adamversus

Ok, forgive me for being harsh here Pete, but have you ever produced, participated in, or created a major broadcast for television? (and I'm not talking about the high school band show that ran on local access cable at 3 in the morning...) Do you know the limitations of a 30 foot jib outfitted with a Sony vs. one outfitted with a JVC HD cam of similar spec? Do you know the difference between Prime Lenses and Prime Time? If you don't then DON'T PLAY DIRECTOR. YOU DON'T HAVE CLUE ONE WHAT IT TAKES TO PUT ON A PRODUCTION. While viewers such as yourself have a right to express dissatisfaction with any element of a broadcast, it's another thing to start playing "Director" when you haven't clue one what actually goes into creating a show of this magnitude. First, as I've posted before there were definite moments that weren't great in the current production - but for the love of all things holy will you understand that Tom Blair actually knows what he's doing! (For the record I don't know Tom personally, and I'm not being paid to defend the man and his company - but from a professional perspective I'm impressed). Second, the viewing environment has significantly effected production capabilities because it has reduced production budgets. DCI shows are now in theaters because the viewership is frankly too gosh darn small to attract an audience for any network air. The days of PBS are over. Why? Because PBS is not putting any production funds into programming - and still will demand a percentage of ownership rights if it airs on the network. What that means is in order to get on PBS, DCI would have to self-fund the production, work alongside some folks at PBS who'd force their own input into the production, AND give away a percent of any revenue. That's not a business model that works for anyone. (It's also why PBS stations in key markets such as Los Angeles' KCET have pulled out of the system). The bottom line is there's less money to spend on production because it's being made available for in-theater viewership. (BTW DCI was bragging on its website of attracting 40,000 people in theaters for the Pay per View. Do you realize if a television show only attracted 40,000 viewers - even in Peoria it wouldn't last a minute - much less get on the air?) The financial environment means that Tom is significantly constrained in terms of what he can do with the production. "Roll-ins" (the stuff that airs prior to, or after a performance consists of re-edits of old footage, inexpensive "After FX" visual graphics, or live cut-ins of sideline reporters. It also means that cut-backs have been taken with crew - who are less experienced/expensive on a day-rate basis, and have less days of production/pre-production to work with. Bottom line: Be thankful that they've managed to get anything out because Tom's paying out at least $40,000 a day for gear and labor, not counting the satellite uplink fees that have to bounce from a T1 line in Indy to Denver (where Fathom's network operations center is), out to your theater. Considering that at best the telecast took in $200,000 (after Fathom event's cut, and the theater exhibitor fees are paid) and the guy has very little money to work with. I've taken the time to write all this not in an attempt to impress you with knowledge - but to educate you and other posters. To the point that you'll all stop #####ing and whining about this not being there, that not being good enough. If you want to do something to help the viewing, set up some sort of fund to pay the productions costs. Or, if you're really that dissatisfied just stay away and don't watch. But for everyone's sake can you just enjoy the majority of what's right with the broadcast? Can you give a little bit of love to Tom Blair for even agreeing to do this when he's making hardly anything (maybe getting a % of back-end DVD)? Look I'll never tell you how to sell insurance, be an accountant, medical researcher, teach, or whatever it is that you for a living - so please stop thinking that you understand what it is that we in the television business do.

I think the biggest issue guys is that prelims are now the "big" broadcast so the crew has no run thru other than preproduction notes to try and get it right (that's why u see the same shots in semis and finals on FN). It also looks like the production budget is significantly less (based on what I'm watching) vs the PBS days. Tom Blair knows how to do this stuff but he likely still has some unfamiliar crew working with his production keys so mistakes will happen. While I think the work at times has been weak (eg lingering wayyy too long and incorrectly on the cadets mello solo in the ballad without cutting to a wide set shot) I think given the budget, and scope of like 4 plus hours of capture it's not bad. I think the PBS/ESPN stuff spoiled a lot of viewers. That stuff was done to network standards (money)not cine view or web. Hope this helps aid your perspective.

Did anyone see one of Spirit's tenor drummers take a nasty tumble in prelims, struggle to get up, then eventually return to the set for the ending? Thought he got tripped by the percussion judge?

For what it's worth I'm a TV producer. The issue isn't the camera guys, it is with the Director and the technical director who handles the live switching from the truck. The director calls the shots and the TD punches between various cameras. In some cases the wrong shot is being selected from one camera who is setting up a shot instead of an already established shot. In other cases there hasn't been a context set up before a tight shot. Blair knows what he's doing, so it might be a new TD or Tom not hands on

e='DrumManTx' timestamp='1343274625' post='3184239'] [/b][/u] San Antonio looked pretty #### packed to me. Minneapolis, and continued dollar ticket volume

Regardless of any considerations of mismanagement, expect at least 3 additional world class corps to cease operations. Given both industry dynamics and major outside financial pressures contraction is inevitable. At least two of the three will be west coast from what I understand. This is real folks, get used to it. Acheson is claiming ticket sales are up 5% year over year, uh no. Perhaps at legacy shows or TOC, but not across the board. Even regionals showing continued empty seating blocks.

