Latest / Making The Impact - A Dance Competition Podcast / Dance Reels 101 - Why Quality Dance Footage is Essential

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Dance Reels 101 - Why Quality Dance Footage is Essential · Making The Impact - A Dance Competition Podcast

• 0:07
  SPEAKER_03: Have you ever wondered what goes on behind the table at a dance competition?
• 0:10
  SPEAKER_03: Exactly what are the judges looking for anyway?
• 0:13
  SPEAKER_03: This is Making the Impact a Dance Competition podcast.
• 0:15
  SPEAKER_03: Each week we'll cover a different topic related to the world of competitive dance from the perspective of the judges behind the table.
• 0:26
  SPEAKER_03: Having a cohesive and professional dance reel is one of the most powerful tools in an aspiring dancer's toolbox.
• 0:32
  SPEAKER_03: Casting directors, agents, and choreographers look to a dance reel to find out anything from your personality to your technical ability.
• 0:38
  SPEAKER_03: On today's episode of Making the Impact, industry professional Aaron Marino shares her insight about how to craft a reel that best represents you.
• 0:50
  SPEAKER_02: Hey Dance World, welcome to our next episode on Making the Impact.
• 0:55
  SPEAKER_02: I'm your host, Courtney Ortiz, and I'm here, like always, with my wonderful co-host, Leslie Mueller.
• 1:01
  SPEAKER_03: We are here.
• 1:02
  SPEAKER_03: It is April, and it's time for an excellent episode, guys.
• 1:05
  SPEAKER_02: Yeah, I'm really excited for this one.
• 1:07
  SPEAKER_02: I'm excited for every episode every week over here in Podcast Land, but this one is really uh an important one, I think, for a lot of young dancers who are breaking in as a professional, for parents who are curious as to what really goes into the business of dance when you do become a professional.
• 1:25
  SPEAKER_02: And today we're talking all about reels and video footage as a dancer.
• 1:31
  SPEAKER_03: Yep.
• 1:31
  SPEAKER_03: And these are some important things that it's just not going away.
• 1:36
  SPEAKER_03: I think that's the key, is that I think you can avoid this.
• 1:39
  SPEAKER_03: If you're somebody who's not super excited about filming yourself, I'm really sorry.
• 1:44
  SPEAKER_03: You've got to do it.
• 1:45
  SPEAKER_03: Part of the gig.
• 1:46
  SPEAKER_03: We have a great guest today.
• 1:47
  SPEAKER_03: Yep, to tell us all about why and how and how to make it easier and what's expected right now in 2025.
• 1:52
  SPEAKER_02: Yeah.
• 1:53
  SPEAKER_02: So if you are looking to get an agent, if you are looking to move to LA, to New York City, do you need video footage?
• 1:59
  SPEAKER_02: Do you need dance reels?
• 2:01
  SPEAKER_02: You're gonna hear and learn all about that today on this week's episode.
• 2:05
  SPEAKER_02: But before we jump in, we have a few recent Making the Impact Award winners that we want to share with you from IDA affiliated competition events in the 2025 season.
• 2:14
  SPEAKER_02: These dances are selected straight from your IDA judges on the panel.
• 2:18
  SPEAKER_02: It goes to that one dance by the end of the weekend that the judges cannot stop thinking about, and they want to recognize you with a beautiful plaque that you now get to display at your dance studio, but you also get a live shout-out on our podcast.
• 2:31
  SPEAKER_02: So let's hear our first winner.
• 2:33
  SPEAKER_03: Alrighty, from True Dance Challenges event in Bethlehem, Pennsylvania.
• 2:37
  SPEAKER_03: Congrats to Nardy Dance Studios from Eastern Pennsylvania for their large group, Falling Falling.
• 2:42
  SPEAKER_02: And from Axis Dance Competitions event in Farmington, New Mexico, congrats to Anne Marie's Dance Academy from Farmington, New Mexico for their production, Devil Went Down to Georgia.
• 2:53
  SPEAKER_03: Congratulations, everybody.
• 2:54
  SPEAKER_03: And if you have received a Making the Impact Award this season, please make sure you scan the code on the back to submit your information so you can get a shout-out live on the podcast.
• 3:02
  SPEAKER_03: And then even bigger perk.
• 3:04
  SPEAKER_03: Later on in the summer, we're going to do a fan favorite contest where you could win the opportunity to have a full episode about your studio.
• 3:11
  SPEAKER_03: So that's the big, big perk.
• 3:13
  SPEAKER_03: So don't forget to scan your code.
• 3:15
  SPEAKER_02: All right, and let's hear from our sponsors.
• 3:20
  SPEAKER_02: Join us for an unforgettable experience at the Dance Teacher Web Conference and Expo, taking place this summer at the Paris Hotel in Las Vegas from July 22nd to the 25th, where dance enthusiasts gather to elevate their teaching skills.
• 3:34
  SPEAKER_02: With over 140 masterclasses, there's something for everyone, whether you're a seasoned pro or just starting out.
• 3:41
  SPEAKER_02: Dive into cutting-edge insights that will transform your studio from innovative marketing trends to effective retention strategies.
• 3:49
  SPEAKER_02: You'll leave the Dance Teacher Web conference equipped with the tools to succeed.
• 3:52
  SPEAKER_02: And don't miss the exclusive movement and dance classes with industry professionals, where you can learn unique choreography that will spice up your lessons.
• 4:00
  SPEAKER_02: You'll also gain invaluable knowledge on injury prevention and recovery techniques from experts.
• 4:06
  SPEAKER_02: Plus, the Dance Teacher Web event connects you with other fellow educators and industry celebrities from around the world throughout their networking gatherings and parties during the week.
• 4:15
  SPEAKER_02: I'll even be attending and teaching this year at the Dance Teacher Web Conference and would love to see you there.
• 4:20
  SPEAKER_02: With extended access to their event app, you'll have the luxury of revisiting sessions and notes long after the conference ends.
• 4:28
  SPEAKER_02: Explore the Expo Hall for the latest trends in costumes and dancewear, and be sure to participate in the grand finale giveaway, where over$20,000 in prizes awaits.
• 4:38
  SPEAKER_02: Use our exclusive podcast promo code IMPAT50 in all caps for an extra$50 off registration.
• 4:46
  SPEAKER_02: Don't miss out on one of the biggest dance teacher events of the summer.
• 4:50
  SPEAKER_02: Secure your spot today at Dance Teachers Summerexpo.com.
• 4:54
  SPEAKER_02: Get ready for an amazing journey in the world of dance education at the Dance Teacher Web Conference and Expo.
• 5:02
  SPEAKER_02: All right, Dance World, we're jumping in to our next episode over here on Making the Impact.
• 5:08
  SPEAKER_02: This is going to be a really fun one because we're talking today all about reels and footage, video footage, dance footage of you dancing.
• 5:17
  SPEAKER_02: Is it important?
• 5:18
  SPEAKER_02: Do you need it?
• 5:19
  SPEAKER_02: Do you need it as a young dancer who's just in competitions right now?
• 5:24
  SPEAKER_02: Should you already be branding yourself as a dancer in the industry?
• 5:27
  SPEAKER_02: Is it crucial to have this as a professional dancer?
• 5:31
  SPEAKER_02: And how has the industry shifted since Leslie and I's time back in the day in our audition scene as professional dancers to right now in 2025?
• 5:41
  SPEAKER_02: How important is video footage and reels to have a career in dance?
• 5:47
  SPEAKER_02: We have one guest joining us this week on Making the Impact, and I am so thrilled to finally get them on the podcast because they have so much knowledge to share in this beautiful dance world.
• 5:58
  SPEAKER_02: They are doing such great things.
• 6:00
  SPEAKER_02: They are currently the director of the LA Establishment, which I'm sure they're going to share a little bit more about what exactly that is with all of you out there.
• 6:08
  SPEAKER_02: They're a former agent at MSA and a professional dancer and educator based in Los Angeles.
• 6:13
  SPEAKER_02: I'm very excited to welcome Erin Marino to the pod.
• 6:16
  SPEAKER_02: Welcome, Erin.
• 6:18
  SPEAKER_00: Hey, I'm so happy to be here.
• 6:20
  SPEAKER_00: Thanks, Courtney.
• 6:21
  SPEAKER_02: Of course.
• 6:22
  SPEAKER_02: We're thrilled to finally make it happen.
• 6:23
  SPEAKER_02: I've been saying it for years.
• 6:24
  SPEAKER_02: Erin, you gotta come onto the podcast.
• 6:26
  SPEAKER_02: And then I felt like, boom, this episode, I know that you're gonna you're gonna tell the world exactly what they need to hear.
• 6:33
  SPEAKER_00: Yeah.
• 6:33
  SPEAKER_00: It's been a long time coming, and here we are.
• 6:36
  SPEAKER_02: Yes, we are.
• 6:37
  SPEAKER_02: I'm I'm so thrilled that it happened.
• 6:39
  SPEAKER_02: So glad you're here.
• 6:40
  SPEAKER_02: Glad you squeezed us into your busy schedule.
• 6:42
  SPEAKER_02: And if you could share more about you, where you grew up, how you got into dance, any uh credits that you'd like to share, and then exactly what you're working on now, as well as a little bit about the LA establishment.
• 6:53
  SPEAKER_00: For sure, for sure.
• 6:54
  SPEAKER_00: So I'm originally from Ohio.
• 6:57
  SPEAKER_00: I grew up at a ballet studio, um, started training in jazz and hip hop, more so when I was in high school, um, and found a love for that and ended up moving out to LA almost 20 years ago.
• 7:10
  SPEAKER_00: So I'm aging myself out the gate, but almost 20 years ago to go into a scholarship program, um, an apprenticeship program.
• 7:18
  SPEAKER_00: And I did that for two and a half years, met a choreographer that uh was one of our teachers, and his name was Chucky Clay Pow.
• 7:26
  SPEAKER_00: He choreographed all the high school musical movies.
