Finding What Makes You Unique & LOFD Writes for Dance Magazine

My story on the all-new Dance Magazine website

I really can't express how grateful I am to be having a whirlwind year when it comes to opportunities and achievements. To be completely honest, I had wishes and dreams of this stuff happening in my performance career. Little did I think that I would actually find what I was looking for and more in only the first year following the end of my time onstage. Last week, I had both the honor of being featured by Dance Magazine and writing for the same periodical in one fell swoop. It has been on my goal list for a few years now to write an article for this major publication and to have my work in the studio and on the stage highlighted, as well. If you want to check out that article, you can click this link right here to be swept over to Dance Magazine's new website to read my article.

The Graduating Class of the dance department at Hunter College

I'm currently riding the Bolt Bus back from New York City to spend an evening with my husband and a night in my own bed. At the moment, I'm currently riding off the high of sharing my knowledge and experience with the graduating class in Hunter College's dance department, where we discussed marketing oneself online and in-person, how to prepare materials for auditions, and techniques in cultivating social media for self-promotion. We talked about many things throughout this 2-hour interactive workshop that I curated especially for these students embarking on their first year out on their own. One thing that we addressed that I haven't talked about in great detail anywhere is how to find what makes you unique and how to use that to stand out in a crowd. So, I thought why not discuss that right here, right now.

This concept kind of drives me nuts, but every one of us is unique. In fact, the only thing that is normal about every human being is that we are all unique. While some dancers have amazingly high leg extensions or perfectly centered pirouettes, others have artistry that really shines through and can move people to tears. But there are other aspects of self that help dancers become visible. Perhaps, its your hair color, your fashion sense, your interests offstage, or your upbringing. There are unique characteristics that we are born with and different personal experiences that we all have had that distinguish each of us from one another. While many of us try to find success through our technique and artistry, it is more common for those who rise to local, regional, national, and international attention to be singled out for their uniqueness rather than their technique. This is due to the fact that many people today have impeccable technique, sky-high extensions, and can turn on a dime. Today, people tend to be drawn to artists who are imperfect, but intriguing, relatable, or any combination of the two.

How does one find what makes them unique and then use it to their advantage onstage and offstage? This often requires a lot of trial-and-error to accomplish. For me, as a dancer, I had nice facility with very good technique and considerable acting skills. I always felt like my acting skills distinguished me from others since I didn't have incredible facility. But I was never able to gain the national or international attention I had dreamed of attaining in my work as a performing artist with my skill set. Only when I began freelancing and developed this blog had I begun to even tap into a little bit of what makes me unique in this vast, yet small dance world. I didn't realize it at the time, but what was distinctive about me as an artist was the candor and honesty that I am willing to share publicly about my work and our art form. While this has nothing to do with my dancing, it is a distinguishing quality of mine that I seemed to have naturally cultivated. It absolutely has helped me stand out in a crowd. During my performance career, this quality of mine helped me gain employment across the nation as a freelance artist and got me a few nice nods with attention from Dance Informa and a short article about health care in Dance Magazine.

I didn't have to try hard to develop this characteristic in my media and social media work, as this has always been a quality of mine since childhood. I remember sitting with a friend at the Kirov Academy of Ballet who asked me to be honest with her about what I thought of her technique. I remember her pursing her lips, letting out a short close-lipped smile, and stating, "That was mildly painful to hear, but I know that you love me and I now know what I need to work on to get where I want to." And the beautiful part of this story is that she got her dream job to dance with Universal Ballet in South Korea, where her mother had been raised. So, while I have always had this unique quality, it took freelancing and this blog for me to figure out how to use it to benefit my career.