I just wanted to say how enjoyable this season has been to watch. There's a ton of corps that have been resurgent (Crossmen, SOA, Madison), some incredible section performances (SCV Percussion/ BD Percussion; PR Guard/BD Guard, a ton of great brass lines), Some brilliant show designs (I am one of those that actually likes BD's show - and I wish some of the "Sansabelt" wearing crowd of DCP would understand that life moves forward, not in reverse), and what I think it's the singularly most difficult drill over the entirety of a show I've ever seen (Crown). While I understand that posting is a matter of expressing one's opinion (just like I'm doing right now), I just wish that all the folks that complain about the state of the artistic side of the activity would just wake up. Shows haven't started "off-the-line" in decades. The last time I saw someone younger than 70 years old at a VFW function was like...never. "G" Bugles belong in today's corp environment as slings for snares - we're wayyy beyond that now. The activity is for THIS generation, and we should be blessed to watch it. Synth and sampled sound have every place within the activity - because that's the time we're in. (If you don't know who Tiesto is and think Skittles is a candy that competes with M&M's then you'll never have a clue. B flat horns and Tubas help kids more easily transition over to the activity from their instrumental music backgrounds. (Do you honestly think you could have marched 210 BPM backwards carrying a Contra from "back in the day?" More importantly, did you ever march 210 BPM or was your biggest achievement marking time with your toe pointed downward against your knee? Hopefully folks will get the point of this rant - Let's just thank all the staffs that continue to introduce exciting new stuff each and every year. Sometimes it works, sometimes it doesn't. But holy WOW there's always so much to absorb. San Antonio was GREAT to watch, and the coming weeks should be even more fun. Enjoy it! Stop whining about how YOU can't stand BD this or BD that. Or how Madison is the best because they remind you of you did it back in the day. Admire Madison for how THEY'RE doing it THIS day. Your day is over. So be a fan, or go take your passionate complaining elsewhere....

I don't understand how most of the people that post on DCP don't seem to have an open mind about BD and their shows. Look I too grew up in the era of G horns, but the biggest thing we ever did during that era was a "rotation" of forms. With an open mind I hear unbelievably difficult triple-tongue sections offset by major front ensemble runs ripped up and down. Then you've got very aggressive battery stuff - with split parts and 3 against 2 sections (flam drags and diddles against swiss arms and sixes). The guard stuff with the hula hoops is geniously matched to the mood of the music, and arguable the most uniquely visual prop use of the year. (Although I do find the Phantom guard to be stunning and absolutely hard to NOT watch.) Over the years I haven't got caught up in what the performers AREN'T doing or DON'T have - I just try to enjoy what IS on the field - because there's some incredible stuff out there. I saw BD's show in person. After watching Phantom (which I love), and SCV (which I was really impressed with when I saw it), BD came out and clearly delivered on a different, higher level. If you do background on the Dada movement you'll see just how well these guys adapted the movement for the field - down to the hobby horse thing that literally emerged from the Swiss start of the Dada movement (yes it was Swiss not French). So stop living in the "old days" and look at what these kids are doing. Unbelieveable talent level in all sections. Great execution. A great staff. Appreciate it. Don't ##### about it.

Taking a look at the recap from last night's T.O.C. show in Rockford is confusing to say the least. How can the "content" portion of a corps performance vary so wildly from one night previously. As an example, Santa Clara's percussion scores dropped significantly. While the performers could have had a really off night, the content obviously didn't make a wholesale change in one evening. Yet the content numbers dropped significantly in percussion from Minneapolis to Rockford. I understand that different judges will have different interpretations. But this much of a variance in percussion scores? Across the board? It either creates the appearance of (and I'm not say that it actually happened) favoritism, lack of familiarity by a judge, or lack of judging skill. It just makes no sense. Can someone explain this to me? (BTW while I truly do admire the musicality of Vanguard's drum book, I'm not playing favorites here with them. Just think they were shafted - truly shafted)

Does anyone know if liability clauses exist in member contracts? For instance, since Teal Sound folded do they have an actual liability for un-rendered service to members, or is there a "hold harmless" clause that removes their responsibility? At face value (not understanding Florida contract law), I'd think there might be a bunch of outstanding legal issues not-typical of a 501©3 situation. Based on what seems to be emerging from various reports - there might be significant exposure to both the corps and DCI on this. Any legal dudes out there that know?

Great. Send those folks my way. I think a few folks would be shocked by the level of available expertise - and willingness to help.

Thanks for the heads up. I actually didn't see the topic posted before I sent mine. I just responded to it. Point being. If folks are interested, I really will help get an independent, qualified body involved to address the issues.

Ironically it looks like we about simultaneously posted similar sentiments (sorry I didn't see your earlier post or I simply would have replied to this). But take a look at the post labeled "DCI Performances Great. Business..." I've articulated a few of the same points (and a few more) based on my professional experience with major ad agencies and television. Bottom line: I'm willing to pony up some major resources to help address the environment in with an independent strategic development group - If some other folks with similar or compatible expertise (and interest) are willing. Reply to this post or read the other notes in my post and let me know your thoughts.

