Freak Show Promo Vid!

[Simon_Magic]

Yo Guys!

Put this together in imovie, It'd be great to know what you think of it

http://www.youtube.com/watch?v=AJdL-mHBzFM

Thanks!

Simon_Magic

 

[Craig Browning]

Ok... brace yourself...

No One should ever pull together and edit their own Promo. Where you have some interesting thinking, the material comes off a bit "second rate" -- it's not "polished" in the way an actual marketing team would help you do. The big "No, No" is the music; if you are satisfied with doing busking and working the general market it might work for you but, if you want corporate gigs that actually pay real money, you should consider something "softer" and too, cut back on the volume (especially in those areas where you're speaking).

Speaking... you don't seem to be scripted for starters and too, you have a bit of a heavy accent. You need to slow down a bit and become very clear when it comes to what you are saying. I know it's a pain but it's something I've been called out on in days long past; learning to speak properly and effective for the public is something too many magicians forget to do and it's vital. In this particular instance however, the music in the foreground made it very difficult to hear and understand your spoken instruction.

General Content. . . there's not enough footage of you actually performing and more importantly, interacting with the audience and getting audience reaction. This is vital to getting the corporate level work so build it up when you re-edit things.

The Quotes worked well but need some better framing. . . again, a pro team can make this work far better for you.

An "Audition" video when properly pulled together, needs to start with a solid 3-5 minute trailer that gives a solid overview of the act you are actually selling. There should be about 30 seconds of "flash" -- a series of photos or shorts taken from the show and even various performance settings (teasers). You can then expand on things by showing a handful of "set-up" frames. . . footage of you introducing the blades or nails, etc. You did some of this but I think you can frame it far better -- cleaner. You then come back with the actual bit. Once you've done this with one or two "quick" bits you need to give them a solid bit of punch; an actual routine that "proves" you are "more" than all the other clowns out there doing the same shtick.

Sorry for being so critical but given the level of competition in todays market, the over-abundance of people doing the same basic list of effects/stunts, showing quality and pride in your press materials is paramount.

You may look up Dean Hankey, he's a pro that has helped many in our industry.

 

[Simon_Magic]

No Problems mate! Thanks for the tips

The more critical the better I can make it!

Simon_Magic

 

[Benji Bruce]

I can help you make your demo a lot better but first...what is the purpose of your demo (to book gigs)? What is the target market?

 

[Simon_Magic]

Basically its for the general market. I made it very quickly from video's I already had to send to a guy who wanted to look at my showreel to book me for a freak show. As it is not up to standard yet (which I have heard from magicians as well as normal folk) I haven't sent it yet. I thought it was a pretty good job, but I wasn't happy with the standard of the photo's and logo's as I just got them from the internet.

I would like to use it on my new website, and people that might want to book me are for corporate events, festivals, clubs, parties, street shows, trade shows, that sort of thing.

Any help would be greatly welcomed

Simon_Magic

 

[Benji Bruce]

The first problem...and it is a BIG problem...is that you want your video to be for "everyone." It is a big problem because if you want to perform at festivals then your demo will look completely different than if you wanted to book corporate gigs.

So can you define your market more? Which is the main market you want to perform for?

 

[Craig Browning]

The first problem...and it is a BIG problem...is that you want your video to be for "everyone." It is a big problem because if you want to perform at festivals then your demo will look completely different than if you wanted to book corporate gigs.

So can you define your market more? Which is the main market you want to perform for?

I'm quickly starting to like you Benji. . .

Simon, what Benji is pointing out is something I've tried to help other magic enthusiast to better understand; just because you have a bunch of tricks you can do DOES NOT mean you have an act or are ready to do regular shows. Similarly, just because someone tossed you a C-Note for doing tricks at a party doesn't mean your a "professional".

There is no such thing as a "generic/cover all" program per ce. While you could do a "Blackstonesque" family show and cover a large marketing niche, such a program wouldn't be appropriate for say, Playboy or similar "burlesque" type venues. Obviously, it would cut your out of the home and close-up markets as well (hehehe)

If you look at magic history 99% of those that have proven themselves to be "legends" and who knew great success, did one single act with very little variance, for most of their career; Norm Nielson still does his classic manipulation act as it has been done since the early 1960's same goes for Shimada's two classic routines (his dove act and the "Dragon & Parasol" act) and even Marvin Roy is best known to the community and market as "Mr. Electric" rather than any of the other persona or act variables he attempted to move into -- the novelty and consistency of the Electric act is what made him a legend of magic.