Rose Montgomery-Webb (Photo: Unknown)

Now, let's talk for a moment about what you are really here for? How can my sharing of this story help you. How can you determine what makes you unique and utilize those qualities to help become your most successful self? The first and most obvious place is to look within yourself. I always say that you should start with your story. Where did you grow up? How did you grow up? I remember having this conversation with one of my students from Alaska Dance Theatre who is currently a trainee at Ballet Met. She was raised in Alaska, but adopted from South Korea while she was an infant. While she didn't see these aspects of her life as anything out of the ordinary (and it was beautiful to see that she didn't), in the eyes of others she was having wildly unique experiences before she even had cognizance of it. As she has entered her years of auditioning for companies and finding her way towards becoming a professional, I have always told her to own those two facts and be unafraid to openly share about these things. This has paid off in certain ways, beyond her training opportunities and gaining a scholarship to attend Ballet Met for the summer that led her to this traineeship, she was selected as a guest host for the Premier Dance Network's Becoming Ballet podcast. If you can look into your life and see and share what unique experiences made you into the person that you are today, you may be on the right track to finding your definitive story. Look at Misty Copeland and how her story has catapulted her into legitimate fame.

James Whiteside (Photo: Unknown)

There are other unique things about people that are outside of themselves and their experiences. For instance, Kansas City Ballet dancer Kelsey Hellebuyck has a hell of a knack for fashion. She runs a blog that documents her outfits from day to day, which has had her featured in Pointe Magazine and other media outlets. Kathryn Morgan had a meteoric-rise at New York City Ballet then was struck with a debilitating illness that forced her off the stage. While she already had a unique story, she has found even more ways to make herself distinctive by developing a Youtube channel that offers tips, tricks, and training for young, aspiring dancers. Margaret Mullin (Soloist with Pacific Northwest Ballet) has been working as choreographer and director on a film documentary, James Whiteside (American Ballet Theatre Principal) rose to celebrity status thanks to his viral music videos and non-apologetic openness about his lifestyle, and Abigail Mentzer (former Pennsylvania Ballet Soloist & current dancer in the Phantom of the Opera tour) has become well-known for her interest in dancewear and her company that grew from that. Aside from finding what makes themselves unique, these artists have also developed their unique passions outside of the dance studio to garner attention, likes, and an adoring audience.

I wouldn't have gotten the opportunity I had today at Hunter College and the one above with Dance Magazine if I hadn't figured out what made me unique and ran with it. It can be so frustrating for somebody to tell you that everybody and nobody is unique. And while I fully agree with that statement, we can only blossom fully when we learn how to genuinely be our own unique self. Take some time to tap into and cultivate multiple parts of yourself that you feel are distinguishing. But be sure not to get disillusioned when certain things you have worked towards and hoped for don't actually catch people's attention. Practically nobody figures out the key to success on their first try. Keep putting yourself out there, keep fine-tuning your ideas and story, and (if you are lucky) your uniqueness will help bring you to the forefront of attention onstage, offstage, and in communities around the world.

The art of continually reinventing yourself

A new option for my bio (Photo: Shalem Photography)

It is very difficult to market oneself as a dancer. We freelance dance artists are essentially the rebels of dance. The most common avenue to a professional career is to attend auditions or workshops to obtain a company contract. Freelancers may be seeking that, but for the most part they are looking for the next job. I have been asked to attend auditions to get freelancing gigs in the past, but turned down those possibilities of work because it isn't cost effective to pay for travel and accommodations for a potential 3 to 6 week job. For this reason, it is important that I remain a presence on the radar of companies and choreographers across the country. This isn't as simple as it sounds, especially since I don't want to send out the same template email, photographs, and footage each time I recontact an employer. Appearing as a fresh prospect, even if it is your fourth time contacting a company, takes a lot of time and a great deal of thinking outside the box.

