To DEMO or NOT TO DEMO?

[Colin Campbell]

Thanks for the pub and the link Grant! If you guys click on my name there you will see web site work from Grant himself that he whipped up for me. Good lookin' stuff.

[Lee Gordon]

I got an e-mail from a local studio (I assume it was a bulk mailing) offering to put together demos for $150. While I am perfectly capable of assembling my own demo I decided to take him up on his offer for a couple of reasons. For one thing, it's a lot of work I didn't feel like doing.

More importantly, I wanted a different set of ears besides my own to give me a unique perspective. This guy's former boss had been after me for a number of years to update my demo to make it more useful for him to include in casting calls. By the time I finally got around to it, his health took a turn for the worse and he went out of business -- while he had some of my material in his possession. The new guy had apparently picked up the ball and retained most of the former studio's clients.

I figured that having this guy do my demo would put me directly onto his radar screen and, since he had a stake in my success, might cause him to promote me more actively to his big-time clients.

As it turns out, I think he did a pretty good job with my demos (Lee's Demo Page) and he almost immediately called me to read for a nice AV project. I read the entire script for him but the client ended up going with a female voice, so I didn't get that gig, but on the other hand, the studio guy never charged me for doing the demo, so I guess it was a wash. However, I have subsequently been asked by him to audition for a number of big projects and I recently landed one of them, so the experience has more than paid off for me.

[Julie Williams]

NIce, Lee, that you got a client out of that!

I wouldn't have hired someone who only charged $150 because I'd assume that he wouldn't know what he's doing. I don;'t mean technologically, but I mean in copy selection, directing you in the studio, assemblilng an industry acceptible product.

I'm glad you were happy with result!


Michael,
I think you need to have SOMETHING of a demo... even a newbie demo... before you expect any work. But definitely put something on voices.com... and bid low to get experience. In my opinion, the bottom feeder jobs are for people who need to get experience, and those who are desperate... so I always encourage seasoned talent to bid well... and leave low budget jobs for new talent. That way they can get paid experience without having to compete against those who have been doing this for years!

[Colin Campbell]

Well, I've done many "inexpensive" demos for people but I never pretend to be a coach or choose copy. I just take what they give me and try to make it sound as good as it can. Some of the demos I've done for folks have gotten very good reviews. One in fact landed an LA agent for the person. Sorry... just cut a little on the $150 demo comment. I think I know what I am doing. Maybe not.

I honestly feel I give people just starting out with very little money and even less production skill a chance to get a demo.

[Lee Gordon]

Originally Posted by Julie Williams

I wouldn't have hired someone who only charged $150 because I'd assume that he wouldn't know what he's doing. I don;'t mean technologically, but I mean in copy selection, directing you in the studio, assemblilng an industry acceptible product.

Ordinarily I would be inclined to agree with the point you are making but in this case I knew the guy and what he was capable of so I wasn't concerned.

Additionally, I didn't feel I needed him to coach me. I have enough experience in the business to know how a script needs to be read. I did, however, want to get his perspective as a potential recipient of my demo as to exactly what he (and by extension, anybody else in his position) is looking for in a demo.

Lee

[Julie Williams]

Hey Colin,
I didn't mean it as an attack when I said that aobut $150 demo... I know you have assembled many demos for people dirt cheap and it's been very helpful to them. Your reputation preceeds you.

I do cut my own demos together and update them... and I am able to do the post prod on them...

but Lee, even after 30 years in biz... when I go to redo a demo (not just update a cut or two) I always hire someone really good to direct me... because their perspective is invaluable.
I'm considering flying to LA in the fall to have Mark Grau do a demo for me (promo demo) and I think that's $1400. But his expertise is worth it.

[David J.]

Another word or two about demos. NEVER work with someone who insists on pulling the copy for you (that's one of the reasons I DIDN'T go with Marc Graue--because his assistant told me that he'd be pulling all the copy). You have NO idea how much that stuff is in circulation. What's more, your demo producer may have great production abilities, but you're the one who knows your instrument the best (usually, anyway). The guy who did my commercial reel is a great producer, but the copy he originally sent me was flaccid, at best. I did a google search for 2006 TV commercials or some such thing and found a site that had .mov files of just about every ad available. I sat at my computer, split the screen between the web page and MS Word, and transcribed a variety of ads I thought would work for my voice (and which would show my range). I edited each of those ads down to 8-seconds or so of coherent material, then went into the booth the following week. I was pleased with the result. I landed two out-of-town agents, and have scored a number of local gigs with the help of that demo; still need to land an agent in LA, though....

[David J.]

Another word or two about demos. NEVER work with someone who insists on pulling the copy for you (that's one of the reasons I DIDN'T go with Marc Graue--because his assistant told me that he'd be pulling all the copy). You have NO idea how much that stuff is in circulation. What's more, your demo producer may have great production abilities, but you're the one who knows your instrument the best (usually, anyway). The guy who did my commercial reel is a great producer, but the copy he originally sent me was flaccid, at best. I did a google search for 2006 TV commercials or some such thing and found a site that had .mov files of just about every ad available. I sat at my computer, split the screen between the web page and MS Word, and transcribed a variety of ads I thought would work for my voice (and which would show my range). I edited each of those ads down to 8-seconds or so of coherent material, then went into the booth the following week. I was pleased with the result. I landed two out-of-town agents, and have scored a number of local gigs with the help of that demo; still need to land an agent in LA, though....

[Jon Robbins]

Originally Posted by Julie Williams

I always hire someone really good to direct me... because their perspective is invaluable.

Yes! All good Actors need Good Directors!!! It allows you to focus on the performance and having someone objective and knowledgeable at the session is invaluable to help bring out the great reads that each of you have inside yourself. The DEMO I presently have is "homemade" and sounds like it and certainly I have not yet begun the process of shopping myself to Agents or major clients. I am still workin it, practicing my craft, discovering where my money voice is, taking lessons, reading books, practicing some more, being patient and listening to all the pros I can. Not ready yet for the big Demo but getting close. Thanks to all of you for your advice, your participation on this board and your point of view!