The CEO of Premiere, Michael David Palance, hosted the “Dating Game” comedy sketch with Disney Channel stars Peyton List from Disney’s “Jessie”, J.J. Totah from Disney’s “Jessie” and Jason Earles from Disney’s “Hannah Montana” and “Kickin’ It”. In the sketch, J.J. and Jason pretended to be Premiere talent trying to win a date with Peyton List. Peyton, J.J. and Jason had no idea what the dating questions from Peyton were going to be until they got onstage. The results were pure magic as the sketch ended in Peyton picking J.J. as her date and getting more than she bargained for, a big kiss on the lips!
The CEO of Premiere, Michael David Palance, challenged country singer and past Premiere talent Shaniah Paige, Mikey Reid from Nickelodeon’s “Victorious”, Joey Bragg from Disney’s “Liv and Maddie” and Skai Jackson from Disney’s “Jessie” to a Lip Sync Battle at Premiere July 2014. After a “fierce” competition, Skai Jackson reigned supreme. During her “coronation” as Queen of Lip Sync, Skai teaches Michael David how to perform Zuri’s catchphrase.
In this episode watch Disney Channel stars Skai Jackson from “Bunk’d”, J.J. Total from “Jessie” and Lauren Taylor from “Best Friends Whenever” try to one up each other as they vie for the affection of Peyton Meyer from Disney’s hit series “Girl Meets World”. This video includes bonus footage of the audition process for The Premiere Dating Game with Peyton Meyer.
Breaking Down the Role of a Talent Manager
If you plan on working professionally in the entertainment industry then it is essential for you to have an agent or manager. The options available to you will differ according to your location but you should be able to find a reputable management company or agency that can help you excel in your career. This business arrangement can have a profound impact on your success. In most cases it is not necessary to hire a manager until you decide to move to New York or Los Angeles because smaller markets will usually provide the services of both a manager and an agent.
A Manager’s Duties
The job of a manager is like a chief executive officer. They are in a position of leadership to guide you along the best path for your career goals. They will often explain the pros and cons of opportunities that you receive to help you make high-quality decisions. This can include the agents you sign with, jobs that you accept and even smaller details such as the types of photos that you take. This is done so that you can benefit from the knowledge and experience of your manager and take strategic action.
For instance, if an actor was presented with a contract for a show that incorporated a clause that would prevent them from participating in any similar show in the future, they would need to understand the specific ways that they would be limited by signing this contract. It would also be beneficial for them to know what advantages they would receive by agreeing to this contract such as exposure, compensation, etc. The following points are the basic duties that should be carried out by your manager:
- Sending out your headshots to get you representation. This will usually be done by contacting one agency at a time.
- Assisting with Client packages. This can involve things such as finding high-quality photographers, professional coaching and additional training.
- Networking with Industry Professionals. One of the manager’s main jobs is to promote their clients among their contacts in the industry. This can include people such as producers, directors, agents, casting directors, etc.
In general, managers will have fewer clients than agents. This is largely due to the time that must be dedicated to every client. A manager will typically communicate more regularly with each individual that they are working with and will oftentimes speak with them on a daily basis. Whereas an agent, will usually only contact the talent once every week or so. For this reason, a manager would not be able to handle the same volume of clients as an agent and provide the same level of service that is required of them.
The number of clients that a specific manager will represent depends on the level of success that their talent has achieved. If most of their client base is finding regular work and is steady on their career path then they may be able to handle a larger number of individuals. If their talent requires more individualized attention to find work then the manager will either have to dedicate more time to a smaller group of clients or recommend changes for the talent. Each individual that the manager works with will have different backgrounds and goals, which can result in several unique relationships.
If a client is really new then a manager may contact casting directors and agents directly so that they can get them working more quickly. In the beginning, the talent will often accept any opportunities available to them, which could include student films or roles in community theatres to build up their resume. The manager can also serve as a publicist to get their talent in the spotlight with interviews, newspapers, etc. Managers can also gain access to feedback from casting directors that their client has auditioned with to help them improve for future auditions.
The manager will want to make sure that their talent is prepared for any auditions or jobs that they book since this will reflect on both their clients and their abilities as a manager. In the majority of instances you will only have one manager for your film and television projects. However, if you are involved in other areas of the industry such as music then you will probably have a separate manager for those performances since the two areas require specialized experience.