I would say that I have contacted a majority of the numerous professional ballet companies and a handful of contemporary companies across the country at least once. While most of the emails I send out are ignored, a handful respond with, "we'll be in contact with you," or, "we would like to discuss using you." Most of those that speak of getting back in contact with me never do. Usually, it is only a company that has an immediate need that will respond. Just because a company didn't contact you doesn't mean that they didn't review your materials. It also doesn't mean that their needs haven't changed. It is the beginning of a new season and many companies are figuring out what they have and what their needs will be for the rest of their season. Also of note, just because a company says that they will keep your info on file if the need arises, doesn't mean that they will remember to contact you when that need does arise. For this reason, it is important to continue sending your information out to remind employers that you are still an available resource when needed. The only thing is that you don't want to appear to be the exact same person with the exact same experience each time you send your information. Dancers are built on the foundation that you must continue to grow and improve. How do you reinvent your marketing tools with limited material?

One of the most important items in your toolbox of marketing materials is your performance reel (You can check out this older post on how to create your own reel). Without any footage of your performance abilities, it will be difficult to obtain a job without going to a live audition or relying on word-of-mouth. As a freelancer, there may be times where you perform in a handful of works that you have easy access to footage from those performances. At other times, you may be working a great deal, but the performances aren't filmed. For instance, I was really hoping to get footage of myself performing as the Sugar Plum Fairy's Cavalier with Rochester City Ballet last season. But due to union rules with the orchestra that was accompanying the production, they weren't allowed to film the performances. Even if you have limited access to footage, your reel doesn't have to remain without an update for years at a time. I have set a loose rule for myself that I will update my reel every 6, or so, months. Not only does this give me an opportunity to add additional footage, but it gives me a chance to feel out what is working in enticing employers or when it isn't reading as effectively as I had hoped.

This past season, I had the wonderful opportunities to dance with Rochester City Ballet, Alaska Dance Theatre, Festival Ballet Providence, in the Philly Fringe Festival, and in a choreographic workshop of a piece that may potentially be Broadway-bound. Of all of these performances, I was only able to obtain footage from two of these organizations. Albeit the limited footage I had access to this past season, the film that I could get my hands on was plentiful. Last week, I sat on my couch and reviewed my previous 3 or 4 reels, evaluating what I did well and what could be improved upon. What I found was that all of my reels took clips of footage that were between 15 and 60 seconds long, which added up to anywhere from 7 to 10 minutes long. While I am proud of these reels, I realize that a potential employer that only watched the first minute or two of the reel would be missing out on the variety of dance works and styles that I excel at dancing. I needed to reinvent my approach to creating my reel and, so far, it seems to be working.

In creating my new reel, I decided that I should take smaller clips of my dancing and fuse them together into one work. What I like to call "highlights." Keeping the original music to these pieces would not be effective, since the music would change every few seconds. I started my 20-something hours of editing by seeking a piece of music that was interesting, but lacked any compelling vocal or moments that would draw you into the music. I wanted the focus to be on my dancing and not on the track that was playing. After finding a piece of music that fit the bill, I started by pulling all of the footage I had that showed me off at my best. I slowly began whittling down the hour of footage and finding moments in the choreography that were exciting or intriguing. This was a challenging process since it can be difficult to differentiate between something that looks great versus something that you had a special emotional attachment to performing. In the end, I was very happy with what I created. Not only do I feel that my new reel shows me in my best light. I feel that I have found a completely different way of showing employers what I can do. When I contact a company for the third time, they will likely recognize some of the footage. But they will be less likely to overlook me as a dancer that they have already seen and more likely to look at my new, fresh packaging.

Beyond recreating a reel every 6 months, I try to keep my resume and photos updated as well. It is much simpler to keep these fresh as your career flies by. Try to be patient with your photographs. The biggest temptation when you receive a brand new photo that shows off all of the hard work you've put in is to immediately post it to your Facebook, Instagram (Follow me), or website. Take one or two of these photos and satisfy your social-media urges. But hold a few back for future usage. If all of your photos are out there and you haven't been performing anywhere that has a photographer, you are going to run out of fresh material. These items are new even if they are 6 months old. That is if you don't show them to anybody. As for your resume, I would avoid any attempts to greatly change your format unless you see a friend's CV that you think would be an improvement. While you want to show that you've moved forward within your reel and photos, you want your resume to be easy to read and recognizable.

