Go Live! Go Professional!

Cirque du Soleil and Paramount to release 3D movie later this year

noreply@blogger.com (Damian De Luca) — Wed, 25 Jan 2012 19:19:00 +0000

The connection between Cirque du Soleil and the world of film started several months ago with the creation of IRIS, a major live production that invites audiences to take part in an imaginary journey through the evolution of cinema. The show was designed to be performed exclusively at the Kodak Theatre in Hollywood, home of the Academy Awards.

The artistic bond between live entertainment and movies is now moving to the next level as the Canadian company plans to release a 3D feature film entitled Cirque du Soleil Worlds Away. According to its producers, the movie will include a timeless story especially written for the occasion, featuring acrobatic performances from some of the most memorable shows ever presented by the Quebec-based troupe.

James Cameron, Executive Producer for Cirque's 3D movie

Cirque du Soleil is one of the world’s leading entertainment companies. Since its creation in 1984, the company has created 31 unique shows that have delighted over 100 million spectators around the world. With that in mind, it is no wonder that the creative team behind Cirque du Soleil Worlds Away is comprised by a group of extraordinary talented people. The film is written and directed by Andrew Adamson, known for his work in the Shrek and Narnia franchises. Moreover, Adamson’s creative force has been coupled with the brilliance and expertise that only James Cameron can provide, especially considering Cameron’s accomplishments in the world of 3D movies. Along with Cirque’s production staff, several world-class production companies participated in the creation of this film, including Warner and Adamson’s Strange Weather Productions, Reel FX, and Cameron Pace Group.

Paramount Pictures has acquired worldwide distribution rights for Cirque du Soleil Worlds Away. The studio plans to release the 3D feature film later this year.

Jacques Méthé, the head behind all television, film and DVD projects for Cirque du Soleil, said: “This 3D event brings the spectator beyond what they could see at a show, it takes them on the stage [...] Jim [Cameron] and Andrew have masterfully captured what a Cirque du Soleil 3D experience could offer and Paramount will present it to the world”.

As Cirque continues to expand its endeavor to deliver joy and excitement to millions around the world, this movie seems like a great opportunity for entertainment companies to keep exploring 3D technology and discover applications that can truly enthrall audiences.

Sources:

http://www.cirquedusoleil.com/en/press/news/2012/3D-Wolds-Away.aspx

http://www.cirquedusoleil.com/en/press/news/2011/cirque-27th-anniversary.aspx

http://www.cirquedusoleil.com/en/press/news/2011/iris-premiere-sunday-september-25.aspx

http://query.nytimes.com/gst/fullpage.html?res=9C05E1D6133EF932A25752C0A9649D8B63&ref=cirquedusoleil

Photo retrieved from:

http://www.hollywoodreporter.com/sites/default/files/2010/12/james_cameron_2010_a_p.jpg

PLASA Focus: Bringing Entertainment Professionals closer to each other

noreply@blogger.com (Damian De Luca) — Thu, 12 Jan 2012 21:06:00 +0000

Entertainment professionals who take their careers seriously attend trade shows on a regular basis. They understand that the combination of business networking and advanced learning can be powerful, constructive, and certainly rewarding.

In previous posts, I have discussed how systematic collaboration is crucial for the live entertainment industry to continually grow and move toward excellence. Accordingly, trade shows are the perfect way of connecting the entire industry and bringing world class professional knowledge to the same place. However, many industry professionals often miss the opportunity of attending events such as LDI or PLASA. These types of first class trade shows are often held in major cities of the world, such as Las Vegas or London, and therefore costs and traveling distances become significant restrictions to many of us.

Thankfully, PLASA came across a groundbreaking solution known as plasafocus.

PLASA is the UK-based trade organization responsible for running the renowned PLASA Show in London's Earls Court every year and publishing two of the industry-leading magazines, Lighting & Sound International and Lighting & Sound America. This year, PLASA will introduce a new type of event that intends to shake up the traditional trade show model. For the first time in the U.S., regional events will showcase the same characteristics of a world-class trade show.

PLASA Focus

Austin, Texas, has been selected to be the first city to hold the two-day exhibition and education program that features the industry’s hottest technology, the most innovative exhibitors, and the region’s most prominent lighting designers and sound engineers.

The way this new style regional event will manage to tour across the nation seems quite simple, but surprisingly it has never been done, until now. The secret lies in convening local and regional exhibitors, limiting booth size, providing prebuilt hard wall booths, and running a professional development program with local specialists, which is free to attend.

PLASA Focus will open February 22, 2012 at the Austin Renaissance Hotel. Both the general admission and the two-day Professional Development Program are free!

PLASA Focus Austin 2012 is the first of a series of regional events that PLASA is planning to organize. So watch out for future announcements as PLASA Focus selects other cities throughout the U.S. to bring industry specialists together.

Sources:

http://www.plasafocus.com/austin/

Lighting&Sound America. (2011, December). Plasa Focus, first such U.S. event, opens February 22. Lighting&Sound America, 8(13), 18-19.

Photo retrieved from: http://www.plasafocus.com/austin/press/photos/img/11FOCUS-0014.jpg

Richard Branson and Ken Davenport on Business Plans (Part II)

noreply@blogger.com (Damian De Luca) — Thu, 15 Dec 2011 13:07:00 +0000

When I was developing the first section of my own business plan, the first thing that came to mind was Richard Branson’s appreciation of how business ideas should be solid and straightforward. While I was attempting to describe the company’s mission, strengths, and strategic position, I had multiple ideas on how the business could rapidly diversify and at the same time conquer several market niches. However, I noticed that I was sprinting in many directions and consequently diluting the core of my company's vision.

After reading Branson’s articles on successful entrepreneurship, I understood that investors are more likely to select business formulas that are founded on just one or two unique ideas. Therefore, I decided to solely focus on describing how the business is going to take full advantage of the fact that no other company in the Internet broadcasting industry specializes in live-streaming concerts.

My main goal was to convey that the company can benefit from creating a brand that users will perceive as the one-stop platform for enjoying concerts online. Branson’s advice made me realize that building a strong and concise differentiation strategy is crucial when it comes to attracting investors attention.

With that in mind, I believe that one of the most important sections of a business plan is the executive summary. In just a few paragraphs the entrepreneur has to outline the key points of the entire business strategy and action plan. In other words, on an executive summary the entrepreneur’s power of simplicity and the ability to articulate the company’s vision is put to the test.

Naturally, having a solid executive summary is not enough to obtain the funds for launching a business but it will most definitely grant the entrepreneur the chance to exhibit the rest of the business plan. For that reason, investors such as Broadway specialist Ken Davenport suggest that entrepreneurs should also pay close attention to characteristics that lie behind the main idea.

Davenport highlights the importance of having the appropriate team with the necessary skills to guide the business to success. Therefore, a compelling management section is another way of proving that a business is likely to thrive.

Since investors are particularly interested in knowing who is going to make the day-to-day decisions, I spent a great amount of time selecting the right type of people to include in my company’s management team. Describing their backgrounds, critical tasks and major responsibilities within the organization helps investors foresee what lies ahead. Therefore, I developed the management section of my plan with the idea of showing investors that I, as the leader of the company’s staff, have the required expertise to take the business plan to the next level.

Sources:

http://www.entrepreneur.com/article/220743

http://www.theproducersperspective.com/my_weblog/2009/05/how-to-invest-in-a-broadway-show-part-ii.html

Photo retrieved from: http://www.sharpastoast.com/tag/business-plan/

Richard Branson and Ken Davenport on Business Plans (Part I)

noreply@blogger.com (Damian De Luca) — Mon, 28 Nov 2011 13:30:00 +0000

Richard Branson is known for building one of the most prominent business empires of all times. The first Virgin company started in 1970 as a successful mail order record retailer as well as a record shop in Oxford Street, London. Shortly afterwards, Virgin expanded to become a promising record label representing groundbreaking artists such as Sex Pistols, Mike Oldfield, Culture Club, and the Rolling Stones.

Richard Branson

Richard Branson’s vision of embracing bold and innovative musical styles, such as progressive rock and punk, helped Virgin Music flourish and become one of the top six record companies in the world.

Since then, the Virgin Group has been continuously developing pioneering business ideas and creating thriving companies involved in leisure, travel, tourism, mobile, broadband, TV, radio, music festivals, finance and health.

Richard Branson has written many books and articles in which he shares his business experience and describes his approach to setting up new business ventures. On several occasions, Branson has expressed that entrepreneurs should pay special attention to one of the fundamental principles of business plans: to clearly and concisely convey a business idea. Many entrepreneurs fail to formulate an attractive business plan simply because they show a lack of commercial focus; “they get too far ahead of themselves and end up sprinting in many directions” (Branson, 2011), which eventually weakens and blurs the original vision.

