Camera Performance
Self-tape camera framing and eyeline that support the scene
Framing tells casting what they can evaluate, while eyeline tells the audience where the other person lives. Both choices should be deliberate before the first full take.
Treat requested framing as part of the audition
Use the exact framing in the casting instructions when one is provided. A close-up, medium close-up, waist-up frame, and full-body frame reveal different information. Do not substitute a cinematic composition when casting needs to see movement, physical scale, or a slate in a specific format.
If no frame is listed, a medium close-up that includes the head and upper torso is a practical starting point for many dialogue scenes. Leave a modest amount of space above the head and enough room for natural movement without letting hands or shoulders disappear unpredictably at the edge.
Place the lens near eye level
Raise the phone or camera rather than pointing sharply upward from a desk. A lens near eye level usually creates a neutral relationship with the viewer and keeps vertical lines from feeling distorted. Lock the tripod or support so the frame does not drift when the reader moves.
Use the rear camera only if you can still confirm composition and focus. A technically sharper image is not useful when the actor is accidentally cropped. Whatever camera you choose, clean the lens and disable notifications before recording.
Give the scene partner a specific location
Place the reader close to the lens on the side that gives the actor useful space in frame. The actor should connect to the imagined person rather than stare into the lens unless direct address is requested. Moving the reader too far away can make the performance feel disconnected; placing them directly behind the device can make the eyeline seem almost—but not intentionally—into camera.
Scenes with multiple characters may need two nearby eyelines. Keep them distinct but not so far apart that every response becomes a visible head turn. Mark positions with small pieces of tape if consistency helps.
Adjust eyeline for emotional and physical circumstances
A seated child, standing authority figure, or person across a large room changes the vertical or horizontal eyeline. Make the adjustment from the scene's reality, not from a generic self-tape rule. The choice should remain comfortable enough that tension in the neck does not replace listening.
Review a short take without sound. If the relationship is understandable and the eyes remain available to camera, the setup is probably serving the scene. Then listen with sound and confirm that the reader's position has not created echoes, feedback, or a distracting volume imbalance.