Training talent to be unstoppable
AZ ACTOR’S ACADEMY | On Camera Package [Basics + Terminology]
INTRO : + Your main acting note is that you were given the part, so work your looks, personality, and background into your performance. Use yourself; that is what they purchased. + The camera / microphone magically reads what you’re “not” saying. You must be “in the moment.” The camera will reveal it if you are not grounded in the truth. In other words, if you’re delivering your lines but thinking about what you’re going to have for lunch, that is what will come through on camera. Do your work! + The shots the director chooses are in themselves acting notes, so obey their implicit instructions- + Long Shot - allow your body to do the talking (be bigger). + Reaction shot - do a reaction (even if you feel you are “overacting”). + Two-shot - react as you listen to the other actor. + Close-up - put your thoughts onto your face. + Close-up of your hand holding a prop - channel your acting and thoughts into that. + Do all your acting to an Audience of One – the other player (the camera will pick you up). + Justify all your behavior. Create good acting reasons for all your pieces of business (including camera-motivating ones). + Learn your lines well. They should fit you like a glove. If they don’t, and you don’t have the rehearsal time to create the character who would say those lines, then ask to change them. + Find positive ways of communicating negative thoughts. + Hold the moment after a shot ends; keep your face alive right to the end of the take. + Let your inner monologue guide all your actions, reactions, and reveal your character’s inner most secrets and needs. + Let an acting impulse that would lead to a move on stage lead to a gesture or look on the screen.
Training talent to be unstoppable
BASIC SCREEN ACTING ETIQUETTE: + Always keep going until the director shouts “Cut!” and then keep on acting for a bit. + If you mess up a line, keep going until the director calls a halt to the take. Let it be HIS decision. + Do not stop a take for any reason, except for possible injury or death. + Never look directly into the camera lens unless specifically requested to do so. + Never ask the director what size of shot it is – ask the camera operator. + Hit your mark! Being in the right place is often more important than saying the right line. + Maintain your concentration and eyelines all through the tedium of lineup and rehearsal; it helps both your fellow actors and the crew. + An actor only has status between “Action!” and “Cut!” Exception: A star may have it all the time. + Never say you do not want to play a role; say that you are unavailable. Never say “No,” say “Maybe” instead.
THE CAMERA LENS: + In general, ignore the camera lens; let it “find and reveal” you. + Don’t merely cheat an eyeline, justify it. + If both your eyes cannot “see” the camera lens, your face will appear to be obscured. + Keep on an imaginary narrow path that stretches out from the front of the camera. Remember that shots are composed in depth, not width. + Shoulders angled toward the camera often look better than straight-on ones.
THE FRAME: + When doing commercials, cheat all business- hands (gestures) and important props (product)- up into the “hot” area in close-ups. + Adjust your acting style within the frame according to the size of shot: + Long Shot - large gestures / scale – back of the house (theatre) + Medium Shot - smaller scale, intimate arena theatre, theatrical reality. + Medium Close Up - Actual reality; the real thing
Training talent to be unstoppable
+ Extreme Close Up (ECU) - Very intimate; think it, put all concentration / energy into your face. + Be prepared to stand embarrassingly close when acting and speaking with other characters. + There is no reality outside the frame; time and / or distance outside the frame may be expanded or contracted.
VOCAL TIPS: + Project only as far as your fellow actor(s). + Intensity can be created by increasing enunciation and pace, not volume. + When the camera is moving with you (tracking), talk fast but move slow. + If you are told to tone it all down, try reducing only your volume but keeping the scale of your physicality (such notes usually refer to the voice). + Be aware that when speaking with a strong accent there is a tendency to speak louder – don’t. + With a studio audience, if they can hear you without the benefit of microphones, you are probably speaking too loudly. + Never project louder than the star (or regulars on a series). They set the style for the program. + When speaking at low levels, all other sounds seem too loud, so take care with all footsteps, clattering cups, newspaper rustling – even breathing. + When speaking at low levels, do not lose energy or adopt a slower pace. + As the scene builds, you would expect the voices to rise, but since the shots are liable to get tighter, you have to square the circle by getting more intense – and quieter – at the same time. + Gently ask if you are going to be in a contained 2-shot, or if they are going to cross- cut with reverses, in which case be prepared to not overlap dialogue.