• 7:29
  SPEAKER_00: Um, he was one of the dancers for Michael Jackson for This Is It, Mick Jagger's movement coach for The Rolling Stones for almost, I think, over a decade at this point.
• 7:38
  SPEAKER_00: But he's my biggest mentor, and he was one of my teachers, took me under his wing, and I assisted him for almost 13 years before becoming an agent.
• 7:47
  SPEAKER_00: A lot of my work in the industry was coaching dancers along the way as I was working as an assistant choreographer, dancer here and there, sprinkled jobs in, but I got pulled into the uh other side very quickly.
• 8:00
  SPEAKER_00: Um, and I fell in love with the creative process, so was more so pursuing assisting.
• 8:05
  SPEAKER_00: Um, started the scholarship program at Debbie Reynolds Studio RIP.
• 8:10
  SPEAKER_00: All right, I know it's a sad day that we don't have that studio anymore, but I started that in um 2015 and have been coaching dancers on the ground floor for 10 years now.
• 8:21
  SPEAKER_00: So training other dancers to uh launch their careers in Los Angeles specifically, and on that coaching end became an agent.
• 8:31
  SPEAKER_00: Started uh, I actually also was helped build T Millie Studio in Los Angeles with Tim Milgram.
• 8:38
  SPEAKER_00: He brought me in in the early days and I helped build the infrastructure for that studio.
• 8:42
  SPEAKER_00: Agency at MSA was there for four and a half years as the director of education.
• 8:46
  SPEAKER_00: Um, it was a really amazing experience.
• 8:49
  SPEAKER_00: And I learned a lot from being on that other side as well.
• 8:53
  SPEAKER_00: So I was always coaching dancers and with the perspective of being on the creative side.
• 8:58
  SPEAKER_00: And now having the information of being, you know, having the agent hat under my belt as well.
• 9:05
  SPEAKER_00: My perspective on all the things that we're going to talk about today has shifted pretty drastically in what I tell dancers and how I how I coach them.
• 9:14
  SPEAKER_00: Currently, I am the director and owner of LA Establishment.
• 9:17
  SPEAKER_00: We are an in-house production company for programming in Los Angeles and New York City, short-term intensive, summer intensives, and also a 10-month professional program that's running in LA, which is an extension of the Debbie Reynolds Scholarship Program.
• 9:34
  SPEAKER_00: So when I took my hiatus from programming during COVID and I was an agent, I was in the on in the field a lot, conventions and programs and colleges and universities.
• 9:45
  SPEAKER_00: And it inspired me to get back to doing programming, which is really what I love.
• 9:50
  SPEAKER_00: So revamped my curriculum and relaunched last year.
• 9:53
  SPEAKER_00: So we are in our second year back since COVID.
• 9:56
  SPEAKER_00: So awesome.
• 9:58
  SPEAKER_00: On the ground floor every day with these dancers.
• 10:01
  SPEAKER_00: And it's a small program, right?
• 10:03
  SPEAKER_02: Like how many dancers get accepted into this LA establishment, like pre-pro 10-month program?
• 10:08
  SPEAKER_00: Yeah.
• 10:08
  SPEAKER_00: So for the 10-month program, I take up to 30 dancers.
• 10:12
  SPEAKER_00: So the recruiting for that is really based on making sure that everyone is at the same level that is coming into the group.
• 10:19
  SPEAKER_00: So I say up to 30 because we don't always have 30.
• 10:23
  SPEAKER_00: And then even for the summer intenses, we cap our events at 60 dancers.
• 10:28
  SPEAKER_00: And it's really the same thing.
• 10:29
  SPEAKER_00: We want to make sure that everyone is at the same, you know, scale as far as their talent so that we can really have our instructors push the dancers.
• 10:37
  SPEAKER_02: Wow.
• 10:38
  SPEAKER_02: Nice.
• 10:38
  SPEAKER_02: That's really awesome and intimate.
• 10:40
  SPEAKER_02: And um, you know, I I know a lot of these pre-pro gap year, you know, one-year style programs are popping up a lot in the industry right now.
• 10:48
  SPEAKER_02: And I think it's so smart and so needed, especially having this right in the heart of Los Angeles, where a lot of dancers are eager to go, but don't really know how to kick it off and start.
• 11:00
  SPEAKER_02: Yeah, you know, I think this is a nice way to ease them into the industry, already start establishing connections, making friends, networking with others, other peers.
• 11:10
  SPEAKER_02: And then that way you can say, spread your wings and fly.
• 11:13
  SPEAKER_02: I gave you all the tools to succeed after a 10-month program.
• 11:16
  SPEAKER_00: Yeah.
• 11:17
  SPEAKER_00: It's definitely, you know, moving to LA is intimidating for a lot of dancers, or, you know, if they're already there and they don't really have a sense of community and they don't really have a strategy.
• 11:28
  SPEAKER_00: I really feel like these programs, especially, you know, when they're in the main city that a dancer wants to be working in, whether it's New York or LA, it's always beneficial to really look into programming.
• 11:38
  SPEAKER_00: And I think a lot of dancers at this point, you know, want to have a quick fix, but a quick fix doesn't leave to longevity lead to longevity in a career.
• 11:48
  unknown: For sure.
• 11:49
  SPEAKER_00: So I think it's, you know, really smart, especially for upcoming dancers, to look into what their options are, and especially in the cities that they want to have their careers in, because it it does fast track you in networking and like with someone else helping you with your training.
• 12:04
  SPEAKER_00: So yeah.
• 12:05
  SPEAKER_03: And just to have a structure.
• 12:06
  SPEAKER_03: I mean, if you're if you're somebody who's not gonna go to college, you're gonna jump right into it.
• 12:10
  SPEAKER_03: You you're leaving the structure of your studio life to just go be a person in LA who takes class.
• 12:16
  SPEAKER_03: Like, how do you that just seems like so daunting to get your schedule together and make sure you're taking this class and seeing that person?
• 12:22
  SPEAKER_03: And so just to have that like buffer year of here's your schedule.
• 12:26
  SPEAKER_03: And this is how you figure out how to make your own schedule next year.
• 12:29
  SPEAKER_00: Yeah.
• 12:30
  SPEAKER_00: I mean, that is a part of what we do towards the end of the program is the application of what we've done within the program and what are you gonna do now on your own.
• 12:38
  SPEAKER_00: So in my program, I have the dancers do self-evaluations.
• 12:42
  SPEAKER_00: I don't evaluate them so that they're really conscious of their own growth.
• 12:47
  SPEAKER_00: And a lot of it has to do with the personal side, but also with the dance side.
• 12:51
  SPEAKER_00: But it really helps hold them accountable for the actionable things that they need to do to make the changes that they need to make and also to create their own path forward and knowing who they want to take from, knowing what kind of jobs they want to book, knowing who they need to network, and then it's the how.
• 13:09
  SPEAKER_00: So, as opposed to me like spoon feeding it to them, I do talk with them when they do their self-evaluations.
• 13:14
  SPEAKER_00: We have meetings, but it's really them doing the work and understanding and taking responsibility for themselves.
• 13:20
  SPEAKER_02: So that's great.
• 13:22
  SPEAKER_02: Yeah.
• 13:22
  SPEAKER_02: Well, I love what you're doing.
• 13:24
  SPEAKER_02: So thank you for everything that you're contributing to our industry and like that next generation and and bridging that gap a bit.
• 13:31
  SPEAKER_02: And I'm just gonna like sprinkle this out there in case this is in your like roadmap of of what's coming next for you, but New York establishment.
• 13:41
  SPEAKER_02: Because I think that there needs to be a program here in the city, in New York City in particular.
• 13:46
  SPEAKER_02: I feel like everything's very LA, and not that it has to only be LA, you know, New York exists too.
• 13:51
  SPEAKER_02: And I don't really feel like there's that gap year style program that could be for the dancers that want to move to New York.
• 13:58
  SPEAKER_02: So that could be something that you uh create that's like, you know, it's it's the it's its pair, it's a satellite.
• 14:04
  SPEAKER_02: Yes.
• 14:04
  SPEAKER_00: Yeah, you know, yes.
• 14:06
  SPEAKER_00: I will say that I've had like a few people say that to me, and I think with just getting this one back up, it is in the sights to be doing something on the East Coast as well.
• 14:17
  SPEAKER_00: I agree with you.
• 14:18
  SPEAKER_00: I do feel like it could be something really cool and is needed and necessary.
• 14:23
  SPEAKER_00: I also feel like the climate in New York, everyone wants to train.
• 14:26
  SPEAKER_00: Everybody is like they're people do that more than others sometimes.
• 14:30
  SPEAKER_00: Yeah, LA is like the wild west right now.
• 14:33
  SPEAKER_02: So yeah.
• 14:35
  SPEAKER_00: The just the energy in classes, and I think the mentality towards training is is very different from coast to coast, but I feel you, Courtney.
• 14:44
  SPEAKER_00: I agree.
• 14:45
  SPEAKER_00: Yes, maybe soon.
• 14:47
  SPEAKER_00: Yeah, one day.
• 14:48
  SPEAKER_02: I'm just putting it out there in the universe, and you're the perfect person to make it happen.
• 14:52
  SPEAKER_02: So yeah, awesome.
• 14:54
  SPEAKER_02: Well, I'm excited to learn from you on this.
• 14:56
  SPEAKER_02: So let's jump into this chat all about reels and video footage in the dance world.
• 15:01
  SPEAKER_03: Amazing.
• 15:02
  SPEAKER_03: All right.
• 15:03
  SPEAKER_03: Well, so we have so much to cover, dancers and listeners, and parents and teachers, and everyone out there, because Courtney and I, you know, are on the tail end of things.
• 15:10
  SPEAKER_03: We started this career with DVDs, mailed-in DVDs, and that's how you got a job if you weren't in the city to book your job.
• 15:18
  SPEAKER_03: So life is very different now.
• 15:19
  SPEAKER_03: And we, like we've been saying all season, this is the season of bringing in the experts to give the, you know, the real deal on the ground information about what you guys need to succeed.