Signing with a Talent Manager
Before you select a manager to represent you, there are several things that you should look into to give you an accurate understanding of the potential relationship. These factors include:
- Commission – The standard rate of commission for a talent manager is anywhere between 10 to 25 percent. Most managers will work for 10 to 15 percent while other managers may choose to charge a package fee in addition to their commission. The contract that you set up should specify their rate and will usually last for one to three years.
- Licensing Requirements – Every state has certain laws regarding the duties of a talent manager. For example, California’s labor law prohibits talent managers from handling industry contracts, negotiating on behalf of the talent, or submitting actors for work. Some managers choose not to follow these rules but a good manager should have their clients signed with skilled agents so they do not have to break these rules. You can research the laws for your state to learn about the rules for talent managers.
- Client Volume – If a manager is representing too many clients they will not be able to dedicate an adequate amount of time to each individual. Divide the number of clients a manager is handling by eight to gain an idea of how much time they can realistically spend on each client during a work day.
- Manager Contacts – Who your manager knows can directly influence your career prospects. By finding out who their connections are you can decide if they have the right network for your specific goals. When a manager also works as a casting director or acting coach this can provide their clients with stronger opportunities for work.
We hope that the Premiere Talent Tip Series is helping those of you seeking a career in the entertainment industry. If you are looking to showcase your skills in front of industry professionals, come visit us at one of our Interview Weekends near you.
Talent Agents and Managers: The Basics
Agents and managers typically play an essential part in the careers of actors, models, singers and dancers. While the two play different roles the functions of their jobs are related, which makes it necessary for them to work together. Most professional actors will sign on with both a manager and an agent.
The experience of meeting with agents and managers can be intimidating at times. However, it is important to keep in mind that you are the chief decision maker when it comes to your career. Even if someone wants to take you on as a client you are not required to sign with them. Before you agree to any arrangements you need to make sure that you are going to be working with someone that is aligned with your goals.
Contracts and Commission Structures
Commission structures will vary between agents and managers. While agents only earn a commission on jobs they were directly responsible for helping you book, a manager that you are signed with will take a 10 to 25 percent commission on every job that you complete.
The type of agent you are working with will also influence the percentage of commission owed to them. For example, film and television agents charge talent between 10 and 20 percent. Whereas a literary agent takes between 10 and 15 percent, while the average commission for music agents is 20 percent.
Therefore, if you have a manager, a print agent and a theatrical agent, their cut will be dependent on the jobs you book. So if your theatrical agent books you on television show you will end up paying approximately 10 percent of your pay to your theatrical agent and 15 percent to your manager. As the print agent was not involved in this job it will not be necessary to pay any commission to them.
AFTRA and SAG union regulations support the consistency of agent’s commissions. Managers can charge any percentage that they choose but a reasonable rate will range between 10 to 25 percent. Their rate will be affected by the market in the area and the industry standard for their specific niche in the business. You can look up the standard fee to determine if the commission percentage that a manager requests is fair. An amount that is greater than 25 percent is most likely excessive and unreasonable.
No matter what the requested rate is, you should not sign a contract until you have an attorney look over it to make sure that everything in the contract is clear and agreed upon by both yourself and the agent or manager. If the talent representative pushes you to sign immediately then you should decline to do business with them. If they have a sincere interest in working with you then there is no reason they can’t wait. This is an important decision that can influence your career so don’t hesitate to ask questions and discuss the matter with people that you trust.
Contract Length and Payment Arrangements
The agreed upon length of a contract can vary greatly and can be based on the needs of the talent. The most common range for a management or agency contract is between one and three years. If a contract is designed to exceed three years then problems may arise since many things can change in that length of time. It is not recommended to sign a contract longer than this period of time.
Genuine agents and managers will never ask for money before they agree to represent you. Their pay should always be commission-based and come out of your earnings with jobs that they book for you. Although there will be starting costs associated with headshots, resumes and any necessary training, they should not result in your representative gaining a profit.
Agents and managers will oftentimes recommend specific photographers or coaches that they have experience with but you should not be required to work with these individuals. You always have the options of using another resource of your choosing.
It is never a good idea for family members to take on the role of manager. Mixing business and personal relationships can interfere with the quality of the job and the talent’s career. A relative is usually not the most qualified individual for this role and this type of arrangement will often end badly.