THE EDITOR: + The better your continuity, the easier it is for the editor to cut to you for your best moments.
Training talent to be unstoppable
+ Editors like to cut on movements, so put some in before one of your important bits of acting. + Mark changes of thought with appropriate pieces of business. Remember that particular piece of business! You may need to halt shooting to reset, and pick back up right where you left off. + During a speech, look at the other characters. The editor needs your inner monologue through “eyeflashes” to motivate cuts. + Reactions don’t have to be logical or consistent. The editor is only looking for a slice of a good reaction, and several different ones give him/her a better choice (to cut to you!).
REACTIONS AND BUSINESS: + Make sure you have a moment before! React before you speak, and react to the upcoming thought. This is best done on the intake of breath before the line. + Be fully present in the Given Circumstances. React while others are speaking – on screen we watch the listening character. + The best moments are when the character is not speaking – so give yourself time. + Learn all your lines and business in advance of the shoot very, very well. During the shoot you will be concentrating on all the new things, such as remembering camera angles and hitting marks. But also be prepared to change lines and business at the very last moment – be flexible in a very cooperative way. + Pace is dictated by the events of the Given Circumstances, not continuous speaking. + Fully motivate / justify any large reactions. Don’t reduce your size, increase your believability. + Remember the camera cannot follow fast movements, so lift that cup slowly, gently rise up out of that chair. + In a multi-camera studio a red light means the camera is on, so stay in the moment until it has been sampled by that camera. + Eyes can be very effective. “Chin down, eyes up!” Be sure to be looking up as well as down, especially when “listening” to another character. Focus on one eye rather than scanning between eyes.
Training talent to be unstoppable
SOME FINAL THOUGHTS: + Coming across as truthful and believable requires talent, technique, and brains. Proper script breakdown is crucial, and independent rehearsal before showing up on set is a must. + Don’t panic over any problem. There has never been a trouble-free shoot. Whether on film or stage, chaos is part of our work. + Keep the work alive and your instrument relaxed and ready. The days are long, the waiting tedious. It’s your job to be ready when called. + You are part of a larger symphony of players. Everyone on set has as an important a job as you. Be respectful, professional and cooperative with everyone!
* Adapted for AZ Actors Academy from “The Famous Screen Acting Checklist” in SECRETS OF SCREEN ACTING, by Patrick Tucker, Routledge, 1994
Training talent to be unstoppable
ON-CAMERA TERMINOLOGY / ACRONYMS
“ACTION!” | The verbal cue from the director which prompts the actors to start acting from their indicated marks. AC | Assistant Camera. AD | Assistant Director. ADR | Additional (or Automatic) Dialogue Replacement; sometimes called "looping". AEA | Actors Equity Association; often called simply "Equity". AFI | The American Film Institute. AFL-ClO | The American Federation of Labor/Congress of lndustrial Organizations. AFTRA | The American Federation of Television & Radio Artists. AGMA | The American Guild of Musical Artists. AGVA | The American Guild of Variety Artists. ALL-AMERICAN LOOK | Middle-American appearance. ART DIRECTOR | Person who conceives and designs the sets, usually on a commercial. ATA | The Association of Talent Agents. AUDITION | A tryout for a film or television role, usually in front of a casting director, for which a reading is required. AVAIL | A courtesy situation extended by an agent to a producer indicating that a performer is available to work a certain job. Avails have no legal or contractual status. “BACK TO ONE!” | A verbal cue for everyone to go back to their initial position at the beginning of a take / shot. BACKGROUND | Extras. BACK-UP | A performer hired to work only if the designated principal doesn't perform satisfactorily. BEAUTY SHOT | On television soap operas, the shot over which the credits are rolled. BEST BOY | In films, the assistant to the Electrician. BILLING | The order of the names in the opening credits of a film or TV show. B10 | A resume in narrative form, usually for a printed program or press release. BLOCKING | The actual physical movements by actors in any scene. BOOKING | A firm commitment to a performer to do a specific job. BOOM | An overhead microphone, usually on an extended pole. BREAKAWAY | A prop or set piece, which looks solid but shatters easily. BREAKDOWN | A detailed listing and description of roles available for casting in a production. BUYOUT | An offer of full payment in advance in lieu of residuals, when the contract permits. CALL SHEET | A document sent out for each day of filming indicating each individual’s call time, location, wardrobe, and other necessary details. CAMERA DOLLY | A platform that enables a movie or video camera to move during