Another valuable contribution that Richard Branson has shared with entrepreneurs who are trying to launch a new business is strictly related to the importance of carefully estimating the funds they will require. Branson stated that many business founders tend to “diminish their chances of success by undercapitalizing their start-ups” (Branson, 2011).

In one of his online articles, Branson shared a great example of someone who was extremely confident about the start-up capital required to turn a unique vision into reality. He told his readers that when trying to establish Jet Blue, David Neeleman was asking for $160 million in start-up capital, an exceptionally high sum for a company trying to enter the airline industry featuring a low-cost strategy. However, Neeleman stuck to his original plan and strived to raise that particular amount. As a result, Jet Blue had a historical debut and was able to turn a profit in only six months after its launch.

Along with Richard Branson, there are other entrepreneurs that have relied on the entertainment world to introduce new business models and achieve success. Naturally, not all of them have managed to become billionaires. However, we can still learn from their business experiences and advices. For instance, Broadway producer and investor Ken Davenport has shared invaluable insights into the principles of raising funds for the start-up of theatrical productions.

After graduating from New York University's Tisch School of the Arts, Ken Davenport soon became a respected manager for various renowned musicals such as My Fair Lady, Grease, Show Boat, Gypsy, Jekyll & Hyde, and Chicago.

Ken Davenport

In 2010 and after ten years of managing several successful productions, Ken founded Davenport Theatrical Enterprises with which he produced Oleanna starring Bill Pullman, Speed-the-Plow starring Raul Esparza, Will Ferrell's You're Welcome America, Blithe Spirit starring Angela Lansbury, 13, Altar Boyz, My First Time, and other plays.

Ken’s blog, TheProducersPerspective.com, has been featured in Vanity Fair, New York Magazine, and The Gothamist. He has written articles for Forbes, Mashable, Imedia and other online and print publications. In 2010, Ken received the 2010 Award of Distinction from the Musical Theatre Society

Ken has given several seminars and written various articles exploring the world of investments in the Broadway community. As an active Broadway investor as well as a producer continually undertaking the responsibility of raising funds, Ken Davenport believes that a remarkable business plan should evidence the experience that the management team has in dealing with that particular type of project. Potential investors not only look for promising business ideas, but also for business plans that can effectively convey the entrepreneur’s knowledge, skills and devotion to the project. According to Ken Davenport, investors need to know “who will make the day-to-day decisions, what is their track record, where did they learn to do what they do, and how long have they been doing it” (Davenport, 2011). The answer to these questions will also help to determine how risky the business is.

Taking a closer look to your potential competition is another thing that shouldn’t be underestimated. Ken Davenport explains that investors want to thoroughly understand who your competitors are and what they are offering. Most importantly, they want to ensure that your project is capable of providing something valuable, unique, and innovative; something different that the market has not yet experienced.

Even though business plans tend to be extended documents, it is important to understand that investors will initially read only a few key sentences before deciding to dig into the entire plan. Researching and understanding what the majority of investors like to read in an auspicious business plan, will increase your chances to raise the money you need to launch your business.

Let me know if you find other experts of the entertainment world who are sharing their reflections on business plan development.

Sources:

http://www.entrepreneur.com/article/220743

http://www.thebiographychannel.co.uk/biographies/richard-branson.html

http://www.entrepreneur.com/article/220199

http://www.virgin.com/richard-branson/autobiography

http://www.theproducersperspective.com/my_weblog/2009/05/how-to-invest-in-a-broadway-show-part-ii.html

http://www.theproducersperspective.com/about.html

http://www.davenporttheatrical.com/company-history.html

Photos retrieved from:
http://assets.portfolio.com/images/site/editorial/lifestyle/2008/09/ken-davenport-slide.jpg
http://www.entmoney.com/wp-content/uploads/2011/07/richard-branson-picture-1.jpg

You Can Now Watch Live TV on Your iPad

noreply@blogger.com (Damian De Luca) — Thu, 10 Nov 2011 15:13:00 +0000

The Internet revolution that we are currently experiencing is rapidly, and almost imperceptibly, changing our daily habits and routines. Advanced Internet technologies are progressively redefining the way we purchase goods, pay our bills, read the news, share our experiences, and explore the world.

As a result, multimedia content distribution is evolving at an increasingly fast pace, providing users with groundbreaking ways of consuming entertainment products. Recently, a group of prestigious cable operators have very proudly announced that their customers can now watch live TV on their iPads, at no additional cost.

Namely, DirecTV, TWC, Bright House, and Dish have published fabulous user-friendly apps on the App Store that allow cable subscribers to immediately access dozens of cable networks directly on their iPads. Since there’s no need to use a remote control, the experience of watching live TV on an iPad is remarkably different yet delightful and gratifying. Having to use your fingers to scroll up and down, tap, select and perform “gestures” on the screen, represents an ingenious new way of turning an iPad into a state-of-the-art portable TV.

Surprisingly, iPad users were not able to watch live TV before. To enjoy TV shows, documentaries, TV series, and movies, iPad users had to rely exclusively on downloads or video-on-demand services, such as Hulu, Netflix, HBO GO, and Crackle.

Bright House Live TV App for iPad

Video-on-demand technologies are attaining a great level of success and gradually becoming people’s favorite method of watching TV. However, it is important to understand that allowing users to receive a live broadcast HD signal over the Internet opens a whole new world of possibilities.

As this technology continues to grow and the world evolves toward online delivery of multimedia content, users will be able to choose from a new array of entertainment alternatives. Imagine yourself using a tablet, mobile device or Internet TV to watch a performance of the Vienna Philharmonic live from Tokyo, a West End musical live from the Palladium in London, or an Aerosmith concert live from Johannesburg.

The possibilities are endless. The technology that allows to live stream content with pristine image quality over the Internet is here to stay and will most definitely change the way we experience TV.

If you’re a DirecTV, TWC, Bright House, or Dish customer, you’re welcome to download their Live TV Apps for free.

Bright House TV

DirecTV App for iPad

DISH Remote Access for iPad

TWCable TV

Let me know if you enjoyed the experience of watching live TV on your iPad and if you would like cable companies to introduce apps for other mobile devices.

Feel free to share any other app that allows you to watch live TV.

Sources:

The Importance of Social Media in Live Entertainment

noreply@blogger.com (Damian De Luca) — Thu, 27 Oct 2011 15:13:00 +0000

When promoting a concert, Broadway musical, or theater play, producers shouldn’t ignore the power of social media. In fact, social networking can represent one of the few marketing tools that productions with low budgets can afford. Moreover, it is important to realize that, in the digital era, ‘cheap’ doesn’t necessarily mean ‘ineffective’. For instance, several Off-Broadway musicals such as "Altar Boyz" have proved to the entire industry that a serious social media plan can obtain outstanding results. On the other hand, companies that have greater resources tend to think that utilizing traditional marketing channels is the best option to attract potential audiences. Thus, they underestimate what social media can truly accomplish. Thankfully, ‘expensive’ is not a synonym for ‘successful’. Accordingly, live entertainment producers who have already put social networks to the test dare to assert that viral campaigns should be included in every marketing plan, regardless of how large—or small—their budgets can be.

The Book of Mormon

Today, the number of Broadway musicals that benefit from social media is substantial. Producers are getting very creative when planning viral campaigns. For example, when “The Book of Mormon” was about to debut, producers developed a clever Facebook game that encouraged users to actively play and compete for free tickets to the final dress rehearsal. This type of viral activities can become extremely powerful ways to make people share their thoughts about a show with other friends online. Other productions are displaying live Twitter feeds during their shows, playing trivias with their followers through Facebook, or performing their entire show via 140 character tweets.

Producer Ken Davenport is considered to be a specialist and pioneer of social media campaigns within the Broadway and Off-Broadway communities. He has learned to embrace digital marketing and has shown others effective ways to capture people’s attention. Ken is also known for imparting his knowledge on the industry and giving a great diversity of seminars in theater production, Broadway investment, and more. He has now added a new workshop cleverly entitled “The Show Must Go Online: Connecting with Future Audiences via Social Media” The course teaches how to master the art of marketing shows through Facebook, Twitter, Foursquare, and Google+. Other topics that will be covered include location-based marketing, cross-platform marketing campaigns, and turning past patrons into active promoters. This represents a great opportunity to see how the Broadway pros have managed to take full advantage of online tools to turn buzz into ticket sales. Since it will be dictated at DTE Studio in New York, Ken’s followers around the world are already suggesting that the workshop should be live streamed. After all, this is all about exploiting the latest Internet capabilities.

