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writeall Special user Midland, Michigan 930 Posts 
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I'm working on a four coin production sequence where attention is directed to one hand (near the face) while a coin appears from the other (maybe a foot away). It's from Lamont Ream's Coin Creations book, but there are plenty of productions that work in a similar way. The illusion should be blowing on one coin and the other appears. My problem is in getting the timing down between the blowing and the appearing.
I thought if I could see other routines where a coin appears in the off hand while attention is on the other, it would help me get it down. So I'm looking for video that shows this or just tips from the more experienced on what the timing should be. Thanks. |
funsway Inner circle old things in new ways - new things in old ways 9987 Posts
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When performing for a single individual or small group you would execute the production at the moment of eye-contact with the spectator (true Directed Focus). You are looking at the(a) spectator over your hand. Get the eye contact and even wink, then blow and execute the production. The blowing is not the apparent "cause of the magic" -- just the "moment of magic" in the mind of the spectator(s) -- the key being that no one is looking at the production when it occurs. As an alternative, consider having a spectator blow on the coins in hand, making them the cause of the magic.
"the more one pretends at magic, the more awe and wonder will be found in real life." Arnold Furst
eBooks at https://www.lybrary.com/ken-muller-m-579928.html questions at ken@eversway.com |
mystre71 Inner circle martinsburg west virginia 1693 Posts
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Take a look at Ramsay's coin production. Where the spectator thinks a coin is going to appear at his right fingertips but on the count of three it appears at his left. You can see this in John Carney's DVD on Ramsay.
Walk around coin box work check it out here https://www.magicalmystries.com/products
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cperkins Special user 700 Posts
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Often also used frequently in various Visible Coin Across routines.
To see a difficult thing lightly handled gives the impression of the impossible.
(Goethe) |
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Atom3339 Inner circle Spokane, WA 3242 Posts
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I saw David Neighbors' CP. Yep, there was some space between the palm and the coin. Reassuring!
TH
Occupy Your Dream |
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cperkins Special user 700 Posts
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???
To see a difficult thing lightly handled gives the impression of the impossible.
(Goethe) |
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writeall Special user Midland, Michigan 930 Posts
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Quote:
On 2012-12-08 05:13, funsway wrote: Does it matter that it's a multiple repeat sequence with the second, third and fourth coin all appearing in the same way? I guess, what I mean is, does it differ because they know what to expect? My guess is that it doesn't, other than I should pay attention to letting it build? |
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writeall Special user Midland, Michigan 930 Posts
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Quote:
On 2012-12-08 10:28, mystre71 wrote: Thanks, I'll see if I can track it down. |
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funsway Inner circle old things in new ways - new things in old ways 9987 Posts
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Quote:
Does it matter that it's a multiple repeat sequence with the second, third and fourth coin all appearing in the same way? I guess, what I mean is, does it differ because they know what to expect? My guess is that it doesn't, other than I should pay attention to letting it build? There is always a question as to the advantage/disadvantage of repeat sequences. Three seems to be the magic number: surprise, anticipation, expectation -- each with its own balance of astonishment/puzzle rewards. Often the forth pass is a change-up of some sort to "shut the door" on speculation as to method and take them back to "magic" as the answer. For me who primarily has performed one-on-one, the number of receptions varies according to spectator response and engagement -- so, I attempt to make each phase slightly different. With multiple spectators you can vary the individual of focus and thereby provide a reason for the repeat -- "Oh, you would like to test your magic blow also?" What's the old ditty? "One to get ready, two for the show, three for the money and four to go!"
"the more one pretends at magic, the more awe and wonder will be found in real life." Arnold Furst
eBooks at https://www.lybrary.com/ken-muller-m-579928.html questions at ken@eversway.com |
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Atom3339 Inner circle Spokane, WA 3242 Posts
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....um, .....yep, Meant to post that under Problem With CP Topic. Sorry!
TH
Occupy Your Dream |
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writeall Special user Midland, Michigan 930 Posts
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Alright, I really dig the "gaining the spectators' attention before the surprise production" -- that explains a lot. My next question is about motion in the "producing" hand. I'm varying the routine a bit and the production I have in mind (from a back clip) usually involves a bit of back and forth sway to hide the finger movements. Is this an issue? Movement in the "off" hand while attention is supposed to be on the other hand?
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Octopus Sun Special user Wiggle Wiggle 586 Posts
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Carney on Ramsey teaches these frames of reference, small psychological subtleties in keeping the audiences attention where you want...ie the timing of misdirection. looking at the coin, the audience, then the magic as you make it happen. He goes into real good detail on how this is accomplished during the moves.
It's a excellent session to watch, and learn from. There's allot of interesting info in the vid. Give one lots to think about and discover with your work. It was a real surprise to learn since I bought the vid just to learn the cylinder and coins routine. Real world application of those techniques takes some serious practice I've realized getting the timing correct and all. Fun Stuff. |
| The Magic Cafe Forum Index » » Nothing up my sleeve... » » Need help with timing on a production (0 Likes) | |
Posted: Dec 8, 2012 06:00 am 
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