Training talent to be unstoppable shots- left to right, or forwards into and backwards away from the action. CASTING DIRECTOR (CD) | The producer's representative responsible for choosing performers for consideration by the producer. CATTLE CALL | An audition where anyone can come to audition without an appointment. Usually there are many people there. Also called an "open call." CHANGES | Outfits worn while performing. CINEMATOGRAPHER (DP) | The individual in charge of the shot composition and the visual storytelling aspect of the filmmaking process. CLOSE-UP / (CU) | Camera term for tight shot of shoulders and face. Closeups can be of anything. COLA | Cost of Living Adjustment. COLD READING | Unrehearsed reading of a scene, usually at auditions. COMMISSION | Percentage of a performer's earnings paid to agents or managers for services rendered. COMPOSITE | A series of contrasting photos. CONFLICT | Status of being paid for services in a commercial for one advertiser, thereby contractually preventing performing services in a commercial for a competitor. COPM | Conference of Personal Managers. COPY | The script for a commercial or voice over. CRANE SHOT | A camera shot raised over or above the set or the action. CRAWL | Usually the end credits in a film or TV shot which "crawl" up the screen. CREDITS | Performance experience listed on a resume; also, opening names in a film or a show. CROSS-FADE | On camera, the transition achieved by retaining one image as another is introduced. On radio, to change the source of sound by steadily lowering one and raising another. “CROSSING!” | A verbal cue used when an individual crosses in front of the camera. CRAFT SERVICES | The company / individual providing the food and beverages to be served on set. CSA | The Casting Society of America. CUE | The trigger for an action to be carried out at a specific time, in theatre or film. CUTAWAY | A short scene between two shots of the same person, showing something other than that person. DAY PLAYER | A performer hired on a daily basis, rather than on a longer term contract. DAYTIME DRAMA | Soap opera. DEAD AIR | Silence in a broadcast. DEALER COMMERCIAL | A national commercial produced and paid for by a national advertiser and then turned over to local dealers to book air time, usually with the dealer's tag added on. DEMO | An audition tape. DEMO REEL | A short video comprised of an actor’s best clips from various production
Training talent to be unstoppable to showcase their skill level. CALLBACK | Any follow-up interview or audition. DIALECT | A distinctly regional or cultural sound. DIALOGUE | The scripted words exchanged by performers. DIRECTOR | The coordinator of all artistic and technical aspects of any production. DONUT | A recording made to change information in the body of a commercial, as opposed to a tag. DOUBLE | Any performer who actually performs in place of another performer. DOWNGRADE | Reduction of a performer's on camera role from principal to extra. DP | Director of Photography. See: Cinematographer. DRESS THE SET | To add items to the set such as curtains, furniture, props, etc. DRIVE-ON PASS | In Los Angeles, a pass to drive onto and park on a studio lot. DROP-PICKUP | A contractual situation where a performer is laid off and rehired on the same production. DUPE | A duplicate copy of a film or tape; also, a "dub." 8x10 | Commonly used size of headshots / glossy photos. 18-TO-GO-YOUNGER | Legally 18 years old, but can be convincingly cast as younger. ELECTRICIAN | Crew chief responsible for lighting. EMANCIPATED MINOR | A child who has been given the status of a legal adult by a judge. EOR | Employer of record; responsible for employment taxes and unemployment benefits. EQUITY | Actors' Equity Association. EQUITY WAIVER | In Los Angeles, 99-seat (or less) theaters which are otherwise professional, over which Equity has waived contract provisions under certain conditions. EXCLUSIVITY | Achieved by virtue of performing as a principal in a commercial. During the contractual period of payment, the advertiser has exclusive rights to the performer's work, likeness and image with regards to competitive products. EXECUTIVE PRODUCER | Person responsible for funding the production. EXHIBIT A | The portion of the Network Code pertaining to television work which falls exclusively under AFTRA's jurisdiction. EXT | Exterior or Exterior shot; a scene shot outside or outside another area. EXTRA | Background talent, used only in non-principal roles. FICA | Social Security taxes (Federal lnsurance Corporation of America). FIELD REP | AFITRA or SAG staff member who ensures contractual compliance on sets. FIRST REFUSAL | A courtesy situation extended to producers by agents on behalf of performers, giving the producer the "right" to decline to employ the performer before the performer accepts a conflicting assignment. FIXED CYCLE | For commercials, an established 1 week period for which the advertiser pays a holding fee to retain the right to use the performer's services, likeness and image in a previously produced advertisement.