• 15:28
  SPEAKER_03: So let's talk about reels.
• 15:31
  SPEAKER_03: What first of all, what is a reel?
• 15:32
  SPEAKER_03: If you are like somebody out there who's like, I don't know what they're even talking about.
• 15:35
  SPEAKER_02: We're not talking about like Instagram reels right now.
• 15:38
  SPEAKER_02: We're talking about like a professional dance reel.
• 15:40
  SPEAKER_02: I think that, you know, that that word reel gets thrown around a lot.
• 15:44
  SPEAKER_02: And and I think that that's the difference right now.
• 15:46
  SPEAKER_02: So, what is a professional dance reel?
• 15:49
  SPEAKER_00: Um, so you know, a reel is a compilation of your strengths and your accomplishments as a as a dancer, if we're talking about a dance reel.
• 16:00
  SPEAKER_00: That's going to be, you know, similar to choreographers that have reels as well.
• 16:05
  SPEAKER_00: And it's a tool that is used in submissions when asked for and is used for self-promotion for dancers.
• 16:13
  SPEAKER_00: Usually agencies will ask for it to be no longer than 90 seconds long.
• 16:17
  SPEAKER_00: Some agencies will ask you for a reel and others will not.
• 16:21
  SPEAKER_00: So it really just depends on who you're working with.
• 16:24
  SPEAKER_00: Some casting directors will ask for it, some will not, some choreographers will ask for it, some will not.
• 16:30
  SPEAKER_00: So we're really living in a time where there's a lot of different things media-wise that are needed and necessary.
• 16:36
  SPEAKER_00: And then there are some that are gonna be, I guess, dependent on what job you're putting yourself forward to for and who you're working with.
• 16:46
  SPEAKER_03: So, does that, that last statement, does that mean you need multiple reels based on your strengths, or do you just have one?
• 16:55
  SPEAKER_00: It would be one that's like more of a highlight reel.
• 16:58
  SPEAKER_03: Okay.
• 16:58
  SPEAKER_00: Yeah.
• 16:59
  SPEAKER_00: I mean, if you want to be strategic, you can have multiple that are gonna cater to different things, but really and truly, you're gonna want to have, if you're an experienced dancer and you're a professional in the industry, you're gonna want to have a mix of footage that's really highlighting your strengths as a performer and also have jobs that you have been on.
• 17:21
  SPEAKER_00: It should always open with something where people can see clearly who you are, whether that's a headshot or it's solo footage, that it's very clear in who you are, especially because a lot of jobs you go you get into footage where there's multiple people.
• 17:34
  SPEAKER_03: Right.
• 17:35
  SPEAKER_00: But anything that is class footage or on the promotional aspect in studio or on a set that's not necessarily a dance job that's included in your reel should be solo footage as opposed to you dancing with other people.
• 17:50
  SPEAKER_00: Oh the only time they should see you dancing with other people is if it is something that's like representing work that you have done.
• 17:57
  unknown: Okay.
• 17:59
  SPEAKER_02: Okay, yes.
• 17:59
  SPEAKER_02: This is really interesting because I think a lot of dancers now, and we see this in New York as well, the class footage, that class footage.
• 18:08
  SPEAKER_02: People want that darn class footage and they want it for their reels.
• 18:12
  SPEAKER_02: But you're kind of saying that it's not really a good place for your reel because there's other dancers in the background, unless the teacher called you out and said, come do a solo by yourself.
• 18:23
  SPEAKER_02: But like if it's a trio and you're not in the center, can they you can they like crop it so it's focused on them and you don't see the others, or is that frowned upon?
• 18:31
  SPEAKER_00: You can crop it, you can definitely crop it.
• 18:34
  SPEAKER_00: And I think a lot of dancers will like even on social the social media side will crop it so you can really only see them.
• 18:42
  SPEAKER_00: The reason why you don't want to have other people in is because somebody you could send that video or you could send the reel to a choreographer and they may say, Well, you're great, but who's that person behind you?
• 18:53
  SPEAKER_00: Right.
• 18:53
  SPEAKER_02: Yeah.
• 18:54
  SPEAKER_00: You're not just you're not just selling yourself, you're selling someone else.
• 18:58
  SPEAKER_00: So you're always better off.
• 19:00
  SPEAKER_00: Um, honestly, you're always better off if you get the solo footage while you're in class, great.
• 19:05
  SPEAKER_00: And if you don't, and you know that this choreography sits well on your body, then refilm it.
• 19:11
  SPEAKER_00: It doesn't necessarily have to be that professional class footage, or it's not that expensive to hire a videographer and rent a space out and do however many different combos so that you're getting your own footage by yourself and you're doing it all in one blanket hour that you're getting all of the materials that you need.
• 19:34
  SPEAKER_00: So I think, like, you know, and dancers might be listening to me like, you're crazy, it is expensive.
• 19:39
  SPEAKER_00: But you can get friends together and hire a videographer and split cost.
• 19:44
  SPEAKER_00: Yes.
• 19:44
  SPEAKER_00: It's really not that much, and it's an investment in your career, the same way like investing in an editor to put your reel together is an investment.
• 19:52
  SPEAKER_00: Right.
• 19:52
  SPEAKER_00: I think it's just important to look at these things as like investments that are going to bring you money if done correctly.
• 19:59
  SPEAKER_02: Yes.
• 20:00
  SPEAKER_00: So yeah, you don't really want to have footage with other people.
• 20:03
  SPEAKER_00: And I think the other thing that's super, super important is making sure that they can see your face and making sure that they can see your expression.
• 20:11
  SPEAKER_01: Right.
• 20:12
  SPEAKER_00: Because oftentimes, and and this would be this happened all the time for me, is when I was getting ready to submit dancers that I saw in a convention ballroom or I saw in class, and they're amazing in the room, but then they're sending footage that does not represent their talents to the highest extent that it could.
• 20:33
  SPEAKER_00: So, like, especially if someone hasn't seen you in person, or even if they have, they I especially when it comes to like agency representation or putting you forward for two other choreographers, if they have not seen you with their own eyes, then that person is having to sell you to someone else.
• 20:51
  SPEAKER_00: Right.
• 20:51
  SPEAKER_00: And even though they know you're amazing, if your video footage is not coming off as strong as what you know you're capable of doing in the room, then that is what you have to really think about as far as not just your ability and how great of a dancer you are, but how are you performing for camera?
• 21:07
  SPEAKER_00: When it comes to the work side of things, you know, casting directors, a lot of them are not dancers and do not have dance backgrounds.
• 21:15
  SPEAKER_00: So what are they connected to?
• 21:17
  SPEAKER_00: They're connected to your expression and the human side of what you're doing versus all the great things that you can do with your body, because you also have to remember on the professional aspect of this.
• 21:27
  SPEAKER_00: And even if you're a dancer that's currently seeking representation, or you know, a kid who's currently representing or seeking representation, they're looking for personality and they're looking for humans, not only great dancers.
• 21:40
  SPEAKER_00: And you have to remember that everybody is good.
• 21:43
  SPEAKER_00: All these people that are getting submitted, the one thing they know about you as a casting director is that you can dance.
• 21:48
  SPEAKER_00: Right.
• 21:48
  SPEAKER_00: So, what else is it that is going to make you stand out in this footage that's in your reel?
• 21:53
  SPEAKER_00: It's not just about great steps, it's really about showing who you are.
• 21:58
  SPEAKER_03: Oh, that's great advice.
• 22:00
  SPEAKER_03: Good.
• 22:00
  SPEAKER_03: And I just like thinking back recently, I posted my my dance reel from the last one I made, you know, whatever it was 10 years ago.
• 22:06
  SPEAKER_03: And it was so it was so long ago that like all I had was cruise ship, you know, the big wide angle of the cruise ship performance.
• 22:13
  SPEAKER_03: Somebody made like a little circle around me and followed me around.
• 22:16
  SPEAKER_03: And it was like, this is all we had, guys.
• 22:19
  SPEAKER_03: Like, y'all have so many more tools now to be able to focus on you.
• 22:22
  SPEAKER_03: And it was a I mean, I booked jobs off of that reel, but it's kind of a wonder because it was like, is that her?
• 22:27
  SPEAKER_03: I I guess that's her, you know, but then it cut to me doing my ballet combo by myself.
• 22:31
  SPEAKER_02: But it's nice to like, you know, in those moments, like you said, it makes sense because it immediately informs the people on the other side.
• 22:39
  SPEAKER_02: Oh, they're a working professional, they've worked, they've been in a somebody hired them at some point.
• 22:43
  SPEAKER_02: They're not just a dancer who takes class and that's all they've done, you know.
• 22:47
  SPEAKER_02: Like, here is proof without reading my resume that I have been in a production show, that I have worked at a national tour or with an artist or whatever.
• 22:55
  SPEAKER_02: So I love that advice that you said about it, it must be from an actual professional job if there's other people on that footage.
• 23:04
  SPEAKER_02: But I also really love what you said about how there's the possibility of you going into a studio and filming, re-filming yourself, essentially, in like a better take, in a in an individual, solo, better overall take.
• 23:20
  SPEAKER_02: Because I think that it's very different when you're taking a class and getting filmed.
• 23:25
  SPEAKER_02: You're in a different mind place when you're taking class for class, and there happens to be a camera there that you're performing for, versus when you rent out a space, get a videographer, and your goal is to get footage for your reel.
• 23:38
  SPEAKER_02: Like that is very different mentality and approach to what you're gonna be doing.
• 23:43
  SPEAKER_02: So I think that it is really great advice to take that choreography and don't forget to credit the choreographers that you're using in your reel.
• 23:52
  SPEAKER_02: In you can put it at the bottom of the reel if you want to vi visibly put it there, you know, choreography by whoever, or at a minimum put it into the caption of wherever you are sending this out, whether it's posted on YouTube or Vimeo.
• 24:04
  SPEAKER_02: Make sure that you're properly crediting all of these choreographers because you're also, it depends on how you're presenting yourself.
