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freaksrock62 New user 70 Posts |
I'm sure you guys have seen this topic a million times... but I have a little question to ask. I have devoted the last 3 or 4 months to perfecting the techinique of
"the pass". I have one small problem. THE ANGLE. Can anyone here make some recommendations one how to really find the perfect angle so that it actually becomes "invisible"?
La dee frickin' da!
I live in a van down by the river! |
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Card Sheister Regular user Ninja 182 Posts |
Sure.
Do it in front of a mirror. You'll find your answer. And another thing. Which pass are you referring to. Good luck trying to find an answer to that question with the lack of detail. Hope this helps |
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Lesault New user 63 Posts |
I'm having the same problem. Trying the pass as described in The Royal Road to Card Magic, but it is just blatantly obvious what I am doing I'm pretty sure I must be misinterpreting the method.
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zoneinfinite New user 90 Posts |
Hmm... in RRTCM, they teach various covers for the pass right? Try out the riffle pass. I always use that, and also the ear cover pass. When done right, your spectators won't know a thing. Really. Even if you "slip up" a little when executing the pass, the cover WILL conceal what you're doing.
I have yet to find any spectator telling me I've just controlled the card to a convenient place. Occasionally I don't do any cover at all, they still don't know what I've just done because they could hardly see the whole pass being done and won't suspect anything. Just be confident. |
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mysticz Special user D.C. metro area 680 Posts |
A good pass is made invisible through an equal combination of technique and misdirection. Very few individuals are capable of making a perfectly invisible pass from every angle, thus the application of strong misdirection.
I use a classic pass in a few effects, but it is cloaked in misdirection as part of the routine. I'm sure it would flash to some extent if executed baldly with no cover-up. I think it was Malini who spoke of waiting until the right moment to execute the pass, "even if it takes a week." JZ
Joe Zabel
"Psychic Sorcery" There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy. -- Shakespeare's Hamlet I.v. 174-175 |
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Mitch Regular user Toronto, Canada 157 Posts |
Jay Sankey has some excellent tips for the classic pass on angles as well as speed and timing on his Sankeytized II tape. I have found it to be quite helpful..I have made modifications for myself but Jay's tips were great....this tape is generally quite inexpensive but in addition to his stuff on the pass it has all his other killer stuff...get both volumes.
Mitch
Mitch Solway
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groovy Regular user 109 Posts |
I agree Mitch, Jay's thoughts on the pass are helpful.
People should note that the deck is angled towards the camera when he riffles/turover passes for his performances. This helps eliminates the 2 points of flashing a lot, combined with his slight rocking motion on a riffle pass. Groovy |
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dannywhit Regular user Oak Ridge,TN 121 Posts |
Try giving it a dip when you do the move. That helps a lot when your first learning the pass. Check into buying the Card College books by Roberto Giobbi. There's a lot of stuff to learn in those books. I love 'em.
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r4bid Veteran user 386 Posts |
Dante's Practical Methods or Kaufman's On the Pass both deal with a few covers for the pass (Kaufman's has more as it focuses solely on the pass).
My way of dealing with the angle issue is to just use a cover, I gave up on the dip method awhile ago as it is just too irratic, if your spectators are at a weird angle to you. I tend to use the; Cover Pass (cover built in and it can be done pretty much straight on) Ear Cover (it's like the dip cover but the movement is like 5 times as large so the pass is 5 times harder to spot). Riffle pass I am also currently experimenting with a little variation I came up with on Mr. Lee Ashers pulp friction control to use it as a single card control to the top as opposed to the bottom. This is still in early stages and I am trying to improve it but I think it has some merit under certain cirumstances. yes this post is excessiveing... |
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Zenneth Regular user China - Hong Kong 135 Posts |
I have watched Richard Kaufamn's on the pass, and I really don't like the covers that Richard taught in the video.
particularly when he explained the covers for riffle pass, I think the riffle itself is already the cover, why do we still have to swing our hands from left to right, etc..? |
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GothicBen Veteran user England 353 Posts |
I've a few notes on the pass that you might find useful. E-mail me and I'll send it on!
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Zenneth Regular user China - Hong Kong 135 Posts |
By the way, Lee already has the application of Pulp Friction control to top...I think he will explain it in his coming book...