Training talent to be unstoppable
FLIPPER | Easily removed false teeth for children, used for cosmetic purposes only. FORCED CALL | A call to work less than 12 hours after dismissal on the previous day. FOREIGN REPLAY | A fee paid for re-runs outside the U.S. 4-As | Associated Actors and Artistes of America; umbrella organization for AFTRA, SAG, and other performers' Unions. FRANCHISED AGENT | A talent agent approved by AFTRA or SAG to solicit and negotiate employment for their members. FREELANCING | Working through more than one franchised agent rather than signing exclusively with any one agent. Also, working for multiple employers as a performer, distinguished from permanent employment at a radio TV station or network. FX | Effects, or Special Effects. GAFFER / GAFF TAPE | A strong, tough, pressure-sensitive tape with strong adhesive properties used in all production types for a variety of purposes. GAFFER | In film, a crew member who places lighting equipment. GLOSSY | A shiny photo-finishing process. GOFER | An errand runner, who "goes for" this or that. GRIP | A crew member who moves set pieces or props. GUARANTEED BILLING | Position of credit specifically negotiated by agent. HAND MODEL | A performer whose hands are used to double for others. HEAD SHOT | A still photo, usually 8"x10", showing head and shoulders. HIATUS | Time during which a television series is out of production. HOLDING FEE | Set payment by an advertiser to retain the right to use a performer's services, image or likeness on an exclusive basis. HONEY WAGON | A towed vehicle containing one or more dressing rooms. Often the honewagon is also used when referring to the toilet. INDUSTRIAL | Non-broadcast; often educational, films or tapes. INSERTS | Shots, usually close-ups of hands or close business, inserted into previously shot footage. INT | Interior, or interior shot. "IN" TIME | The actual call time or start time; also, return time from a break. JIB | A boom device with a camera on one end and a counterweight and camera controls on the other; used for high shots or shots which need to move a great distance horizontally or vertically LIFT | Process of taking a sequence from one commercial to create all or part of another commercial. Sometimes called a "mechanical lift." LIQUIDATED DAMAGES | Monetary penalties imposed on an employer when contract provisions are violated (paid to the Union). LONG SHOT (LS) | A camera shot which captures the performer's full body. LOOPING | An in-studio technique matching voice to picture. MARK | The position in which an actor starts their action or needs to end up at a certain point in the shot; often indicated on the ground with gaff tape or other markings.
Training talent to be unstoppable
MARTINI SHOT | The last shot before filming is completely wrapped; not necessarily the last scene in the film MEAL PENALTY | A set fee paid by the producer for failure to provide meals or meal breaks as specified by the contract. MONOLOGUE | A solo performance by an actor. MOS (Mit Out Sound/Motion Only Shot) | Any shot without dialogue or sound. MULTI-CAM SHOOT | Several cameras—either film or professional video cameras—are employed on the set and simultaneously record or broadcast a scene. It is often contrasted with single-camera setup, which uses one camera. Generally, the two outer cameras shoot close-up shots or "crosses" of the two most active characters on the set at any given time, while the central camera or cameras shoot a wider master shot to capture the overall action and establish the geography of the room. In this way, multiple shots are obtained in a single take without having to start and stop the action. This is more efficient for programs that are to be shown a short time after being shot as it reduces the time spent film editing or video editing the footage. NATIONAL COMMERCIAL | A commercial produced for use throughout the country. NATR | The National Association of Talent Representatives (NY only). NETWORK CODE | In AFTRA, the contract covering non-primetime, network programming. NIGHT PREMIUM | A 10% surcharge for work performed after 8 p.m. NOMEX | Brand name for fire-retardant undergarments. OFF-CAMERA (OC or OS) | Dialogue delivered without the actor being on screen. OPEN CALL | An interview situation open to anyone. OUT CLAUSE | Section of a contract allowing the performer to terminate the agreement under certain circumstances. ''OUT” TIME | The actual time after which you have changed out of wardrobe and are released. OVERDUBBING | In studio singing or voice work, the process of laying a new soundtrack over an old one. OVERTIME (OT) | Work extending beyond the contractual work day. PA | Production assistant. PAN | A camera shot which sweeps from side-to-side. P&G | Performers who have a cleancut, all-American look as commonly favored by Procter & Gamble for its commercials or soap operas. PAYMASTER | An independent talent payment service acting as the employer of record and signatory. PER DIEM | Set fee paid by producer on location shoots to compensate performer for expenditures for meals not provided by the producer PHOTO DOUBLE | An actor cast to perform on camera in place of another. "POPPING" or PLOSlVE | The sudden release of blocked-in air causing a popping sound on the mike; usually with the letters “p,b,t,d,k,g.”