• 24:10
  SPEAKER_02: If you're a dancer, you want to make sure that you're crediting the choreographers because you didn't create that material that you're using for the reel.
• 24:17
  SPEAKER_02: And if you're a choreographer, you absolutely like you shouldn't be putting someone else's choreographer on a reel, but that's not yours.
• 24:23
  SPEAKER_02: And people need to understand the difference.
• 24:26
  SPEAKER_02: So I think all of that is really, really fantastic advice because you know, it is it.
• 24:31
  SPEAKER_02: I think that it makes more sense to have like a cohesive reel where you can like switch your outfits and like have it filmed the same and it's the same quality and it's not like different types of videos.
• 24:41
  SPEAKER_02: I don't know.
• 24:42
  SPEAKER_02: It it feels like a nice little total package real day.
• 24:45
  SPEAKER_02: Let's go into the studio, let's make this happen, let's invest in this.
• 24:48
  SPEAKER_02: It's the same investment as like getting headshots.
• 24:50
  SPEAKER_02: Those are so expensive.
• 24:52
  SPEAKER_02: You have to spend like$800,$1,000 on headshots, and you have this whole collection.
• 24:57
  SPEAKER_02: It's like, why aren't we doing the same thing for video footage?
• 25:00
  SPEAKER_00: Yeah.
• 25:01
  SPEAKER_00: And like there's also other aspects of it.
• 25:04
  SPEAKER_00: Like you don't have to rent a studio.
• 25:06
  SPEAKER_00: You can go on peer space and rent an actual space that someone would shoot in.
• 25:10
  SPEAKER_00: And then you're getting yourself professional, like a professional setting that's also gonna bring a different kind of vibe.
• 25:17
  SPEAKER_00: There's so many different ways to do it that you are able to be proactive on your own.
• 25:22
  SPEAKER_00: And that's more on like, you know, the professional scale.
• 25:24
  SPEAKER_00: If you're in LA or New York or Atlanta, like these hubs where a lot of dancers are working, Peer Space is a really great.
• 25:32
  SPEAKER_00: I mean, that's what I use for my program in renting space for our shoots.
• 25:36
  SPEAKER_00: Cool.
• 25:37
  SPEAKER_00: We will always try to get footage for our dancers while we're on set of just getting them either improving on set or we create other shoots specifically for them to go in and do combos and not have a studio background.
• 25:49
  SPEAKER_00: So there's a lot of ways that, like, if you have the means and you have the funds to do it, you can really do that for your own self-promotion.
• 25:57
  SPEAKER_00: And I just want to add in that like this doesn't only pertain to reels, this pertains to video footage in general because some agencies are not going to require reels, some choreographers are not going to want to see a reel.
• 26:12
  SPEAKER_00: And the food for thought is you want to make sure that you have materials that are one-off videos that are going to appeal to the choreographers or the jobs that you want to be on.
• 26:23
  SPEAKER_00: So, choreographers that you want to work with, jobs you want to be on.
• 26:27
  SPEAKER_00: If you really want to work for those people, if someone were to come to you today and let's say Marguerite Derricks is a goal of yours, do you have a video right now that you could send her if they needed it and they wanted to cast you today?
• 26:40
  SPEAKER_00: And if the answer is no, then you're not ready.
• 26:43
  SPEAKER_00: So, because that is like you have to stay ready for these things.
• 26:48
  SPEAKER_00: So I think it's a matter of being strategic.
• 26:50
  SPEAKER_00: If you know who you want to work for, do you have a single clip that you could send them?
• 26:55
  SPEAKER_00: Because from an agent perspective, they may not send, want to send a reel because a choreographer is not going to want to sit through 90 seconds.
• 27:03
  SPEAKER_00: They're going to want to see what they can see.
• 27:05
  SPEAKER_00: If you ask, like, what is your own attention span these days?
• 27:10
  SPEAKER_00: You might watch something for 10 seconds.
• 27:13
  SPEAKER_00: So when putting a reel together, you want to make sure that you're hooking people right at the beginning.
• 27:18
  SPEAKER_00: And then also you want to have these videos on deck and it could be 30 to 45 seconds, and it could be class choreography, or it could be you filming it on your own time, but solo of you doing choreography that is going to appeal to the choreographers that you want to work for.
• 27:36
  SPEAKER_00: And you can't just think genre, you have to think about specific people.
• 27:41
  SPEAKER_00: Because if we were going to go into hip hop, you wouldn't send the same video to Marty Cadelka that you would send to Luther Brown.
• 27:48
  SPEAKER_00: They're very different vibes.
• 27:50
  SPEAKER_00: So, do you have different things that could appeal?
• 27:54
  SPEAKER_00: Or if we're going to talk about a job, you wouldn't send the same combo for a submission for Tate McCrae that you would for Rihanna.
• 28:04
  SPEAKER_00: So even if we're going into like a pop realm, Rihanna's a little more pop RB.
• 28:09
  SPEAKER_00: However, you have to have materials that are going to support those teams and what they're looking for for those said artists.
• 28:18
  SPEAKER_00: So I think that's also something to think about strategically.
• 28:21
  SPEAKER_00: And I think if dancers are wanting to be signed that are older, that are 18 plus or even 17, turning 18, that's what they're going to be looking for.
• 28:33
  SPEAKER_00: When people are reviewing your submission, they're looking at their current roster.
• 28:37
  SPEAKER_00: They're looking at people who are currently booking jobs that you would be a good fit for, and they're comparing.
• 28:44
  SPEAKER_00: And the rule is usually as good or better.
• 28:46
  SPEAKER_00: So you have to make sure that you are putting your materials together or your real together in a way that's going to really appeal to what you want to do.
• 28:54
  SPEAKER_00: And if you don't know what your goals are yet, that's totally okay.
• 28:57
  SPEAKER_00: Give us the best that you have in the styles that you're proficient at.
• 29:02
  SPEAKER_00: So the way that I have my dancers put everything together when we're submitting for agencies and we submit materials to choreographers after our show is individual clips for review because you can turn those individual clips into a reel.
• 29:16
  SPEAKER_00: And especially if you're new and you don't have a lot of industry experience, you don't have to worry about having, you don't have jobs to showcase in your reel.
• 29:25
  SPEAKER_02: Right.
• 29:26
  SPEAKER_00: You have you to showcase.
• 29:28
  SPEAKER_00: So making sure that you have footage in the different styles that you're proficient in and making sure that both your execution and your performance quality is at its height for those things.
• 29:40
  SPEAKER_00: Also, Courtney, touching upon what you said as far as crediting the choreographers, it is also good for them to see those names because then they know who you're training with.
• 29:49
  SPEAKER_00: So the same way that if you're new in this industry, they're going to be looking at those names as what's holding weight on your resume.
• 29:57
  SPEAKER_00: That's what's going to hold weight when they're watching these clips.
• 30:00
  SPEAKER_00: So it could be hip hop, Chase Benz, it could be hip-hop, Luther Brown, or it could be jazz, Dom Kelly.
• 30:09
  SPEAKER_00: So that association, even if they haven't looked at your resume yet, they're seeing those names and they're like, oh, and also if they know those choreographers' work, they're going to be able to tell whether you're doing their work or not.
• 30:22
  SPEAKER_01: That's true.
• 30:23
  SPEAKER_00: So they're familiar with their movement, they're looking at your execution.
• 30:28
  SPEAKER_00: So I would say, even aside from having the real, you're always going to need those video clips because choreographers, they're what they send for a submission for Marguerite Derek's is not going to be the same thing that they send for Charm Ladonna.
• 30:44
  SPEAKER_00: If anyone who's listening to this doesn't know who any of these people are that I'm saying, please look them up.
• 30:49
  SPEAKER_03: Yes, go look them up.
• 30:50
  SPEAKER_03: Well, and what I what I want to point out to our listeners, this this past you know, five minutes of this conversation has been about versatility.
• 30:58
  SPEAKER_03: And so if you are a 16-year-old dancer who wants to be a professional in a few years and the only solos you do are contemporary, but you want to be a professional and you want to move to LA, maybe you need to branch out and do a jazz.
• 31:11
  SPEAKER_03: Maybe you need to branch out and do a hip-hop.
• 31:13
  SPEAKER_03: Maybe you need to diversify your skill set.
• 31:15
  SPEAKER_03: Because if you're just, if all you have is just the same footage or the same solo every year, which we do see.
• 31:21
  SPEAKER_03: And I know all y'all out there like, I don't do the same solo.
• 31:24
  SPEAKER_03: Yes, you do.
• 31:25
  SPEAKER_03: Some of you do.
• 31:26
  SPEAKER_03: And I think this is really telling that obviously if you're if if that's all you're proficient, then fine, maybe you might end up at the contemporary company.
• 31:33
  SPEAKER_03: But it's probably good to have other things out there so you have that ability to get more jobs.
• 31:38
  SPEAKER_02: And another thing that was I was thinking as you were saying this, and you kind of hinted at this as a little bit in response to going into a new space and refilming certain particular choreography.
• 31:51
  SPEAKER_02: What are your thoughts on what's happening in the background of the dance?
• 31:56
  SPEAKER_02: You know, are we submitting like clips from solo performances at competitions if you're brand new to the scene and it says XYZ dance competition in the background as the big banner?
• 32:08
  SPEAKER_02: And you know that this was at a children's dance competition or at dance convention, it has the logo of the dance convention in the background with the lights and the yes, and it's a professional and the yes, and you're proud of this performance.
• 32:21
  SPEAKER_02: But first impression-wise from the viewer, how does that come across?
• 32:25
  SPEAKER_02: Does that come across as, oh, they're amateur, they're still training, they're still young, they're they don't have a professional experience?
• 32:33
  SPEAKER_02: Or could you use that same would you recommend using that same choreography and putting it into a different place, a different atmosphere?
• 32:41
  SPEAKER_02: So that first impression is a little bit more appropriate.