The Show Must Go Online:

NEW YORK:

Thursday, November 17, 2011 from 6:00pm - 8:00pm
Location: DTE Studio, 250 West 49th Street, Suite 302

For more information about the course, click on the following link: http://goo.gl/4QYWA

Sources:

http://www.davenporttheatrical.com/

http://www.theproducersperspective.com/my_weblog/2011/10/how-to-market-your-show-with-social-media-the-seminar.html

http://mashable.com/2009/06/26/broadway-social-media/

http://pavementpieces.com/broadway-shows-expand-audiences-via-social-media/

Photo Retrieved from:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0rvIV8RsZHFR1aos2FfUxy-DtI1mhYFUbkb6_cQcJ7yUSA0AKoa5h2P-GIgItobFRj4YrQ10h88LBx0Lc1wSdSjEWPqj0jtmt7-uGAagO3Ir5vzM_oggwU7drtmtLEDOR_d4kL4CFkiQ/s1600/the-book-of-mormon.jpg

U2 360° Famous Stage Design

noreply@blogger.com (Damian De Luca) — Thu, 20 Oct 2011 08:35:00 +0000

There are legendary rock concerts that have inevitably conquered a piece of our memory. The perfect combination of powerful sounds, stunning visuals, and the fascinating interaction between crowds and artists can very effectively touch the soul of many music enthusiasts. Concerts such as the 1969 Woodstock Festival featuring Jimmy Hendrix has become a real icon in the history of music and a huge inspiration for many artists to come. Even though the most important element of a performance is undoubtedly the artist’s creative spirit, there are other things that help concerts turn into unforgettable legends.

In the live entertainment world, stage design is one of the most acclaimed artistic disciplines. It is virtually impossible not to recall the magnificent and immense white polystyrene brick wall when we think about Pink Floyd’s The Wall series of world shows. There are incredible gifted minds behind the inception of such ideas. Mark Fisher, the man responsible for designing and building the white wall and other famous concert stage designs, is probably the most respected entertainment architect of this era. Fisher’s talent was showcased on numerous occasions during the past three decades. By creating some of the most distinguished stage sets for artists like The Rolling Stones, Tina Turner, U2, AC/DC, and Robbie Williams, Mark Fisher proved to the world that architectural designs can also become part of the history of rock and roll.

The Claw

For U2’s 360° tour, Mark Fisher worked closely with Stageco and production manager Jake Berry to build an engineering masterpiece known as ‘the claw’, which is also likely to become a rock and roll legend.

Since the 360° tour has already ended, the stage will return to Stageco to be maintained, refreshed and left up for sale. This iconic piece of engineering was not only the concert’s most prominent visual element, but was also responsible for holding the show’s 50m-high PA, video screen, and lighting systems.

Even though the price is still unknown, potential buyers will have to consider that the superstructure is a major breakthrough in theater technology. According to Hedwig de Meyer, president of Stageco, ‘the claw’ is years ahead of its time and represents a groundbreaking step in the world of technological innovation. Furthermore, Hedwig argued that “whoever buys the system will be able to create a very distinctive venue and we’ll have a Stageco team ready to assemble it anywhere in the world”.

Although reusing the set means that we will have the opportunity to see other artists take full advantage of this technology, I must admit it is an unusual marketing decision, especially considering that people may forget that it was first used by U2’s record-breaking tour. Nonetheless, it would be great to see more of this amazing high-end architecture set foot in the entertainment world.

Source:
Live Design Online

Photo retrieved from:

Brilliant Stages

Godspell, the First-Ever Community-Funded Broadway Musical

noreply@blogger.com (Damian De Luca) — Thu, 20 Oct 2011 08:21:00 +0000

Whenever a Broadway revival comes out, people tend to think that our industry is suffering from a serious scarcity of ideas. That is not exactly true. On numerous occasions, creativity is involved in areas that are not necessarily associated with the creation of a story. Even though revivals demand that the original script stays practically unaffected, skillful theatre professionals devote an incredible amount of time exploring and playing with the new possibilities that modern theater has to offer. Many directors and producers start this process by looking at things that might bring change and innovation to our world. They are usually the ones who take the lead and allow the industry to evolve and stay imaginative—which is certainly not an easy endeavor. That incredible spirit and sense of courage is typically seen when rules are broken and conventions are overturned. Surprisingly, innovation appears not only in the way new theater technology is applied or the way different disciplines are combined, but also in the methods used to raise funds, promote and manage projects.

Inspired by the work of Guillaume Colboc and Benjamin Pommeraud, as well as Seth Godin’s Tribes, Kickstarter.org and the campaign of Barack Obama, theater producer Ken Davenport found his own way of inspiring change to Broadway’s community.

Godspell is back on Broadway

Ken was responsible for staging many Broadway and Off-Broadway productions such as Altar Boyz, My First Time, and You’re Welcome America. In late 2010, he decided to introduce a new way of financing a Broadway production by allowing anyone to invest as low as $1,000 in the revival of Godspell. Typically, if you want to invest in a Broadway musical you have to be part of a very select group of individuals and be willing to risk a minimum of $10,000 per investment unit—in some cases that figure reaches $50,000 and even $100,000.

Ken Davenport’s plan has proved a great success; he was able to create a community of more than 500 investors who, despite the high risk involved, thought that the experience could be both fun and rewarding. Consequently, legendary rock musical Godspell began performances on October 13 at Broadway's Circle in the Square Theatre.

Creativity was also involved while promoting the musical. On Saturday, Kave Daveport and the rest of the Godspell team organized the first ever Broadway flash mob in Times Square featuring “Day by Day”, one of Godspell’s hits written and composed by Academy and Grammy Award winner Stephen Schwartz (Wicked, Pippin).

For more information, visit Godspell.com

Sources:

http://www.davenporttheatrical.com/projects.html

http://www.peopleofgodspell.com/about.html

http://www.theproducersperspective.com/

Photo retrieved from:

http://www.godspell.com/

Live Entertainment, Internet-Broadcasting and Intellectual Property

noreply@blogger.com (Damian De Luca) — Wed, 21 Sep 2011 12:55:00 +0000

With the evolution of technology and new media, our industry is witnessing rapid changes and will most likely continue to experience a critical transformation in the way audiences choose to be entertained. During the next two years, live entertainment producers, record labels, artists, and venues will combine efforts with the Internet-broadcasting industry in extremely powerful ways. They will work side by side with the ultimate goal of delivering a great diversity of live-streamed performances to virtually every corner of the world. Moreover, by breaking geographical boundaries, this technology will provide viewers with immediate access to an unimaginable range of world-class shows. At the same time, artists will be able to receive standing ovations like never before surrendering to their performances from anywhere in the five continents. Nevertheless, it is important to understand that the advancement of online broadcasting will not reduce event attendance and ticket sales; on the contrary, it seems to me that the amount of live entertainment productions will increase due to the evolution of this technology and the resulting growth of worldwide demand.

Many online businesses have shown great interest in developing reliable platforms to help the industry move forward with this idea. However, for this type of innovative ventures to flourish, business executives need to pay close attention to potential legal restrictions.

Entertainment and media lawyer Gordon Firemark specializes in the fields of theater, film, television, music, and new media. In a series of podcasts and interviews, Firemark has shared valuable thoughts on how to address legal issues that may arise from the creation of businesses involved with video streaming.

During an interview that was done for the online video marketing guide ReelSEO, Gordon Firemark explained that media content producers need to take the appropriate precautions to ensure that their products are not infringing copyrights and trademarks. Apparently, there are many entrepreneurs who have the ability to rapidly achieve financial success by developing new ideas that involve Internet distribution. However, they fail to focus on the legal aspects of the content they provide. Consequently, these entrepreneurs typically end up in court, having to deal with arduous lawsuits that will eventually ruin their capital investment and force them to shut down. For instance, companies like MP3.com, ivi.tv, and Veoh have been sued for copyright infringement and forced to spend an unconceivable amount of money in lawsuits.

Permissions, clearances, and licenses are crucial concepts that need to be thoroughly understood when working with intellectual property as one of the key elements of an online company. After choosing the adequate attorney, it is important to carefully examine if the company needs to acquire appropriate authorization before formally starting its activities. Furthermore, an attorney will help the company negotiate deals and ensure that permissions are clearly recorded and based on the precise requirements of the business’ plans and goals.

ReelSEO’s contributor Grant Crowell, who is also known for consulting and developing in the online marketing space, consistently addresses the subject of legal implications for online video. Last year, he interviewed Daliah Sapper, intellectual property and Internet law attorney, who very clearly explained that in most lawsuits there’s a mix of copyright and trademark infringement issues, defamation, and right of publicity. When discussing the chances of getting sued for utilizing music, artwork and movies that belong to other people, Sapper argued that copyright holders “can get a minimum of $750 up to $150,000 in statutory damages […] and can also get attorney’s fees and punitive damages.” Sapper also discussed that companies that work with intellectual property on a regular basis, such as those that deal with derivative works, need to rely on the experience of an attorney for reviewing the nuances of the licensing terms.

