showbizschool: Acting for camera

Showing posts with label Acting for camera. Show all posts

The secret of success behind becoming a Bollywood star!

Is Your Dream to be a Bollywood Star is breaking into pieces?
Not Getting Roles?
How long would continue with failures? One, two, five years?
Who would financially support a failing actor and for how long?
Do you really know how to really act in front of a camera?

The solution is HERE!!

I'm sure you out there are actual human beings and not aliens from other planets that also might be actors. And most people think that the easiest thing in the world is to just be yourself when the camera comes on. Wrong! I find that most people have the toughest problem, not with techniques about the script and character building and playing emotions and different attitudes, but with-

just looking and feeling like an actual living being, once the camera is running. And, let�s face it, a good acting scene should never look like a good acting scene.

It should look like a reality show that is so natural and real that we forget it is an acting scene.

Here are my crazy 3 tips to let my students and other hundreds of aspiring actors on Mumbai roads to feel and look like real human beings in a scene:
(Caution: With due apologies to our esteemed directors, many like to focus on �perfection� with the screenplay and does not like to experiment or look for options and especially do not encourage new actors the freedom to do what actors think natural. Of course, there are some notable exceptions (read below) who would experiment and allow actors to �Improvise� and the results are there. Therefore, understanding your director and what he/she really want is important before you read, understand and practice to be �Real You�)
Directors of Bollywood I admire who like to experiment and allow actors to be themselves and improvise:

Director: Rajkumar Hirani
Omi Vadiya in 3 idiots
Boman Irani in Munna Bhai MBBS
Director: Sanjay Leela Bhansali
Hrithik Roshan in Guzaarish
Amitabh Bachchan in Black
Director: Anurag Kashap
Nawazuddin Siddiqui in Gangs of Wasseypur
Director: Shoojit Sircar
Deepika Padukone and other new actors in in Piku
Director Prakash Jha's numerous films
(Damul, Mrityudand, Gangaajal, Apaharan,Raajneeti,Aarakshan,hakravyuh, and Satyagraha)

1. Be Lazy

Start by relaxing and getting into your body by just �loosening and becoming lazy. It�s important to physically loosen your body and to unfreeze it so that you respond and react naturally to stimuli
(Note:
What is a stimulus? Normally we react to things which we see and feel by our 5 senses (eyes, smell, listen, taste and through touch) and then respond. The cause of our reaction is a stimulus.)

I always teach students a simple relaxation technique of breathing in through your nose on a count of four, holding for a count of seven, and breathing out through your mouth on a count of eight. Deep-breathing is the fastest way to balance and relax. The counting helps your brain to shut down so that you can be more in the moment instead of spinning past everything.
Then, take a deep breath (raising your shoulders up) and, as you exhale, flop down into your body like you�re a bag of potatoes. Slob out so you aren�t holding your body in a stiff acting position. It should feel like you are not in front of a camera at all. You shall begin to feel the difference between being stiff and locked in your body (fake actor) and freeing your life energy and blood to flow through your veins as though you are real (natural human being). Allow this natural flow to continue as you slide into your character. Make sure you don�t stiffen up again right before you start the scene.
Keep tiny movements going on (breathing, slightly shifting your weight, wiggling your toes, etc.) so that you don�t freeze up. Get the flow going and go!

2. Free Yourself

Free yourself as though you are alone and no one is watching you.Do the things you would do if you were alone. Scratch. Get the hair out of your face. Set free natural things to happen so that you are working as a real �living human being�. Allow yourself to feel ugly, imperfect, even boring. Everyone actually looks better in a relaxed mode, as your face and body get a beautiful, natural glow and flow. It will look like you are doing nothing, but tiny nuances will begin to happen that warm up the whole scene. The more you do this, the easier it gets to trust that all the good stuff happens in this zone.

3. Do something which is real

If approved by the director or in case of an �improvised� scene, give yourself something to do! Anything that is real looks amazing on camera. So really read the book; really listen to the other person; really try to get the piece of lint off of your clothes; really trace a heart in the water spilled on the table.
Use props and bits of in a scene. Adjust your clothes. Really observe the other person in the scene. Feel the breeze on your face. Clean your finger nails. Touch someone with love. Stare so hard into their eyes that you make them tell you the truth.
Doing something also distracts you from feeling like you are acting. If you are busy doing you won�t be stuck thinking. Thus, you will get out of your head (which is making you fake and stiff) and you shall easily get lost in your body and the scene. You are in the moment and truthful!.
Partly besed on

Not getting Roles? Your Fault! Learn My 3 On-Camera Tips

A typical film audition scene

A typical audition scene in a Bollywood film or TV audition:

Fierce competition! A long queue of hundreds for a single role in audition! �Hell! Everyone is looking better than me! My chances are poor! What to do?�

This is a common experience of many, especially new actors. They enter the audition room with a scared face with sweat trickling down the neck.
The result is disastrous. In nutshell, this nervousness just screws up all your efforts and preparation.
Stress and anxiety are factors that an actor has to deal with when they audition for a part. But it�s important that an actor knows what to do with their nervousness so it doesn�t prevent them from getting what they want.
Based on my own experience and the recommendations of top casting directors, here are 5 invaluable techniques as solutions to fight nervousness and anxiety

1. Stop Negative Thoughts. Take a break.

Sometimes an actor gets stressed out before they have to perform. When this happens, a person must give an auto suggestion with Saying �Stop� to self, should take a deep breath, say �I�m confident, I�ll do the best�, just smile for self and try to find something to do for a few minutes to get their mind off of the problem. A person could take a walk, listen to some music, read the newspaper, or do an activity that will give them a fresh perspective on things before auditioning for a part.

2. Read motivating quotes, something uplifting your mood.

A technique that is very helpful is to have a small notebook of positive quotes; statements that make you feel good. Whenever you come across a motivational quote, being positive in life, statements by great Hollywood or Bollywood actors, how to manage anxiety, etc., write it down in a small notebook that you can carry around with you in your pocket. Whenever you feel depressed or frustrated, open up your notebook and read those statements. This will help to manage your negative thinking before going on stage or set.