Me partnering Elizel Long (Photo: Shalem Photography)

The final way that one can reinvent themselves is to find new ways to put oneself out there. Try a new style. Change your look. Find new ways of getting exposure. Show your talents that aren't necessarily dance-related, but that define you as an artist. Make yourself compelling. I've said this before and I'll say it a million times. It is rarely the artist with the best technique that moves forward in the world of dance. It is most often the most competent artist who is most compelling to the general population that moves to the front of the stage and the forefront of people's memories. Don't change who you are to reinvent yourself, but do change your way of thinking. Those who are able to make themselves compelling will make themselves the most hire-able. The best way to remain compelling is to continuously reinvent yourself. It is always reinvention that brings people back to an old, reliable product!

My failure in designing my own website (SPECIAL OFFER INSIDE)

Lyquid Talent website design for dancers (style 5)

(Be sure to read all the way down for a SPECIAL OFFER)

Since I started freelancing, I have taken on many roles. I am no longer just a dancer dancing for my big company employer. My roles as a freelance guest artist include teacher, marketing director, video editor, negotiator, travel agent, writer, editor, social media director, choreographer and so much more. Honestly, I often surprise myself with my ability to learn something foreign to me, often with repeated failure before triumph. I enjoy a challenge and love to relish in the subsequent success. But sometimes I don't have time to figure out something that is immediately important or I absolutely can't figure out whatever task I have in front of me. This is exactly what happened when I was trying to build my website.

As a freelancer, it is important to have a handful of items to market yourself. Aside from this blog, I have business cards, a performance reel, photographs, and my resume. One important tool that I had spent years without was my own personal website. These days people spend more time on the internet than they do most other things. Taking all of my above marketing tools and putting them together in one place on the web is not only efficient, but helpful in expediting my search for work. There was only one problem. I couldn't find the time to figure out the complexities of building my own website.

My partner has always been proactive in pushing me to do things, from completing my Associate of the Arts (AA) degree during my time at PNB to throwing my Contact event for freelancers. He started his own business back in April, Spaces Transformed, and bought a website builder for his business' website. The company that he purchased his site from had a (supposedly simple) drag-and-drop editor. After he spent weeks fighting with the program, he finally created his website (while very nice, it is still very glitchy when trying to edit). A month or so after he had completed his website, he was sent an offer to buy a new domain and one year of hosting from the site. The price was too good to be true, so I reluctantly purchased my domain in the hopes that it would inspire me to finally work on my site. Following that purchase, my domain sat unused for about 4 months. I was simply throwing money down the drain. Once I finally committed to making my site, I felt entirely overwhelmed by the daunting task of understanding the ins and outs of website design. After consulting with a friend who had recently created her own site using wordpress, I quietly gave up and started working on other things to cover up my unwillingness to fight the good fight.

I strongly believe that if you put effort towards making something happen, it will come to fruition in one way or another. In the process of putting together my Contact event, I came across a new website design company, Lyquid Talent. This Chicago-based company had reached out to me a few weeks before I began planning my event. I figured why not give them a call and see if they would be interested in donating a package to be given away to a freelance dancer. I was very pleased after speaking with Jeff Serani, Lyquid Talent CEO, to find that he was greatly supportive of my event and interested in helping current and potential freelance dancers (beyond his goal to give established and aspiring professionals a web presence).