Training talent to be unstoppable
POV SHOT | Point-of-View shot; camera angle from the perspective of one actor (character in the story). "PREPPY" TYPE | An Eastern prep school-casual appearance. PRE-PRODUCTION / PRE-PRO | The process of preparing all the elements involved in a production; ends when the planning portion is complete and the actual content starts being produced. POST-PRODUCTION / POST | The production process occurring after the end of the actual filming process; ie: editing, sound mixing, special effects, color grading, etc. PRIME TIME | Network programming aired 8-11 p.m. (7-10 p.m. in Central/Mountain time zones). PRINCIPAL | A performer with lines or special business which advances the story line. PRODUCER | Often called the Line Producer; the person responsible for the day-to-day decision-making on a production. PROFICIENCY TEST | An advanced placement examination taken by high school students to achieve high school graduation equivalence without dropping out of school. PROPS | Easily moved objects used in the course of action of a program. PSA | Public Service Announcement. RATINGS | Public surveys used to measure the number of TV viewers or radio listeners. REGIONAL COMMERClAL | Produced for airing only in certain areas of the U.S. RELEASE | In commercials, termination of use of a commercial. RELEASE LETTER | Written dismissal of a talent agent, as required by Unions. RERUN | Rebroadcast of a TV program; in commercials, often called "reuse." RESIDUAL | The fee paid to a performer for rebroadcast of a commercial, film, or television program. RESUME | List of credits, usually attached to an 8x10 or composite. REWRITE | Changes in the script, often using color-coded pages. RHUBARB | Live crowd noises (also known as "WALLA"). “ROLLING!” | The verbal cue indicating that the video / audio is recording; often followed by calling of the slate and then the “action” cue from the director. ROOM TONE | The background ambient noises of a location captured on set that is necessary for post-production sound editing. RUNAWAY PRODUCTION | Any production which leaves its usual location far a different one, usually to save on costs or escape certain regulations. RUNNING PART | In TV series, a recurring role. SAG | Screen Actors Guild. SCALE | Minimum payment for services under Union contracts. SCALE + 10 | Minimum payment plus 10% to cover the agent's commission, required in some jurisdictions for agents to receive commissions. SCREEN TEST | A filmed performance of a short scene to confirm how an actor performs on camera; increasingly applied to taped tests. SCRIPT | The written form of a screenplay, teleplay, radio, or stage play.