Managers are involved in the process of making sure that everything is running smoothly and will need to coordinate events with their talent’s agents in order to achieve this. If a problem comes up that will affect the talent then the manager should step in and resolve the issue. A large part of a manager’s job is to negotiate rates and contracts for the benefit of the talent. This can be an effective system since the manager is aware of fair rates and will be more experienced than the talent at these types of negotiations.
How to Work Effectively with Your Agent
When you sign with an agent it is important to have an understanding of the nature of the industry and your role in the process. By becoming familiar with the casting process you will have a better chance of landing jobs. It is also necessary to be aware of the expectations that your talent agent or manager will have of you. This article will provide an overview of the casting process and how to fulfill your end of the business relationship with your agent or manager.
Understanding the Casting Process
Before an actor can be cast in a role there is a whole series of events that must take place. Once you are aware of the complete process you will gain a better understanding of the roles involved and the larger picture. This will allow you to fully comprehend your part in the sequence and give you an uninhibited view of the most advantageous path.
The first segment of the casting process begins when a producer hires a casting director to locate the best actors for their project. After the casting director has been hired, they will send a message to talent representatives (managers and agents), which includes a summary of what type of person they are looking for. The job of the talent representative is to only submit actors they believe will fit the part for consideration.
The casting director will usually have a limited period of time to sort through hundreds and maybe even thousands of actor headshots once they receive them. This is why the quality of your headshot is so vital. After they have selected a list of candidates they need to meet with as many of them as possible in order to find the most ideal match. The actors that the casting director thinks will be the best match are then presented to their producer or director who will make the final decision.
Expectations for Talent
Having knowledge of the casting process gives you an idea of how challenging it can be to simply get an audition. Actors that are represented by an agent or manager have an edge over the competition because it gives them the connections of a professional in the industry. This is why it’s important to maintain your relationship with you agent or manager. There are several reasonable expectations that a talent representative will have for their talent.
- To be Available: You should not audition or sign with an agent until you are ready to work and willing to make the necessary accommodations.
- To be Accessible: If your agent or manager tries to contact you it should not take more than 20 minutes for you to get back to them. If you change phone numbers or addresses it is important to notify anyone representing you.
- To Keep in Touch: If you only call your agent late in the day they will already be done with their submissions to directors. Call them early on when it is necessary and only do so during regular business hours. Additionally, if you have upcoming circumstances that will keep you from being able to audition or work you should let them know beforehand.
- Supplying Headshots and Resumes: Making sure that your agent has an adequate supply of your headshots and resumes is your responsibility. Check in at regular intervals to see if they have enough in stock.
- To be Engaged and Active: Successful actors are always practicing and building their skills. This can involve performing in showcases and stage plays, or attending workshops and classes, etc. Many agents want their clients to create a listing of themselves on the Academy Players Directory or on IMDB.com.
- To Pay Commissions: This aspect of your relationship will be outlined in the terms of your contract.
You may also be expected to join trade unions as necessary (You should not join any union without consulting with your Agent or Manager first). Some of these trade unions may include:
- AEA (Actors Equity Association)
- SAG (Screen Actors Guild)
- AFTRA (American Federation of Television and Radio Artists)
Relationships are an important aspect of working in any field. In the entertainment industry, the relationship that a performer has with their agent or manager is one of the key elements tied to their ability to succeed.
Talent Agents in the Entertainment Industry
Our Premiere Talent tip this week is to educate all of you about agents in the industry. Professional actors, singers, dancers and models need to have a good working relationship with their talent agent. In order to achieve this relationship it is important to understand both the role of your agent as well as your responsibilities. There are different types of agents and certain qualities that you should look for before you sign with them. This article will break down your agent’s job, how to interact with them and what expectations you should have.
What Is an Agent?
A talent agent is a person who works to market talent and find them opportunities for jobs much like an employment or staffing firm. They function as the middle man to get you signed up for auditions so that you can go in and close the deal by selling your skills. When you sign with an agent they will speak with casting directors on a daily basis to pitch your talent to get you auditions that may lead to jobs. The relationship that you have with your talent agent is essential as you would not be able to find the opportunities they offer on your own.
Each agent typically has hundreds of individuals that they have agreed to represent. The larger the agency, the more people they will be able to work with. This can be beneficial to you because the bigger agencies tend to have more information and contacts available to them. Smaller agencies may be able to give more individualized attention and even act as a manager for their talent. However, this is not common since agencies require a certain amount of clients to be successful.