Lastly, during another ReelSEO interview, attorney David Michail, who specializes in new media, advertising and marketing law shed some light on how online publishers can limit their liability when copyright infringement arises. Here’s when The Digital Millennium Copyright Act (DMCA) comes into play. With the DMCA “publishers enjoy the safe harbor immunity for essentially being a transient platform for other people’s activities”, whereas video producers can have an effective solution for removing their content when infringement is involved.

According to David Michail, there are still several aspects of the DMCA that need to be revised. The Internet community is evolving so rapidly that it’s virtually impossible to cover all the issues that may arise. However, this shouldn’t be seen as a negative effect. Gordon Firemark very wisely argued: “if we react instantly to every little trend, we would be spending a lot more of our time and energy dealing with that than with actually getting stuff done”.

The Internet is still full of wonderful opportunities; as entertainment entrepreneurs, we should be spending our time monetizing these opportunities with both audacity and responsibility.

Sources:

Exploring Legal Issues & Ramifications with Web Video Today: Podcast

http://www.reelseo.com/exploring-legal-ramifications-web-video-overcome/

Legal Issues With Online Video For Business – Understanding The Basics http://www.reelseo.com/legal-video-overview-saper/

Legal Guide to Online Video: What Web Video Publishers Need to Know http://www.reelseo.com/legal-video-publishing/

Entertainment Law Update Podcast – Episode 3

http://www.entertainmentlawupdate.com/2009/07/entertainment-law-update-episode-3-bloggers-journalism-defamation/

Safety Regulations: The Indiana Stage Collapse

noreply@blogger.com (Damian De Luca) — Thu, 01 Sep 2011 04:10:00 +0000

As I stated in previous posts, our industry is renowned for institutionalized collaboration through which the quality of live entertainment is persistently making progress. Over the last three decades, the excitement and delight we are able to trigger in spectators has encouraged us to improve our standards and design productions of the highest order. Nevertheless, certain entities that play a fundamental role in the maturation process of the trade are not necessarily focused on enthralling audiences. Instead, one of their biggest concerns is safety. Undoubtedly, the live entertainment industry needs a highly trained workforce exceptionally proficient in safety matters. Understanding and mastering safety has been always a top priority. Trade organizations such as PLASA are actively involved in developing and promoting safe conditions year after year. Since producers and artists of our community are profoundly passionate about entertaining large audiences at outdoor venues, the need for responsible decisions regarding safety measures is something that we seriously recommend. With that in mind, it grieves me to think of the loss of life that occurred when an outdoor stage collapsed in Indianapolis a few weeks ago.

Matt Kryger/Indianapolis Star/Associated Press

The tragic collapse that happened at the Indiana State Fair claimed the lives of 6 people and injured 40 out of the 12,000 attendees. Minutes before country music group Sugarland was supposed to appear on stage, a high blast of wind that probably reached 60 mph blew over the roof and metal scaffolding onto the crowd.

As anticipated by many, the first wrongful death suits have been filed with Tammy VanDam's being the most prominent. The lawsuit was filed against Mid-America Sound Corp., Lucas Entertainment Group and Live Nation, seeking around $50 million in damages, including the emotional distress that her 17-year-old daughter is undergoing for the loss of her mother's guidance. In addition, VanDam’s partner Beth Urschel has filed a second lawsuit seeking $10 million for the injuries she suffered during the tragedy.

With the purpose of avoiding tedious litigation, Attorney General Greg Zoeller alleged that the state of Indiana is prepared to pay the maximum amount allowed by law to the victims of the tragedy. Surprisingly, Indiana’s law limits the state's liability in accidents at $700,000 per person and $5 million total per event. Specialists in personal-injury matters agree that the amount is too low, especially considering the number of victims. For that reason, negligence lawsuits against the designer and builder of the stage and the concert promoter are likely to arise. However, it is important to understand that the causes that originated the accident are not clearly defined yet. It might take months of thorough investigations to determine if there were structural issues or lack of preparedness and response by the authorities of the event.

Regardless of what the court will decide after the interpretation of evidence, the tragedy should be analyzed as an alarm for the industry, especially regarding safety regulations. Even though the PLASA Rigging Working Group has been successfully working on new standards such as the E1.21 to address all temporary structures for technical production of outdoor entertainment events, the use of these standards is on a volunteer basis. William B. Gorlin, vice president of Entertainment Division, for McLaren Engineering Group, wonderfully stated: “we need to promote [these standards] with event producers, promoters, building officials, lawmakers, and insurance representatives” (2011, ¶ 7). Moreover, we need to work together with authorities having jurisdiction to promptly start requiring the use of technical standards and other best practices concerning temporary structures that have been properly studied and tested by dedicated industry professionals.

References:

Gorlin, W. B. (2011, August 15). Indiana State Fair Stage Collapse Commentary. Retrieved August 30, 2011, from Live Design: http://livedesignonline.com/stagingrental/0815_indiana_stage_collapse_commentary/

Hsu, C. (2011, August 15). Indiana Fair Deaths: 5 Killed at Sugarland Show. Retrieved August 29, 2011, from FindLaw.com: http://blogs.findlaw.com/injured/2011/08/indiana-fair-deaths-5-killed-at-sugarland-show.html

Hsu, C. (2011, August 22). Indiana Stage Collapse: $50M Wrongful Death Suit Filed. Retrieved August 29, 2011, from FindLaw.com: http://blogs.findlaw.com/injured/2011/08/indiana-stage-collapse-wrongful-death-suit-filed.html

Lavalley, A. (2011, August 19). Lawsuit filed for Wanatah victims of state fair stage collapse. Retrieved August 30, 2011, from Chicago Sun-Times: http://posttrib.suntimes.com/news/7166895-418/lawsuit-filed-for-wanatah-victims-of-state-fair-stage-collapse.html

Scott Olson. (2011, August 31). State preparing to pay maximum in stage collapse damages. Retrieved August 31, 2011, from Indianapolis Business Journal: http://www.ibj.com/state-preparing-to-pay-5m-in-stage-collapse-damages/PARAMS/article/29265

Photo retrieved from http://www.cbc.ca/gfx/images/news/photos/2011/08/14/li-indiana-stage-collapse-6.jpg

Together We Stand...

noreply@blogger.com (Damian De Luca) — Fri, 19 Aug 2011 02:57:00 +0000

America’s live entertainment industry proudly exhibits a combination of talent, excellence, and technical proficiency like no other place in the world. As an entertainment producer who was raised in South America and blessed with the opportunity to tour the world, I have always praised the level of professionalism that the performing arts community in the US has acquired and sustained over the years. I’ve seen several amazing productions in Europe and Asia, however it’s America that has undeniably set the standards for the world’s finest entertainment. Michael Porter would define it as one of the nation’s competitive advantages. This supremacy has been constantly fed by one key element: collaboration. Trades that attain success understand the power behind systematic collaboration. Moreover, in-depth collaboration allows industries to expand and become influential. Accordingly, industry clusters — also known as Porterian clusters — like Broadway, Las Vegas, and Orlando, have reached a critical threshold in which collaboration between participants has become one of the most important elements in maximizing productivity and encouraging innovation.

Driven by their eager for permanent growth, effective collaborators of our trade are the ones who primarily focus on expanding and sharing knowledge. Consequently, they ensure the quality of education by promoting the development of advanced training organizations such as universities, technical institutions, and research centers. A perfect example of how participants put collaboration into practice is LDI’s recent announcement of establishing a five-year partnership with PLASA. LDI is one of the most important trade shows in the US primarily devoted to entertainment technology. On the other hand, PLASA is a renowned international entertainment technology trade organization for companies supplying technologies and services to the entertainment industries around the globe. Specialists claim that this agreement clearly reinforces the international vision that many members of the industry are trying to promote. Furthermore, PLASA will not only provide European connections for fruitful networking opportunities at LDI’s annual trade show, but will also broaden training options for industry professionals. At the same time, PLASA will strategically benefit from larger exposure in the U.S by taking part in the entertainment industry’s leading summit of cutting-edge technology for theater, concerts, houses of worship, theme parks, clubs, museums and even corporate presentations.

This announcement should be interpreted as an endeavor to build a more collaborative environment. Therefore, if the relationship between PLASA and LDI thrives in the following five years, we will probably witness similar agreements that will help other organizations build bridges between professional entertainers all around the world.

The 2011 LDI Trade Show and Conference will take place in Orlando from October 24-30, 2011 and features more than 300 exhibitors in 1000+ booths. The professional training spans the gamut of attendees skills and interests and includes LDInstitute comprehensive technology training; the LDInnovation & Technology Conference with relevant classes in lighting, audio, production, projection, green technologies, and houses of worship; Backstage Orlando Tours; and the Live Design Projection Master Classes.

For more info please visit www.ldishow.com or www.plasa.org

References

http://livedesignonline.com/ldi/0620_ldi_plasa_partner/

Porter, M.E. (1990). The Competitive Advantage of Nations. New York: The Free Press.