3. Visualize the audition scene before and practice.

Sometimes we can get anxious over an upcoming audition just for the heck of it or perhaps because we don�t know anything about it.
There are 2 options:
� If possible, visit the place before a day and try to inquire about it. If it�s a casting director�s office try to meet few concerned people. This will help you to reach at the audition place without hassles on time on the day and mentally you may be in a relaxed mood.
� Before the big day comes, imagine yourself doing the audition using your mind. By doing this, you will be better prepared to perform for real when the time comes. Self-visualization is a great way to reduce the fear and stress of a coming situation.

4. Worrying only makes things worse.

A lot of times, our worrying can make the problem even worse. All the worrying in the world will not change anything. All you can do is to do your best each day, hope for the best, and if something does not work out, learn to take it in stride. Just say to yourself �If they don�t select me, the loss is theirs�s. They lost a good actor for their film�. �Ha�ha�ha�

5. Take help.

Take advantage of the help that is available around you if you get really anxious in your auditions. If possible, talk to your school teacher or a professional acting coach who can help you manage your depression and anxieties. They will be able to provide you with additional advice and insights on how to deal with your current problem. By talking to a professional, a person will be helping themselves in the long run because they will become better able to deal with their problems in the future. Remember that it never hurts to ask for help.
Source

Are you Nervous at Auditions? 5 Solutions by Top Directors

Famous Director Mira Nair points on actor's performance

1. Why average actors fail in auditions and enacting a scene

They just memorize lines and just �act�. In their efforts to play a character they struggle and the moment they try hard, it looks fake. 90 auditioning actors out of 100 in the line do this and fail.
The moment a casting director says �Do it in a different way� or� kuch aur tarike se kar ke dhikaye�, they just speak with a different volume or speed and fail. They cannot create a different character or play different emotions or attitudes. Their voice, gestures and movements remain the same.
The result is that a casting director in an audition or a director in a scene gets irritated and fed up seeing the same lackluster performance again and again in majority of actors.

2. Why this happens?

As an individual you have your own unique personality-your voice, gestures, physical movement style, looks, expressions and a fixed attitude (shy, aggressive, positive, negative, suspicious etc).
Do you know who you are? Your personality and habits? If a page or a slate is full, how can you write anything new on it? The same is when you portray a character, a new life.

3. Solutions

Your biggest enemy is your own self. Your fixed personality. Unless you free yourself with your �self� and make yourself �Blank�, you cannot bring a new life, a character in you. This requires you to be AWARE of yourself, for example, how you stand, your walk, any hand gesture, the way you nod, your head while talking, your looking habits, an peculiar walk of yourself, your voice (speed, diction, quality), mental makeup (nervous, confident, shy?) etc. Once you become a blank personality, it will be easy to be in a new created character and be ready with options. Your own profile will not come in the way to portray a new life.

Who creates a character for you?

A casting director or a director in a film has no time in helping you to create a character. They expect you to do this. Perhaps you may be told briefly by your coordinator or a guy from direction dept. Therefore, you have to create.
Do you know this? How can you create a character unless you have analyzed the script (or your lines) like objective and how your character helps in achieving the objective of the story? What are the options of physical, mental and social profile of a character?
Once you have decided options, learn and practice and practice. Then decide the best option. Apart from the fact that you are ready now, this will bring in A GREAT CONFIDENCE in you

4. What really can help an actor to develop a character?

Imagination

-There are certain things that all great actors share: talent, dedication, and courage, to name a few. Another thing I have found that many great actors who I�ve known over the years is the passion of a rich and vibrant imagination.
Using your imagination is a wonderful, creative exercise. It is essential for you as an artist to recognize and cultivate the part of the brain that sees beyond what you see and is able to create a different world around you. Like any other muscle, you need to work it out so it stays alive and strong.
The easiest way to do so is to combine imagination with observation. Unfortunately, our powers of observation can get a little rusty given the pace at which we live and the amount of things we have to distract us. In Mumbai, we run the risk of being further distracted and isolated by the time we spend in running around meeting coordinators, casting directors, going for auditions and other social activities. So, it�s a good idea to set aside time to be out in public. Take yourself out to a museum, garden, local railway platforms, bus stops, and the zoo or on beaches, be still, and look around. Pick a person. Let your imagination run wild and create some new worlds. It is essential that you dream and create back and future story of the person, animal or anything. Don�t bother whether it�s true or not
For example, you could pick a person and watch them closely. Notice all of the details of what they�re wearing: their hair, the pitch of their voice, their laugh, etc. Now, imagine where they would live. House or apartment? How is it furnished? Are there a picture of people in the living room? If so, who are they? What job does this person have? Do they like it? What kind of money do they make? Are they comfortable or do they need more? Are they lonely or do they want more time alone? What do they dream of at night? What do they long for? And on and on � as many questions you can think of asking until that person comes alive for you in a specific, real, and heartfelt way. Now, do it again and again until your eyes and ears are razor sharp from observing and your brain aches a bit from the exertion of all of your imagining.
What a wonderful way to spend a morning, afternoon, or evening, and what good you have done your creative soul and brain! When you take the time to wonder what life is like for others in this detailed way, you are expanding the parameters of your own imagination, and there are so many ways that an active and well-oiled imagination can help your work. Your concentration is improved, your focus is laser sharp, and all of your decisions are more specific.
Next time you get a scene or character that you�re having trouble portraying, you can remember how great fun it was to imagine someone else�s life and you do the same for the character and when you speak the dialogue you�ll feel energized and excited, ready to show stunning possibilities of the role to thrill a casting director or a director instead of being frustrated by your limitations.
Imagine that!

Why Most Actors Fail in Audtions, and Films | Solutions

Great nonverbal (silent no dialog) communication on camera by a great actor

Non Verbal Communication

Conveying your reactions, views, thoughts, emotions and attitudes without dialogs in the front of a camera is called as a superior acting technique of "Non Verbal Communication", a hallmark of great actors.