Types of Agents and Agencies
Some individuals will need more than one agent or a specific type of agent since their services can range from broad representation to a focused area within the industry. There are several different types of agents and the talent they represent may have varied skills that they want to market. For this reason it is not uncommon for certain people to have three or four agents.
For example, someone that is involved in animated films and radio would have a voice-over agent, as well as a theatrical agent for film and television, a print agent for print advertising, a commercial agent for television commercials, a literary agent for written work and a music agent for singing abilities. The most common types of agents are:
- Theatrical: Motion Pictures and Television Shows
- Legitimate: Theatre Productions
- Commercial: Acting for Commercial Purposes
- Variety: Entertainment Events with appearances at shows, nightclubs, etc.
- Modeling: Print Work and Modeling
- Voice-Over: Radio and Animation
There are also different types of agencies, which have various levels of influence in the industry. These are categorized as:
- A List Agency: At this level, an agency will deal with major directors, writers and starts. It will have the capacity to put together “package deals.”
- B List Agency: While this type of agency is close in size to an A list agency, it does not have nearly as much influence. Most of the clients for this agency will consist of experienced actors and possibly directors and writers.
- C List Agency: Mostly finds jobs for guest stars and supporting actors.
- D List Agency: Represents new talent and are set up for basic day players.
Before signing with an agent, talent should be aware of what their contract agreement outlines. It is only possible to sign with more than one agent per talent category if the talent has signed a non-exclusive agreement and the agents are located outside of a 70 mile radius from one another.
Working with Your Agents
Most agents will typically contact you about once a week but it is a good idea to stop by and check in on occasion to stay on top of new events and make sure they have everything they need from you. As long your visits are not excessive, they can help your agent keep you in mind for jobs as they come in. It is not necessary to hear from your agent all the time as long as you are getting regular opportunities for auditions. Most of your agent’s time will be dedicated to speaking with casting directors in order to get you jobs.
An agent should never ask for money upfront, instead they will receive a commission from the jobs that they secure for you. The average commission for an agent is 10 to 20 percent of an actor’s gross income. Agents will not receive this commission until an actor gets paid. The structure of this commission is determined by union and non-union affiliation, as well as print works and location. Union agents are only allowed to charge a maximum of 10 percent because of SAG and AFTRA rules.
Features of a Quality Agent
Your agent should have your best interest in mind when they are working with you. Essentially, this means that they should do what is best for their client’s career regardless of the commission they stand to gain. Some characteristics that a good agent will have include:
- Competitive/Assertive: Since the main responsibility of an agent is to submit their talent for auditions, most of their time should be devoted to this area. Agents will need to have a solid understanding of past, present and future projects in the industry so they can effectively promote the skills of their clients to industry professionals.
- Passionate: It is highly desirable to have an agent who is enthusiastic about your skills and will work hard to market them.
- Communication: An agent will only contact you if they have a job or audition they are attempting to book for you. There may be times when you hear from your agent less than usual but this is normal. Your agent’s time will mostly be spent speaking with professionals in the industry to get you auditions and jobs.
- Contracts: When you land a job your agent is responsible for negotiating your contracts and rates. This is why they need sufficient experience handling this type of important paperwork.
- Number of Clients: Find out how many clients your agent represents, and divide this number by eight to see how much time can be spent on each client per day. It is necessary for agents to work with a larger number of clients than managers so that they can receive enough commissions but you do not want to work with someone who is overloaded.
If you want to have a fruitful business relationship with your agent it is important to understand the functions of their job. Keep in mind that you must fulfill your responsibilities as well to keep your agent satisfied and have success with auditions and jobs.
How to Prepare Your Child for a Photo Shoot
A good number of new faces in the acting and modeling business will attempt to use their own amateur photographs and sometimes school pictures for their headshots and zed cards. While this strategy may seem like a good idea, these types of photographs will not project a professional image and oftentimes fail to impress important figures in the industry. The cost associated with utilizing the experience of a photographer that specializes in photographing models and actors will pay off in the long run since your child will be more likely to get called back for auditions and jobs. Here are our tips from the Premiere Talent Tip Series
Finding a Photographer
While you want to use a professional photographer for your headshots or zed cards, you should look for someone that also has experience shooting for models and actors. Ask for examples of their previous work, and choose someone that has worked with minors before to make sure that they will be able to effectively communicate with and direct your child. By selecting a photographer with extensive experience shooting headshots and zed cards, you are much more likely to receive a product that will cater to industry needs.