One of Lyquid Talent's media-friendly styles (style 6)

As I said before, I had been struggling with the creation of my own personal website. I also wanted to see how the company worked prior to offering their services at my event. Jeff and his team offered to show me the simple process involved in making one of their highly versatile websites by taking away the burden of creating my own site. This was quite a relief! The first thing I had to do was visit the Lyquid Talent website and choose one of their 14 designs, ranging from elegant to edgy and simple to media-friendly. There is a wide array of options that offer a variety of subtitles (resume, photo gallery, contact form, etc). If I was feeling particularly picky, there is also a certain amount of flexibility with each design. Each style has multiple options for personalizing and customizing, which can be viewed on that particular style's info page. This allows each dancer to cater a site to their specific needs. After I decided that dance website style 5 suited my taste and needs, Jeff sent me a link where I could upload all of my information for him to plug into the website. Prior to uploading, most would usually decide on a domain name, which is usually their their name followed by .com (which Lyquid Talent generously offers as a part of their package). Even though I had already purchased my domain name earlier through another site, Jeff was able to assist me in transferring it into his care. I was lucky that I had already accrued dance photos, put together my performance reels, and written my resume. All I had to do was upload each file to the secure server with a short description of the item and let the Lyquid Talent team create the magic.

One of Lyquid Talent's more artistic options (style 11)

Once Lyquid Talent had all of my data, it was only a matter of days before my site was up and running. After reviewing my site and requesting a few minor modifications, they passed the reins over to me. I was given a username and passcode to self-edit my site. After signing in to edit my page, I found that Jeff had uploaded a handful of video tutorials that easily walked me through editing each area of my site (e.g. how to edit and update my resume). At this point, I wasn't left alone to figure everything out for myself. A friend tried to connect to this blog through my website and it wasn't connecting properly. Within hours of putting in a customer service request, the Lyquid Talent team had fixed the glitch and my link was up and running again.

Now that my site, BarryKerollis.com, has been up and running for a few months, I have had time to see the many benefits in having a website. When I contact companies to let them know I am available for work, instead of uploading my resume, photos, and providing a link to my performance reel in each email, I just offer the link to my site where each of these items is cleanly organized. This saves me a great amount of time, allowing me to contact more companies. On more than one occasion, directors have complimented me on my beautiful website. I also have a calendar to tell my friends, family, and fans where I will be performing next. Lastly, there is a contact form that allows anybody that wants to reach me, whether a potential employer or fan, to get in touch with me. The benefits of my site outweigh the modest monthly cost for the company to host my site.

As I gain more experience, it becomes more apparent that I can't figure everything out on my own. Lyquid Talent came into my life at the right moment to help increase my visibility, decrease my stress level, and fill a great need. I needed help promoting myself as a freelancer dancer. For company dancers, it could be giving oneself a way of promoting their image beyond the company with which they dance. For students, audition season is quickly approaching and mailing out audition packages can be extremely expensive. With all of this in mind, Jeff and the Lyquid Talent team are allowing me to thank my dedicated readers by giving any dancer that reads my blog a special New Year's offer. From the moment this blog is posted until February 1st, 2013, Lyquid Talent is offering to create your personalized dancer website for $19.99 (88% off), plus the $15/month hosting fee. Just follow this link (SPECIAL OFFER for Life of a Freelance Dancer readers), pick your design, and sign up. Thank you and I hope that this offer will help you start your dance year off on the right foot! Happy New Year!

How to make your own performance reel

I know that everybody has been patiently waiting for my next posting. Writing a blog has been on the back burner while I have been preparing my freelancer networking event, CONTACT. Since I have accomplished many of the tasks that I needed to get done, including obtaining some door prizes from some very important dance institutions, I can finally focus on this blog again. What better way to get the ball rolling than to write about one of the most important tools for every freelancer: How to make your own performance reel.