Should aspiring actors to be a successful learn this technique?

The answer is a BIG yes.

Communicating silently in front of a camera makes up anywhere from 60-70 percent of our communication. An audition requiring only a reaction from you brings it to 100 percent. Since we are in the acting (communication business), it makes sense that all actors master this nonverbal, the language of silence
To be successful in auditions and give a stunning performance in a scene, remember my words �It�s what you�re not saying within the silence that often speaks the loudest�.

A. A slight clamping and lifting of the corner of the lip can send a message of disagreement, contempt or criticism.
B. The rate of blinking can suggest interest, hostility, or distress. Your scent, what you�re wearing, and your posture are all sending messages and are interpreted by casting. It�s this nonverbal information that differentiates the skilled actor from the unskilled or unprepared.

In an acting technique, the nonverbal information we send out through our body, voice, face, and appearance is called �nonverbal behaviors.� Such nonverbal behaviors spring from our attitudes, cultural upbringing, and our reactions to things we consider important in our interest (or in a character�s interest) to communicate either in a positive or negative way.

The following is a quick overview of 7 types of unspoken communication and behaviors that you can use, after analyzing a script and creating a character for your next audition or for actual filming of a scene.

1. Your face

The majority of your silent communication will come from your facial expressions.
A. Some facial expressions are just random muscle movement without meaning and only serve to confuse the viewer. However, facial expressions associated with surprise, fear, happiness, sadness, anger, disgust, and contempt are universally recognized.
B. Practice 9 emotions and if used appropriately, they inform the viewer what you are feeling at any given moment. Some facial reactions are also used for punctuating words or phrases, such as raising your eyebrows to comment on how big something really was.

Use parts of your face like forehead, eyebrows, nostrils, lips, twitching of a facial muscle, clenching of teeth, subtle shaking of the head to communicate yourself well without dialogs

2 Your eyes

Looking, staring, and blinking, is an important nonverbal reaction. When an actor in a scene faces people or things that they like, the rate of blinking increases. On the other hand, when angered, the gaze gets harder and the blink rate will decrease or stop completely. An increase in the blink rate for no apparent reason sends a clear message that you are either not prepared, not connected, or experiencing high anxiety

3. Using your hands

Movements that express some kind of thought or process of thinking are called gestures. Some gestures occur with speech, such as using your fingers when counting out loud or perhaps to emphasize a word or phrase.
Recollect how a politician, a public speaker, trainers or a good TV anchor uses his/ her hands. I would strongly suggest observing foreign TV speakers. Gestures are expressed primarily with your hands, however, can occur in the head, body, or even your face. This may include nodding your head �yes,� a shoulder shrug implying that you �don�t know,� or a wink of the eye suggesting �secret�or "I'm lying"

4. Your body

Unlike facial expressions, body language doesn�t tell viewers what emotion you�re feeling, but rather, how well you�re (a character is) reacting, responding and coping with the emotion he/she has felt after hearing something.
Things that we find frightening or distasteful, we tend to move away from. Heavy swallowing or licking your lips, touching your hair or sprawling out on a couch can be signs of stress, interest, or feelings of superiority.

5. Keeping space (Distance)

The amount of space you or your character needs is influenced by a number of factors including social norms like
Relationship with people or the items in a set: The distance you maintain with a co actor or a thing in a scene would depend on factors like a particular situation,personality characteristics, and level of familiarity. For example, just a slight moving in towards your partner, reader, or the camera can enhance intimacy. A big boss may maintain a formal distance with a subordinate rather than a drunken close friend at a party.
6. Your touch. Communicating through touch is an important nonverbal behavioral cue to think about. Touch can be used by a good actor to communicate a range of information and feelings such as affection, familiarity, sympathy, desire, etc.

7. Your look

The choice of color, clothing, hairstyles, and other factors affecting how you look fall under the category of appearance. Your appearance as a character can also change scene partner or viewer�s reactions, judgments, and conclusions. Think of an appearance of a gangster, policeman, businessman, college girl.
In our real life, how do we judge people? Just think of all the opinions, judgments we quickly make about someone based on his or her appearance.
Remember! The first impression you make in your audition is important and lasting.
As a good actor, it�s how you react to an event or situation�your attitude or behavior under certain circumstances, like when there are no dialogs�makes your performance memorable.

A sure success formula?

When chosen (from the above 7 ones) and prepared correctly into your audition, or into a filming of a scene can bring more depth, colors, and meaning to your actions, reactions, and the words you don�t speak.

Still don�t know how to prepare? Join our coaching

Inspired by own experience and this article

7 Tips to Express on Camera without Dialogs to be a Star

The lies and truth of acting in films

The lies

1. You should have a close relative in the cine industry or to know the right people

This may be sort of true, but not necessary.
So, what�s the key?

Networking and public relation skills!

You can learn the skill of networking the same way you can learn anything else The saying should be, �you have to meet and make sure the right people get to know you.�

Just start visiting production houses, producers, directors and casting directors, TV channels and other important people. Yes, it�s a hard work and got to have a thick skin to face refusals. Have website, show-reel or a 2 minute monologue and promote aggressively online and on social media.

2. Getting trained by an acting school with a big name behind is necessary

This is not true. There are many successful actors without any formal training from a big name school. I personally know actors who are a passionate reader of this blog who practiced with their friends and now are on TV serials and films.
However, this is not to undermine the importance of learning the acting craft professionally in a good school.
Perhaps for beginners, it would be better to engage a private acting coach who either works on one on one basis or have a small group of 2 or 3 students only. This way you may get personal attention in a COST EFFECTIVE WAY compared to an expensive school with a large group.

3. The director is there to help you act on the set

No way. He/she is there to take care manage numerous activities of a shoot under terrible time constraints. He/she is there to supervise the story and photography. On the focused platform, directors are there to capture their vision, but the reality is that nine times out of 10 they have nothing to say that will be of any real help to your performance. They may be inclined to hold your hand or praise you, if you still have such needs, but they will not like it. They are too busy for your needs. Come to set with a polished performance ready to roll. If directors have time (or the ability) to direct actors, then that is just a bonus for you.

