This is from my book, The Magic of Television.
Choosing Tricks
Believe it or not, unless you’re posting quick, visual, and/or manipulation/Cardistry-type magic to Instagram, Tik Tok, etc., this topic will be the least important subject in this book!
This is because, basically any and all magic will work for television AND social media, including all the “extras” like fancy lighting and smoke-machines! All you need do, however, is to be mindful of camera-angles, and/or where what particular camera is “on you” at each moment of your trick! With professional, studio production, you’ll almost always be able to first discuss with the camera-people and/or floor-director what you’ll be doing, and not when they should NOT be shooting you and from where, but rather explaining what will be happening DURING your magical presentation! For example, if there’s some sort of big change, production, etc. at the climax to your routine, you should let them know that you’ll be doing this or that, (or saying this or that) and then finally, you’ll (say) wave your hand, or say a certain phrase and then “wham”, this or that will happen. (at the climax) this will prepare them to set up a close-up (or wide-shot) for the very end of your trick. This goes for whether you’ll be working a solo, manipulation-act, or a “talking” effect with an assistant/host of the show. Just be sure and mention if you’ll be moving around a lot, (so the camera’s can “follow the action”) or if you’ll be standing or sitting more stationary, so that they can set up the cameras for mostly tight-shots, and maybe a few “reaction-shots” for yourself and/or the host and you. These are called “two” or “three-shot” shots, referring to how many heads will be in the shot.
Obviously if you’ll be doing mostly close-up magic with or without your host, (sitting) there won’t be any problems! If you’re standing up, doing larger tricks to music (yes, bring with your music and give it to someone in charge; it can be in a digital or analogue format, most professional studios can accommodate either) then the shooting of it might be more complex. They might even suggest that they pre-shoot your segment, and then insert it later in the show! If there is no studio-audience, they might even likely add in, in post-production, an applause-track!
Regardless, briefing the people in charge of the show as to what you’ll be doing will help everyone to make you look good.
The Monitor
This is obvious, but not to everyone. DO NOT (under ANY circumstances) look at yourself in the monitor!
You’ll be really tempted to, to see how you look, and/or to see which camera is “on” (the RED LIGHT ON TOP OF THE CAMERA IS “ON”) when doing your tricks but DO NOT look at the monitor1
When the host speaks to you, make eye-contact with him/her, just as you would in a regular conversation! When doing your trick(s), either with the host or solo, (standing) with or without your assistant, DO NOT LOOK AT THE MONITOR! If you must, look into the camera-lense, especially if you know which camera is taking the “wide-shots”. (again, the red light on top of the camera would be on) That way you can at least play to the home-audience. You must also TRUST that the crew knows what they’re doing! At the very least, they will follow your actions, occasionally going wide and tight, as this is all standard camera-work. Just perform your magic the way you normally would. Make eye-contact occasionally with the wide-shot camera, and assume that all will go well!
The only thing I would also highly recommend, is that you ask someone which camera will be doing the tight-shots as well; (camera 1, camera 2, etc.) as this shows professionalism! So that at various points in your act where you would like the audience to “see something” (such as a chosen card, a silk handkerchief, the production of something) you can pause slightly, and show the card, etc. to that particular camera! It’s like “emphasizing” something. If the host is picking a card, then they will know which camera to show it to. Remember to “play to the camera” in that way, pause and show the close-up camera whatever it is you want to/need to, smile to the lense of the wide-shot camera, and your presentation will look all the more professional. Otherwise, try to ignore the monitor!
Time
Another important point is how much TIME they will give you for the magic-part of your segment.
Usually they’ll allow a minute or two to talk with you on-camera to let the home-audience familiarize themselves with you, if you have won any prizes/awards, and your hometown info is usually mentioned here by the host. The actual magic-part comes next, (usually 3-4 minutes) and then the “wrap-up” with you and the host. At this point they will “plug” you by stating (or you stating) your contact information. Your entire segment may end up being 6-8 minutes tops, if that! Always remember to allow for less time than you think they will be giving you, as it’s better to come up short for time, rather than to try to showcase all your tricks and be cut off! The host can always “fill time” with you by talking with you on-camera after your magic segment.
Remember, do tricks that might be suitable for social-media: (Instagram, Tik Tok) VISUAL, and nothing too complex! The less talking the better, unless you’re a Comedy Magician, and/or you rely on your personality to “shine”, and/or are known for your personality. Your “energy” is really hard to put across on television, so you must either exaggerate your personality, (but NEVER your movements, as television will exaggerate this regardless!) or not bother to “come across” personality-wise. Better to look more sedate than to look like a clownish-fool, especially if you’re a well-dressed type.
Television Magic for “Other” Occasions
By this I mean if you are hired to be the hands of someone else, (a gambler, or another magician/actor) or if you are hired to do magic, incidentally, in the background!
This is not as glamorous as being a featured guest on a talk-show, or being one of several “star magicians” being featured along with other performers, (like on “America’s Got Talent” or “Masters of “Illusion) but nonetheless, it can be a source of occasional income for you.
All previous rules apply here: “play to the camera” and follow direction, especially if you’re supposed to move in a certain way/direction in the background of a wider shot. There may be bigger action occurring in the forefront, (dialogue between actors) as you and others are doing their thing in the background for “flavor” or to set a scene. Nevertheless, you will be only a “cog in the wheel” for the production, but still very important! These roles/positions for magicians and other variety entertainers (jugglers, etc.) can make or break your career; remember it’s not about you, but about the PRODUCTION, (TV-show, movie, etc.) whatever it may be. Your fee might be the same as an “extra” might receive, but it is still a great credit on your resume, regardless of where you are in your career. (beginner or pro) If you or your agent are “snobby” about your fee, (“I don’t get out of bed for anything less than $__!”) you’ll either not get the job, or in future, you’ll not be considered because you were “trouble” initially. It’s better to get a lot of smaller, lower-paying jobs, than the rare, larger-paying one.
If you manage to land this role, ask specifically what THEY require, and say that you can DO IT! You can always scramble for extra magic-props from other magician-friends or your local magic-shop. NEVER SAY NO. They need it, you can supply it. That way, they will turn to you again, because you were EASY TO WORK WITH, and CO-OPERATIVE. Most importantly, DO DELIVER EXACTLY WHAT THEY WANT/NEED. DON’T CONTRADICT THEM. Work within the limitations they supply, and you’ll be okay. It’s all about THEM, not YOU!
As for the tricks themselves, you’ll usually have SOMETHING that they require for their tight, and/or wide-shots.
Try to always enjoy yourself and get along with them.
The Magic of Television by Dr. Michael (Magic Mike) Likey is available in paperback from Amazon: https://www.amazon.com/dp/B089M617NP?ref_=pe_3052080_397514860
