Adam is a director, cinematographer, editor and producer, specializing in remote video production.  His recent work includes the virtual showcases for Columbia University and American Conservatory Theater (ACT).

Adam provides consulting, coaching and production services to theater companies, corporate clients, and individuals. 

Adam has worked on films, documentaries, theatrical promos, music videos, events, and actor self-taping. Take a look at his Films page for some samples of his work.

"In this business, there are many things outside of an actor's control. Your self-tape isn't one of them." - Me


Even before COVID, there was an increasing trend in the theater industry towards self-tape submissions for casting. Now more than ever, self-tape skills are becoming a permanent and essential part of the actors toolkit.

Of course, a director or casting director will always try their best to see past technical flaws in your self tape, but the truth is it can be distracting trying to gauge the quality of a performance when there are glaring technical issues with the submission. Like the shot is poorly framed, or the audio has issues, or the video was compressed too much and there are no details in your face. Truth is, a professionally shot self tape does predispose a viewer to take the actor submitting more seriously.  

Minimally, your self tape should make it feel like you're right there in the room with them, giving your best take. Ideally, it should make you pop.

Shelter in place has changed things a lot. Before COVID, I did mostly in-person production for actor self taping, either in my studio or in their own space, using professional equipment calibrated to capture every nuance of their performance, with beautifully diffused, natural, balanced lighting, a hollywood-grade audio setup that made their voices sound as rich and full as in real life, with editing and color grading thrown in - the results really popped off the screen, and will make your submission stand out from the hundreds of others.

During this period of time, however, I've pivoted over to assisting actors to set up their own budget self-taping kits, and learn how to use them to make their self-produced work look like it was recorded in a professional studio.

Over the last year, I've developed an approach that really works.  We used the very same kit and techniques to create the Columbia University and ACT showcases, which were all filmed remotely during shelter in place, the results were remarkable. 

"Adam is amazing! He really makes sure you are doing your BEST self-tape and gives such great feedback in order to ensure that you do well."

- Micheal P.


My rates for remote production, coaching and technical training are $85/hr.  I offer reduced rates if you book more time up front.

My editing and post production rates are - $50/hr. This includes creating showreels from existing work.



"Everything about Adam's videography is excellent - the quality of the work, the interpersonal element and his ability to navigate environments getting what he needs without being imposing." - Michael M.

Creating a quality trailer has become an indispensable part of marketing your theatrical production. A great promo video can be used very effectively on social media, email blasts and newsletters, and can do wonders in creating a sense of excitement about your production. 

There are no hard and fast rules to what a promo should be.  It can be a simple sequence of scenes from the show, or something stylistic and evocative with no footage at all. Or it can be centered around interviews with the directors or actors.

Much depends on your production cycle. For example, with Ubuntu, they often bring in costumes and set pieces very late in the rehearsal process. When I did my first promo for them, for Long Day's Journey into Night, I knew I would only have footage of early rehearsals.  So I recorded interviews with the director, Michael Moran, about what he was envisioning the production to be, and combined that with the footage I took, and it became a portrait of a show in early stages of formation.  

For the next show, Mahābhārata, we set up two recording sessions - one in early rehearsal, and one late. There would be no costumes ready, but the set was semi-complete, and they were starting to work  under show lights. We had some amazing minds at work on this show and I was lucky enough to have the writer present, so I set up some interviews, and based the promo around those. The result was fascinating.

Macbeth was another down to the wire affair. Due to various constraints, I wasn't able to get principle shots done until the final dress rehearsal.  The good thing about that was I had the actors in full costume and under show lights - the tough thing was I had 24 hours to turn the whole thing around before opening!

Luckily I had set up times for interviews earlier in the process, so when it was getting down to crunch time I could just float around out of the way and capture my footage.



Showreels are still with us, although they have changed a lot since the 90s. Today, casting directors don't want a lot of flash and dazzle, or long montages over royalty free muzak.  They want to see you acting.

A good showreel should be 2 minutes or less, start with a basic title card, and jump right into your most impressive scene immediately.

I'll work with the material you have to make you look as polished and presentable as possible. You'd be amazed what a little post production can do to even the most amateur student film footage!


Editing & Post Production - $50/hr

Most reels take 2 to 3 hours to compile.  Exceptions are when the footage requires a lot of repair due to poor audio or lighting - I'll be up front with you about what's needed after reviewing your footage. 


© 2019-2020 by ADAM ELDER