4. Just ignore the camera. Let it find you

Wrong. For example, you can move freely the way you want in a wide shot or use exaggerated gestures or facial expressions and look wherever you want in a close shot!
Remember, a camera has limitations of width and has a fixed path length, especially in a mid shot or in a close up. Secondly, it can catch and will magnify most subtle movements, emotions, expressions and your look. If you ignore the camera, this could be tricky and it usually costs, additional screen time and retakes which nobody likes.
I always suggest to locate the camera the moment you are ready for a shot and play for the camera apart from moving into a character.
Therefore, learning acting for a camera is of paramount importance if want to get roles in films, TV serials or commercial ads.

5. You should speak softly on camera

You should speak exactly in the way that you would, so that the person in front of you can hear you correctly. This means no mumbling, proper diction, and volume. You will not need to go as far as you do in theater (loudness and clarity of voice and gestures); only speak as much as you would in an actual conversation. Do as you would in reality. Don�t be too cool or deep or project in a subtle voice. Most movie stars clearly understand this and they use their own voices and dialect unless the a particular role demands differ.

6. The theater is a strong foundation for film acting

A film actor should get on the fast track. In today�s youth-driven, highly competitive market with thousands of struggling actors, you should come to Mumbai and get into a school which has great on-camera class. Or join a good professional acting coach who had been a good film / TV actor in the past. Once you have a name in the film, you can get a good role in a play / theater.

6 Lies you are told on Film Acting to make you Fail

Mira Nair directs an actor in a scene pointing a mismatch

Unlike in Theater Learning �Continuity� is Must in Acting for Camera

When shooting on set, do you ever wonder what the editor needs to keep you in the film? Or if you are unintentionally causing problems for the director or for an editor? You�re not alone.

Who is an editor?

Film editing is part of the creative post-production process of filmmaking in which an editor selects shots and puts them in an orderly, logical, and aesthetically consistent sequence. Film editing is often referred to as the "invisible art" because when it is well-practiced by an editor, the viewer can become so engaged that he or she is not even aware of the editor's work. Thus an editor�s work becomes a key factor in a film�s success.

What�s the difference between a SHOT and a TAKE?

SHOT
The section of unedited film from the time the camera starts to the time it stops.

TAKE
In cinematography, a take refers to each filmed "version" of a particular shot. �Takes� of each shot are generally numbered starting with "take one" and the number of each successive take is increased (with the director calling for "take two" or "take eighteen") until the filming of the shot is completed
From an editor�s viewpoint, one of the most important technical skills for an actor to master is continuity.

Irrelevant in theater, but critical to on-camera acting, continuity means performing the same physical actions identically in every take. This may happen when multiple takes are taken (filmed) of the same shot. For example: It�s which point in the dialogue you turn around to face someone, which hand you use to pass your scene partner a folder, when you lean back in your chair or touch your face.
Continuity is when you move, how you move, when you stop moving, and matching that action in every take.

If you reached for your water before saying, �Bahut pyas lagi hai� (�I�m thirsty�) in �take one�, then you have to match this movement and action in every other take for a shot. You must always do it in the same order because an editor is editing the scene together using multiple angles and takes, and the action in all of them needs to match. You can�t change the sequence of events in �take three� by reaching for the water after saying, �Bahut pyas lagi hai� That�s not going to cut together with your other "takes" or your scene partner�s "takes". The other actors are reacting to your actions, so if you move at the wrong time, their eyes will be looking in the wrong place. It�s extremely important to be consistent and doing the same and same, whether the camera is on you or on someone else. Then an editor always has the option to keep your good work in the scene.

Sometimes it�s human not to notice mismatching movements and actors are no different, so editors work hard to avoid them. The directors or editors don�t want the audience to become distracted by an actor�s wrong movement or looks. For the illusion of a film�s fictional world, you need to maintain continuity.

Here�s an example of bad continuity

Two characters are talking at a diner. The Drinker has a coffee cup in his left hand. In his coverage, he says his line and then drinks the coffee. But what if he doesn�t maintain continuity when the camera moves behind him to get coverage of the Listener?

Correct continuity:

The correct continuity by an actor while filming. See the arrow on the right holding cup in his left hand in both the pictures (Picture courtesy http://www.backstage.com)

Incorrect continuity:

The incorrect continuity by an actor. On the left, holding the cup in his left hand Now, see the arrow on the right where the man is holding the cup in his right hand (Picture courtesy http://www.backstage.com)

See how his coffee cup jumped his own hands? So did the audience.
The woman performed exceptionally well in this shot, but for a bungling of a mismatch by her co-star Therefore hoping that she would perform well again, the director had to go for another �take� to correct the mismatch in �continuity�. Unfortunately, the female actor in the next �take� didn�t do that well.

An editor speaks:

"I want to cut every scene for the best performances, but when there are continuity problems, I�ll have to use inferior takes just to hide the physical mismatch. So your worst performance might wind up on screen because that was the only "take" where continuity matched. Or I might have to cut away from you entirely until the mismatching action is over. That�s how you end up on the cutting room floor".

Now, is it clear to you how important is �continuity� for an actor?

Criticism

Some actors complain that continuity is a too rigid thing; that it prevents them from being in a character�s moment and thus produces an unreal performance. �I can�t be in the character if I�m worrying about whether my glass is up or down!�

My answer

It is simply that you have to learn this skill and make it part of your acting craft. If you give the most incredible performance, but your continuity is a disaster, an editor probably can�t use it. So the performance will be useless after all. Keeping your continuity consistent lets the audience focus on the important things.
The greatest actors have the ability to portray rich emotional moments on demand, but even in the midst of those moments, there�s a still a part of their brain that can focus on technical things like continuity without diminishing their emotional performance. The examples of such Bollywood actors are many. I find that truly incredible.