It took me months of research, preparation, and work to finally master the art of creating my own performance reel. The first and, sometimes, hardest step of creating your own reel is obtaining and then choosing video clips that show your strengths, technique, versatility, and artistry. At the beginning of your dance career, you may not have very much footage. If you need extra footage, grab a friend and a video camera (handheld camcorder, phone, Ipad, computer, etc) and dance a work in the style that you are trying to show off (whether it be a variation, your own choreography, or something you learned off youtube). If you dance for an AGMA company, it can be very difficult to obtain footage. For instance, in Pacific Northwest Ballet's contract, each dancer is only allotted 30 minutes of footage during their career with the company and 30 more minutes upon their departure from the company (this is very little if you have danced in multiple full-length ballets). Not only that, but if any footage is over 3 minutes in length, there is a required 3 second blackout. This all probably sounds really weird, but it is in place to protect the choreographer's work. If you have been freelancing for awhile or have worked for non-union companies, access to footage of yourself may be easier to obtain. I am always quite aggressive in getting footage of myself dancing wherever I perform, as I like to have an array of options to choose from.

I apologize in advance to everybody that owns a PC, as I'm a Mac. At some point in the future, I may have a guest blogger write the same version of this blog for PC owners. But for the time being, I will be instructing all of you how to make a reel on a Mac. The first step to creating your reel is to get your dance footage from a DVD to your Mac. First, you need to check if your computer has a DVD-burner. If it does, then your computer is capable of pulling footage off of a DVD. Unfortunately, most computers dont arrive with software to help you pull, or "rip," footage off of a DVD. Dont worry! You can easily obtain free software online to perform this operation. I personally use the program Handbrake (Click this link to download). Once you've downloaded the software, put your DVD in and open up Handbrake. It will bring up a search window. Click on the DVD under devices and choose the video file you would like to put on your computer. Let Handbrake do its thing and determine the length of the file. Once the application is completed, under "file" you should rename your file to something specific that will allow you to remember what the footage is. Be sure not to change the file type at the end. (For instance, if it says "file:/users/joeschmoe/movies/midsummers.mp4," you would only change "file:/users/joeschmoe/movies/barrykerollispuck.mp4"). Then, click start. This process will happen at nearly the same speed that the footage you are ripping runs.

Now that you ripped the footage off of your DVD onto your computer, you are ready to start piecing together your reel. You are going to create the reel with the IMovie application that comes pre-installed on your computer. Open up the application and click on "file." Under "file" you will scroll down to "import," then "movies." When you click on "movies," find the folder where you placed your footage and select that. It will take a period of time for IMovie to import into and convert your video for the application. I usually try to do something off my computer during this time, as going online or using other aspects of the computer slows down this process. After the footage has loaded into the program, click on "file" again and scroll down to "new project." After you name the project (which should be something anybody can see because if you burn a DVD sometimes it embeds this name onto the title of the DVD). From here, I like to begin with a basic pen and paper list of pieces that I feel show me off best. From there, I watch the footage again and, if something appeals to me, I add the entirety of that clip to the project. You can do this by clicking the mouse on the spot of the clip in the lower half of the screen. A yellow box will appear and you can move the edges, like an accordian, around to encase that clip. After you have encased the clip, click and drag the yellow box to the top half and drop the clip in the "projects" box. I always go through all of the clips I like and drop them in the "projects" box first. If you do this first, you will see the total length of all of the clips and be better informed as to how much footage you need to cut.

Now that you can see how much footage you have, you need to determine a reasonable length of time to make the clip. Sometimes, you are given a specific length for a specific audition/project. Most of the time, it is up to the dancer to determine the proper length of their reel. My general reel is a little over 7 1/2 minutes, but I have made other specific reels, like my video audition for Newsies (which I have reluctantly placed below this paragraph...note...I have very little vocal training) that have been shorter. Some people have told me that the length of my performance reel is a little too long, but I did my best to front-load the reel with what I feel are my strongest roles and show the most diversity in the event that a potential employer gets bored and closes out the video. When paring down footage, I sometimes try to get an outside opinion (and not someone who danced the piece or family, as they are attached in similar ways) of the clips that I have chosen, as it can sometimes be difficult to determine great footage. Often, dancers have an emotional attachment to certain pieces. Even though it may not be the best footage of you, it is hard to detach from how you felt while you were performing the piece. I often go through the entirety of the clips in the project box multiple times and slowly delete or downsize clips that I don't feel belong in the reel or that I feel already have a better representation in the reel.

