This company has it exactly right... Bravo to everyone involved.
London Theatre review ★★★★★
Showreel Courses
8 Week Course
Entry into the 8 week course is by audition only, and is designed for actors with experience in screen acting who want to work towards the production of up to 2 short films.
Dates: Tuesday 30th January – 20th March 2018
(Filming the last week of March)
Tuesday 22nd May – 10th July 2018
(Filming mid July)
Time: 7pm - 10pm
Venue: Noho Casting Studios
59 Charlotte Street
Price per Person
1 min 25 secs
4 shots
when shared with one other person.
Total cost of shoot for both people is £150
Click to view the Bronze Trailer
1.5 - 2 minutes
5 shots
when shared with one other person.
Total cost of shoot for both people is £200
Click to view the Silver Trailer
2.5 - 3 minutes
10 shots
when shared with one other person.
Total cost of shoot for both people is £270
Click to view the Gold Trailer
5.5 - 6 minutes
25 shots
when shared with one other person.
Total cost of shoot for both people is £600
Click to view the Platinum Trailer

Optional Extras
Not included in the fees above.
We use many free locations, however there is the option to share the cost of locations that have a fee attached.
Originally Composed Music
We have a library of free music that we use mainly for Bronze and Silver films, however there is an option to have music composed from scratch.
Showreel Edit
After you receive your short films, we do offer an actual showreel edit ranging from £5 - £50.
Key facts about the course

  • 8 week course. Established longer 6 month course also available
  • You design your own showreel. You spend what you can afford and choose the production value of your films
  • Online formats provided
  • Professional central London studio
  • Professional, tested crew
  • 20 years experience
  • Award winning tutors
  • Committed to preparing actors for the television and film industry
  • The directors who teach you also direct you, keeping the personal journey into production
  • Entry by audition – two contrasting modern speeches under 2 minutes – self tapes. This helps us determine your needs and goals.
  • Primarily for those with previous training or professional experience – we have other courses for beginners
  • We are in touch with the industry’s demands through working in RAaW’s Agency every day
  • We approach our training in a holistic way, nurturing the creative centre of each individual
  • Personal development and self awareness is high on our agenda in screen acting
  • One on one interview, once you have booked onto the course, to determine goals and needs
  • Participate in many filmed exercises receiving individual feedback
  • Our showreels are filmed to produce footage like our films – not showreel specific footage.
  • We touch on marketing, right from the beginning of process
  • Even though there is an award winning writer on board, you help with the process, so you are involved and in control. Great for the future if you want to produce your own work as well.

What will you study

  • The Stevens Technique
  • Film Acting
  • Film Production
  • Improvisation for film
  • Testimonials and writing
  • Script development through emotional analysis
  • Writing for screen
  • Viewing and analysis of performances
  • How to market yourself
  • Screen combat (if needed in your scenes)
  • Dialect for film (if needed in your scenes)

The Outcome

In a survey done recently, 62% of casting professionals said they’d prefer to view separate, short, contrasting video clips, over 28% preferring a show reel (10% had no preference).

You need a showreel, however equally important is individual clips. Strive to have your own website, YouTube and/or Vimeo account (obviously YouTube is owned by Google and having an account with them ticks boxes for what Google likes in terms of search engine optimisation) with a short menu of clips, so industry professionals can choose exactly what they want to watch. The plus side to this is that you will then be able to send a link in emails, rather than attaching an MP4 or .mov file, which will clog up emails.

You have the option of developing and filming a high budget short, which will enable you to submit to festivals and will market you in a different way to a showreel. If successful, even if you just get your film screened, people will see your work and you may make contacts. Do not rely on Casting Directors for everything.

Casting Directors and Industry Professionals

Now, more than ever, industry professionals are under a lot of time pressure to find what they are looking for. They have very little time to look at your work and decide whether you are one of the few they are going to call in. But they are experienced at honing into energies, looks and qualities to fulfil their job description and they don’t need long. Not many casting directors watch show reels from start to finish, therefore keep it short. Quality is more important than length.

Know Who You Are

Make it clear who you are. I know that sounds stupid, but the person watching does not know who you are, even if they have seen your headshot. Start your reel or clip with a shot of YOU. Don’t have the opening sequence with you and someone of the same gender and hair colour. Be clear who you are, so the viewer does not have to work harder and possibly give up.


They need to be perfect! Only do accents if you are as fluid and natural at them as the person who is indigenous to the country or region you are portraying. This is not impossible, however be objective when making the decision, or get someone you trust to make the call. Don’t underestimate your own voice or how you naturally speak, especially if you haven’t any broadcast experience. You will most likely be cast in the beginning with what you’ve already got.