So the questions you need to ask yourself are very simple, What venues do you think you'll be most comfortable working in, over the next 3-5 years?

If you don't mind the carnival/side-show image then learn all you can about it and create a solid, marketable persona. I stress "persona" here in that we now have 1001 other fools in the world doing Blockhead, the Razors or Needles, some version of the Spike & Cup roulette gag, etc. (lot's of people that want to be Jim Rose or Tod Robbins). But in truth, few of these people know anything about life on the road doing this kind of work. . . I'll give you a hint; 10-14 hour days, exceptionally low pay, and tons of very hard work (I traveled with Ward Hall & Johnny Meah doing the "Circus Unique" sideshow long prior to the current reprise of such things).

Most that target this niche need to be solid Master of Ceremony types and flexible with what they do. They likewise need a good hook, the best examples would be how Tod Robbins has made the whole eating a light-bulb "his thing" vs. Harry Anderson, who became known for his "Sidewalk Shuffle" type hustler -- a master conman working the classic Pea & Shell or other Monte type effects.

This type of material isn't appropriate or in demand when it comes to Food & Beverage settings, which means you wont be as marketable to any aspect of the Hospitality Industry EXCEPT when an event planner is looking for a Carney theme & performer.

Your video also hints towards Bizarre Magick as well. Again, if this is the case you need to actually envelop yourself into that arena. Pick up books like "The Arcana of Bizarre Magick" by Jim Magus so as to get a better idea about this rather odd avenue within magic, understanding that it's not always occult-based but likewise sinister or Steampunk.

This is an arena with an interesting (and growing) market base; it is strongly appealing to those 14-35 and can, depending on how you package things, have a positive corporate area of appeal that equates to top dollar fees (over $3,500.00 a gig).

For lack of room I leave you with this first point of consideration and give you a bit more in my next post.

 

[Craig Browning]

{Part II} THE PLAN

This goes for anyone planning to start a business, and like it or not Magic IS A BUSINESS if and when you begin looking at and considering marketing strategies and making INVESTMENTS into your product. This is something most fall short on and aren't prepared for. . . trust me, I've shot myself in the foot far too many times because of this; I'm not a great businessman but I'm a damn good developer and not so shabby as a showman. This is where the weakness is formed however, most of us are creative -- "artists" -- and so we look at what we do through that particular filter but require outside guidance in order to make that vision we start with, become a reality; it's not just a matter of having all the tricks and peripherals for the act, it's a matter of staying humble (regardless of your success) and actually listening to those you bring into your inner-circle who actually have your better interest in mind; they want to see you succeed even though their perspectives may differ from your own in some way. The thing is YOU NEED THEM!

Having a niche group of people that have actual experience in show biz (not magic) is vital; you need to hear their points of view. They don't have to be an employee or partner, just a group of confidants that you will actually listen to as you develop material as well as those that will help you tighten-up your presentations. Of this latter element you will need at least one seasoned magician that understands technique, but you do need to be careful when it comes to said entity in that what worked for them may not work for you, so variety is an important thing along with your willingness to move with the views of the majority as you cultivate your material.

I know it sounds a bit cumbersome but this is one of the chief reasons most magicians fail -- they believe their own hype and refuse to listen to honest critique. Worse, too many club members pat one another on the back for a "good job" even when they know the guy stinks (you'll see it in the forums as well, chums endorsing their on-line friends both, sight-unseen based solely on conversation and even after watching them do a shoddy performance live.) The moral of the story being to brace yourself and invite hard critique from others and expect the same from your self in order to develop a solid product -- act.

While all of this is going on you need to think "business" "Where Do You Expect to Be in 3-5 Years?"