• 32:51
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• 32:53
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• 33:03
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• 33:07
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• 33:53
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• 33:57
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• 33:58
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• 34:27
  SPEAKER_00: So I think it's more so making sure that they can see your personality.
• 34:33
  SPEAKER_00: You know, they're not gonna, if you're doing like a very technical solo on stage for competition, that's likely not gonna be what they would submit if you're a signed dancer for you to do a Target commercial or for you to do a Disney TV show.
• 34:48
  SPEAKER_00: They're gonna want to see your personality and they're gonna want to see a commercial style dance, likely, or even something that they can really see your personality coming out.
• 34:58
  SPEAKER_00: So I don't necessarily think that it's a bad thing.
• 35:01
  SPEAKER_00: And and also like when agents are looking at footage, they're not gonna look at footage and just say, like, oh, this kid is still in the competition world.
• 35:10
  SPEAKER_00: Yeah, if you're 15 or you're 13, you're probably still in the competition world, especially depending on wherever you're from.
• 35:18
  SPEAKER_00: So they're not expecting you to have a professional level of footage at that point, especially if you don't have work experience.
• 35:26
  SPEAKER_00: Part of the part of the beauty of like having representation is that they can help you grow in that way and give you guidance.
• 35:34
  SPEAKER_00: So they're not, even when it comes to headshots, they're not always expecting you to have professional headshots out of the gate if you're 12 years old and they want to sign you from convention.
• 35:43
  SPEAKER_00: They know you might not have those things and they enjoy being a part of the process and helping you make the right decisions towards getting those right materials and what's gonna really work and what's gonna really book you work.
• 35:56
  SPEAKER_00: So I think more so it's about the quality of what you're putting forward and like, is this the best performance quality for me?
• 36:03
  SPEAKER_00: And if you were to look at that footage, even if it's, I don't know, any convention ballroom, if it's you on your own and you have that solo and you killed it, yes, submit it if that's like what you have right now.
• 36:17
  SPEAKER_00: And it's neither here nor there.
• 36:20
  SPEAKER_00: I don't think they're expecting to see this high-level footage when you haven't entered the industry yet.
• 36:26
  SPEAKER_00: But I guess the version of that for our younger dancers is to still be strategic because if you get that great footage, but it's you and five other dancers in the convention ballroom, then go back to your studio and film it yourself and get great footage.
• 36:42
  SPEAKER_00: And I know that like there's a different energy when you're in the moment, there's a different excitement that happens, but it's still you're opening up that door for comparison versus you being the only eye that someone is seeing.
• 36:57
  SPEAKER_00: So I could even say, you know, like for my summer events, dancers submit, we ask them to submit a video.
• 37:03
  SPEAKER_00: And when kids submit their solos, I don't mind.
• 37:06
  SPEAKER_00: It's just me being able to see their movement quality and their performance quality.
• 37:11
  SPEAKER_00: And, you know, we're looking for certain things, but that's also you're submitting footage for a training intensive.
• 37:18
  SPEAKER_00: So that's gonna be different than you submitting footage for an actual job to work with somebody.
• 37:25
  SPEAKER_00: I think when you're thinking about what to submit for different things, follow directions.
• 37:31
  SPEAKER_00: Usually people will tell you exactly what they want, just follow the directions.
• 37:36
  SPEAKER_00: If they say 30 to 45 second clip, then give them your best 30 to 45 seconds.
• 37:41
  SPEAKER_00: If they say we want to see your 90 second solo, then send that to them.
• 37:46
  SPEAKER_00: If they say we want to see your real, send them your real.
• 37:50
  SPEAKER_00: And then, especially for agency purposes, they have those details on their website of how to submit and what they want you to submit.
• 37:58
  SPEAKER_00: You following their directions to a T is your first impression.
• 38:02
  SPEAKER_02: Yes.
• 38:04
  SPEAKER_00: Before they even look at any of your stuff, that is the first impression that you are making is can you follow directions?
• 38:10
  SPEAKER_00: Right.
• 38:11
  SPEAKER_00: So, like that is really a make or break thing.
• 38:13
  SPEAKER_03: Oh, well, and like file type and file size and how to upload it and like those things.
• 38:18
  SPEAKER_03: If you're confused, like ask for help because that sometimes is confusing.
• 38:22
  SPEAKER_03: And how sad would that be to make or break them even opening your thing if you put it as a PDF and not a Word document or whatever?
• 38:29
  SPEAKER_00: Phone a friend if you need help.
• 38:31
  SPEAKER_03: Google it, Chat GPT.
• 38:33
  SPEAKER_00: I also wanted to touch upon Leslie, what you said about versatility, because especially in the convention world right now, I mean, I'm out almost every weekend judging for different conventions and competitions, and contemporary is the thing right now, which there's nothing wrong with that.
• 38:50
  SPEAKER_00: But versatility is important.
• 38:52
  SPEAKER_00: I think if you want to pursue this as a career, making sure that you're training in everything and really pay attention to what you're seeing that's inspiring you.
• 39:03
  SPEAKER_00: If you want to dance for certain artists, what style of dance are they doing?
• 39:08
  SPEAKER_00: Make sure you're training in that.
• 39:10
  SPEAKER_00: If you want to be on film and TV, what are you seeing in film and TV?
• 39:15
  SPEAKER_00: You know what I mean?
• 39:16
  SPEAKER_00: So, like, I think that it's a beautiful style.
• 39:19
  SPEAKER_00: And I think that, you know, it has added a lot to our world and also our industry and their contemporary is used in different jobs, but that is only one of many.
• 39:32
  SPEAKER_00: And I do think that like versatility and training is incredibly important because if you as a dancer are submitting to an agency and all of your footage is in that realm, you're gonna have a less chance of getting signed than if you're showcasing a lot of different styles.
• 39:48
  SPEAKER_00: Because if you're boxing yourself into that one style, then and that's what you're really great at, and you're not really training in these other styles, you're limiting yourself in the jobs that they can put you forward for.
• 40:01
  SPEAKER_00: So, and you're limiting yourself in the money that you can make if this is what you want to do.
• 40:06
  SPEAKER_00: Right.
• 40:07
  SPEAKER_00: So, yeah, and even if you're like, well, I don't know if I want to be a commercial dancer, I would rather do concert dance and company work.
• 40:14
  SPEAKER_00: I still encourage dancers to do it all because if you're lucky to work for a company that gives you the freedom and flexibility, or you have time to also be able to take commercial work on, you're gonna be making more money.
• 40:29
  SPEAKER_00: So, what is the objective?
• 40:32
  SPEAKER_00: Do you wanna be a Tyler Peck?
• 40:34
  SPEAKER_00: You know what I'm saying?
• 40:35
  SPEAKER_00: Like, she's not just in the ballet company, she's also doing film and TV and network jobs and commercials and all the things.
• 40:45
  SPEAKER_00: Same with like a Misty Copeland.
• 40:48
  SPEAKER_00: So there are dancers that are working in these companies that are also outsourcing other work.
• 40:53
  SPEAKER_00: Really depends on what company you're working with and what kind of contract you have.
• 40:58
  SPEAKER_00: But I always say, like, don't limit yourself with your training because the more that you have under your belt, the more opportunities you're giving yourself the chance for.
• 41:06
  SPEAKER_02: Yeah.
• 41:07
  SPEAKER_02: And and with that, even on the contemporary concert company side of this industry, you are gonna restrict and limit yourself if you only know how to do one style of contemporary movement.
• 41:19
  SPEAKER_02: And in because not every contemporary company is just strictly a rep company where they only do the rep of the company director or the artistic director.
• 41:30
  SPEAKER_02: Sometimes they'll have different choreographers come in and bring a new style to the mix to present, to put work on.
• 41:37
  SPEAKER_02: And that style might not be the contemporary style that you thought it was going to be.
• 41:41
  SPEAKER_02: It might have hip-hop influence, it might have uh jazz influence.
• 41:45
  SPEAKER_02: So you have to make sure that, again, if you limit yourself into this is the only type of contemporary that I want to do, then there's maybe only a handful of contemporary companies that you could work for.
• 41:57
  SPEAKER_02: But if you want to work for any contemporary concert dance company, then if you have more versatility under your belt, then you're gonna be more desirable to hire because they're gonna be like, oh, well, we have this choreographer coming in and they're ex- Oh, you have that, you have experience doing that.
• 42:12
  SPEAKER_02: Perfect.
• 42:12
  SPEAKER_02: We're gonna bring you on.
• 42:14
  SPEAKER_02: And then, like you said, I mean, sad to say it, but you know, a lot of dance companies, even though it might fill your heart, might not fully pay the bills.
• 42:21
  SPEAKER_02: So you're gonna have to supplement uh work.
• 42:24
  SPEAKER_02: And if you can keep that work within the dance world, like for commercial work, for television, for film, having an agent on the side, going into castings, hustling and grinding on the side with what fills your heart, then you'll be able to pay your rent 100% because it is it is a hard job to be a dancer and the the starving artist struggle is is honestly a real thing, but it just really depends on what pathway in the industry you choose to go and not limiting yourself and being open to all opportunities that are that could be presented to you is really important for young dancers because I do think we kind of get stuck in these boxes and not saying that you can't, but if you can pull things from your back pockets to utilize, why not?
• 43:05
  SPEAKER_02: You know?
• 43:06
  SPEAKER_03: You're more useful to everyone that way.
• 43:08
  SPEAKER_03: And they then they want to use you.
• 43:09
  SPEAKER_03: It's like I, you know, it's so nice when you can say, Ah, that person, yes, I can put them in any situation and they are golden.
• 43:15
  SPEAKER_03: You can trust that they can work and show up and do their best job.
• 43:19
  SPEAKER_03: And I think that happens with people who are very versatile.
• 43:22
  SPEAKER_03: This is like more nitty-gritty about the actual filming of reels, and because I've I've seen a lot lately because the filming at studios is, you know, happening so much more now.