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Paul Inner circle A good lecturer at your service! 4409 Posts |
Yep, the pass has been discussed before if you look back a little.
Lesault, you should join the magic club in Edinburgh, I'm sure someone there could give you some "real world" assistance with your pass. If you e-mailed; trevor_mccombie@standardlife.com I am sure he could give you details on joining. I don't think there is a pass that is completely angle proof from all sides. No doubt someone will tell me otherwise within 12 hours, lol. Paul. |
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p.b.jones Inner circle Milford Haven. Pembrokeshire wales U.K. 2642 Posts |
Quote:
I have watched Richard Kaufman's on the pass, and I really don't like the covers that Richard taught in the video. Particularly when he explained the covers for riffle pass, I think the riffle itself is already the cover, why do we still have to swing our hands from left to right, etc..? Quote Hi, I did not like Kaufman's performances of the various passes much either, but for different reasons. In fact opposite reasons to your above statement. To me he gripped the deck far to firmly (like he was going to strangle it) and emphasized that as much of the upper packet must be visable as is possible. Why? Surly you should show as much of the deck as you normally do when not performing the move. Now I know that this is probably due to the fact that he was trying to sell the best pass possible, but in real life, for a lay audience, you do move your hands naturally when talking don't you? I do, I Never perform the pass as - look I am going to do it now, hands in front of body staring at my hands as I riffle pass. But rather as I make a comment which has caused the spectator/spectators to internalize or laugh and I have some eye contact. In fact I find that if you have a card returned by one spectator and then comment to a different spectator preferably one on the opposite side of your body the swich of gaze from the initial helper to the person to whom you commented makes perfect cover. phillip |
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Sybilmagic Loyal user England 275 Posts |
Something I've learned about the pass is it must be done gently and not too abruptly.
I agree with the comments on Richard Kaufman he does grip too hard. However, he does illustrate a strong point that you should run your left thumb to the left back index corner to raise the deck before you execute the pass. It does provide some useful cover as it gives a reason for the deck to be moving. I saw an internet video clip once of a very cool pass. I use this all the time. Basically once you have passed bring the top packet about 5 inches above the bottom portion then dribble the cards. If you already dribble cards while pattering etc.. you will find this looks completely natural. The biggest mistake is to try to misdirect i.e... look, there is a three headed monkey. It won't work. Something natural like asking a name, usually a question or a direct comment. Never under any circumstances perform the pass sitting down. Hopefully these comments may help. |
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AndiGladwin V.I.P. UK 587 Posts |
This sounds similar to how a lot of people are mis-interpreting my pass in the video section of
http://www.asquaredproductions.com could that be it? There are a lot of videos of Passes on the net, so its probably not, but it's worth a try. I'd love to know why not. I use it all the time when sitting down and have never had any problems with it. In fact, it blocks out the only major angle problem - from below. What are your reasons for not doing it sitting down? I'd love to hear. --Andi
View my Close-up Magician website or Vanishing Inc Magic
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Dan Farmer Loyal user Northern Nevada 235 Posts |
So, I have a question, I've been very interested in learning the pass, I have it in a few books but I'm hoping to get a video on it. I had just assumed I would purchase Kaufman's video but since it appears that some of you dislike it, I was curious what you might recommend instead?
I know Brad Christian's Ninja 1 is about the pass, and other than that I'm not sure. Perhaps one of Daryl's card manipulation vids? |
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David Smyth Regular user Stourbridge, UK 146 Posts |
Hi,
I've found that the best angle for the pass is one that's looking straight down on the deck. I know this is hard to achieve, but if the spectators are mainly focusing on the top of the deck then from what I've found they are less likely to see the pass. I hope this helps. Thanks,
Back at the magic...
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p.b.jones Inner circle Milford Haven. Pembrokeshire wales U.K. 2642 Posts |
jackmh
Even though I was a little critical of Mr Kaufmans tight grip ext. please do not take this as a major critisim of the tape! It is a great tape to learn and see the different passes. Just do not think that you have to take everything he say's as red. phillip |
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Dan Farmer Loyal user Northern Nevada 235 Posts |
Ok thanks clearing that up p.b.
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