Post Shoot Guide and Business Resourcesarticles below that you may find helpful. Starting Out When you are starting out, there are a couple of things you should consider. First, many

1

Post Shoot Guide and Business Resources

2

Post Shoot

Online Proof Sheets

All of your photos from your shoot can be found online later that same day at:www.mackephotography.com/clients/2007/yourfirstandlastname/

For example, if I had my headshots online, the address would be:www.mackephotography.com/clients/2007/chrismacke/

My favorite photos will be at thetop of the page. When you havedecided, just click on the buttoncalled “Order My Photos”. Afteryour photos are retouched, I willemail you copies for approval. Ifeverything looks ok, you’re readyto get your photos mass-produced.

3

Mass-producing your photos

The two best labs in town are Reproductions and Modernage. They’re both in Midtown andthey’re both good.After you get the email from me with your retouched photos, all you have to do is call eitherof the two labs to setup your order. For Reproductions, call Maurice at 646-502-3721. ForModernage, call Joe at 212-977-1800. They have a connection to my home computer whereyour high-resolution images reside. These are the same files as are on the CD-ROM that Iwill send you. You can also go in person with your CD to setup your order.Both labs will do a test print. This is a single print made for approval before they run offyour entire order. I highly recommend doing this to make sure the color is how you want it.It will change from what you see on your computer screen.

Reproductions70 West 40th St., 3rd Fl (@ Sixth Ave)New York, New York 10018www.reproductions.com(646) 502-3700

Modernage1150 Avenue of the Americas (@ 44th St.)New York, NY 10036www.modernage.com (212) 997-1800

4

Miscellaneous notes

Having Additional Prints Made From CDWhile I do include all of the photos from your shoot on the CD, most of them will stillrequire retouching and other adjustments (brightness, contrast, levels, etc). It is possible forlocal photo labs to make prints of your other headshots, but I do not recommend going thisroute. Most of the labs will print the photos as they are on the CD without adjustments andthe results will vary drastically from lab to lab. Also, keep in mind that you cannot see thefine details that may need retouching on the web site or proof sheets. These details will onlybe apparent in the full sized printed 8x10 or original image file when viewed at 100%.

Keep Your CD SafeI will send you a Master CD when you order your final prints. Keep this CD safe. It is thesame as negatives with film. Make a backup copy on your computer. If the files aredamaged, they are lost. Take good care of them. I do not guarantee that I will have copies inthe future.

Copyright InformationCopyright for a photographer is the same as a usage agreement for an actor. Actors are paidbased on what the material is used for. These photos are not meant to be on a billboard inTimes Square advertising a new brand of toothpaste.All photos may be used for your self-promotional purposes. For example, you can use thesephotos for auditions, playbills, publicity for yourself, etc. If the photos are used in any otherform other than an 8x10, please provide a simple photo credit (see next page for samples).These photos may not be sold/licensed for advertising or private use. For example, you maynot sell your photos to a stock photography agency or use them in advertisements forproducts.

5

Photo Credits

Photographers need credit? Imagine doing a show and not being listed in the Playbill. Sure,you’re getting paid, but you want some recognition. Credits are not necessary on your8x10’s that you take to auditions. When you use them for a magazine article, newspaperarticle, website, CD Cover, etc., I ask that you please give me credit. Here are some samplesbelow.

© Chris Macke

© C

hris

Mac

ke

Photo: Chris MackePh

oto:

Chr

is M

acke

6

Introduction

Inside these pages I have compiled a resource of information about acting and the industryaround it that should be helpful for actors that are just starting out. For over five years I wasfortunate enough to learn about the entertainment industry by working as an agent intraining in the New York offices of Bauman, Redanty & Shaul and in the commercial/printdivision of The William Schill Agency. Before that, I was as an actor. I have included a fewarticles below that you may find helpful.

Starting Out

When you are starting out, there are a couple of things you should consider. First, manypeople are tempted to get into this industry at the prospect of fame or money. Mostsuccessful actors have spent many long years building their careers. Few of them wouldhave succeeded if money and fame were their sole objectives.

Great acting looks effortless, but it is really years of experience and training workingtogether to create what you see. Take your time and invest in good training. You will cometo value what you learn, become more confident and rely on it when you start working.Two good schools are The Atlantic Theater Company and The William Esper Studio (theirinfo is listed later in this book).

Unions

SAG = Screen Actors Guild (covers almost all films and on-camera commercials.)AFTRA = American Federation of Television and Radio Artists (soaps and voice-overs.)AEA = Actors Equity Association, aka Equity (everything theater related.)