How to learn continuity?

Be aware of what you are doing in each �take�
Keep a small diary with you and as you sit down (If possible), note down every movement, gestures, looks etc. If there is an immediate next take with no time to sit, run in your mind what you did earlier.
However, remain in the character. Don�t chat with co-stars in between a take or a shot or till it�s a � pack up� or �wrap up� call
Practice continuously �switch on and off�� between a �character� and �yourself� becoming aware of the technical requirements of an acting for camera.
Remember, it's a balance between your mind and imagination

I�m confident you can learn this too.
Based on

Or join us to learn

Why "Continuity" is No 1 Acting for Camera Learning Skill

I�ll bet most of you as actors out there are actual human beings. And most people think that the easiest thing in the world is to just be just memorize lines and play the character when the camera comes on. Wrong! I find that most people have the toughest problem, not with the techniques, but with just looking and feeling like an actual living, breathing human being once the camera is running. And, let�s face it, a good acting scene should never look like a good acting scene. It should look like "a reality show" that is so natural and real that we forget it is an acting scene.

Here are the top five tips I use in my classes now to get students to feel and look like real human beings in a scene:

1. Start by relaxing and your body to "just let go.�

You need to get out of your mind and nervousness and focus on your body. It�s important to physically loosen your body and to unfreeze it so that natural life energy and subconscious reactions are set free to happen.

A simple relaxation technique of breathing

Easy steps
While sitting on a chair

A. Step 1
Position:
-One hand on chest
-The other hand on stomach

B. Steps 2

Exhale fully emptying your lungs
Inhale deeply, pressing your stomach slightly. No pressing of your chest with the other hand.
Hold your breath for 5 to 7 seconds and while you are holding your breath.
Auto suggest silently to you, like-�I�ll be relaxed�, �I�ll feel good�, I�ll give a great audition�, �I�ll give good performance��
Exhale very slowly in 7 to 10 seconds, releasing the pressure of your hand, the one which is on the stomach and pressing your chest slightly with the hand which is on the chest
Repeat this exercise 10 times or till you can continue, depending upon time available with you in an audition room or the set before the shoot.

Finally, auto suggest yourself- �I�m feeling relaxed. Really good. Yes, I�m ready to go��

2. Free yourself as though you are alone and no one is watching you.

Create a wall in front of you and block everything-casting director, assistants, camera, reader (who reads the other part of your co-actor). Set yourself free. Based on the analysis of the script and the character you are portraying, do the things you would do if you were alone. For example-scratch, get the hair out of your face. Be creative and set free natural nuances to happen so that you are working as a real �living human being�. Allow yourself to feel ugly, imperfect, even boring. Everyone actually looks better in a relaxed mode, as your face and body gets a beautiful, natural glow and flow. It will look like you are doing nothing, but remember, tiny nuances by you looks great in the camera.

3. Give yourself something to do!

Anything that is real looks amazing on camera. So really read the book; really listen to the other person; really try to get the piece of lint off of your clothes; really give a soft smile; adjust your clothes. Really observe the other person in the scene. Feel the breeze on your face. Clean your finger nails. Touch someone with love. Stare so hard into the eyes.

4. Eyelines

Why an actor should care about Eyeline?
An actor should care about Eyelines because where and how an actor looks on screen gives viewers information about his character.
Though basically "Eyelines" is a subject of film making, direction and cinematography as to where to place the camera, especially in 2 shot filming, it could be a great opportunity for actors to showcase their talents through eye expressions
In a cine industry of Bollywood or TV serial market in India, where there is a cut throat competition,
it's absolutely essential for actors how to position themselves suitably in a shot or at the audition to give a memorable performance.
There will be a separate post in detail on how actors should use their eyeline for the camera

5. Use props

It may be a Rs 20 ring you are giving to your love, but feeling that it�s a diamond ring and so should be felt by her. Sipping a coke, but feeling it�s a great scotch in a finest cut glass.
Feeling and just feeling. A camera loves, "feelings"! Yes, that�s the way you should use your props
(Prop: A property, commonly shortened to prop (plural: props), is an object used on stage or on screen by actors during a performance or screen production. In practical terms, a prop is considered to be anything movable or portable on a stage or a film set like pan, umbrella, coffee mug or anything but not a scenery, costumes and electrical equipment etc.)
Based on

How to Act for Camera Nobody Tells You About

A scene from popular TV Serial " Balika Vadhu"

The first time acting in TV serials could be a nightmare for many new actors! However, this statement should not taken as a deliberate attempt to make the life of new actors difficult, but could probably due to complex and nerve wracking condition production, direction and others involved have to work. In spite of this, in majority of the cases, they always try to be nice and helpful once you are selected.

I have been the onset many a times as an actor and later as a personal coach, and have seen a lot of co-star enter set for the first time. It�s fascinating, sometimes scary, and actors need to know what to expect, how to behave while on location, and how they fit into the bigger puzzle of TV filming. There�s no rule book for this. It�s fast paced, chaotic, and that there are so many moving pieces on this chess board that make a TV film/show come to life.

Before we proceed further, actors new to TV should know the basic difference between a film and TV acting.

Acting for film

In most cases, film acting is much more detailed and subtle than television. Film casting directors frequently tell actors auditioning 'to do less'. Even emotionally charged scenes can be �smaller� when it comes to the performances. This is often where many coaches and casting directors say confusing things like �stop acting�, "don't exaggerate" and "don't act be natural".

Remember 'Less is better in a film'

It may be due to the fact that an actor (and the character they�re portraying) have more time to gradually show their emotional journey in a movie, as opposed to a thirty-minute or hour-long TV serial or show.

Acting for TV

1. Know your lines quickly. Know them twice as well as you think you need to, because there will be so many other distractions to worry about when you start filming. You don�t want to be that actor holding up production and messing up your three lines while Kevin Spacey is staring at you on the set of �House of Cards.� The series regulars will all learn their lines after the blocking rehearsal, but as the guest actor, you are expected to be memorized the whole time, as you want to be seen as a total pro. That being said, be prepared for it all to change right before you shoot. Welcome to TV!