Images retrieved from:

http://ldishow.com/LDI11/CUSTOM/ld11_ad_125x125.jpg

http://www.lsionline.co.uk/news/images/004/D26/004D26F8AF.jpg

Celine Dion to Conquer Vegas Once Again

noreply@blogger.com (Damian De Luca) — Tue, 09 Aug 2011 03:32:00 +0000

Between 2003 and 2007, Celine Dion left the whole realm of entertainment open-mouthed with her extraordinary resident show performed at the Colosseum at Caesars Palace in Las Vegas. Created by acclaimed theatre director Franco Dragone — known for fostering Cirque du Soleil’s initial creative approach — “A new day...” broke all types of records by delighting more than 3 million spectators from all around the world and grossing over $400,000,000 in its entire run (Reuters, 2007). Featuring spectacular aerial work, state-of-the-art stage effects, and exquisite projections on one of the largest indoor LED screen in North America, “A new day...” was described as a major breakthrough in the world of live music performances; “Celine would become the first artist at the height of her career to stop touring and invite fans to come to her” (Five Star Feeling Inc., 2011, ¶ 2).

Celine Dion

After conducting a successful worldwide tour in 2008-2009 and taking a deserved year-off to enjoy time with her family, Celine Dion is ready to challenge the rules of the performing arts once again. Knowing that “A new day...” has accomplished untold artistic and monetary triumphs that probably no other performance will ever earn, Celine has decided to embark on a new production at the Colosseum that will show the world she still has more talent to share. Naturally, designing a brand new production is not an easy task, especially considering that her previous show in Vegas was visually stunning. Whereas ‘A new day...’ was more theatrical and dance-oriented, the new Celine show focuses deeply on the music. Consequently, acclaimed director Ken Ehrlich has decided to feature a 31-piece full orchestra and band, which performs Celine’s biggest hits along with a mix of timeless Hollywood classics. It’s assumed that both fans and industry experts will expect Celine Dion and leading entertainment company AEG to raise the bar. Thus, the production includes a set of automated wagons — illuminated by custom made LEDs — that can be lifted while in motion and guided around the stage by reflectors and lasers (Stancavage, 2011). Moreover, the show features a 25’-tall chandelier made of Swarovski crystals, a colossal LED wall, a beautiful and enormous tabbing curtain, jaw-dropping water effects, and lifelike holographic projections of Stevie Wonder singing “Overjoyed” together with Celine.

Celine Dion’s courageous choice of going back to Vegas with a brand new show is something that could redefine the live music industry. Having a resident show has countless benefits concerning artistic excellence. Consider, for example, the splendor of Cirque du Soleil’s resident productions such as Ka or Love. There is practically no way of achieving the same results with shows or concerts originally conceived to tour. However, resident shows undeniably take higher financial risks. Therefore, if Celine Dion can prove that this type of permanent productions can attain success twice, it would be extraordinary to see other major performers follow the same path. Can you imagine artists such as Phil Collins, Aerosmith, and Madonna have their own resident show in Las Vegas or New York? People like me, who are eager to see the live industry overcome the crisis, are ready to experience such a venture.

References:

Stancavage, S. (2011, July). A setting for a star. Lighting&Sound America, 8(7), 38-42.

Reuters. (2007, December 15). Celine Dion and A New Day.. Cast to make final curtain call tonight. Retrieved from http://www.reuters.com/article/2007/12/15/idUS73259+15-Dec-2007+BW20071215

Five Star Feeling Inc., Initials. (2011, March 14). Celine Dion begins momentous return to the Colosseum at Caesars Palace. Retrieved from https://www.celinedion.com/press/celine-dion-begins-momentous-return-colosseum-caesars-palace

Photo retrieved from:

http://www.soundspike.com/news/tour/1602-celine-dion-tour-celine-dion-preps-for-new-vegas-residency/

Off-Broadway Producer Zek Caride on Conflict Resolution

noreply@blogger.com (Damian De Luca) — Tue, 26 Jul 2011 15:22:00 +0000

In previous posts, I decided to discuss the importance of financial intelligence in theater productions, namely, the reasons why theater producers need to develop extraordinary financial abilities. Since then, I’ve been holding several conversations with my fellow theater colleagues trying to determine other attributes that make valuable producers stand out from the rest of the crowd. For this reason, I interviewed off-Broadway playwright, producer, and musical theater director Zek Caride, who had an enlightening point of view on the subject: “Successful theater producers often see themselves as experts in arts, marketing, planning, or budgeting. However, they seem to overlook their innate talent to efficiently deal with people’s conflicts”. Zek Caride argued that theater productions are not only driven by passion, brilliance, and guile, but also by the unceasing manifestation of group conflict. In other words, theater production typically comprises people — actors, dancers, musicians, singers, designers, authors, directors, and technicians among others — who display hundreds of different skills. Each of these individuals has different purposes, visions, and motivations to exhibit what they do best. In this scenario of assorted interests, conflict is always prone to arise. Moreover, It is rarely a situation that can be avoided; it has certainly become a quality of the trade. Therefore, competent producers are the ones in charge of turning all sorts of conflicts into thriving opportunities than can lead productions to success. The key to accomplish such an endeavor is principled negotiation, which according to Fisher, Ury, & Patton (1991) is based on four fundamental rules: separate the people from the problem; focus on interests, not positions; invent options for mutual gain; and insist on objective criteria.

Time and again, Zek Caride has experienced situations in which artistic disputes have been solved when seeking mutual benefit. In most of these cases, negotiations have helped creative minds discover new possibilities. Caride argued, for instance, that negotiations between authors and directors could sometimes become very stressful. However, if producers are clever enough to understand how to deal with their emotions and egos, discussions can become productive ways of accomplishing unimaginable results.

Zek Caride

Having a deep understanding of what it takes to succeed in the off-Broadway setting, Caride expressed that a good negotiator needs to acknowledge the genuine motivation that make artists set foot in the world of theater in the first place. Caride explained that people are not only concerned about money, but also need to address their need for appreciation, affiliation, and most importantly, their desire of building a promising career. According to Caride, these are things that should always be taken into consideration when negotiating with artists and other creative people.

Zek Caride is known for his peculiar ability to manage low-budget projects and turn them into acclaimed off-Broadway shows. He has worked for several productions including Romeo and Juliet, a New Musical, Blood Letters, I ? New York, and The Scottsboro Boys, which received 12 Tony Awards nominations earlier this year (Tony Awards Production, 2011). Working with limited budgets has urged Caride to develop significant negotiation skills. He has become an expert in dealing with conflicts that typically arise from the dearth of resources. Caride constantly faces the challenge of limiting people’s expensive ideas while trying to avoid hurting their sensitive egos. Most of the times, these situations inevitably give rise to discussions on quality standards and negotiations on how to struggle with tight schedules and inadequate funds.

In conclusion, theater producers need to be aware that negotiation, leadership, and interpersonal intelligence define their roles. These are all skills that can be learned and refined day after day. There are strategies and techniques that can help producers make good use of opportunities offered by the permanent presence of conflict in their productions. Thus, there is no doubt in my mind that competent producers like Zek Caride, are the ones who strive to master the art of conflict resolution.

References:

Fisher, R., Ury, W., & Patton, B. (1991). Getting to yes: Negotiating agreement without givning in. (Second ed.). New York, NY: Houghton Mifflin Company.

Tony Award Productions. (2011). Who's Nominated? - The Shows. Retrieved July 22, 2011, from http://www.tonyawards.com/en_US/nominees/shows/2dfdd184-4ef1-45df-8c80-cff1bc9adb51.html

Spiders also take risks

noreply@blogger.com (Damian De Luca) — Thu, 16 Jun 2011 15:53:00 +0000

Knowing how to properly manage risk and being aware of the possible outcomes an investment might have are two of the most fundamental matters of finance. There are countless business books that provide a thorough examination of how risk can be analyzed, avoided, reduced, or transferred. These activities typically involve conducting market research, setting financial goals, using several mathematical equations, and considering an array of financial vehicles. However, the best way to completely understand risk is to experience it. Thus, reaching the point where you are capable enough to play with risk, it’s not a matter of learning the theory, but, most importantly, a matter of assiduously putting it into practice. According to Robert Kiyosaki (1997), American businessman and author of Rich Dad Poor Dad, “financial genius requires both technical knowledge as well as courage” (p. 110). Consequently, many people attain financial success as a result of their bold decisions and their full awareness of the game’s rules. On certain occasions, these people may experience failure, however, they are daring enough to continue taking risks. This happens time and again, particularly in the live entertainment world. I’m certain that everybody can recall productions that have taken huge financial risks; some have succeeded and generated millions, such as the unshakable Wicked; others have fallen short like Broadway’s version of The Little Mermaid.