Once you have selected the appropriate photographer and are setting up a time to complete the photo shoot there are some factors you may want to consider. Choose a time when your child is most energetic and engaged and avoid scheduling the shoot at a point in the day when your child may be ready for a nap or a meal.
The day before and the hours prior to a shoot are important contributors to the success of the event. You will want to make sure that your child has had an adequate amount of sleep the night before a shoot and also watch what you feed them the evening before and day of the photo shoot. If your child is sleep deprived or has sugar in their system it will be difficult for them to stay focused and give their best performance. A healthy breakfast and some light snacks and water can help your child keep their energy up during the shoot.
Since your child or teen’s appearance on the day of the shoot will factor greatly in the impression created with the photographs there are several points you should keep in mind:
- Grooming is important for both children and teenagers. The child’s hair will be the main element of concern while a teenager should have freshly shaved legs, underarms and unnecessary facial hair. Their eyebrows should be shaped and the removal of body hair can help enhance their appearance as well.
- Medium length, manicured nails with clear polish are ideal for females while males should have short and clean nails.
- If hair styling services will not be available at the photo shoot then you should arrive at the shoot with clean, dry and lightly styled hair. Keeping your hair’s natural texture and wearing it down is recommended for the shoot. If you are planning to cut or color your child’s hair this should be done at least one week before the shoot. Since these photographs should provide a realistic representation of your child don’t try to change their hair in an excessive manner before or after the shoot.
- A camera will pick up on even minuscule imperfections so it can be highly beneficial to seek the services of a make-up artist. If these services are not offered at the shoot then you may want to get this element taken care of before the shoot. Males should not look as if they are wearing makeup and females should have a light, natural appearance as well. The main purpose of the makeup is to enhance a person’s features and cover up small flaws.
- Clothing that is clean and not overly distracting is ideal for a photo shoot. If headshots are being taken then the top of the outfit is the most significant since it will be displayed in the photograph. Dark, deep and solid colors tent to work best for a variety of skin tones and physical features. While black can be used colors tend to do more to enhance a person’s features. Avoid clothing with logos, graphics and pastel colors.
- If the photo shoot is for a zed card then an assortment of different types of clothing will be needed. The clothes used in the shoot should be modern and flattering to the model’s build. Your photographer will usually give you an estimate of the number of outfits needed and you may also want to bring one or two extra pieces. Each outfit needs matching shoes and accessories. Layering tops and adding hats, jackets, jewelry or scarves can work together to form a “complete outfit.” Clothes should be age-appropriate and complement the model’s looks without distracting from the actual person.
When it comes down to it just focus on the purpose of the shoot and relax and enjoy your time. If your child or teen is stressed and anxious this will negatively impact the shoot and show up on camera. Magazines and catalogs can help you gain some ideas for the shoot and it may even be beneficial to bring individual ads with you. Some CDs that contain good dance music can also be helpful. Using the music can help your child loosen up and come up with new poses as they display their personality. Good photographers will help you find the best poses for your child but it is up to them to showcase their smiles and personality during the shoot. Practice at home before coming in for the shoot to work with different expressions and find the best looks for your child.
Audition Tapes and Demo Reels
Sending in a tape or demo reel for an audition is becoming a more and more common practice. If you are asked to send in a taped submission for an audition the first step will be to find out what kind of format they would like you to submit. The majority of the time an on-line link (or sometimes a DVD), will be requested since it is the customary format. Industry professionals typically ask for a video submission for certain projects or to assess your level of talent.
Sometimes specific material is provided for you to record along with instructions. If this is the case then you will want to make sure that you follow them exactly as they are listed. If a talent reel is requested without specific instructions then you can create your own demo to use for general submissions. The following list provides some commonly accepted rules that should be followed when you create your taped submission:
Clothing should not be distracting, which is why you should wear a shirt without graphics, logos or busy prints. You should also film your video in front of a plain background that will not interfere with what you are trying to accomplish. Keep the lighting at an appropriate level and have your hair pulled back off of your face. The shot should capture ¾ of the person with the entire head in the shot and limited movement.