2. Be prepared to wait. Longer and longer till you are called to your scene or a shot or it is just postponed for some other day.

3. No Rehearsals? Usually there are no rehearsals before you are called for the final day and even on the D-day, who has the time? Invariably, after a considerable wait when you are in the front of the camera, you may hear the director or the script supervisors �Chalo, ek rehearsal kar letay hain�. So, be prepared with your magic preparation!

4. Hit your marks. There are little pieces of tape on the floor, and the camera focus is set to those marks. If you overstep it, you are out of focus. Therefore, quickly practice your movements (blocking). Experienced TV actors know how to hit their marks without looking and say their lines simultaneously.

5. Learn the terms. All on-camera actors should be well versed in camera angles, common onset terms, and shot setups. Here are some examples: �close up,� �over the shoulder,� �rolling,� �continuity,� �action� etc.

6. Understand scenario and your status on location. You are a guest in the workplace, and many of the crew members are there 60�80 hours a week. Be professional, don�t complain, and be nice to everyone. It goes a long way.

7. Don�t take pictures. This is an important one. Don�t take photos of the set and post on Facebook, and don�t try to sneak in an awkward selfie with crew member or one of the stars of the film/show. If you really want, the best is to seek permission from the director or executive producer. Be careful and maintain your status!

8. Relax and have fun. As a matter of fact, this could be a point, no 1 rather being no 8. You observe tension and chaos all around. A never ending fast pace and hurry. Plus, you have great actors working opposite you, expensive costumes, real locations, and many people working hard to make you look good when it comes time to film your scene. Probably your lines may not be given on your arrival. A frightening worry, a fear creeps into you. You are tense; muscles stiff, mouth dry, sweat trickling on back and as you wait longer and longer for something to happen to clear the clouds.

The solution

The only solution is just to relax. You�re not going to die Using "instant relaxation techniques" and building an attitude of �come what may, "I�m best and gonna enjoy it� will really make you comfortable. Just take it all in and enjoy.

Get professionally trained to be a good TV actor

Why New Actors Fail in TV Serials? 8 Killer Success Tips

A Cardinal Question for Actors to Ponder Over if You are Failing in Auditions

Do You Know What Casting Directors are Looking in Auditions?

The process of auditioning is often neglected by actors and unfortunately seen as the poor uncreative cousin to acting; a necessary evil, the thing you have to learn so that you can get the role and enter into Bollywood or in TV serial industry.

This negative attitude towards audition is just plain wrong.
Auditioning is a dynamic creative process that can shine a light on your soul and test your skills and bravery like few other artistic disciplines can. It is an art form unto itself.

From my experience, here are just a few of the many qualities that make an audition a highly creative art.
Preparing an audition is an exciting, hopeful and sometimes lonely process.
Many a times we don�t know ourselves

1. Knowing your own self is its cornerstone

A film/TV casting director while auditioning an actor is seeking an answer to a question, �Who are you and what do you have to add to the role?� It�s not about acting choices, but what you (your essence) personally have to add to the role. It requires a way of working that allows you to go deeply into your own personality and explore what qualities you have in physical, mental, cultural, behavioral and emotional peculiarities to make you a different and unique individual and how to select some of them to make your character you intend playing at an audition more colorful and dynamic.
You start analyzing and probing your own self. �What are the most interesting and compelling qualities I have to offer this role?� �Which parts of me will bring in a character an interesting new unique dynamism to increase heartbeat and thrill viewers?
Self-exploration is an elating and necessary work for the actor and the fundamental requirement for the art of auditioning. Greatness can be achieved by the knowledge gained through these self-probing, identifying, selecting and then applying your relevant attributes to the character.

For example, who you are? What is your profile (Physical? Mental? Social? Cultural?) - Confident, happy, particular voice and accent or diction, with unique gesture, indecisive aggressive, rare mental and emotional makeup, religious or not, extrovert or introvert, of positive or doubtful, from lower or middle or upper class of background� well, there could be many attributes of your personalities which makes you a different human being.
Please remember, the art of the film/TV audition is discovering NOT how you can act the role, but who you are in the role.

2. It requires individual technique.

The art of performance requires a method that allows you to disappear into a character. The art of audition requires a technique that allows you to create and define that character with the unique qualities that are yours and yours alone.
The audition technique you use, needs to increase your focus and concentration. If an audition requires listening to a co-actor or a reader, it needs you to really listen and react (as if you are listening for the first time) with more energy than you may normally listen within your real life. It needs to make the stillness of listening required in a film/TV audition look natural even if it�s an action scene!
Your own technique with your most compelling qualities that you have should be targeted towards the role. The greatest advantage of this technique is that you can be present in the room with confidence and ease, and be the actor directors want to work with and have to hire

3. It demands a true courage

Any art form that asks you to stand up in front of people and express yourself requires courage. Auditioning though, tests your courage, not just at the end, but every step of the way. It starts with the way you enter, greet, stand, your eyes and facial expressions, gestures all through audition. Also, it continues in the need for complete trust in yourself and your instincts, as well as the courage to commit to your decisions of portraying a character, having no idea how they will be received.
Yes, �auditioning� in itself is a distinct art form like singing, dancing, acting, painting to name a few having the courage to explore your heart and soul and to not stop until you find the your unique parts of yourself to incorporate into the role. Now, you have to stand in the room and let everybody see a particular and rare character as you! Just you.
And then you have to accept the responses to your audition. If you�re performing as an actor or singer on a stage, you can always assign some of the reaction to your performance to things outside of yourself: �they didn�t like the play, not their type of music, etc.� But in auditioning, it�s once again just you, and if you don�t the role, the �no� can have a much sharper sting. But, you must celebrate. Because you have done, perhaps very few actors can do- transformed into a rare character. A true and honest TV/film audition, demands complete exposure and full-frontal emotional nudity.
Audition is the art of telling the truth, naked, in extreme close-up.
Based on source

What Casting Directors Want? You in a Character, Not Acting

A new door opens after every audition

Learn From Other's Mistakes

6 Things You Should Never Do in an Audition

Auditions, just like any interview, are mysterious things. You�re nervous as hell, self-conscious and dryness in the mouth, but despite this, you have to be this outgoing, charming person who is able to give a memorable performance and basically without flaw.
It�s tough.
You should pat yourself on the back for even managing to get through your auditions without bursting into tears. But to make sure that you audition as well as you possibly can, here are a few no-nos for auditions and how you can avoid doing them.
First and foremost, you need to master your acting craft before you decide to go for auditions. The possession of good physique and handsome/ beautiful personality, excellent communication skills, good memorizing ability and other desirable traits will help you, but there is no equal to having a distinction in acting techniques to perform diverse characters, as IF you are that character, truly!