7

Choosing to join a union can be a difficult decision. On one hand, by joining, you will havethe union watching over and protecting you from producers and agents. On the other hand,once you join, you’re not allowed to work on non-union projects. If you’re being offered arole on Broadway or a role in a feature film, opposite Johnny Depp, there’s no questionwhat you should do. Often times, it’s not that obvious.

One question to ask is whether you have more competition in the non-union world or theunion world. If you’re over 40, chances are there are more union actors your age than not.You might book more jobs by staying non-union. If you’re young, there is a good chancethere are more non-union people your age than not. For theater, if all of your non-unionfriends are trying to be seen at a Broadway open call, if you’re a member of Equity, you getscheduling priority at the audition. Being a member of SAG does not really guarantee muchin the way of auditions. For feature films, typically, you will only be seen if you have anagent pushing you. However, once you actually book a film or commercial, the differencesbetween a SAG contract and a non-union contract can be staggering (money, residuals,hours, etc.).

For theater people, if you feel like you’re at the top of your game and would be competitivewith the actors, similar to your type, currently on Broadway (be honest with yourself), youshould join. The same idea can be applied to the other unions. If you’re anywhere other thanNYC or LA, it’s probably best to be non-union. Smaller markets rarely work with theunions.

How do I join the unions?Rules vary by union, but most commonly, you have to be offered a role in a unionproduction. It can be tough being seen for union productions if you’re not already amember. For theater folks, there is typically a standby list at every open call. If an Equitymember does not show up for their audition, and there is not another Equity member totake their place, they will bring you in. The casting director would usually rather seesomeone, rather than not.

8

Agents

When are you ready for an agent? Actors usually start working with agents after college orafter they’ve started booking important jobs. Agents and actors usually only go hand inhand in the bigger markets like NYC and LA. They may be useful in other regions for printwork and commercials. It’s important to understand that agents work for you, yet onlymake money if you get work.

Types of AgentsThere are different types of agents. A commercial agent works on commercials. A legit agentworks on theater, film and television. A modeling agency works on print work/runway. Avoice-over agency works on voice-overs (radio commercials, animation voices). Some officeshave several agents working in different areas. There are also franchised agents and non-franchised agents. A franchised agency is one that is licensed by a union (Equity, SAG,AFTRA) to represent its actors. Franchised agents are guided by strict regulations set by theunions. A few of the rules are: the agent can not take more than 10% of your salary, they cannot sell you services (like classes or headshots), and they have to be open between certainhours. Many times, franchised agents will work with a non-union actor in hopes that theywill book a union job. Non-franchised agents and managers (people who work like agents)are not regulated by the unions and are free to take as much money as they want (assumingthat you agree to their terms). Some states have regulations that may offer a little protection.Ideally, you want to work with a franchised agent. If you’re already a member of a union,you’re only allowed to work with franchised agents.

How do you know if an agent is franchised?Pick up a copy of “The Ross Reports.” You can find it at Barnes and Noble and DramaBooks (see resources section later in this book). Next to the name of every agency, you maysee the letters “A” “E” “S”. Each letter represents the union that the agent has a franchiseagreement with. “A” stands for AFTRA, “E” stands for Equity, and “S” stands for SAG.

9

How do I get an agent?There are a few ways you can get an agent. The most effective way is by being seen by theagent in a show. This way the agent can get to see your work first hand and (ideally) getexcited about what they see. If they like you, they’ll want to send you out on auditions.Even if you do not book the first few auditions they send you on, they will remember yourwork and hopefully keep trying. If an agent starts working with you without having seenyour work, you might be on shaky ground if you do not book work right away. The onlything they have to go on is the feedback that they’re getting from casting directors. The nextbest way is through a referral by a friend who’s with the agency. If your friend gives aglowing recommendation, you will usually land an interview. Finally, you can submit yourphoto and resume though the mail. It will probably go in the trash. The volume of mail anagency receives on any given day can be overwhelming.

Misc agent notesBeware of anyone who asks for money (before you book a job), says that you have to pay forclasses, or get new photos from a specific photographer. Keep in mind that an agent hasevery right to suggest you that you take a class or suggest you get new photos. You mightneed it. Just beware of one that says you have to take a specific class or go to a specificphotographer in order to work with them. No legitimate agent or casting director will everask you to take of any clothes at an audition. If it happens, leave! Quickly!