This is a standard part of Business Planning, a question every aspiring entrepreneur must ask themselves as they map out their path and begin making their business a reality. My firs suggestion is to not have stars in your eyes and look at the practical; what's actually available to you here and now! Also consider how far you are willing to travel from your residence to a gig and how much in additional fee you must charge for that travel. In my Psychic Technologies series I refer to a 4-hour circle -- 4-hour traveling time from home for weekend gigs & special events. For most of us this is feasible route of course, especially when first starting out. All you need to plan for is scale when it comes to travel (especially given today's fuel costs). You will likewise need to consider the issue of over-night stays and sometimes the necessity to loose sleep in order to drive the distance to your next gig (there's a lot of that). The point is, you need to look at that four hour circle and see for yourself the viability of your product -- are there venues and enough of them, to give you a living wage, when doing the style of act your are developing? If not, what are your alternative choices and how big a gamble is involved. . . what's the price for that decision?

What you must develop, even before you start pushing for gigs, is this more complete sense of where you want to be and what you want to accomplish. This "map" needs to be broken down by time; what do you want to be doing in 3 months? What do you need to do to make that happen? What obstacles are in your way and how can you overcome them?

Think Small -- don't look for the money, that will come as you grow your brand, but people can't buy something they don't know about, can they?

Most small business start-ups will make note that the "owner" of the business will not see a direct salary for the first year to even 5 years of the company's growth. Rather, all incoming cash-flow will be reinvested in some manner, into the project. As dismal as that may sound there are a few things that can be done that off-set this seeming loss, but we're not going to go there right now.

Use these few questions with your time line. . . where do you plan to be in 6 months, 9 months, etc. all the way out to 5 years. Just keep it simple and very realistic; you can always augment this map based on your various successes and set-backs as well as unexpected boons. The key here is focus and allowing your efforts to move you in a specific direction (towards your established goals) and thus, keep you on track. It likewise forces you to create an actual product that can be easily explained, understood and presented. . . which takes us back to the video, your web-site and everything else; all of which needs to come together with the same look, feel and "point"

Once everything offers a concise sense of presentation and fluidity, the sales will happen and you will find that many of the contractors will extend to you fees that are a bit above the "norm". Let me explain. . .

The typical magic buff that "tinkers" and takes side-gigs here and there is usually content with a per show salary of $300.00 to maybe $800.00 a shot. Full-time working pros that have a solid sense of presentation and performance see a $1,200.00 to $3,000.00 per gig pay-check on average, which is considered low or median pay scale within the industry when working corporate and high-profile public events. On the other hand, there are many that see these fees for doing private group parties as well. These latter fees being what you can expect your early corporate clients to offer though those more local to you might be as much as 35% lower than this.

So the next question must be, "Is It Worth It, Placing All This Energy & Effort Into Your Act As Well As Your Career?"

Hope this helps you (and anyone else heading down this path) think about things in a brighter light.

 

[Simon_Magic]

Heya Guys!

Thanks for the help

I am performing just one show, but currently because I perform at burlesque nights and they only require 5-10 minutes per act, I haven't had my whole act filmed yet in full.

Currently my show is growing as I realise what it is that I want to do, and I've just realised what I am going to put into it, it is just putting it all together that I need to work on.

I work with Chris Cross at the Carny Cabaret quite frequently and I am picking up things from his act and others that I know I could use. Mainly with Chris, as I cannot dislocate my arms, I am picking up one liners that I think I can incorporate into my show.

Many magicians have influenced me and my style, and I do realise that everyone has ONE show that they do and do it everywhere. My show is a culmination of my knowledge of magic and freak 'stunts' that I have picked up, used, and realised they work.

Currently my website is in desperate need of updating as well as my logo which is what we are currently sorting and will be completed within the next month to suit my updated style. This new image therefore needs new video's and it is why I came up with what I came up with. As I said I just knocked it together really quickly, and I will get it both filmed professionally and edited professionally.

Benji, if it's alright with you I will email you for help as it seems I greatly need it. I know where it is I want to go and where I want to take my act, but you will probably be able to help me get there

Thanks again guys!

Simon_Magic

 

[Craig Browning]

I am performing just one show, but currently because I perform at burlesque nights and they only require 5-10 minutes per act, I haven't had my whole act filmed yet in full.

I've had lots of fun working such venues and with Playboy (back in the club era). If you decide to move into bigger illusions for that market, IM me. I have a ton of stuff.

I work with Chris Cross at the Carny Cabaret quite frequently and I am picking up things from his act and others that I know I could use. Mainly with Chris, as I cannot dislocate my arms, I am picking up one liners that I think I can incorporate into my show.