• 43:32
  SPEAKER_03: And for a reel, would you rather see straight-on footage of a dancer, footage that follows that dancer, or interesting artistic footage that zooms in and misses the bot mob, but it looked cool, but you didn't see the leg?
• 43:46
  SPEAKER_03: Like, what is because that's what happens, I feel like in filming class is like the videography is very cool, but to me, I miss what it's actually happening.
• 43:55
  SPEAKER_03: In a real, does that matter?
• 43:57
  SPEAKER_03: Is that better?
• 43:57
  SPEAKER_03: Is it worse?
• 43:58
  SPEAKER_03: Does it depend on the person?
• 44:00
  SPEAKER_02: Does k what does casting want?
• 44:01
  SPEAKER_02: What do the agencies want?
• 44:02
  SPEAKER_00: Um, well, I mean, casting is gonna want to see who you are as a human.
• 44:06
  SPEAKER_00: So casting may not necessarily even care about the leg.
• 44:09
  SPEAKER_00: They're gonna care about what's happening.
• 44:11
  SPEAKER_00: Like a lot of what you need to make sure you're doing is what are you doing with your face?
• 44:16
  SPEAKER_00: If your dancing looks great, but your, you know, eyes are just glazed over, or you're not really giving me anything with storytelling, then that's probably not the footage that you want to include unless the piece is geared towards like the mechanics of something.
• 44:33
  SPEAKER_00: So there can definitely be choreography that is specifically built for that that's going to showcase your facility, but there's still got to be intention, if that makes sense.
• 44:42
  SPEAKER_03: Totally.
• 44:43
  SPEAKER_00: I don't think that, you know, it matters.
• 44:46
  SPEAKER_00: It does not need to be like a still shot versus the movement that's happening with the camera.
• 44:52
  SPEAKER_00: Because with a reel, you're doing short clips of different things within the reel.
• 44:56
  SPEAKER_00: So it can be a mixture of both.
• 44:58
  SPEAKER_00: As long as you are showcasing your strengths as a dancer and also showcasing your personality and what you bring to the table as a human, those are the things that you're wanting to think about.
• 45:10
  SPEAKER_00: Because the reality is, is like you're not like you wouldn't put an entire combo of something in your reel.
• 45:17
  SPEAKER_00: You would put the best like five to eight seconds of it and move on to the next, right?
• 45:23
  SPEAKER_00: Because no one is gonna watch 20 seconds of that and then go into 20 seconds of something else.
• 45:28
  SPEAKER_00: If your reel is meant to be only 90 seconds, you got to pack as much into that so that we can see your movement quality and your performance quality and your versatility.
• 45:38
  SPEAKER_00: And I think also just thinking about how you're stacking those things and how you're intermixing work within those video clips, because sometimes the professional work is not going to showcase you at your best.
• 45:50
  SPEAKER_00: Right.
• 45:50
  SPEAKER_00: Because sometimes the professional work is you step touching for a commercial for gap.
• 45:55
  SPEAKER_02: Yeah.
• 45:55
  SPEAKER_00: No, and you may gap dances.
• 45:57
  SPEAKER_00: Gap was the wrong company, gap dances, but maybe maybe it's like you doing a shenanigan into an arms up for a Disney World commercial.
• 46:07
  SPEAKER_00: We did that.
• 46:08
  SPEAKER_00: But so you might have moments of that so that people can see that, but that's not necessarily showcasing your skill level as an artist.
• 46:16
  SPEAKER_00: So it really is about compiling the best of the best and the best moments of the things that you have.
• 46:22
  SPEAKER_00: So I wouldn't say that like one is better than the other.
• 46:26
  SPEAKER_00: I just think it's what's really highlighting you best and making sure that this isn't the face is not left behind.
• 46:33
  SPEAKER_00: And then also, I just want to touch upon the importance of also showcasing all this on social media.
• 46:42
  SPEAKER_02: Yeah, let's talk about that.
• 46:43
  SPEAKER_00: Yeah, and not to like take a left turn here, but it's part of the chat.
• 46:49
  SPEAKER_03: I was that was my next question, literally.
• 46:50
  SPEAKER_03: So good for you.
• 46:51
  SPEAKER_00: I read your mind.
• 46:52
  SPEAKER_00: Here we are.
• 46:53
  SPEAKER_00: Everything that like I'm talking about and having in your back pocket should also be showcased on your social media because you may not even get notified of any kind of submission or any kind of job.
• 47:05
  SPEAKER_00: You might be in a class where a choreographer texted that teacher and said, Hey, I need someone for a job tomorrow that's this height.
• 47:13
  SPEAKER_00: And do you have anyone that's specific to this style?
• 47:16
  SPEAKER_00: And what do you think that that like a lot of these jobs are coming from knowing someone, coming from a referral?
• 47:23
  SPEAKER_00: Some of them are coming from submissions, some of them are coming from referrals.
• 47:26
  SPEAKER_00: So if someone's gonna refer you and they don't have access to a back-end system, a casting network, then they're gonna be sending the link to your Instagram.
• 47:36
  SPEAKER_00: And we're not even talking like link to your TikTok, we're talking link to your Instagram because that is the business tool that we are using in the dance world right now.
• 47:44
  SPEAKER_03: This is excellent information to have Instagram.
• 47:48
  SPEAKER_00: And I'm not saying don't have a TikTok, like go ahead and do that too.
• 47:52
  SPEAKER_00: But you want to make sure that when you're putting together your social media platform, you're really thinking of yourself as a business.
• 47:58
  SPEAKER_00: And the same thing that we were talking about with versatility needs to be showcased.
• 48:03
  SPEAKER_00: So you don't want to, if you are heavy in one style, if hip hop is your favorite, but you do everything, I shouldn't just only see hip hop.
• 48:11
  SPEAKER_00: If I swipe twice two times, that's probably the max you're gonna get from someone who doesn't know you.
• 48:17
  SPEAKER_00: What is happening in those two swipes?
• 48:20
  SPEAKER_00: And does everything is everything showcased that you want to showcase?
• 48:24
  SPEAKER_00: Can I see your vote versatility?
• 48:26
  SPEAKER_00: Really, we say the top nine boxes, I should be able to see things.
• 48:31
  SPEAKER_00: So I should be able to see jazz and contemporary and hip hop and jazz funk and heels and whatever other styles you're great at and see that versatility.
• 48:40
  SPEAKER_00: If you have a reel, pin it to the top so that it's always living there, so that people can just go to that reel or headshots, pin it to the top.
• 48:49
  SPEAKER_00: If you're going on auditions, or maybe you're going to a convention that weekend and you have great footage from the last time that you were there, or you have great footage that you know is gonna appeal to that choreographer, pin it to the top.
• 49:02
  SPEAKER_00: Be strategic with how you're using your social media and make sure that you are showcasing where you are right now.
• 49:11
  SPEAKER_00: I think like a lot of what happens with dancers is that they're like, oh, it's not where I want to be.
• 49:17
  SPEAKER_00: Well, it's where you are right now.
• 49:19
  SPEAKER_00: So it is a process and it is a journey.
• 49:22
  SPEAKER_00: And what I find, especially in LA with dancers, is that, you know, they'll get footage, but they're like, I hate it, or it's not good enough in their eyes.
• 49:32
  SPEAKER_00: There are some times where we're filming for my program and we will post something and the dancer doesn't collaborate with us because they don't like it enough.
• 49:40
  SPEAKER_00: And I'm like, hello, if I'm posting it, it should be good enough for you because I'm not gonna post something that I don't think you look great in.
• 49:48
  SPEAKER_02: Yeah.
• 49:49
  SPEAKER_00: And that shows a lot about like where people's head spaces are at and how they're thinking about themselves.
• 49:56
  SPEAKER_00: But also that can be detrimental, especially for newer dancers.
• 50:00
  SPEAKER_00: If you've been in LA for a year and it looks like you've only been here for a week, that's a problem.
• 50:05
  SPEAKER_00: Yeah.
• 50:06
  SPEAKER_00: Because people are gonna be looking at that.
• 50:08
  SPEAKER_00: They're gonna want to see, especially if you're coming out of the convention world and you're you're living in LA, you're living in New York, or you're living in Atlanta, or you're living in one of these cities where you're wanting to be a working professional and you're wanting to work in the industry, then you have to showcase yourself as such.
• 50:24
  SPEAKER_00: I need to see more footage of you in local studios than I see of you in convention ballrooms.
• 50:30
  SPEAKER_00: If that is not where you are right now and you are a minor and you are pursuing to either get representation or you just want to really be working on what you're doing to work towards that, you should still be showcasing.
• 50:45
  SPEAKER_00: And you're not always gonna get called out in the groups, and you're not always gonna get the footage from that specific convention or intensive or whatever it is.
• 50:54
  SPEAKER_00: So that's when you have to be responsible on your own time, get your friends together after class, film each other in space.
• 51:00
  SPEAKER_00: Make sure you tag those conventions and the choreographers.
• 51:03
  SPEAKER_00: And sometimes you're gonna get better footage by just sitting on the choreography for a little bit.
• 51:08
  SPEAKER_00: And that also is like a bridge for you because you're taking choreographers' work that is well known that you will have then on your page so that when choreographers and agencies are looking at you, they're seeing, oh, this person has trained with these people.
• 51:26
  SPEAKER_00: So it's that association again.
• 51:28
  SPEAKER_00: But promoting on social media is so important because especially if someone doesn't know you and they want to cast you, that's the first thing that they're gonna look at.
• 51:36
  SPEAKER_00: And I do want to emphasize that it's not about the likes and it's not about the followers, it's about the quality in which you're posting.
• 51:44
  SPEAKER_00: It, you know, it's about the likes and the followers and the comments.
• 51:48
  SPEAKER_00: If you're an influencer and you are working as an influencer, if you want to be booked on jobs as an influencer, that is a completely different lane than what I'm talking about.
• 51:57
  SPEAKER_00: This is a business tool.
• 51:59
  SPEAKER_00: I always tell my dancers to be putting not only clips of their own footage dance-wise, you want to have a mixture of your headshots, your video footage, lifestyle.