Make sure that your agent has a way to get in touch with you during the day. At my oldagency, a casting director would call at 6:30pm (when technically, we were closed) and askto see "John Doe" the actor at 10am the next day. If I could not get a hold of the actor rightaway, they would miss the audition. If this happens with the same actor on a regular basis,the agent will stop working as hard for them. They will find someone they can get in touchwith. You would be surprised how many times I got a call a week later (or longer) from"John Doe" the actor to say how sorry they were because they hadn’t checked theirmessages. An entire process has happened before the agent calls you. We see a characteryou would be right for, type up a submission, and send your photo in the mail (orelectronically). The ball is rolling. Time and money is being spent on you. Then, not longafter, we get the call asking to see you. Up until this point, you are not even involved. It’svery frustrating to do all this work for you and then have you miss the audition oversomething as simple as not getting a message.

10

Casting Director & Agent Listings

First off, there is no such thing as a “Casting Agent.” There are “Casting Directors” and“Talent Agents.” Here’s the hierarchy: A producer has lots of money and wants to do ashow. The producer hires a casting director to find actors for the show. The casting directorcalls agents looking for actors. Often times, if an actor does not have an agent, they will notbe seen for that show. When the casting director wants to see lots of people, they will havean open call. That’s when you’ll see an audition notice in the paper. An agent is like the firstline of defense for a casting director. The agents are constantly seeking out the best actorsfor their rosters, and will do they can everything to win the affection of the casting director.

There are lots of agents and casting directors in New York. This is not a complete list. I haveput together a collection of some of the busier casting directors and more respected small ormidsized agencies. For a more complete list, check out either “The Ross Reports” or“Hendersons New York Agencies” / “Hendersons New York Casting Directors.” Both canbe found at Barnes and Noble or Drama Books (250 West 40th Street). For a more in-depthlook at specific talent agencies, check out the book “The New York Agent Book” by K.Callan.

Before trying to get an agent, go out and get your feet wet with auditioning. You can alwaysfind tons of auditions in Backstage (a weekly paper found at any newsstand in New York).Your agent will get feedback from your auditions, so for the sake of your relationship withthem, you need to get good at auditioning first.

When doing mailings, it’s good to send your materials to specific people at an office. At bothagencies I worked at, agents would not share their mail with each other. If you only sendone headshot to an office with twenty agents, it’s likely that only one agent (or intern) willsee it. If there is an office that you are particularly interested in, send your materials toeveryone there, including the assistants. If you do not hear back, try a second time.

11

New York Casting Directors

All My Children (Judy Blye Wilson)320 West 66th StreetNew York, NY 10023

Guiding Light (Mary Clay Boland)222 East 44th StreetNew York, NY 10017

One Life to Live (Julie Madison)56 West 66th StreetNew York, NY 10017

ABC Casting157 Columbus Ave, 2nd Fl.New York, NY 10036

Harriet Bass Casting648 Broadway, #912New York, NY 10012

Jerry Beaver Casting484 West 43rd St. #19-NNew York, NY 10036

Jay Binder Casting321 West 44th Street, Suite 606New York, NY 10036

CBS Casting51 West 52nd Street, 5th Fl.New York, NY 10019

James Calleri Casting416 West 42nd StreetNew York, NY 10036

Dave Clemmons Casting265 West 30th StreetNew York, NY 10001

Judy Henderson & Associates Casting330 West 89th St.New York, NY 10024

Stuart Howard Associates207 West 25th St., Suite 601New York, NY 10001

12

Hughes Moss Casting484 West 43rd St., Suite 28RNew York, NY 10036

Avy Kaufman Casting180 Varick St., 16th Fl.New York, NY 10014

Stephanie Klapper Casting39 West 19th St., 12th Fl.New York, NY 10011

Liz Lewis Casting Partners129 A West 20th St.New York, NY 10011

Vince Liebhart Casting1710 First Ave. #122New York, NY 10128

Mackey Sandrich Casting180 Grand St., 3rd Fl.New York, NY 10013

Margolis-Seay Casting333 West 52nd St., Suite 1008New York, NY 10019

Alison McBryde Casting666 Fifth Ave, Suite #115New York, NY 10103

McCorkle Casting575 8th Ave, 18th FlNew York, NY 10018

Norman Meranus Casting201 West 85th St. 16-DNew York, NY 10024

Elissa Myers Casting333 West 52nd St., Suite 1008New York, NY 10019

Adrienne Stern Casting80 Eighth Ave., Suite 303New York, NY 10011

Bernard Telsey Casting145 West 28th St., 12th Fl.New York, NY 10001

Liz Woodman Casting11 Riverside Dr., #2JENew York, NY 10023

13

New York Agents

Abrams Artists Agency275 Seventh Ave., 26th Fl.New York, NY 10001

Bauman, Redanty & Shaul (my old agency)250 West 57th St, Suite 2223New York, NY 10019