Since you have pared down the clips to a reasonable length, it is time to start linking your clips together. Start ordering your clips. I prefer to use a clip of my dancing that is very strong, but not my strongest for the first clip. If you give away everything at the beginning, then everything following that will look weak. Don't leave your strongest clip for last or even the middle, but put it somewhere near the beginning in case the potential employer loses interest early. Don't lump one style of dance at the beginning and another at the end. Mix the clips up by double clicking the clip and dragging and dropping them around the "project" box. I would suggest keeping the clips at less than a minute each. Maybe a classical variation at the beginning, a contemporary piece second, some partnering third, and then another variation after that.

Now that you have developed some type of order to the clips, it is time to start linking the footage together. In between the upper "project" box and the lower "event library" box is a light gray toolbar. Look all the way to the right, the second little box from the right that looks like an hour-glass (or four opposing triangles with two being light gray and the other two dark gray) will assist you in creating smooth transitions between clips. There are a variety of "transitions" that can be used between clips. Play with these transitions and see what you like. I find the most professional transitions, which I use most often, are "cross dissolve," "cross blur," and "cross zoom." Once you determine your choice, click and drag the transition style that you would like to use up to the "project" box and place it between two separate clips. Once placed, you can double click the tiny transition box and change the duration of the clip. There is a lot of trial-and-error in this process. At times, things can get glitchy as well. Just stick with it and be patient.

The next step in the process of creating a great performance reel is to add a title box to introduce the clip, end credits to close it out, and subtitles if you feel they are necessary (my current reel doesn't have subtitles, as I figured it out after I created it). The "titles" area is one box over to the left of the transitions section with a capitol "T". Again, peruse the array of options and choose what suits you best. Like the transitions, click and drag whatever you want to introduce your reel at the beginning of the clips. You can adjust the background once you drop the box into the "project" area. Then, the screen to the right of the project will allow you to add text. For the introduction, I usually keep it simple and just put my name along with the words "performance reel." When I auditioned for Newsies, I typed in my name and "auditioning for the role of newsie." Your intention for this reel should determine the text. Then, at the end, I go through this same process and add my name and the best way to contact me (I put my email since that seems safest). If you only have a few clips, you can put the name of the piece and the choreographer. That is unless, you want to add those into the clip.

I am cautious about adding the names of the pieces or the name of the choreographer directly into the reel, as for a moment of time, it covers up a part of the screen and distracts from your dancing. But, if you would like to do this, you can achieve this by going back to the "titles" section of the program. The bottom two rows here can all be placed on top of a clip. Click and drag, for instance, "gradient-white" and place it on top of the beginning of the clip you would like to have a subtitle pop up on. Once you have dropped this box on the clip, a small box will appear that allows you to type in text. As usual, you can adjust the length of time by double clicking.

Now that you have created your entire reel, you need to either post it to youtube, another site, or create a DVD. Creating a DVD is another story, so I will save that for another post. Sharing your reel on the internet is streamlined by IMovie. Go to the top of the screen and click on "Share" and click on youtube. Be sure that you already have an active youtube account prior to sharing with IMovie. Once you have clicked there, a screen will pop up allowing you to sign in and to format the title, description, size & quality of video, and availability to the public. Click start and IMovie will take care of the rest for you. Once it is finished downloading, you can start sending people your link, you can post it on facebook, and you can start promoting yourself without directly auditioning.

An updated performance reel is, in my opinion, the most important tool for any freelancer. It is not cost effective to fly around the country to audition for short projects and the same holds true for companies that are looking for short-term dancers. I have gotten many jobs based off of sending my information or word-of-mouth, then sending my reel to solidify the deal. If you have access to a Mac, this tutorial should help ease any computer literate person into making a strong, easy-flowing performance reel. Stay tuned in the future for a tutorial on how to turn your reel into a DVD.