Julie Taymor. Credit: AP Photo; Reuters

In a like manner, the theatrical — and extremely problematic — version of Spider-Man: Turn Off the Dark has required an unbelievable investment of approximately $70 million, which is definitely a record in the history of Broadway (Fleming, 2011). Regardless of having one of the most talented creative staffs, including director Julie Taymor and acclaimed musicians Bono and The Edge, the main reason that brought Spider-Man into the limelight was its 183 preview performances (Brantley, 2011). The production — which has finally opened on Tuesday at the Foxwoods Theatre — has suffered numerous difficulties during the nine-year preparation period that includes injuries during rehearsals, several technical issues, strong disputes between staff members, countless postponements, and an unexpected resignation by Julie Taymor (Healey, 2011). According to The Daily Beast, Laura Penn, the executive director of the Stage Directors and Choreographers Society, stated that Julie Taymor has received only $125,000 for her nine years of work (Bernstein, 2011). When explaining the reasons why the musical might be heading to court, Penn argued, “People assume it’s an $85 million production and she [Ms. Taymor] made $10 million or walked away with a settlement in the six figures. And it’s just not true” (Bernstein, 2011, ¶ 5). Since Taymor is one of the best creative minds in the industry she was not only hired to direct Spider-Man, but also to write the script, which entitles her to receive royalties. However, it seems that producers of the show are not providing her with income statements, box-office receipts, and operating costs reports. Thus, the situation is likely to move toward arbitration.

As you may have noticed, the popularity behind Spider-Man basically relies on what’s happening behind the curtain rather than what’s actually happening on stage. I keep wondering how can disagreements occur when the production has a group of exceptional talented artists, a groundbreaking budget, and a story that has sold billions in movies and comics. Unfortunately, the press has destroyed the quality of the show and it seems that producers will have to keep on spending money on the marketing campaign to compensate for their faults. Nevertheless, I believe the situation has reached the point where operating costs are too high and the production will have to struggle to break even. Furthermore, the technical design of the show is probably too intricate to tour across the country and, therefore, it will prevent the production from obtaining additional income. The truth is that nobody knows how this saga is going to end. Still, it’s amazing how investors are bold enough to have the intention to set records while others are fighting against the recession. After all, this is what financial risk is all about.

References:

Bernstein, J. (2011, June 14). Spider-Man's pay dispute with fired director Julie Taymor. Retrieved June 2011, from The Daily Beast: http://www.thedailybeast.com/blogs-and-stories/2011-06-02/spider-mans-pay-dispute-with-fired-director-julie-taymor-is-musicals-latest-drama/

Brantley, B. (2011, June 14). 1 radioactive bite, 8 legs and 183 previews. Retrieved June 15, 2011, from The New York Times: http://theater.nytimes.com/2011/06/15/theater/reviews/spider-man-turn-off-the-dark-opens-after-changes-review.html?hp=&adxnnl=1&pagewanted=1&adxnnlx=1308200468-kaTWah7N9NtMGgRLd8oQYw

Fleming, M. (2011, June 15). Can 'Spider-Man' Escape Being Broadway's All-Time Biggest Debacle? Retrieved June 15, 2011, from Deadline New York: http://www.deadline.com/2011/06/can-spider-man-escape-being-as-broadways-all-time-biggest-debacle/

Healy, P. (2011, June 15). As ‘Spider-Man’ opens, its former Ddrector shows up. And a former president. Retrieved June 15, 2011, from The New York Times: http://www.nytimes.com/2011/06/15/nyregion/julie-taymor-at-spider-man-opening-bill-clinton-too.html?_r=1&ref=reviews

Kiyosaki, R. T. (1997). Rich dad poor dad. New York, NY: Warner Business Book.

The Financial Stress of the Performing Arts

noreply@blogger.com (Damian De Luca) — Mon, 06 Jun 2011 15:41:00 +0000

Successfully conducting an art organization such as the New York City Opera or the Philadelphia Orchestra is not always about carefully selecting an appealing repertoire of plays, dances, and pieces of music. It’s not always about recruiting talented performers or hiring creative personnel for the purpose of staging the most exceptional works. Artistic vision is definitely not the only aptitude required to flourish as a theatre company. Nowadays, the world of opera and other performing arts seem to struggle against both the industry’s instability and the nation’s economic crisis. The time has come for art organizations to showcase their financial skills and focus not only on achieving artistic excellence, but also on efficiently managing cash flows, creating appropriate capital spending strategies, and conducting expenditure analysis. Thus, the role of chief administrative officers becomes more decisive than ever — especially considering that nonprofit cultural organizations are facing a serious decline of financial contribution. These organizations strongly rely on endowments to schedule their programs season after season. Even though some of these companies may attempt to find innovative ways of raising additional funds, their hope of survival seems to be determined by their financial intelligence.

The New York City Opera is experiencing a financial situation that puts its future at significant risk. The organization is facing a $5 million projected deficit for its 2011-2012 season while having to deal with an endowment that has declined from $55 million to $9 million (CBS News, 2011). After announcing its retirement from the renowned Lincoln Center and facing vehement negotiations with its singers, musicians, and production staff, the City Opera is still striving to efficiently revise its budget (Moody, 2011). Moreover, former vice chairman of Philip Morris International in Switzerland and NYCO’s latest board chairman, Charles R. Wall, has contributed $2.5 million to minimize the company’s deficit and promote further contributions (Wakin, 2011). Accordingly, if opera-lovers decide to visit NYCO’s website they will come across an entire page dedicated to a fundraising campaign called Chairman’s Challenge 2011. Essentially, the City Opera encourages visitors to make a contribution on or before June 30, 2011 and help the organization overcome its crisis.

Although some art organizations are confronting bankruptcy and other financial concerns, we can’t deny the fact that many others, like the Chicago Lyric Opera, have managed to stay solvent (CBS News, 2011). Under the same economic circumstances, these last companies seem to have withstood due to clever strategic planning, appropriate staffing, and careful finance controlling. As stated before, running this type of organization is not only about the quality of art. Blinded by the objective of expanding its artistic horizons, the NYCO has committed a series of mistakes along the way. In the 2008-2009 season, although the market was crashing and ticket sales were dwindling, NYCO’s former general manager and artistic director, Gerard Mortier, urged the board to renovate NYCO’s theatre (ABC News, 2010). Mortier essentially forced “the company to go dark for the 2008-2009 season, with only six unstaged performances elsewhere. Total revenue dropped to $17 million in 2009, compared with $37 million the previous year, the audits show” (Dobnik, 2011, ¶ 30). Unfortunately, as you may have realized, artistic success isn’t the only thing that matters.

It’s important to understand that the performing arts constantly face more risks than most other industries. Therefore, we must admit that we are willing to bear the responsibility of continuously handling uncertainty because we like what we do; we love music, dance, and acting among other forms of art. However, if we expect to succeed in this business, we must also realize that art is not the only thing we must preserve; we need leaders that recognize talent and true expression but at the same time master budgeting and financial management skills.

Finally, there’s no doubt in my mind that the City Opera will overcome its financial issues. There are plenty of individuals with the capacity to lead and manage this cultural venture. As George Steel, the actual general manager of NYCO, would say: “This is certainly a serious transition for the opera (...) but the thing that makes me optimistic is that I can see a balanced budget model for the company that will provide a foundation for sustainable growth” (Moody, 2011).

References

ABC News. (2011, May 19). Board of Troubled NYC Opera Meets to Talk Future. Retrieved June 5, 2011, from http://abcnews.go.com/Entertainment/wireStory?id=13637998&page=2

BWW News Desk . (2011, May 19). NYC Opera Facing Financial Deficit. Retrieved June 5, 2011, from TalkOperaWorld.com: http://opera.broadwayworld.com/article/NYC-Opera-Facing-Financial-Deficit-20110519

CBS News. (2011, May 19). Board of troubled NYC Opera meets to talk future. Retrieved June 5, 2011, from http://www.cbsnews.com/stories/2011/05/19/ap/entertainment/main20064326.shtml

Dobnik, V. (2011, May 20). Board of troubled NYC Opera meets to talk future. Retrieved June 4, 2011, from Associated Press Archive

New York City Opera. (2011). Chairman's challenge 2011. Retrieved June 5, 2011, from http://www.nycopera.com/supportus/challenge.aspx

Moody, N. M. (2011, May 20). NYC Opera to leave Lincoln Center, cut staff. Retrieved June 5, 2011, from Associated Press: http://hosted2.ap.org/APDEFAULT/4e67281c3f754d0696fbfdee0f3f1469/Article_2011-05-20-Music-NYC%20Opera/id-06540ac151ea4aebb30a9af2410b9034

Wakin, D. J. (2011, April 7). Facing financial instability, City Opera seeks to plug $5 million deficit. Retrieved June 5, 2011, from The New York Times: http://www.nytimes.com/2011/04/08/arts/music/new-york-city-opera-seeks-to-cover-5-million-deficit.html

Photo retrieved from http://www.nycopera.com/supportus/challenge.aspx

How will the performing arts survive the Internet revolution?

noreply@blogger.com (Damian De Luca) — Fri, 27 May 2011 22:21:00 +0000

Social networks, video-on-demand, webcams, mobile connectivity and such, are part of an already unstoppable revolution that people of the world have decided to embrace. It’s definitely part of our daily lives, yet we may not realize that this phenomenon represents a colossal change on the pages of our history as human beings. Since this digital revolution is primarily changing our habits, it’s inevitably changing everything! New industries are arising and taking the world by storm, while others—considered outdated by many—are expected to fall and eventually disappear. There’s a third type of company waiting for the cards to unfold and still considering its fate. Instead of being blinded by fear, these companies need to believe in the nature and character of their businesses (the very same reason for which they were once successful) and be able to decode change into opportunity.