Don Buchwald & Associates10 East 44th StNew York, NY 10017

CESD257 Park Ave. South, Suite 900New York, NY 10010

Gersh41 Madison Ave, 33rd Fl.New York, NY 10010

Harden-Curtis850 Seventh Ave, Suite 903New York, NY 10019

Innovative Artists235 Park Ave South, 7th Fl.New York, NY 10003

Kazarian, Spencer & Assoc. (KSA)62 West 56th St. Suite 307New York, NY 10019

Paradigm500 5th Ave, 37th Fl.New York, NY 10110

Peter Strain & Associates321 West 44th St. Suite 805New York, NY 10036

14

Frequent Audition Spaces

New 42nd Street229 West 42nd St(Bway & 8th)

Actors Equity165 West 46th StreetN, R, W trains to 49th Street

Chelsea Studios151 W. 26th Street1 train to 28th Street

Eighth Ave. Studios(aka Ripley Greer 939)939 Eighth Avenue (Between 55th. & 56th)A, C, 1 to 59th Street

Nola Studios250 W. 54th St.1 train to 50th Street

Ripley Greer 72131 West 72nd Street(Amsterdam and Columbus) 1, 2, 3 trains to 72nd Street

Ripley Greer 520520 Eighth Avenue(Between 36th. and 37th. Street), 16th Floor A, C, E to 34th Street

Shelter Studios (1)939 Eight Ave.(Between 55th & 56th St.)A, C, 1 to 59th Street

Shetler Studios (2)244 West 54th Street1 train to 50th St. (Bway & 8th Ave.)

15

1. Shetler Studios (1) & Eight Ave Studios (Ripley Greer 939)2. Nola Studios 3. Actors Equity 4. 42nd Street Studios5. Ripley Greer 520 6. Chelsea Studios

16

The Drama Book ShopLocated just below Times Square, Drama Books is oneof the largest book stores specializing in theatre relatedmaterial.250 West 40th Street(212) 944-0595

Colony MusicColony houses a huge collection of music covering allgenres from Broadway to Iron Maiden.1619 Broadway(212) 265-2050

Mannys MusicHas instruments, mics, etc.156 W 48th StN, R, W to 49th St

New York Public Libraryfor the Performing Arts40 Lincoln Center Plaza (66th St.)(212) 870-1630

Metropolitan Museum of Art1000 5th Ave(212) 879-55004, 5, 6 to 86th Street

Atlantic Theater CompanySchool founded by David Mamet, William H. Macy76 9th Ave (15th & 16th St).212-691-5919www.atlanticactingschool.orgA, C, E to 14th St

William Esper StudioMesiner based training212-904-1350 / esperstudio.comA, C, E, 1, 2, 3 to 34th St

Broadway Dance CenterBy far the most popular dance hotspot forprofessionals and beginners alike.221 W 57th St 5th Floor(212) 582-9304A, C, 1 to 59th St.

StepsA quieter and more traditional (so I've been told)alternative to BDC.2121 Broadway # 3(212) 874-24101, 2, 3 to 72nd St.

17

1. Steps 2. NY Library for Performing Arts 3. Broadway Dance Ctr 4. Colony5. Mannys Music 6. William Esper Studio 7. Atlantic Theater Co. 8. MET

18

Monday Tuesday Wednesday Thursday Friday Saturday Sunday

Notes:

19


Notes:

20


Notes:

21


Notes:

22


Notes:

23


Notes:

24

Audition: Followed Up?

Met With: From:

Notes:


Met With: From:

Notes:


Met With: From:

Notes:


Met With: From:

Notes:

25


Met With: From:

Notes:


Met With: From:

Notes:


Met With: From:

Notes:


Met With: From:

Notes:

26


Met With: From:

Notes:


Met With: From:

Notes:


Met With: From:

Notes:


Met With: From:

Notes:

27

The best compliment of all has beenthe referral of your friends and colleagues.

Thank you for your support.

Best of luck!

Chris Macke

Documents

Post Shoot Guide and Business Resourcesarticles below that you may find helpful. Starting Out When you are starting out, there are a couple of things you should consider. First, many