1. Never forget that you are good and equal

It�s easy to think directors, producers and other creatives are above you and all-powerful, but don�t forget they need you to complete the project. You and your talent has been just as vital and essential as theirs.
How to act? A good trick is to pretend they are friends of friends you are going to meet at a party. So you are an equal but not too familiar. This way you can be yourself with a little extra pinch of confidence.

2. Don�t develop any inferiority complex by watching others

This is a short and straightforward one, but no less important. It is very easy to sit in the waiting room, looking around at the other actors there thinking �he�s better looking than me� or �she has done so and so TV serial�.
The fact is you are auditioning for the same thing. Casting directors obviously think it�s worth seeing you as much as it�s worth seeing them, which puts you on equal footing!

3. Don�t over think and over work on the character or lines

You may get easily tensed in an anxiety to perform well and this may result in over working on rehearsing on the character and on memorizing lines. However, you must know how a brain works in these conditions. The more you are anxious and tense, the more likely you are going to have a mental block at the required moment that is when you are in front of a camera. So just take a deep breath, relax, read your lines a few times as if you are the �character� and that�s it! Don�t think about memorizing your lines word by word. Just go into the audition room, be yourself and do your best.
Yes, we know that audition is a high stakes situation. Too often we project our own insecurities onto the director or casting director and presume they dislike us, or that they think we are no good.
This is not true. Remember, they actually really want you to be good. They want you to be the one they�re looking for, not for your interest but for their own. They really want you to lift their project to new heights by your performance!
After the audition, don�t freak out over small mistakes in your audition; the casting directors are honestly looking at the bigger picture. They have so many things to think about, they�re not thinking about the few words you messed up or you are a bit tense

4. Never be disrespectful

This point sounds so obvious it�s ridiculous � but you wouldn�t believe the way some actors behave in auditions. Never forget courtesy and good manners with everyone- in a waiting room or inside audition room

5. Never forget your camera etiquette

Screen auditions do seem to be a bit unusual and weird. Sometimes it�s a big casting director�s assistant and they read their complete lines in monotone and don�t even look at you once. It can be off-putting, but if you ever feel shaken in a film audition, always remember: Learn on camera etiquettes in this post

6. Never ignore what the director says

Follow the director�s suggestions and instructions without any question and showing off yourself by giving suggestions as if you know better than him/her
This is probably the most important tip in this list! The director needs to know that you are directable and can deliver his/her story.
After your performance, they will probably ask you to change something to see if you can be directed on the spot. And don�t be afraid to take their notes and act on it quite differently. Don�t be afraid to ask for clarification. There�s no point in doing it again if you don�t understand, as you probably won�t get to do it again. Ask for clarification, but again be respectful and do not argue.

Audition winning formula for actors! Just avoid these 6 deadly sins

Acting for the camera in a Bollywood film

It is absolutely essential for actors know and understand movie camera, scenes, angles and shots and changes. The mistakes committed by actors in shot results in many retakes which results in waste of time, extra work for crew and co-actors and a loss of time and money.

The common mistakes made by actors:

Forgetting how you have exactly you have done in the first shot-your dialogues, movements, gesture etc. Even minor changes (like adding "array", forgetting a few words or changing gestures etc) in subsequent shots due to the change of the Angles of the original sheet may result in a re take which annoys everybody on the set.
Therefore an actor must remember what he/she has done in the first shot and must repeat exactly in another angle shot. Example: master shot to middle shot to close up shot to OTS shot. Many professional actors either write down what they have done in the first shot or remain in the character till the next shot. They never take any break or chit chat.
The objective angle is the most common in movies. It is the "fly on the wall" viewpoint where the audience sees what is happening, but as though they were there, invisible and enjoys what�s going on in a scene. In this kind of shot if an actor looks directly at the camera, even by a mistake (which means he is looking at the audience), the audience feels cheated. The actors must never look directly at the camera lens for that will destroy the illusion of the objective angle and require a re-take.
To know where the camera is and what kind of camera angle is important for actors to position one�s body and particularly face/looks. Lack of this knowledge may result in your poor visibility by a camera and consequently by an editor who may remove you from a final cut.

Key tips nobody will tell you about Camera Acting Art

Know where the camera is at all times and position yourself accordingly. Try, that your face is viewed by a camera.
Never look at the camera lens unless told so.
Never ask a director for anything related to camera e.g. Where to look, angle, face, whether you are in the frame of not. Ask cameraman.
Generally ignore camera lens. Let it find you
Keep an imaginary narrow path in front of a camera and be careful of your movements and gestures. Usually, shots are composed in depth, not width.
If you find difficult to hit a mark while moving, do quick rehearsals and count floor tiles or other props you cross to reach to your mark. Remember this count while walking and reaching to a mark as desired by the cameraman.
Do not stop if you mess up like forgetting lines or thinking that a shot is over. Keep going till director says "Cut". Let this be a director's decision.
Intensity in an emotion, on camera can be increased by appropriate expressions and pace. NOT by volume.
Remain in a character even when a shot is over. You may have to go for a retake immediately, not necessarily due to your fault but may due to some technical fault somewhere or by somebody else.
Always remember what you did in a shot. Write down. Shots in a scene may not be in order and you would be required to maintain continuity.
Listen attentively to your co-actors and react even if you don't have any dialogue. An editor loves this (Reaction shots).
When the camera is tracking you (moving) with you, you may talk fast but walk slowly.

