Consulting

[Justin.Morris]

Hey, I posted this over at the Café too but have not had much response. Perhaps there are some here with consulting experience.



---Hi all,
So I'm a part time professional magician in my area, and I've been asked to consult on a theater show at one of our local Universities. They need help with two simple effects (levitation of a small doll and moving a chair-both fairly easy) however what should I charge - having never consulted before?

As background, I've been doing shows since 2002, and I do mostly corporate work. I have an education degree in theatre, and I direct a small play myself every November.

I'm find out more about what he is looking for, but is this a charge by the hour sort of thing or a lump sum for the project? And then how much would you charge for each of these scenarios? I know that markets are different and project involvement differs, but I'm just curious about a starting point or range to begin from. Have you consulted? What did you charge your first time?

 

[j.bayme]

This usually depends on the nature of the project, your level of expertise, and time investment required to properly execute it. For reference, many of our artists at theory11 actively consult for other productions - from Calen Morelli (consult to Copperfield, Blaine, and Dynamo) to Dan White (currently consulting in LA for Kanye West). Beyond that sort of consultation, there's the sort of collaboration that my friend Paul Kieve did for Matilda on Broadway, Ghost on Broadway, and even Harry Potter.

Some of these projects require a day of time, while others require dedicated focus for months on end. Some can be done remotely via phone, email, and Skype - and others require on-site presence from dawn to dusk. So simply put: it depends.

The most important factor is experience and expertise: what you bring to the table. If this is a new experience for you (even if you're well versed in performing yourself) - it may be worth going through this first experience as just that: a learning experience. This would build your confidence, expertise, and understanding of how to function in a consulting role (which is, without question, different than actively performing).

If you believe your existing experience and value provided warrants a fee for this event, then I'd suggest first obtaining a full grasp of the nature of the event, the budget, and exactly what time investment will be required on your part. Then, thereafter, you can provide a proposal based on what you feel is most fair and justified. Good luck! Sounds like a very exciting opportunity.

 

[Craig Browning]

The best way to approach this, at least given that this is early in your career, etc. is to swap things such as the levitation. . . they cover the cost of a simple lift and at the end of the production it's yours. This could be something akin to a Super X system with a pneumatic lift or electric motor or even one of units now on the market for cheap (via Stevens Magic) that the girl/dog in this case, moves completely around the actor's body. This or else you arrange to buy the prop and rent it to them (standard rent on a big illusion is a 30% deposit based on purchase price + 10% of retail per day or week based on how you plan it out). The point is, ownership of such an effect will be far more beneficial to you after the fact and this is a means by which to acquire a personal inventory of stuff along with show credit in your resume.

The Moving Chair depends on what they want the chair to do. . . if you end up with an R/C type system then you're looking at a relatively expensive special effect, not just threads & wires or someone in full blacks. So would such an electronic device be practical to your own show? I can see ways of making it such. . .

Until you establish a solid reputation as a consultant to theatrical productions and possibly exhibit houses (an area I worked in) it is best to work on a barter scenario though it will mean sharing technology and methodology (so have a very firm secrecy & non-disclosure agreement at the ready). When you present options to the producer/director show them the top end version and how it would look first and then show them the cheaper and more crude method so they have to decide.

BTW. . . I might have a lead on a doggie Aga tower for you. An old friend used one in his shows decades ago and he may have it for sale.

 

[Joker_Saint]

Biggest fan all the way from SA

Hi Jonathan. Im 22 all the way from South Africa and the moment i found theory11 (which was only about 2 months ago ) i absolutely fell in love with it. I love magic for as long as i can remember and David Copperfield is one of the greatest performers ever to me. He's work is amazing. I remember watching a show of his when i was a kid and even though i knew it was all sleights and illusion, apart of me fell in love with the fact that i believed it was real. . Oblivious to the world around me i continued just admiring magicians until the movie "Now you see me", which left me on a Monarch and cardist trail. I saw what i think was a sybil in the start and had to find out how it was done and poof just like that i was brought into a world that existed all along parallel to my world. For me at 22 its not about making it a profession anymore as I'm studying now but i pop onto your website almost every day to see whats new and read. For me now its becoming a hobby and there isn't a day that goes by where i don't find myself with a deck in my hand. I love that card magic can be done on the spot with little or no setup or props required, I find myself searching for lots of sleight technique guides and videos and I am even trying to start a little deck collection. Are there any books or DVD's that you would highly recommend that are easily accessible? Being in South Africa its tough to get hold of magic guides and decks. Ive searched high and low to find theory11 decks in SA. The few sellers that do sell know that they are a few and are extremely overpriced. In most cases my only option is to order from America and pay approx. $20 a deck and wait 2weeks, this however limits the amount of decks i can buy at a time as it still is expensive for a deck. Its not even easy to find a regular riderback bicycle deck. Anyway just wanted to say hi to you as you are one of my favorites and ask for a little advice. Thanks