-depth look at specific talent agencies, check out the book “The New York Agent Book” by K. Callan.
Before trying to get an agent, go out and get your feet wet with auditioning. You can always find tons of auditions in Backstage (a weekly paper found at any newsstand in New York). Your agent will get feedback from your auditions, so for the sake of your relationship with them, you need to get good at auditioning first.
When doing mailings, it’s good to send your materials to specific people at an office. At both agencies I worked at, agents would not share their mail with each other. If you only send one headshot to an office with twenty agents, it’s likely that only one agent (or intern) will see it. If there is an office that you are particularly interested in, send your materials to everyone there, including the assistants. If you do not hear back, try a second time.
10 New York Casting Directors
All My Children (Judy Blye Wilson) Jay Binder Casting 320 West 66th Street 321 West 44th Street, Suite 606 New York, NY 10023 New York, NY 10036
Guiding Light (Mary Clay Boland) CBS Casting 222 East 44th Street 51 West 52nd Street, 5th Fl. New York, NY 10017 New York, NY 10019
One Life to Live (Julie Madison) James Calleri Casting 56 West 66th Street 416 West 42nd Street New York, NY 10017 New York, NY 10036
ABC Casting Dave Clemmons Casting 157 Columbus Ave, 2nd Fl. 265 West 30th Street New York, NY 10036 New York, NY 10001
Harriet Bass Casting Judy Henderson & Associates Casting 648 Broadway, #912 330 West 89th St. New York, NY 10012 New York, NY 10024
Jerry Beaver Casting Stuart Howard Associates 484 West 43rd St. #19-N 207 West 25th St., Suite 601 New York, NY 10036 New York, NY 10001
11 Hughes Moss Casting Alison McBryde Casting 484 West 43rd St., Suite 28R 666 Fifth Ave, Suite #115 New York, NY 10036 New York, NY 10103
Avy Kaufman Casting McCorkle Casting 180 Varick St., 16th Fl. 575 8th Ave, 18th Fl New York, NY 10014 New York, NY 10018
Stephanie Klapper Casting Norman Meranus Casting 39 West 19th St., 12th Fl. 201 West 85th St. 16-D New York, NY 10011 New York, NY 10024
Liz Lewis Casting Partners Elissa Myers Casting 129 A West 20th St. 333 West 52nd St., Suite 1008 New York, NY 10011 New York, NY 10019
Vince Liebhart Casting Adrienne Stern Casting 1710 First Ave. #122 80 Eighth Ave., Suite 303 New York, NY 10128 New York, NY 10011
Mackey Sandrich Casting Bernard Telsey Casting 180 Grand St., 3rd Fl. 145 West 28th St., 12th Fl. New York, NY 10013 New York, NY 10001
Margolis-Seay Casting Liz Woodman Casting 333 West 52nd St., Suite 1008 11 Riverside Dr., #2JE New York, NY 10019 New York, NY 10023
12 New York Agents
Abrams Artists Agency Harden-Curtis 275 Seventh Ave., 26th Fl. 850 Seventh Ave, Suite 903 New York, NY 10001 New York, NY 10019
Bauman, Redanty & Shaul (my old agency) Innovative Artists 250 West 57th St, Suite 2223 235 Park Ave South, 7th Fl. New York, NY 10019 New York, NY 10003
Don Buchwald & Associates Kazarian, Spencer & Assoc. (KSA) 10 East 44th St 62 West 56th St. Suite 307 New York, NY 10017 New York, NY 10019
CESD Paradigm 257 Park Ave. South, Suite 900 500 5th Ave, 37th Fl. New York, NY 10010 New York, NY 10110
Gersh Peter Strain & Associates 41 Madison Ave, 33rd Fl. 321 West 44th St. Suite 805 New York, NY 10010 New York, NY 10036
13 Frequent Audition Spaces
New 42nd Street Ripley Greer 72 229 West 42nd St 131 West 72nd Street (Bway & 8th) (Amsterdam and Columbus) 1, 2, 3 trains to 72nd Street Actors Equity 165 West 46th Street Ripley Greer 520 N, R, W trains to 49th Street 520 Eighth Avenue (Between 36th. and 37th. Street), 16th Floor Chelsea Studios A, C, E to 34th Street 151 W. 26th Street 1 train to 28th Street Shelter Studios (1) 939 Eight Ave. Eighth Ave. Studios (Between 55th & 56th St.) (aka Ripley Greer 939) A, C, 1 to 59th Street 939 Eighth Avenue (Between 55th. & 56th) A, C, 1 to 59th Street Shetler Studios (2) 244 West 54th Street Nola Studios 1 train to 50th St. (Bway & 8th Ave.) 250 W. 54th St. 1 train to 50th Street
14 1. Shetler Studios (1) & Eight Ave Studios (Ripley Greer 939) 2. Nola Studios 3. Actors Equity 4. 42nd Street Studios 5. Ripley Greer 520 6. Chelsea Studios
15 The Drama Book Shop Atlantic Theater Company Located just below Times Square, Drama Books is one School founded by David Mamet, William H. Macy of the largest book stores specializing in theatre related th th material. 76 9th Ave (15 & 16 St). 250 West 40th Street 212-691-5919 (212) 944-0595 www.atlanticactingschool.org A, C, E to 14th St Colony Music Colony houses a huge collection of music covering all William Esper Studio genres from Broadway to Iron Maiden. Mesiner based training 1619 Broadway 212-904-1350 / esperstudio.com (212) 265-2050 A, C, E, 1, 2, 3 to 34th St
Mannys Music Broadway Dance Center Has instruments, mics, etc. By far the most popular dance hotspot for 156 W 48th St professionals and beginners alike. th N, R, W to 49th St 221 W 57th St 5 Floor (212) 582-9304 A, C, 1 to 59th St. New York Public Library for the Performing Arts Steps 40 Lincoln Center Plaza (66th St.) A quieter and more traditional (so I've been told) (212) 870-1630 alternative to BDC. 2121 Broadway # 3 Metropolitan Museum of Art (212) 874-2410 1000 5th Ave 1, 2, 3 to 72nd St. (212) 879-5500 4, 5, 6 to 86th Street
16 1. Steps 2. NY Library for Performing Arts 3. Broadway Dance Ctr 4. Colony 5. Mannys Music 6. William Esper Studio 7. Atlantic Theater Co. 8. MET
17 Monday Tuesday Wednesday Thursday Friday Saturday Sunday
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23 Audition: Followed Up?
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26 The best compliment of all has been the referral of your friends and colleagues.
Thank you for your support.
Best of luck!
Chris Macke
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