Training talent to be unstoppable
SCRIPT SUPERVISOR | The crew member assigned to record all changes or actions as the production proceeds to ensure continuity. SDI | State Disability Insurance. SEG | Screen Extras Guild. SEGUE | In film or tape editing, a transition from one shot to another. SESSION FEE | Payment for initial performance in, and initial airing of a commercial. SET | An indoor location (often constructed in a studio). SETTLE! | A verbal cue often used after camera are rolling and slate is called to allow for everyone to settle into placed before action is called. SFX | Sound effects. SIDES | Pages or scenes from a script, used for auditions. SIGHT-AND-SOUND | Parent's right under Union contracts to be within sight of the child performer at all times. SIGNATORY | An employer who has agreed to produce under the terms of a Union contract. SILENT BIT | A piece of work without lines featured by the camera. SINGLE CARD | A credit in a film or TV show in which only one performer's name appears. SITCOM | Situation comedy; an episodic television comedy, produced in a studio. SLATE | A small chalkboard and clapper device, used to mark and identify shots on film for editing; also, the process of verbal identification by a performer in a taped audition (e.g., "Slate your name!"). SOAP | Soap opera or daytime drama. SOF | Sound on film. SOT | Sound on tape. SOUNDTRACK | The audio portion of a film or TV production. SPECIAL BUSINESS | Specially directed action by an extra player. SPOT | A commercial message, usually booked at random. STAGE MANAGER | The person who oversees the technical aspects of an in- studio production. STATlON 12 | At SAG, the office responsible for clearing SAG members to work. STATlON 15 | At SAG, the office responsible for clearing signatory producers. STANDARD UNION CONTRACT | The standard format/contract approved by the Unions and offered to performers prior to the job. STANDARDS & PRACTICES | The network TV censorship departments. STAND-INS | Extra players used to substitute for featured players, usually for purposes of setting lights. STICKS | Slate or clapboard / the tripod. STORYBOARD | A pictured sequential rendering of the dialogue and action in a production. “STRIKING!” | A verbal cue used to warn talent / actors before a light is turned on or off.
Training talent to be unstoppable
STUDIO | A building which accommodates film or TV production. STUDIO TEACHER | Set teacher or tutor, hired to provide education to working young performers; also responsible for enforcing Child Labor Laws and Minors' provisions in the Union contracts. STUNT COORDINATOR | The person in charge of designing and supervising the performance of stunts and hazardous activities. STUNT DOUBLE | A specially trained performer who actually performs stunts in place of a principal player. SUBMISSION | An agent's suggestion to a casting director for a role in a certain production. SWEETENING | In singing/recording, the process of adding additional voices to previously recorded work. SYNDICATION | Selling television programs to individual stations rather than to networks. TAFT-HARTLEY | A federal statute which allows 30 days after first employment before being required to join a Union. TAG | An introduction or ending to a commercial or television show to identify a dealer, address, phone number, etc. Often a bit in a television show which is the last bit the audience sees. TAKE | The clapboard indication of a shot "taken" or printed. TAKE 5 | The announcement of periodic five minute breaks. T&R | Talent and Residuals, a talent payment company, or paymaster. TELEPROMPTER | The brand name of a device which enables a broadcaster to read a script while looking into the lens. It is usually located near or in front of the lens. TEST MARKET | Airing of a commercial in one area to determine response. TIGHT SHOT | Framing of a shot with little or no space around the central figure(s) or feature(s); usually a close up. THEATRICAL | Television shows or feature film work, as opposed to commercials. 3/4" TAPE | lndustrial quality video tape; requires special tape deck. TIME & 1/2 | Overtime payment of 1 1/2 times the hourly rate. TRADES | Trade papers, periodicals carrying entertainment information. TRAILER | A series of excerpts or clips, used to promote a film or television show. TRUCKlNG | A camera move, involving shifts side to side. TURNAROUND | The number of hours between dismissal one day and call time the next day. TWO-SHOT | A camera framing of two persons. UNDER 5 (U-5) | In AFTRA contracts, a speaking role having 5 lines or less. UNDERSTUDY | A performer hired to do role only if the featured player is unable to perform. UPGRADE | Acknowledgement by a producer that a player hired as an extra has performed principal work, resulting in principal payment.
Training talent to be unstoppable
USE CYCLE | Any 13 week period during which a commercial is actually aired; used to determine payment schedule for residuals and often differing from holding cycles. VOICE OVER (VO) | Also OS; off-camera dialogue. WAIVERS | Board-approved permission for deviation from the terms of a contract. WALK-IN | A very brief role. WARDROBE | The clothing a performer wears on camera. WARDROBE FITTING | A paid session held prior to production to prepare a performer's costumes. WILD SPOT | A commercial which is contracted to air on a station-by-station basis, rather then by network. WILD TRACK | Soundtrack having no direct relationship to the picture. WORK PERMIT | A legal document required to allow a child to work, issued by various state or local agencies. WRAP | Finishing the actual filming portion of a production. ZED CARD | A composite, usually 5"x7", used for print work or modeling. ZOOM | A camera technique with a special lens to adjust the depth of a shot accomplished without moving the camera.