Speaker 1: Welcome back to my channel, my name is Bella Hibbs and I normally post a lot about fitness and health and my bikini competitions, but for those of you who don't know, I am actually a casting director. That is my day job. So I cast for film, television and commercials. So today I'm going to take you through how the casting process works. So if you're new here, don't forget to give the video a thumbs up, subscribe to my channel. That way you never miss another video. So, most people think that this is how the casting process works. So that is the process that the actor sees, but I'm going to show you the whole entire process from start to finish for a casting. So the first part of this process is going to be the casting bit. So this is where a director, ad agency, or production company will reach out to the casting director saying, Hey, we have an upcoming project. We need X amount of talent. Here are the shoot dates, the rates usage, all of that. Now, please note that casting, we don't set the talent rates. That's either set if it's a union contract or the production is going to set that. So once we go back and forth a little bit with the client about the project, we will then determine if it's a right fit and we will put out a casting bid. Now this process can take a couple of days or can be as fast as one day. Once we get all this information, then we create a casting breakdown and send that out to the agents and the talent managers. So once we get the casting, we are going to release it out to the agents or managers. So we create a casting breakdown. This includes shoot dates, callbacks, fittings, the roles, the usage, basically everything you need to know. Now, this isn't an official contract. At the end of the day, if you get cast, you're gonna wanna take a look at the release form. But this is the general idea of the casting as of that moment. So we put that together. We personally release it on Actors Access our Facebook page and our Instagram. So definitely follow us at Good Faith Casting. Once we send it out to agents and managers, they're gonna send us their submissions and that's when we start going through. And as you can see, page after page of submissions. So it is really important when you get an audition, realize that it is a big deal. It is, I feel like, harder to get the number game. It is harder to get an audition versus actually getting the job. So as far as a casting director releasing it on social media, that is up to the discretion of the casting director and the project. Some castings, if there's a non-disclosure agreement, a big plot line, a celebrity in it, they might not want us to release it on social media. So we do ask all our clients to make sure beforehand, especially the bigger the project, a little bit more secret to see of it. And so we might not be able to post it online. So it just kinda depends. But if you have a good agent or a good manager, you'll be included. I wanna show you an old casting just to show you some numbers. So I'm gonna select this HP Securities doc. This is a non-union commercial in LA. So we needed three men and three women. We had over 1,500 women and men and 1,900 selected, 64, 78. And then I only had so much time in my schedule, so I only was able to schedule 58 and 55 of these numbers. Again, this is a non-union commercial in LA. And look at these numbers. I mean, to get an audition out of that is really, truly a win. What I can do is I can look by agency, if I want. Now, when I select the role, it populates all of the people who submitted. Now, I do have a couple options. I can filter this by agency, by union. This was a non-union project. I can do by submission times, alphabetically, or random. Unless I'm looking for something in particular, I really don't play around with that unless there's a certain agent I really want to look at first. So I go through here and I can select whatever number I want, if I want to see them, and I go through. And let me just show, okay, so that's a lot of people. But I have 17 pages. Like, that is a ton of submissions. So I'm gonna go through here and I'm going to select who I think is going to be the best fit for the role. I'm going to do the same thing for the female roles. Now keeping in mind I only have about 100 time slots that I can see people. Again, 21 pages of full submissions. So this is an actor's profile. It has all their photos, if they have any reels, their resume, agent information, and training. So this all goes into consideration when we decide who we're going to select to bring in an audition. And remember it's going to go by best fit, not if you fit. So if I scroll down here what I particularly love are slate shots. I look at these more than anything else. So this is what a slate shot is. Hi I'm Barkley Harper and I'm five foot five. Here is another profile as I look through the mail submissions. So again has their photos, resume, training, and what again I really like are these slate shots. Hi my name is Cody Duke and I look forward to working with you. See nice and simple. I can get a little bit of a sense of his body type, how he is on camera. I think it is one of the best investments actors can make to their actors access profile. Also at our office in particular is I hand-pick every single person coming in. I know there are some people who just kind of give time slots to the agents and say hey just fill this from 1 to 2 p.m. At our castings it is you are being hand-picked so that means I think that you could potentially get this job so come on in and prove me right. So, after we spend quite a bit of time handpicking everybody and creating a schedule, then we have auditions. So, that is where you come in, you sign in, you wait, and you go on into the studio. Now, don't ever be afraid if the casting director redirects you or has you do it again. That isn't a bad thing. Sometimes we just want to see a little bit of range, how far can we pull you, can you take direction. So, we will potentially work with you in an audition. Now, if they don't work with you, that's also not a bad thing. It means, oh hey, they did it right on the first take, and thank you, and that's all you needed. We do our in-person auditions. Everything is uploaded to the internet, and we send that to the client. So the director is gonna sit through and watch those audition takes. Now, a big thing I always tell actors is, at the prelim, the director's looking for reasons to pick you because they need people at the callback. But when you get to the callback, that is where they're looking for reasons to get rid of you, because only one person is gonna get the role. So yay, you made it to callbacks. At a callback, this is gonna be a narrow group of actors that the director has really liked and selected. So this is a chance for you to come in and showcase your ability for the scene, but also to meet the director and potentially other people from production are gonna be there as well. But you can work with them a little bit, they get to know you. As always, you'd wanna bring your hedgehog and resume to the callback. This is great for the director to take back with them. So as they're reviewing at home, they might spread them out on the table and maybe if they're matching couples or families, you know, they're gonna play around with those photos. So definitely never forget your hedgehog resume, put it in your backseat of your car, in the trunk, always have an extra copy somewhere. But this is a chance for the director to work with you a little bit. They might potentially also partner you up to see if you have chemistry with other actors in the scene. So you might be kind of mixed and matched. It just really depends. Now, obviously, if it's a big role and you're maybe playing with a star, the star is not gonna come to call back, sorry. So you would maybe just have another off-camera reader audition. So you have made it through prelims, you made it through the callback, and now you finally booked the role. So once a director has narrowed down their top selects and they know who they would like to cast, they let us know and we reach out either to the talent agent or manager or to talent directly if they're not represented. We'll reconfirm shoot dates, fitting dates, make sure you're still available and interested in the project, and then we will also provide an updated script if necessary. At that point, we'll collect your clothing sizes and your contact information and we'll we'll create a booking information sheet which we then send to production. So we make sure that your clothing sizes are current and up-to-date because somebody from wardrobe will reach out and continue to give you more information. Now, a lot of people think once the actor's cast, casting's done. Wrong. We still actually have a lot of back-end paperwork that we have to do. Especially if it's a union project, we have to send in the sign-in sheets, do TAP Heartleys, Station 12, as well as potentially making deal memos. Now, at my office, I don't typically do a deal memo unless it's above scale. So for our guest starring roles, celebrities, they'll have above scale offers and I will create deal memos for that. Otherwise, if it's a union film, I go by off SAG's rules because they control all that. But it can depend from every office, every casting director does it just a little bit differently. And as you can see, that is just a little bit of a sneak peek of what the casting process looks like. And as you can tell, there's a lot more that goes into a casting versus what the actor sees of just the audition. The actual auditions are a pretty small part of actually what we do. especially if you're in a regional market like I myself. I still do a lot of marketing and advertising as a casting director and promoting myself as well as doing all my projects. So there's a lot that can be done. So thank you so much for joining me. I hope that this was informational and if you liked the video, be sure to give it a thumbs up, subscribe to my channel and more videos will be coming soon.