This step is necessary for both on-camera auditions and taped auditions. For a taped audition you should hold a written sign that lists your name, age, location and phone number. Then slate your name, age and the place you live in a clear and upbeat tone. Look directly at the camera as you do this and avoid moving your body. You can drop the sign on the floor once you have verbally stated its content. It may be helpful to pretend that you are speaking to a good friend as you do this and make it seem natural and fun. This part of your tape should be about 15 seconds long
FOR DEMO PURPOSES
Either a commercial or monologue can be used to demonstrate your performance skills. If you decide to use the commercial then focus on displaying a lot of energy without being silly. This part of the demo should last between 15 and 30 seconds. For a monologue use a piece that is a reflection of your natural abilities. For example, if you are a naturally comical person then use a comedic monologue. It should be a contemporary piece and should not use any uncommon languages or dialects. You may also use a dramatic piece if that is more your style, but remember to keep things subtle and avoid melodrama. This should be a one minute performance and remember to always use a monologue that is modern, as well as age and gender appropriate.
During this portion share something interesting about yourself and your life. Focus on acting as a storyteller and captivate your audience. This segment should be about one minute long. NEVER include an interview for an audition that is for a specific part unless you are asked to do so.
POINTERS FOR SPECIFIC AUDITIONS
A script or portion of the script (called “sides”) will usually be provided to you, which you will perform as someone reads the other lines off camera. Props and blocking will not be necessary as these types of auditions will be filmed in the same manner as demo submissions. However, this scenario only requires the performance of the scripted materials. As you are performing it is important to take direction from the professional and make sure to do exactly as they instruct.
Send the tape to the person, director, agency or manager requesting it. Always write “requested material” on the outside of the mailing envelope that contains the DVD or in the title of the email if you are submitting it online. If you are sending in a DVD, label the disc with your name, age, contact information and the numerical date of the taping. You have the option of converting the video to a digital format so that it can be posted online or emailed. This can be done by uploading it to Youtube.com, other website services or by sending it through a file sharing service such as www.yousendit.com.
If you have singing and dancing abilities you may want to include a clip of them on the demo, but do not do this for a submission tape that will be used for acting. If you are creating a demo, collect two to three songs that are each one minute in length to give the viewer an idea of your range and abilities. It is important to include a second head shot and attached resume with your demo in addition to your taping submission.
Once you have sent in your submission make sure to keep track of where you have sent it and to whom you have mailed it to. The package you send should contain a professional headshot with an attached resume that includes your contact information. If they decide they want to meet with you or need more material they will contact you directly. Do not call to follow up; if they are interested they will contact you.
What you need to know about Comp Cards
A comp card, also known as a composite card, z card or zed card, is used as a marketing tool for models. It serves to showcase the latest and finest photographs in a model’s portfolio and is used in a similar fashion as a headshot. This card is a 5X7-5.5X8.5 composite and is the model’s business card, which typically displays a single large image on the card with three or four additional images on the back side.
History of the Comp Card
The model’s composite was invented in 1985 by Peter Marlowe. Various other companies began publishing cards for the model industry but used different names to get around Marlowe’s trademark “model composite,” which was registered in Europe and the United States. This resulted in the varying names for these cards but today “model composite” and “comp cards” are freely used terms in the modeling industry.
Comp Card Format
The image used on the front of a comp card should either be a headshot or half-body shot of the model (never use a full-body shot on the front of a comp card). The talent should have good eye-contact in the photograph and may smile but it is not required. The name of the model should be printed on the lower right-hand side of the front of their comp card.
The back side of a comp card should display images that show the ability of the model to be versatile and provide variety of images for the viewer. There are different ways to achieve this such as with an assortment of facial expressions (intense, laughing, etc.) poses (sitting, leaning, action shots, etc.) types of camera shots (close-up, half-body, full body) and styles of clothing (it is also acceptable to use accessories for comp cards).
When young talent is featured on comp cards, the card will provide a way to get print modeling jobs, therefore the images on the card should have a similar appearance to pictures in a catalog or print advertisement. Much like headshots, interesting and natural looking shots are the best. Images that look too postured or stage should not be used.
Ideally, the background that is used for the cards will provide a neutral element such as a photography studio or shots that are taken outdoors. Even though the background and props that are used are important, the model should still be the main focus of the image. In addition to the three or four images on the back of the comp card, the model’s statistics and contact information should be printed on the bottom. The statistics should contain the model’s birthday, height, weight, eye color, hair color, clothing sizes and shoe size. Females ages 13 and older should include their waist, hip and bust measurements.
Our Premiere Talent Tip Series is designed to help all of those current and future participants of our showcase weeks at Disney World in Orlando, FL.