Oops! Now here's a big NO,NO. . . you don't use other people's material and more so, you don't want to fall back on corny one-liners UNLESS you have the kind of charisma that allows you to "use" such things as stepping stones. Study Harry Anderson or Fielding West, they both know how to play this angle fairly well. The big thing is, you don't want to become a "clone" but rather, a "brand". . . which goes back to the things Benji and I have already touched upon (you really do need to sit down with some books on business and small business operation as well as those that specialize in Magic related marketing & promotions.)

Many magicians have influenced me and my style, and I do realise that everyone has ONE show that they do and do it everywhere. My show is a culmination of my knowledge of magic and freak 'stunts' that I have picked up, used, and realised they work.

All of us find little kernels here and there from this and that performer, that is what allows us to mold our character and style but, as I said above, we need to guard against direct mimicry -- parroting someone else's material ain't cool! Nor will it get you much in way of work and solid fees. Enjoy the "inspiration" but go out of your way when it comes to how you employ someone's handling and presentation of a bit.

As to the latter point here; you need to understand the difference between "a show" vs. an "Act" vs. a "Routine"... you're not alone in such misunderstanding, seems a rampant thing in today's world. Nonetheless, here's a quick breakdown;

A Routine -- is the course & actions taken by a performer usually around one effect or prop such as the Cups & Balls, Billiard Balls or bits like the Canary, Egg, Lemon, & Orange. A sequence of actions tied to a single point of focus.

An Act -- is a culmination of effects that support a given theme (usually). The majority of acts run less than 10-minutes in that the that this is generally the first primary time mark in a Revue or Variety show with secondary acts seeing a 20-minute block followed by the featured act that generally sees about 45 minutes (which is a "show" -- see below)

Shows -- where an "act" can be booked as a "show-set" for clients based on what they would like to see from you main show, a true show will typically run between 45 and as much as 120 minutes. A show is a culmination or Acts as well as intermingled Routines, the latter of which are typically presented in front of the mains when in a theatrical setting in which set changes are needed, the routine filling time in the show while such things are being prepared, be it for a large illusion or something like a floating ball.

Keeping these concepts clear in your head not only aids in effective communications, it helps you (psychologically) to see what is what and how to better stitch it all together.

 

[Benji Bruce]

Hey Simon,

I got your email and I'll post everything on here.

I won't go into the "act" because it should go without saying that any performer should have a good one.

I've been doing corporate gigs for a long time and at first, I didn't know where to start. I didn't know who to contact, what to say, where they hang out...nothing.

Keep in mind, when it comes to selling, you must show people the results you produce. Your demo should show results, not tricks. The reason it is so important to define your market is because the content in your demo will changed based on your market. If you want corporate shows then you must show footage of you performing for a corporate audience. If you want burlesque shows then you need footage of you performing at those shows.

You said you're basing your business plan on doing street shows and from those you want people to spot you and hire you. The problem with that is you won't get many corporate gigs that way. The first reason is that "street shows" are not the place where corporate event planners hang out. Maybe one out of 1,000 will stop to see you but more often than not, they will have to get back to their office. So the street is not a highly concentrated place for corporate event planners.

The street shows attract the "blue collar" type of people. You might have a couple of white collar people stop to see the show but you need to go where your market is. You will book more corporate shows by hanging out in a hotel and performing at that venue or performing in a country club rather than the streets. Certain venues attract certain people.

So if you want corporate gigs, you need to have footage of you in a suit (to represent the corporate image) and you need to perform for other people in suits. If you're performing in jeans on the street then a corporate event planner will discard you quickly because it is all about image. The image you portray determines the gigs you receive.

Your video says that you were on Britain's Got Talent...do you have footage of your performance? That should be the first thing people see in your demo. It builds credibility. Right after the BGT footage, have the quotes from Simon Cowell and Piers Morgan. Your BEST stuff needs to be at the beginning. Most people will not watch your entire demo so put the best stuff first.

And I cannot stress this point enough...have footage of you performing for the audience you want to get hired by. Your demo has footage of you performing in the street, in a coffee house, on a small stage which looks like a "variety show." If you're a corporate event planner and you saw those clips then would you spend $5,000 on that entertainer? Or would you spend $5,000 on the entertainer who is seen performing for a group of 300 people and getting a standing ovation? The content in your demo determines the gigs you get.