Other Actors

The number of actors in your scenes, needs to be thought about carefully. If all your scenes are just of you and one other person sitting on a park bench or in a white room having a chat, it begins to look like a showreel produced for showreel purposes. If possible, have one film where the person you are acting with is not your age or gender - maybe older people or children. You also have to be clever at getting their casting right and if you don’t, change the script to suit

Broadcast Quality Filming

It is important. Muffled sound, shots out of focus when they shouldn’t be, lack of production design resulting in no depth, over composed scores, out of sync edits, bad lighting – the list goes on! None of this is acceptable – especially in your showreel. It is true that you need to mainly focus on your acting and character, however you also need to be aware of the craft of filmmaking and your part in that. It is a team effort and you will most likely be surrounded by very skilled crew, however it is not all down to them. You can help them by knowing what ‘film acting’ is, or your relationship with the technical side of film, so they can get on with what they need to do. It makes it very hard for them if you act like you are on stage.

Your Individuality and Who You Are

This needs to be understood before you even begin choosing scenes or characters. Although you need to be the best version of yourself, you can’t be anything other than yourself. You can’t compete with someone who is innately the type that is being cast, the best you can do is be the most extreme, interesting and complex you can be – but within your casting. Your casting type will come around and if it doesn’t, create your own work that celebrates everything that is great about you!

Cutting your showreel

This is a craft in itself. Don’t put everything you’ve ever done on your reel. Use good stuff, not lots of stuff. Don’t put bad material on there and it’s very important to have a strong opening. Don’t waste time with sound tracks and montages at the beginning. Try not to go over three minutes long and never go over 3 minutes 30 seconds. Most showreels sent to Casting Directors get turned off in 40 seconds. The clips within the show reel can be as short as 30 seconds (which is why we have a 30 second film), however don’t spend 10 of those 30 seconds focused on someone else driving the scene and in most of the shots. If you don’t have any broadcast credits, put the clip that you are most likely to be cast in, or your best clip, first.


Not many screen acting, showreel courses would agree with this, however we believe that it is just as easy and much more important to get a great, specific, right location, than a white room or park bench. White rooms and park benches are ok, if that is what would be used in a feature and completely make sense to the script, however they are not ok if they are just shoe-horned in. Choose locations that couldn’t get any better if they had all the money in the world thrown at them and in production with features, Netflix or Amazon etc. Parks, train stations, hospitals, beer gardens, churches, forests, streets, playgrounds, offices, front rooms, cafés, book shops etc would stay the same no matter what production they were in. Don’t try and create a Victorian gala set with no budget, however you can create a street location on little or no money. Other tips are to choose locations with natural depth; if possible do a recce on at the time of day you will be filming and, finally, when filming inside, make sure the rooms are big enough to create decent shots, otherwise settle for a succession of close ups (not a bad thing in a low production value film).

What Professional would you be?

A nurse, social worker, soldier, police officer, doctor, teacher, receptionist, fitness instructor or sales person? Casting small roles relies on actors to look the part, as there is no time to establish who you are in one or two lines. Who you are needs to be explained by looking at you. If you have no broadcast credits, this could be your way in, but you may need proof, through your showreel, that you can look like it. We always need professionals in our films and TV series.

Special Skills

If you have special skills that you are really good at (not moderately good at), try and work them into your showreel. This not only shows you off, but it helps break away from all your scenes being between you and another person sitting down. Having you do combat, playing a guitar, boxing, free jumping or riding a horse can really add production value. Of course you have to be able to afford the horse and location etc!

Tag Line and biog

Your showreel is essentially a marketing tool. It enables the world to see what you can do, what you look like, how you sound and more. A good idea is to start the process of creating your showreel with a tag line – a two line description of yourself. Also a biog – a four line description of what you have done. Throughout the creation of your reel, always refer back to see if your showreel is evidence of your tag line and is building on your biog. You can then choose to use your tag line and biog after that in general emails, websites, social media etc to market yourself, so that everything ties together and makes sense.


Think of people watching reel after reel of actors ‘going through tragedy’, sometimes badly. It’s enough to turn anyone off. Don’t be scared to do normal, cute, romantic or comedy scenes. Actors can feel like they are not doing anything if they are not going through some sort of emotional dilemma, but I have known actors who have secured auditions, just because their showreel is not full of it. Don’t be afraid to have quiet moments in your reel. A character thinking or listening is extremely engaging. Don’t have a succession of close-ups in your reel. We get it – more screen time – it is your reel, however we also get a lot from different angles and the reaction from other characters.

Changing and Clip your reel

Many actors don’t have an up to date showreel. Adding to and clipping your reel should be a yearly exercise. We hear a lot of actors say they are waiting on footage, or that you are disappointed with the student film you did and can’t use it, or you are not right physically at the moment. It is all very understandable, but it really doesn’t help you and the simple reality is the industry professional will just move on to the next person to cast, in a second. Finally, don’t be scared to kill the films off your reel that are your ‘best ones’, if they are not serving a purpose.

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