Ben Cameron

There are many leaders in the world who are successfully addressing this situation and inspiring others to overcome fear with action plans. Searching for answers on how to address transformation, I came across a rousing speech by Ben Cameron at TED.com. Cameron, executive director of Theatre Communications Group, explains how the entire community of the performing arts shouldn’t feel threatened by technology. He invites colleagues to take a look at the situation from a different perspective. According to Cameron’s thoughts, Internet shouldn’t be interpreted as an adversary of live performances; on the contrary, it should be considered a powerful tool to promote all forms of art. Moreover, Cameron believes that the explosion of Internet consumption has allowed artistic distribution to be democratized for the first time in human history. For that reason, artists and performers around the world are getting in touch with an inconceivable amount of prospective followers, who at the same time are eager for new experiences. Internet has given artists an inexpensive access to worldwide distribution. This situation, far from destroying the world of live performances, is undoubtedly expanding people’s exposure to the arts.

Deep inside the essence of human beings lies a strong need for expression. Accordingly, the performing arts will never be extinct because it represents a unique way to fulfill that need. In addition, audiences will always feel attracted by the arts because they provide an exceptional way of seeking emotional intelligence, inspiration, empathy, and passion, which is also a behavior concealed within the human soul.

Ben Cameron provides an entitled opinion, a powerful and encouraging message to all members of our beloved industry on how to trust and understand the nature of what we do. Whereas most people expected a strong objection to the destruction Internet might cause to the trade, Ben Cameron gave us an important lesson on how change can be interpret as opportunity. He has inspired us to acknowledge and embrace the democratization this digital revolution has granted us. Not only the live entertainment, but also other industries should take this perspective into consideration.

Watch Ben Cameron's speech at:
http://www.ted.com/talks/ben_cameron_tedxyyc.html

References:

Ben Cameron: The true power of the performing arts (2010). Retrieved from:
http://www.ted.com/talks/ben_cameron_tedxyyc.html

Biography: Ben Cameron (2004). Retrieved from:
http://americantheatrewing.org/biography/detail/ben_cameron

Speakers Ben Cameron: Arts administrator (2010). Retrieved from:
http://www.ted.com/speakers/ben_cameron.html

Photo retrieved from http://www.tcg.org/about/ar/2005/perspective.cfm

Trade associations: Play the game of change!

noreply@blogger.com (Damian De Luca) — Fri, 06 May 2011 21:05:00 +0000

Constantly strengthening and expanding your knowledge is a crucial activity for every professional. Therefore, your level of professionalism is strongly related to the actions you decide to take when willing to stay current and never stop learning. Gathering information and embracing new knowledge is a process that demands integrity, self-discipline, and boldness. Due to the evolution of technology the world is continuously changing. New products are introduced on a regular basis and many represent innovative concepts powerful enough to revolutionize (or destroy) an entire industry. The winners and survivors of this technological era are capable of perceiving change and deciding to act in consequence. They are developing successful business by systematically gathering information, spending considerable amount of time networking, and committing to collaborate with peers to unify forces.

If you would like to become part of this group of people, specifically within the performing arts business, you should seriously consider attending the several trade shows that the industry organizes year after year. Furthermore, you should stay connected to trade associations, which are essentially devoted to convene the leaders who are responsible for the industry’s future.

USITT's Stage Expo, March 2011

I’ve recently posted an article about LDI’s Broadway master classes and mentioned the importance of the trade show they will be holding in Orlando later this year. However, on this occasion, I would like to recommend another association that has been working for the benefit of entertainment professionals since 1960. The United States Institute for Theatre Technology (USITT) “provides an environment for [design, production, and technology] professionals to connect, create, share, and communicate their craft” (USSIT Inc., 2011, ¶ 2). Consequently, USITT constantly organizes conferences, symposiums, award ceremonies, expositions, and workshops. The association not only educates and assists technicians and engineers, it also focuses on the professional development of costume designers, set designers, architectures, lighting designers, sound designers, and production managers. Furthermore, USITT provides an employment listing for those who are seeking for professional positions or need to connect to proficient employees.

Cirque du Soleil's Training Facility in Las Vegas

To emphasize the importance of actively participating in the industry’s trade activities, I would like to highlight one of the unique opportunities USITT has offered last month. Although there are many ways to profit from USITT’s commitment to the performing arts, I believe this particular program illustrates how well your career can grow when taking full advantage of your personal learning network. Consequently, 32 students and early career members have been selected by USITT’s elite training program to spend three days at Cirque du Soleil’s training center in Las Vegas, having access to the latest technologies the industry is exploiting. Members of the program will have the opportunity to select their own technological field of interest and put their hands on state-of-the-art automation, video projection, and sound gear. Moreover, they will be introduced to Cirque du Soleil’s production and technical staff, who will display different demostrations on how Cirque’s resident shows apply new technologies. Cirque du Soleil’s training center, which opened in March 2009, was originally designed for the technical staff to strengthen their skills in the use of the cutting-edge audio, rigging, automation, and lighting equipment behind every Cirque’s spectacular show in Las Vegas.

As you may already imagine, opportunities like these don’t arise everyday. By staying current with your industry you can discover hundreds of possibilities to help your profession move forward. You will not only receive advanced field training, but you will also be given the chance to get in touch with highly respected companies, engineers, designers and producers. Remember, change is happening right now; allow your personal learning network to help you survive or succeed.

References:

United States Institute for Theatre Technology Inc. (2011). About Us. Retrieved May 4, 2011, from USITT: Association for Performing Arts & Entertainment Professionals: http://www.usitt.org/AboutUs.aspx

United States Institute for Theatre Technology, Inc. (2011). Elite Training Offers Special Opportunity. Retrieved May 4, 2011, from USITT Sightlines: http://www.usitt.org/sightlines/archive/2011/03/EliteTraining.asp

Frembes, L. S. (2009, July 22). Cirque du Soleil's Las Vegas training center features Meyer Sound. Retrieved May 4, 2011, from examiner.com: http://www.examiner.com/av-systems-in-national/cirque-du-soleil-s-las-vegas-training-center-features-meyer-sound

Photo 1 by Barbara E. R. Lucas. Retrieved from: http://www.usitt.org/sightlines/archive/2011/03/assets/images/TrainingCirque.jpg

Photo 2 retrieved from: http://www.usitt.org/images/photos/Photo361medium.jpg

Team building: 'Is there anybody out there?'

noreply@blogger.com (Damian De Luca) — Thu, 14 Apr 2011 14:37:00 +0000

Roger Waters’ all-time acclaimed creation The Wall is considered to be a masterpiece of contemporary art. It’s not only one of the most transcendent rock albums in modern music history but also an impeccable film and an exceptional live concert. Seldom do audiences experience the power of technological innovation effectively implemented in all forms of entertainment as they do with The Wall.

Always using the same script, lyrics, and tunes, Roger Waters and his talented team of collaborators have managed to stay current in regard to the overwhelming technical modernization that the live industry has encountered in the last two decades. This is especially true when we try to compare earlier Pink Floyd’s performances, like the unforgettable Berlin concert in 1990, with the 2011 world tour which is currently travelling around Europe. Even though the latter is more complex and technically advanced than the first, each of these concerts in their own way represent a major breakthrough in the history of live performance.

Consequently, other bands such as Metallica are struggling to follow the same model: to set up a spectacular live production with mind-blowing visual effects. Although Metallica has the necessary budget to accomplish such an endeavor, the band still has to carefully select the human minds behind the design and implementation of their project.

Roger Waters on stage

Time and again, Roger Water has shown his audacity and wisdom in choosing his collaboration teams. In 1982, he combined efforts with Alan Parker to create a film ahead of its time, which featured avant-garde animations and other innovative visual techniques. For the several concert versions, Waters chose to team up with stage designer Mark Fisher, who “specializes in the architecture of entertainment” (Stufish, 2008, ¶ 1).