What an actor should know:

Cinematography

It refers to the camera work, part of the production process. In other words, how is the camera used and what are the storytelling elements that can be controlled through a thorough understanding of how to use the film making camera.

Film Coverage

Coverage is a cinematography term that refers to shooting a scene from a variety of angles and distances, so you will have the raw material necessary to edit the scene together into an interesting visual and emotional experience for the audience. Each of the shots, or individual angles, requires a different setup.
A motion picture is made up of many shots. Each shot should be from the best angle to tell this part of the story the way you want your audience to experience it.
Usually this means the angle that shows the actors and setting most clearly, but sometimes you may want to fool the audience by not showing what's happening.
Every time the camera is moved for a new setup actors need to ask yourself if this is the best camera angle for telling this part of the story. The camera angles are an important part of what makes a film work.
It is important to understand the difference between scene, shot and sequence.

1. A scene
Is the exact location where the action is happening.

2. A shot
Is a single continuous angle of view that probably only shows one part of the action at the scene. A sequence is a complete "chapter" of the story.
When the shot is filmed that is a take. If the "take" isn't good, then there will need to be another take, also known as a re-take.

This example may explain it better:

A sequence starts with a teen girl arguing with her mother in the kitchen. The teen then goes to the living room where she has a heated discussion with her father. Finally, she goes to her bedroom where she calls her boyfriend to tell him she has decided to run away from home. This sequence tells a complete part of the story, but consists of three scenes, and no doubt, several shots in each scene. And unless the actors were amazingly good there would be a number of takes of each shot.

3. A sequence
Typically consists of several scenes, and a scene typically consists of several shots. However, any combination is possible. It is possible for a sequence to have just one scene, and even for more than one sequence to happen in a single scene.
When describing different cinematic shots, different terms are used to indicate the amount of subject matter contained within a frame, how far away the camera is from the subject, and the perspective of the viewer. Each different shot has a different purpose and effect. A change between two different shots is called a CUT.

SHOTS

1 . Extreme long shot (Establishing Shot)

This can be taken from as much as a half of a mile away, and is generally used as a scene-setting, establishing shot. It normally shows an EXTERIOR, e.g. The outside of a building, or a landscape, and is often used to show scenes of thrilling action, eg in a war film or disaster movie. There will be very little detail visible in the shot, it's meant to give a general impression rather than specific information.

2. The Master Shot

Is wide enough to include all the actors. If you are shooting on film and have a very small budget this may be the only shot you can get. Some films consist of nothing but master shots.

3. Wide Shot

Wide Shot Shows whole body or space. Establish scene or setting, allow room for action. This may be a single grouping of a few of the actors in a larger crowd scene when you want to concentrate on a single conversation.
Two-Shot - shows two characters related to one another, usually from the waist up. A Three Shot is three actors, a Four-Shot is four actors and so on.

4. Over-the-Shoulder

Is a medium or close up shot, including 2 actors taken over the shoulder of one actor and showing the face of the other actor.

5. Medium Shot

Is a shot showing actors from the waist up.

6. Close-up

Author Kiran Pande as an actor in a film in a close-up shot

Is a shot from the actor's neck up. Sometime a close-up is a little looser and includes the actor's shoulders.

7. Extreme Close-up

Is so close that only part of the actor's face is visible. This angle can be used very powerfully at highly emotional moments. Save the extreme close-up for such emotional moments.

8. P.O.V.

It means Point Of View. This shot is intended to show the audience what one of the characters sees, i.e. From the character's point of view.

CAMERA ANGLES

1.

2.

3.

A low angle shot increases the height and useful for short actors. It gives a sense of speeded motion. Low angles help give a sense of confusion to a viewer, of powerlessness within the action of a scene.

CAMERA MOVEMENT

1. Pans

A movement which scans a scene horizontally. The camera is placed on a tripod, which operates as a stationary axis point as the camera is turned, often to follow a moving object which is kept in the middle of the frame.

2. Dolly Shots (Trolley Shots)

Sometimes called TRUCKING or TRACKING shots. The camera is placed on a moving vehicle and moves alongside the action, generally following a moving figure or object. Complicated dolly shots will involve a track being laid on set for the camera to follow, hence the name. The camera might be mounted on a car, a plane, or even a shopping trolley. A dolly shot may be a good way of portraying movement, the journey of a character for instance, or for moving from a long shot to a close-up, gradually focusing the audience on a particular object or character.

3. Crane Shots

Basically, dolly-shots-in-the-air. A crane (or jib), is a large, heavy piece of equipment, but is a useful way of moving a camera - it can move up, down, left, right, swooping in on the action or moving diagonally out of it. The camera operator and camera are counterbalanced by a heavy weight, and trust their safety to a skilled crane/jib operator.

4. Steadicam Shots

When removed from a tripod (its stand), a camera traditionally has to be wheeled about on a dolly, because the handheld camera gives a shaky 'photography' look that is unlike how we perceive the "world". The idea behind Steadicam is to let viewers see with camera movement, the way the eye sees, without going to the expense, or spending the time, to lay dolly (Trolly) track; but it has become much more useful. Using Steadicam, bold moving shots, that might have been impossible otherwise, can be achieved quickly and beautifully. The problems of negotiating cameras up staircases and through doorways have been resolved; difficulties of responding to unexpected occurrences, minimized; and the problems of shooting such as to not reveal dolly track, eliminated. In almost every feature film, and major television production, Steadicam has become an indispensable tool.
Source
Related posts from this blog

Is Your Dream to be a Bollywood Star is breaking into pieces?Not Getting Roles?How long would continue with failures? One, two, five years?Who would financially support a failing actor and for how long?Do you really know how to really act in front of a camera?