• 52:11
  SPEAKER_00: Who are you as a human?
• 52:13
  SPEAKER_00: If someone wants to book you on a tour, you're gonna be out with these people for a long time.
• 52:18
  SPEAKER_00: Don't you want to know what kind of human they are?
• 52:21
  SPEAKER_00: So it is okay to have that photo of you with your dog.
• 52:25
  SPEAKER_00: It's okay to have that photo of you at the beach.
• 52:27
  SPEAKER_00: It's okay to have a photo of you with your family.
• 52:30
  SPEAKER_00: It doesn't have to be completely separate.
• 52:32
  SPEAKER_00: We need to see who you are just as much as what kind of artist you are.
• 52:37
  SPEAKER_00: So having a good mixture of all of those things is really important.
• 52:41
  SPEAKER_00: And I think the way that you're presenting yourself on your social media is just as important as you having a dance reel.
• 52:46
  SPEAKER_00: It really, truly is.
• 52:48
  SPEAKER_03: That's I want to piggyback on that.
• 52:50
  SPEAKER_03: Yeah, because so, Aaron, I'm not sure if Courtney told you I work for Capizio.
• 52:54
  SPEAKER_03: I'm in product development.
• 52:56
  SPEAKER_03: And a lot of times I have people, I need people to test our products and test our shoes.
• 53:00
  SPEAKER_03: So I'm, you know, reaching out to colleges, I'm reaching out to local dance studios, things like that.
• 53:04
  SPEAKER_03: And people are so excited to test for me, but like I don't know you.
• 53:08
  SPEAKER_03: I need to know that you actually take ballet four times a week.
• 53:11
  SPEAKER_03: I need to know that you actually go to class at Broadway Dance Center multiple times.
• 53:15
  SPEAKER_03: I need to know you're taking this level class or that level class.
• 53:18
  SPEAKER_03: And so many times I go to people's social media and it's just like their normal life with no dance.
• 53:23
  SPEAKER_03: And I'm like, I mean, maybe you're one of those people who like feels like they're very separate.
• 53:27
  SPEAKER_03: But for me, what I need, my needs are that you are somebody who's gonna put hours into these shoes.
• 53:32
  SPEAKER_03: And if I don't know that, then I'm not gonna hunt you down and ask you that question.
• 53:36
  SPEAKER_03: Like, I'm just gonna go on to the next person whose social media, like you said, is filled with like, here's my dog, but here's my class, and here's my reel, and here's my headshot, and here's my other dog.
• 53:44
  SPEAKER_03: And like, cool, you're a cool person and you dance a lot.
• 53:46
  SPEAKER_03: Done.
• 53:47
  SPEAKER_03: I can hire, you know, hire you for this job.
• 53:49
  SPEAKER_00: A lot of younger dancers will ask, should I have my personal page separate from my dance page?
• 53:57
  SPEAKER_00: And I always say, no, mix it all in to the same account because what can happen is like what you just said, maybe a casting director is looking you up on Instagram or somebody who's an assistant to a choreographer got a referral of you should hire this person.
• 54:15
  SPEAKER_00: And what if I find your personal account and I don't find your dance account?
• 54:18
  SPEAKER_00: Right.
• 54:19
  SPEAKER_00: And even if you have your personal account and you have your dance account in your bio, why do you add two accounts?
• 54:25
  SPEAKER_00: You're splitting your own following and you're splitting, you're splitting everything up.
• 54:29
  SPEAKER_00: So the main issue is that they may not even find your dance account, they may just see it and they may just move on.
• 54:36
  SPEAKER_00: So having everything together and not being afraid to mix those things, I think is is a smart way to go.
• 54:44
  SPEAKER_02: And I think the hard part, and you know, please tell me your thoughts on this because I think that, you know, the moment you decide that you are going to be someone in the limelight, in the spotlight as a dancer, right?
• 54:58
  SPEAKER_02: You you are branding yourself.
• 54:59
  SPEAKER_02: You are your own business.
• 55:00
  SPEAKER_02: You are trying to put yourself out there to get work, to get hired by people for what you've worked on and worked towards and trained in your whole entire life.
• 55:10
  SPEAKER_02: You have to look at yourself as a cohesive brand from that point on on how you want to present yourself to the world, not just the casting director anymore, not just your friends, to the world, because especially if you're on Instagram or whatever, that is global.
• 55:27
  SPEAKER_02: Like anyone can can find your video, your profile.
• 55:30
  SPEAKER_02: So if do you want to show everyone that you're at the club every night?
• 55:35
  SPEAKER_02: Is that how you want to be perceived?
• 55:37
  SPEAKER_02: That you're, you know, you're out.
• 55:39
  SPEAKER_02: And that's cute.
• 55:39
  SPEAKER_02: You can have a good time.
• 55:40
  SPEAKER_02: Absolutely.
• 55:41
  SPEAKER_02: We're not saying you can't, but does it need to go onto your personal brand?
• 55:45
  SPEAKER_02: I don't know.
• 55:45
  SPEAKER_02: I mean, I I think that, especially for me, the way that I approach it, I work with kids.
• 55:50
  SPEAKER_02: I'm not posting anything that a kid cannot see because that is my brand.
• 55:56
  SPEAKER_02: I can't have anyone questioning, ooh, should I take my kid to Courtney's class?
• 56:00
  SPEAKER_02: I don't know.
• 56:00
  SPEAKER_02: It's a little questionable.
• 56:01
  SPEAKER_02: She's doing adult things that feel a little risky.
• 56:04
  SPEAKER_02: I don't want to put my child in that type of environment.
• 56:07
  SPEAKER_02: Even when it comes to political and religious and everything, I mean, I don't think that is the place.
• 56:13
  SPEAKER_02: I think that those are private conversations that you have with people that you trust.
• 56:16
  SPEAKER_02: But I don't know, and again, it depends on if that's your choice.
• 56:20
  SPEAKER_02: You have to know that there could be repercussions from that.
• 56:23
  SPEAKER_02: And if you're okay with that, then you do you.
• 56:26
  SPEAKER_02: You do you.
• 56:27
  SPEAKER_02: But what are your thoughts on that?
• 56:29
  SPEAKER_02: Because I think that is possibly why people have the double, the double life online is the private account, you know, where they can speak their mind and do their thing and live their best life and in whatever.
• 56:40
  SPEAKER_02: And then the more professional version of themselves.
• 56:43
  SPEAKER_00: Well, I yes.
• 56:47
  SPEAKER_00: I think that a lot of that belongs in your close friends circle.
• 56:51
  SPEAKER_00: So, like, you have your close friends and you say what you need to say on your story, and you do what you need to do on your close friends' story.
• 56:58
  SPEAKER_00: That should not be living on your page.
• 57:00
  SPEAKER_00: No matter where you are in your career, like, food for thought is could this potentially, you know, hurt my opportunity to get a job?
• 57:09
  SPEAKER_00: Because you can say that as, you know, lifestyle, if we are doing things that are risky, like, and you're a dancer that wants to be hired, what choreographer is going to trust you to show up the next morning, like bright and early, ready to go, if they know that you were partying the night before, or, you know, even on the political and religious side, I think that's to each their own.
• 57:35
  SPEAKER_00: There are some people that are more vocal, and there are some people that keep that under wraps.
• 57:39
  SPEAKER_00: And I think for me, I think it depends on your comfort level.
• 57:44
  SPEAKER_00: And I would never tell anybody to not speak their mind, but I would, I think it's just a something that you have to understand what your comfortability level is, and knowing that sometimes those things do affect your relationship with people that you work with.
• 58:02
  SPEAKER_00: Sometimes they do affect whether you're going to be put on a job or not.
• 58:06
  SPEAKER_00: And that's your own personal preference of like your level of comfortability and expressing those things.
• 58:12
  SPEAKER_00: I personally treat my page as a business page when it comes to how I use my voice because I agree with you, Courtney.
• 58:21
  SPEAKER_00: Like those to me are private conversations, but that is the type of person I am.
• 58:25
  SPEAKER_00: I work with other people that are like really loud and proud about what their views are.
• 58:29
  SPEAKER_00: And I think that that is okay too, as long as they're comfortable with it.
• 58:33
  SPEAKER_00: But just like in general, I think, you know, especially when you're new and you're wanting to cultivate a career, yeah, you do have to be careful with those things.
• 58:43
  SPEAKER_00: You want to make sure that you're presenting yourself professionally and you want to ask yourself that question of like, could this be limiting for like to me for opportunity?
• 58:52
  SPEAKER_00: And if that answer is yes in any way, shape, or form, then you are to make that decision as to whether you want to put it out there for everyone to see, or if you want to put it out to those that you trust to see.
• 59:05
  SPEAKER_03: Yeah.
• 59:05
  SPEAKER_03: It definitely seems like it takes.
• 59:07
  SPEAKER_03: I mean, I have two accounts.
• 59:08
  SPEAKER_03: I have my my Miss Leslie Dance account for all the podcast people and all the kids I work with, and then my personal.
• 59:13
  SPEAKER_03: And, you know, I think as long as you're like maintaining those relationships, I think that's, you know, part of what it is too.
• 59:20
  SPEAKER_03: That it's like, you know, we can just accept all the people.
• 59:23
  SPEAKER_03: Everybody can follow me, but then you're like, well, who is actually following me?
• 59:26
  SPEAKER_03: So like for me, that separation is like, I know who I'm talking to over here, and I know who I'm talking to over here.
• 59:31
  SPEAKER_03: And not that I'm any much different either way, but it's like, if I don't know you from Adam, do you need to know about my wedding plans?
• 59:38
  SPEAKER_03: Probably not.
• 59:39
  SPEAKER_03: You know, like I'm getting married, but that's all you need to know.
• 59:43
  SPEAKER_00: Yeah.
• 59:43
  SPEAKER_00: And like, I mean, I feel like you're in a very dis different place in your life as well to be able to filter those things.