Similarly, the selection of competitive suppliers and technical supervisors is also a matter of immense importance. For this year’s world tour, The Wall’s production team has selected Brilliant Stages to take gigantic inflated puppetry to the next level. This company has supplied three different mechanical puppets that stand over 20.5’ tall and use fully customized control systems to accomplish their movements on stage. They symbolize the image of the Mother, the Wife, and the Teacher, who play substantial roles in The Wall’s plot.

The Teacher's giant puppet

Brilliant Stages has worked alongside Air Artists to build the inflatable skins, and has received the special collaboration of Andy Cave of Kinesys, to construct the complex mechanism of wires, electric winches and cradles. In addition, this team has also incorporated Lee Threlfall to set up RGB LED light devices to illuminate the eyes of each puppet. “Power for the eyes is derived from the automation cradle using cable reelers, with data control supplied by wireless DMX” (Lighting& Sound America, 2011, ¶ 7). In spite of being highly intricate, the design of these mechanical marionettes requires to make international transportation simpler and on-site installation faster.

In conclusion, team building is a crucial subject in the development of ambitious projects. To properly select the key participants, a production team needs to clearly define the project's goal and understand that intricate undertakings are usually performed by different subject-matter-experts, as opposed to a single supplier. Therefore, it is also important to “define the role of all team members in terms of their functional contribution” (Heerkens, 2010, p. 95). Concerts created by Waters are always excellent examples to learn how production teams successfully coordinate, plan, and execute.

References:

Brilliant Stages Ltd. (2011). Retrieved April 12, 2011, from http://www.brilliantstages.com/

Heerkens, G. R. (2010). Project and team management. McGraw Hill.

Light & Sound America. (2011, April 7). Brilliant stages tours with The Wall Live. Retrieved April 12, 2011, from L&S America Online: http://www.lightingandsoundamerica.com/news/story.asp?ID=-V41WVL

Marvilli, J. (2011, March 17). Metallica prepare for Wall-style tour in 2011. Retrieved April 12, 2011, from Consequence of Sound: http://consequenceofsound.net/2010/03/metallica-prepare-for-wall-style-tour-in-2011/

Stufish. (2008). Retrieved April 12, 2011, from http://www.stufish.com/

Photo 1 retrieved from http://www.rogerwaterstours.com/index.php/tag/puppets/

Photo 2 retrieved from http://thegreengorilla.wordpress.com/2010/12/13/roger-waters-the-wall-live-2010/

TEAMWORK: 'Much ado about nothing?' NOT EXACTLY!

noreply@blogger.com (Damian De Luca) — Tue, 05 Apr 2011 15:08:00 +0000

Shakespeare’s plays are so rich and unique that audiences around the world still go to the theatre to enjoy them. Time hasn't seemed to affect Shakespeare's popularity. Nowadays, people can choose between thousands of options to entertain themselves. Still, titles such as Hamlet, Romeo & Juliet, and Macbeth are powerful enough to catch the attention of many. Furthermore, there are theatre companies throughout the world that are exclusively devoted to producing traditional Shakespeare plays and other classical pieces. One of the most notorious companies that undertakes this responsibility is the Royal Shakespeare Company (RSC). Based in Stratford-upon-Avon, this major British company has been “connecting people with Shakespeare and producing bold, ambitious work with living writers, actors and artists” (RSC, 2011), since 1961.

After decades of magnificent performances, this year the RSC debuts a new venue that will allow audiences to experience an ideal setting for Shakespeare’s plays. RSC's old house was demolished with the purpose of building this new theatre that can successfully meet the modern needs of the performing arts. However, the team in charge of the project struggled to keep elements of the old theater to pay an appropriate tribute to the history of the RSC’s original home. Undoubtedly, there are many crucial facts about this project that deserve to be further discussed. However, the one that I would like to highlight is the untraditional approach that RSC took to face this intricate construction venture. In the theatre world, it is very common to choose an industry expert construction company that will carry out all the work and decide who to hire for every task involved. Alternatively, RSC chose to set up its own team, carefully selecting the best contractors for each job. As a result, the project was led by RSC Board members and executives with the collaboration of one architecture firm, one theatre consultant, one associate designer and a project director. Thus, this team was able to pay attention to every single last detail of the construction and meticulously test the disposition of the thrust stage, rigging, lighting, acoustics, and other facilities. When deciding on the relationship between all these elements, the final goal was very clear to them: to enhance the intimacy between audience and actors. They studied the specifications of the project and practiced every alternative on a 1:1 prototype for one year, before going ahead with the construction.

The New Royal Shakespeare Theatre Auditorium

The new 183.2 million-dollar theatre took three and a half years to complete and accommodates 1,000 people. The previous building could also seat the same amount of people but the last seat was 90 feet away from the stage. Now, the “the farthest seat is only 49 feet from the stage, and 85 percent of the seats are no farther away than 33” (Harryman, 2011).

Unquestionably, this project is a perfect example of how a team benefits from synergic collaboration, proper selection and integration of its members, efficient time management, appropriate definition of the scope, budget-wise functioning, and audience-satisfaction orientation.

For tour reservations and theater tickets, go to www.rsc.org.uk.

References:

Rushton-Read, S. (2011, February). RSC's new stage. Lighting & Sound America, 8(2), 42-47.

Harryman, E. (2011, March 9). The Royal Shakespeare Company debuts new theater. Retrieved from http://www.aaatravelviews.com/post/2011/03/09/The-Royal-Shakespeare-Company-Debuts-New-Theater.aspx

Royal Shakespeare Company (2011). Retrieved from http://www.rsc.org.uk/

Photo by Peter Cook/Royal Shakespeare Company (n.d). Retrieved from: http://www.cbc.ca/news/arts/theatre/story/2010/11/25/royal-shakespeare-theatre-renovated-stage.html

Live Design Master Classes.

noreply@blogger.com (Damian De Luca) — Wed, 23 Mar 2011 13:01:00 +0000

The Live Design Magazine is a very serious source of information that provides a large array of specialized articles on today's live entertainment. If you still haven't heard of it, I strongly recommend you to subscribe to the print magazine or at least visit their web site on a regular basis. Live Design should definitely be one of your primary references to expand your knowledge of the industry.

Besides having the largest audited circulation in the industry, they are very well known for organizing conventions and tradeshows such as LDI, every year.

Their next big event is happening in Broadway (May 21-26). They are holding a series of master classes intended to provide professional training in the fields of sound, light, and projection. It's an incredible opportunity to learn from the words and experiences of some of the most acclaimed industry professionals. The registration includes tickets to Broadway shows such as Spider-Man: Turn Off The Dark, followed by Q&A discussions with the production's technical staff and design experts. Attendees can also learn about the latest technological updates and take advantage of networking opportunities. Additionally, leading manufacturers of the industry will show up to offer complete demonstrations on their newest equipment as well as classic products designed for the Broadway market.

This year, attendees will get the chance to explore the making of RAIN, a tribute to The Beatles, and discuss the creative decisions that were taken when designing the show. Special guests will attend to talk about Priscilla and other Broadway successes.

If you have the opportunity to travel to NY, I strongly encourage you to attend this unique event. People usually come back with their minds blown away and fully motivated to put new ideas into practice in their own professional environment. You should consider that having the opportunity to get in touch with the experts of your particular industry is not an easy thing to achieve these days. Broadway Master Classes is an excellent choice to progress in your career.

The BSMC and BPMC will be held at NYU’s Tisch School of the Arts at 721 Broadway, NYC, while the BLMC will be held at NYU’s Skirball Center for the Performing Arts on Washington Square South.

They offer student discounts.

For more information visit: http://livedesignonline.com/masterclasses/

Kevin Adams discusses The Fine Arts Influence on a Lighting Designer, and shares his process for lighting Hair. (Photo T. Charles Erickson)

Jonathan Deans, self-proclaimed “British Idiot,” talks about his design for the new Cirque du Soleil show in Las Vegas, Viva Elvis

Source: Live Design (2011). Retrieved from:
http://livedesignonline.com/masterclasses/news/registration_open_2011_BMC_071102/

Photos retrieved from: http://livedesignonline.com/photogallery/2009_masterclasses/

Welcome!

noreply@blogger.com (Damian De Luca) — Wed, 23 Mar 2011 03:51:00 +0000

Welcome to my blog!

Here you will find the latest news and trends of the Live Entertainment World!

I’ll be discussing everything that’s happening on the stages of the world from a professional point of view.

World Tours. Broadway. West End. Las Vegas. Los Angeles. Orlando. Concerts. Musicals. Plays. Special Events.

I’ll keep you up to date with what you need to know about the business aspects, artistic styles, and technical innovations of this industry.

If you would like to become part of the Live Entertainment World or you are currently working as an entertainment professional, come visit often and share your knowledge and concerns.