You need video testimonials. Social proof is one of the top persuasion techniques. Record people saying "we hired Simon and he blew us away." Simon Cowell and Piers Morgan are your strongest testimonials because they're really well known but you need video testimonials. Show "content" (you performing a trick and people reacting) and then show the video testimonial. Video testimonials sell....use them.

I recommend that you create a demo for the corporate market because if you can perform in the corporate market then people in charge of festivals will assume you can perform for them. But if you create a demo for festivals then the corporate event planner won't assume you can be on their level. The corporate market is considered to be higher than other markets. You can always go "down" and perform at schools, festivals, etc...but it is a lot harder to go "up."

Here is a blog post I made awhile ago about how to create a demo video....
http://paidtoperform.blogspot.com/2010/08/how-to-create-demo-video.html


And to answer your other question about contacting companies...you have to do a couple of things.
1. ask if they hire speakers and entertainers for events
2. ask who is in charge of hiring them
3. ask when is there next event
4. ask if you can send them some of your promo materials
5. and find out what their budget is. If they tell me they can only spend $500 on entertainment then I move on. Don't deal with people who can't afford you. You're wasting your time and theirs.

So those are the main things you need to find out when contacting companies. You will also need to contact a lot of companies (10 isn't enough).

p.s. I definitely think "Simon South" is the better name to go by because it flows better

 

[Simon_Magic]

Thanks for all the help Benji

When I did my audition for BGT I didn't think to ask for the footage, and it was in 2009 so I'm not sure if they would still have the footage available to me or even who I would contact about it.


Probably a bad thing I haven't done yet is buy a video camera. I just have so much that I need to get (PA, New Logo etc) that a camera is put out of my mind. Also it doesn't help when your dad, who bless him tries his best, doesn't see the advantage to getting one which sort of puts a downer on things slightly.

I am however running my first burlesque night next week which I am very excited about. I will be compering and performing and I have asked people to film it for me. I will ask them to film peoples responses as well as the show, and I will place them in area's so you can see its packed. Again I do have some video testimonials but they are A) bad quality and B) there is a load of noise pollution and so you can hardly hear them.

I really hate saying 'but' as I know that there are ways to solve the 'but', at the time however I didn't consider things a problem and so thats where the problem lies, in bad planning!

Thanks again guys for all the help, and when I've sorted a new one I'll post it up

Simon_Magic

 

[Benji Bruce]

The first thing you should buy is a camera. Get a Flip camera or something similar to it. Do not spend money on a new logo, etc. All you need in this business is a camera and a computer and you have tons of marketing tools available to you.

 

[Craig Browning]

The first thing you should buy is a camera. Get a Flip camera or something similar to it. Do not spend money on a new logo, etc. All you need in this business is a camera and a computer and you have tons of marketing tools available to you.

I remember when you needed an 8x10 photo (head-shot), business card, letter head & matching envelopes and much, much more. Now you post all of that and more on your web-site....

Gesh! do I ever feel old. . .

 

[Simon_Magic]

Haha! Thanks guys so much for all the help looking at getting a Kodak Zi8 to do my filming. It's HD and takes a memory card so should be just what I need.

Craig I still have letterheads! I use them when writing invoices and contacting companies.

Benji, I notice you talk about the experience in one of your video's. You mention thank you cards. Are these handmade by a professional or bought from a company?

Simon_Magic

 

[Benji Bruce]

I use to send thank you cards in a black envelope that was handwritten. Now, I don't send thank you cards. I either send an email or I will send them a personal video of the show.

 

[Deechristopher]

Have a quick look in CEX at cams Simon, I got a flip mino there for £38 - It only films in SD, but it's bloody useful for on the fly stuff, if you find celebs at a gig or something, that's where my footage with Plan B came from!

DC

 

[Zenn_Darkfire]

Hey Simon check out this Camera, its only 100 bucks on Amazon (you can find it cheaper other places) and it records in full 1080p HD

http://www.amazon.com/DV1-LG-Waterproof-Shockproof-Pocket-Camera/sim/B0044DEEJM/2

Also if you need help with a logo send me a PM I might be able to help ya out =]

btw Benji glad to see you on the boards =]