• 59:49
  SPEAKER_00: But like for new dancers, sure, if your account is private and we can't see anything, then that also isn't gonna help you.
• 59:57
  SPEAKER_00: So you don't really have the same kind of luxuries when you're on the come-up to be doing things like that selectively.
• 1:00:06
  SPEAKER_00: So that's when it's just like you are promoting yourself to the masses.
• 1:00:10
  SPEAKER_00: So what do you want that message to be?
• 1:00:12
  SPEAKER_00: And also just being realistic about, you know, what those repercussions can be.
• 1:00:18
  SPEAKER_00: I think just in general, as far as the professionalism aspect, like you don't ever want anyone to see a lack of professionalism or like anything that could make someone not trust you.
• 1:00:28
  SPEAKER_00: Like when it comes to your work ethic, right?
• 1:00:31
  SPEAKER_00: That is a major, major thing that can be detrimental to dancers.
• 1:00:37
  SPEAKER_00: So, and I think also just with social media, like you have to remember this is real life.
• 1:00:43
  SPEAKER_00: And what you put out there can get you in trouble.
• 1:00:46
  SPEAKER_00: You have to be really, really careful and know that even if you're posting something, like there are things that happen all the time where you know there can be misconceptions of you posted something, oh, but I'm sick and I didn't go to class today, but you just posted something on your Instagram that shows you dancing.
• 1:01:06
  SPEAKER_00: So people will assume that you're dancing right now and you're skipping class.
• 1:01:11
  SPEAKER_00: There are things that happen like that too.
• 1:01:12
  SPEAKER_00: So, really just being thoughtful with what you're doing and what's going on in real time, which can work against you or it can actually work for you.
• 1:01:23
  SPEAKER_00: Because, for instance, say you're a dancer that's living in LA or New York, but you go home to Ohio to work for a month and be teaching for studios, yet you have all this footage from the studios in New York or LA that you haven't posted yet, and you can still be posting those things and people wouldn't know the difference whether you were in Ohio or LA or New York.
• 1:01:44
  SPEAKER_00: So there are also like ways that you can utilize the smoke and mirrors to your benefit so that you can still be pushing yourself forward for opportunities and people won't know the difference.
• 1:01:55
  SPEAKER_00: If that makes sense.
• 1:01:56
  SPEAKER_03: Yeah.
• 1:01:56
  SPEAKER_03: Oh, I love all like so good and like so much work.
• 1:02:00
  SPEAKER_03: I mean, it's not only the work we have to do as dancers at in the studio, the audition, in training, behind the scenes, but like this is the business part of it that like you have to see yourself as a business from the get, you know, to make this make a lot of sense.
• 1:02:15
  SPEAKER_03: Yeah.
• 1:02:15
  SPEAKER_02: It is yeah, it is a hard layer to, you know, jump into when we like I didn't go to school for business.
• 1:02:22
  SPEAKER_02: I'm like a lot, a lot of dancers go to school for dance, you know.
• 1:02:25
  SPEAKER_02: Are they teaching us the business side of dance?
• 1:02:29
  SPEAKER_02: Because that is such a big crucial part.
• 1:02:32
  SPEAKER_02: And it, like you said at the very beginning of the discuss this discussion, Aaron, everyone, everyone is talented.
• 1:02:38
  SPEAKER_02: So what are you doing in the business side to promote yourself properly, to expose yourself for the right opportunities, to get into those rooms, to get inside the hands of casting directors with a video footage that you spent a little bit of money on or spent a little bit of time and energy, and more than the person next to you, because that could be the deal breaker on who gets that job.
• 1:02:58
  SPEAKER_02: And the final thing I really want to mention, because I feel like that everyone's probably listening thinking this sounds expensive to make footage and and video footage and reels happen.
• 1:03:08
  SPEAKER_02: I don't necessarily think it needs to.
• 1:03:10
  SPEAKER_02: I think that like dancers learn how to wear a lot of hats in this industry.
• 1:03:14
  SPEAKER_02: I mean, if you in if you could buy a gimbal off of off Amazon for$50, ask a friend to play around with it in the studio with you, and use your iPhone, which everyone has, and everyone has a high those cameras on the iPhones are top-notch these days.
• 1:03:29
  SPEAKER_02: You can make this happen in a very inexpensive way.
• 1:03:33
  SPEAKER_02: You can learn, take tutorials on how to use iMovie, how to use Final Cut Pro, learn, play around with it, like invest time into this.
• 1:03:41
  SPEAKER_02: Like if you can't pay someone else to do it for you, is what I'm getting at.
• 1:03:46
  SPEAKER_02: Now, if you have the money that you've you've saved and put aside and said, I'm gonna hire a video editor, I'm gonna hire a videographer, I'm gonna rent out this awesome space, XYZ.
• 1:03:54
  SPEAKER_02: This is my budget, I'm gonna make it happen.
• 1:03:56
  SPEAKER_02: That's great too.
• 1:03:57
  SPEAKER_02: You can do that.
• 1:03:58
  SPEAKER_02: There are also ways to make obtaining footage and presenting yourself to the agents, to the casting directors in an affordable way.
• 1:04:06
  SPEAKER_00: Absolutely.
• 1:04:07
  SPEAKER_00: I mean, really, all you need is a newer iPhone on cinematic setting.
• 1:04:13
  SPEAKER_00: That's that cinematic is cute.
• 1:04:15
  SPEAKER_00: You you have a professional setting on your phone, or if a friend has a newer iPhone that can put their phone on cinematic, that's really all you need.
• 1:04:24
  SPEAKER_00: It's bare bones.
• 1:04:26
  SPEAKER_00: Not every video that you put out has to be professional level footage.
• 1:04:30
  SPEAKER_00: And I guess like one of the last things that I would like to say, and I think that this is super important because this com this conversation could be overwhelming for some people, as far as like, oh my gosh, I don't have any of this, or oh my gosh, like let me re-reframe my perspective on this.
• 1:04:44
  SPEAKER_00: Or if you don't feel comfortable with posting and promoting yourself on social media and you don't really know where to start, I always say start with purpose in your choices.
• 1:04:54
  SPEAKER_00: Start with purpose in your posting.
• 1:04:56
  SPEAKER_00: Don't think that you have to do everything.
• 1:04:58
  SPEAKER_00: It's not about like quantity, it's about the quality of what you're putting out.
• 1:05:02
  SPEAKER_00: And also just know that you're constantly going to be growing.
• 1:05:05
  SPEAKER_00: So what you're doing today is not gonna be anything like what you do three months from now.
• 1:05:09
  SPEAKER_00: You're always gonna be getting better and better and better as an artist, but that doesn't mean you can't showcase where you're at right now and showcase that journey.
• 1:05:16
  SPEAKER_00: You can always hide things on your social media later if you want to.
• 1:05:20
  SPEAKER_00: But I think having that purpose and knowing why you're doing it and making it bigger than showing off, making it bigger, than are they gonna like this or not, coming from the perspective of what you have to offer as an artist and who you are as a human is always going to come off stronger than feeling like you have to do it.
• 1:05:40
  SPEAKER_00: So there's also some internal work that's going to need to happen in order for you to resonate more on the lens.
• 1:05:47
  SPEAKER_00: I think the more self-work that we're doing, how do you see yourself?
• 1:05:52
  SPEAKER_00: How do you want to be seen?
• 1:05:54
  SPEAKER_00: What are those words?
• 1:05:55
  SPEAKER_00: How do you live in that every day?
• 1:05:57
  SPEAKER_00: And then how do you project that to the masses?
• 1:06:00
  SPEAKER_00: Those are things that I think that's the ground level and that's the self-work that needs to be done in order for you to shine the brightest with all of these materials that we're talking about.
• 1:06:13
  SPEAKER_02: We hope you enjoyed our latest episode, all about dance reels and video footage.
• 1:06:18
  SPEAKER_02: Huge shout out to our special guest, Erin Merino, for joining us on this chat.
• 1:06:23
  SPEAKER_02: Don't forget to follow her on social media.
• 1:06:26
  SPEAKER_02: You can find Erin on Instagram at ErinMurino and learn more about the LA Establishment's programs, including their summer intensives, training opportunities, and Established You, their 10-month professional dance program in Los Angeles, California.
• 1:06:41
  SPEAKER_02: Click the link in our show notes or visit their website at laestablishment.com and follow them on Instagram at LA Establishment.
• 1:06:50
  SPEAKER_03: Don't forget to follow Making the Impact on Apple Podcasts, Spotify, Amazon Podcasts, and pretty much everywhere you listen to podcasts.
• 1:06:57
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• 1:07:03
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• 1:07:11
  SPEAKER_03: Join now at ImpactDanceadjudicators.com slash Platinum Premium or click the link in our show notes.
• 1:07:17
  SPEAKER_02: Check out IDA's Online Judges Critiques.
• 1:07:20
  SPEAKER_02: Our seasoned judges will provide you with the video critique of your routine, just like you'd receive at competition.
• 1:07:26
  SPEAKER_02: But with IDA's online judges critique, we take it one step further with our post-critique additional feedback.
• 1:07:32
  SPEAKER_02: Your judge will go through your routine again, pausing the video to give you even more detailed and personalized feedback.
• 1:07:39
  SPEAKER_02: You can even request a judge that specializes in your style of dance.
• 1:07:43
  SPEAKER_02: This game-changing service has helped countless dancers prepare for the competitive stage and is available year round.
• 1:07:49
  SPEAKER_02: With critiques starting at only$35, what are you waiting for?
• 1:07:53
  SPEAKER_02: Click the link in our show notes or visit our website at Impact Dance Adjudicators.com slash online critiques to learn more and submit your dance today.
• 1:08:02
  SPEAKER_03: Stay tuned for more episodes of Making the Impact with upcoming topics including keeping the artistry in acro and in house versus big name conventions.
• 1:08:10
  SPEAKER_03: Happy dance season.
• 1:08:12
  SPEAKER_02: We'll see you next week for some more great episodes.