As a semi-Jurrasic FMM, I've meandered in-and-out of the activity as life has allowed. The last few years I've had the time to re-engage and I've been hooked again. There's little doubt that the artistic side of this "industry" is fantastic. The inventiveness displayed today far surpasses anything done during the years I performed. (I include ALL marching arts in this, as the WGI stuff has become mind-blowingly fantastic to watch.) I often read with amusement the raging debates regarding "G Bugles", amplification, etc. While those debates demonstrate a passion for the activity, the energy spent on it is kindred to those that argue that the "spread offense" doesn't belong in football, the DH in baseball, or where the 3 point arc should be. They're debates of passion never to be settled. But the debates face a greater challenge - the viability of the activity itself due to major "industry" changes. I'm not going to take a Lee Rudziski (sp?) approach here. Rather I want to present macro-level issues that anyone that loves the activity needs to face - and address. I present this information like I would in any professional forum, for you should know I have a major ad agency background prior to moving into television production. I've had to deal with issues like this for mega world-wide brands, and for the television shows we produce. Suffice it to say I've learned a thing or two about human behavior over a few years, and how to affect change on it. So here are the challenges that need to be faced: 1. Generational shifts have reduced the entire audience for the activity. As a consequence the total interested and available talent pool has also shrunk. The millenial generation has created dramatic shifts in entertainment consumption. The internet has overtaken total television viewership, program length is shorter and shorter, content highly fragmented. Entertainment now includes time with video game players, hand-held devices, and more. This is a generation that doesn't linger with entertainment - it consumes it in rapid order. What this means to drum corps is a future audience that won't have the patience level to understand it, nor interest level in it. Drum Corps isn't alone in facing this problem. Recently, college football athletic directors have banded together to design a way to re-attract college students to their own home team's football games. It seems that while the students like the experience of the game, they're unwilling to sit through two hours of it, even if their team is a perpetual winner. 2. The remaining interested talent pool is being priced out of the market. Those that are interested in becoming a drum corps member, simply can't afford it. With tour fees averaging nearly $3000, and a difficult economy, kids can't find enough employment to build that reserve, parents can't afford it, and personal sponsor contributions are more difficult. The choice for those that are interested is to miss a season or two to save money for the one season they can afford. It never ceases to amaze me that in southern California where I live, the lack of World Class corps. With the exception of Pacific Crest (which continues to struggle with filling available spots) the activity doesn't function on its highest level. Understand, this is a market with some of the most renowned WGI groups (RCC, Ayala, Pulse), some of the best national High School programs (too numerous to mention), and tremendous Universities. With all that - only one corps fields, and it has trouble filling 150 spots? Likewise, how can Crossmen be the only World Class Corps out of Texas - another huge, huge base? The evidence suggest that cost (plus millenial interest) is at play. 3. Dwindling of key audience demos will keep the activity off of mass media. The drum corps audience is bifurcated. It's either young (14 - 21), or old (35 - 64). As a result the key 25 - 49 audience (the one that advertisers cater to) isn't sufficient to draw non-musical equipment sponsors/advertisers. Without sponsors the best the activity can muster is going through Dan Diamond's group (Encore Events/Theater Pay Per View), or IPV (internet pay-per-view). The result is insufficient revenue to build any awareness, and as a consequence growth to a new audience. 4. Current sponsor dollars are dwindling. Musical equipment manufacturers (and members of NAMM, etc.) are facing a contracting market. With the elimination and reduction of school music programs due to the economy there's less revenue, and less money available to be spent. 5. Grant and giving dollars are less available. Again, global economic conditions have reduced corporate giving, corporate matching programs, and total corporate contributions. Even municipal underwriting has been hit, as communities readjust tax bases, and are forced to reprioritize all city services. Individual and personal donations are additionally constrained in the economic climate. 6. Corps operating costs increase. Beyond the investment in equipment and personnel, day-to-day operating expenses (such as fuel that can average up to $40,000 a week) escalate. Even group insurance rates have risen to astronomical levels in recent years. This trend will not reverse anytime in the near future. Add all of this up: A smaller, fragmented audience; smaller talent pool; less available economic resources; in-ability to grow the industry through mass-media; and increased costs and we're looking at the extreme likelihood of a radical changed landscape in the very near future. Recently a conference was held with leaders of all the marching arts programs.( I happen to have briefly worked with one of the DCI guys year's ago on a sports-related project) I'm sure they've all been talking about what to do with this environment. Well here's what I'd like to do. If anyone of you out there would like to lend your own background and expertise toward building an independent plan that will confront these issues - and then thoughtfully presented to some folks who economically could change these conditions, let me know. (Do it in response to this post.) If enough of you are interested, I'll supply and email address and we can have an in-depth conversation. Because I'm willing to bring a whole bunch of resources forward to making a change for the better viable alongside DCI. Let's give those folks credit - they've done a lot of great things. They just can't do it alone anymore. Let me know what you think...