Probably - because this isn't a beginner's guide to putting yourself on tape.

We're looking at the smaller decisions that separate a perfectly competent professional self-tape from one that's genuinely difficult to stop watching: how you open, where you put the viewer's attention, how you use the frame, how you shape the story and how all of those choices support the performance.

I built the programme by studying 100+ self-tapes that actually booked professional work and looking for the patterns that kept showing up.

The aim isn't to teach you how to self-tape. It's to make you much better at it.

The acting matters enormously. But in a self-tape, you're also responsible for how that acting is experienced.

There's no director choosing the shot. No editor deciding where the audience looks. No DOP shaping the frame. You're making all of those decisions yourself.

That's why we work on performance and attention, framing, eyelines, storytelling and the shape of the tape as a whole.

You don't need gimmicks to stand out. You need to make sure the performance you've created actually lands through the camera.

There's loads of self-tape advice online. That's exactly why I didn't build Self-Tape Mechanics from self-tape advice.

I built it by studying 100+ self-tapes that actually booked professional jobs.

Instead of asking what actors should do, I wanted to know what successful tapes were actually doing - where the patterns were, what made them engaging and what consistently separated them from forgettable ones.

Inside the programme, you'll study those tapes with me and learn how to apply what they do effectively to your own work.

You're not getting another list of self-tape rules. You're learning from the tapes that worked.

That's the goal - but nobody can guarantee the outcome of an audition, and I won't pretend I can.

There are dozens of reasons you might or might not book a role that have nothing to do with the quality of your tape.

What we can control is what you do with the opportunities you get.

Self-Tape Mechanics is designed to help you make stronger, more engaging and more deliberate tapes - so when the right audition does land in your inbox, you know how to make it count.

That's completely understandable - and this isn't about tearing anybody's acting apart.

The feedback is constructive, specific and focused on making the tape work better. We'll look at what's already working, where the viewer's attention is going and what you could adjust to make the tape clearer, stronger or more engaging.

You'll also learn a huge amount from watching the other actors receive notes and seeing what happens when they apply them.

It's a supportive room, but you do need to be willing to be seen, experiment and share your work.

No. You'll be given every scene you need throughout the programme, so you don't need an audition to come in during the four weeks.

The programme is best suited to actors who are actively auditioning, self-taping or preparing to compete for professional screen work.

In fact, working on assigned material means you get to build the system before the next important audition lands.

Yes.

You'll shoot 7 tapes across the four weeks, and we'll review the work throughout the live sessions. Most tapes will receive direct feedback, alongside group discussion and comparison with other approaches to the same material.

To be eligible for live review, just upload your tape to the group at least 24 hours before the workshop.

With only 10 actors in each cohort, I can actually get to know your work and the habits and choices that show up across your tapes.

Every workshop is recorded, so if you can't attend one live, you can catch up afterwards.

You'll have access to all 10 hours of workshop recordings and programme materials for life, so you can revisit the training whenever you need it.

You'll get the most from Self-Tape Mechanics by attending live wherever possible - particularly because of the feedback and discussion - but missing a session doesn't mean missing the material.

Self-Tape Mechanics is designed primarily for early-to-mid-career professional actors.

Ideally, you're on Spotlight, Actors Access or an equivalent professional casting platform and you're already auditioning — or actively preparing to compete for professional screen opportunities.

You don't need an enormous CV. You do need enough training and experience that we're able to focus on making your self-tapes more effective rather than teaching the fundamentals of acting.

Because the small group is part of how the programme works.

We're going to watch tapes, compare choices, give notes, make adjustments and see what changes when those notes are put into practice.

Ten actors gives us enough different work to learn from each other, while keeping the room small enough for personal feedback and meaningful discussion.

Once the 10 places in a cohort are taken, that cohort is full.