WHEN SISKEL AND EBERT ARGUED

PRODUCTION VALUE

If Siskel & Ebert were arguing about some new film that was just out, their heated discussion might drift onto PRODUCTION VALUES(only EBERT would be likely to do that); if he argued for a THUMBS UP, based on excellent production value(making a film is like telling a story; some tell the same story better), he will say that the film's producers used amazing cinematography(spent lots more $$$) to express several themes/ideas, where most would not have(or would not have to), & that added P.V. made the film infinitely better, more entertaining & the extra-mile techniques became like another character in the story. [one of the 'anachronisms' that I warned you about; I'm addressing a key band-member here, with some 'professional advice,' like a director of music or stage]YOUR TASK:when you have decided upon a particular 'song' to work-up for improving the ESSENCE ACT, do a YouTube search for videos & collect all that you may find(especially the less-professional and/or amateurish looking/sounding ones that somehow got posted); next, watch them all(probably several times each) & select the best few from the batch; discuss w/band-members WHY you thought those were the best ones; you may tend toward the better sound quality or the best of the musicians; you might find that you wanted to choose one of them, not for the music, but something they did that was captured in the video, or there were close-ups of fingering that you appreciated or just that the film featured separate performers at the right change-ups. My 1st TV-production had two cameras & a switcher; it was a softball game, sponsored by 96-ROCK & Alex Cooley, played by DJ's vs. band-members from KANSAS, when they came into town for a Concert(Cooley Promoted); it drew a large & raucous crowd of KANSAS-fans to Piedmont Park one sunny afternoon, helped promote both the Concert & the radio station(while having video-production equipment/personnel at the game helped boost all the excitement); one camera was fixed on a tripod behind the plate(to capture pitches & swings) & the other was just past 1st-base, and could pan to follow a hit and catch the play in-field or out-(w/close-up on 1st-base action); there was just one microphone, so I put it on a tall stand w/heavy, steady base, and placed where I got an adequate feed for both Alex's play-by-play calls on the P.A., and good coverage of the crowd-reactions(and even some overheard conversations in the bleachers); it took 3 of us, cameraman on 1st to do the panning if there was a hit/play, another guy on the switcher at my truck to change from behind-the-plate coverage, to the panning view of the field, whenever he heard that sound an aluminum bat makes clobbering a softball; then, of course, I was there directing(or perhaps re-positioning the mike or just speaking a fake-part as faux-fan), and could have made the spectacle even greater, if I had carried a large megaphone around & shouted-out camera/switcher cues. Things went smoothly with 3-crew, and even though cameras weren't sync-ed & each switch rolled the image, the tape we produced gave the feeling of being there with crowd/Alex/KANSAS; my Beta Max was so amazing, that when I loaned my only copy to Alex, he never returned it(but word got around about my Channel 41 Productions, because this big promoter showed it to everyone that stopped by his office on business)!!! The Production Values of the song-videos you collect and watch depends on so many different things, that it would behoove ESSENCE to thoroughly exploit as many of them as practical in their future bookings; your SHOW can be good enough to disguise any musical- or talent-shortcomings, while growing a better- or well-organized local fan-base, that by bringing more folks to your bookings will equal higher- and better-paying gigs as you mature as a group, or change-out various artists as needed.

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