Yes. Watching magic live or on TV is a very different beast.

@VernonOnCoins - no, you could do a riffle shuffle, and use shufflesque, as Illucifer mentions, but you'll want to make sure the riffle shuffles are done well (not big clumps). The faro, in my opinion, makes this effect smoother mechanically, but it does not need to be perfect. The cards sticking out sounds like an issue with the mechanics of the move that has been mentioned almost openly here - make sure that move is done as cleanly as possible with proper "separation" if you understand and you shouldn't have a problem.

Thanks!

Thank you for the reference Illucifer. I am sure if I first saw it in a book I would have passed it over as impractical but it's not too bad.

The card sticking out is due the cards not being evenly squared after the move. All the side jogged cards should protrude evenly on both sides. If a card(s) from the opposite side sticks into the area of the side jogged ones, it may show when you fan.

After the faro, push in the cards a quarter of the way in. If your hand hold the two halves from the upper right and lower left, the cards should "spring" into the out jog after bridge.
(If this is too explicit, please remove )

Though the moves are not absolutely necessary for it, this routine is a great motivator to learn and practice the faro and the road runner .

Bosco

Having a little trouble getting the sidejogged cards positioned reliably. I almost have it but can use some help. If anybody wants to Skype sometime I would appreciate it.

Though I prefer the gaffed version most of all, in playing around with this I think that using a riffle shuffle looks better; more familiar to laypeeps (though it is, admittedly a fine point). I prefer the Harkey/Anderson 'Shufflesque' that I mentioned earlier in this thread to the Guy Hollingsworth shuffle that achieves the same result.
The Harkey/Anderson shuffle is a riffle shuffle with bridge, while the Hollingsworth shuffle is faro with bridge.

The Hollingworth shuffle is also a riffle shuffle

Antonio123, you are correct. Thanks for the reminder. It's the strip-out where they differ.

Ahhhhh. Finally got it. A few subtle issues have solved all my problems. If anybody needs help, pm me. I'm loving this now!!!

@Scottacorman

That's great to hear!



After a couple of PMs, I realized that my description above was for south paws .

For right handed folks...

After the faro (or riffle shuffle weave), square the cards in a quarter to a half way into each other. Grasp the two halves on the upper left corner and lower right corner. After the springing action (bridge), the two halves should land side jogged (some slight adjustments may be necessary).

Sorry for the confusion.

Bosco

After playing with this quite a bit, I have to say I prefer the 'alternate' method best. So simple, straight forward and worry-free. Card selected and returned > deck riffle shuffled once face-up and face-down > cards cleanly fanned > snap photo.

Are you referring to the use of a CtoC deck

I just have to chime in here and sing this effect's praises. It's not often we get a card effect that is literally perfect in construction and structure, but Double Exposure is it. I've loved and used Asi's magic ever since buying his excellent booklet Chapter One, and this effect is a significant leap in close-up magic using technology. Here's what, for me, makes this effect so fantastic:

- The ability to use a spectator's phone. Not needing an app is good enough, but not even needing to use your own phone? Beautiful. The effect is remarkably personal, using the spectator's own belongings and also allowing them full control of the deck of cards at the most crucial point of the effect.

- The fact that the cards are so thoroughly handled by the spectators at the crucial point of the effect, the part they'll go back to when the climax occurs. They hold the mixed-up deck in their own hands. They square the cards in their own hands. And the second they close that fan and square the cards, there will be literally nothing to find. From that point on, method-wise, you are home free. The spectator literally cleans up your dirty work and there's no way they'll ever realize it.

- The spectator is left with an immortalized memory of the effect on their own phone.

- The effect is undeniably very strong. While I haven't worked this effect in the real world yet, I've tested it among friends and family. My sister, who's watched virtually every magic effect I've learned, reacted unusually genuinely and said it was the 'craziest' thing I've ever shown her.


In short, I just love this. The best effect of its kind that I've ever seen... no gimmicks, no apps, totally impromptu. Can't get much better.

I'm up for the bump from Michael. I have been "working" this a lot (not a pro)
It is a great trick. I am still playing around with which to reveal first the cards or the phone and how best to milk the magic but I'm having great results. A CtoC would be cleaner but I can resist doing this with a normal deck and have the deck out several times when told they must be trick cards.

What I don't understand about Blaine's effect was he took the picture, and after he did then he asked Will smith's kid to name a card, and if he wanted to change it. doesn't a card have to be chosen by the spectator at the beginning? Did I miss something?

if you meant missed the camera cut needed to make the effect play better on tv, well I suppose, yes.

So whats the Verdict? I love Asi winds material met him once and a really nice guy. His time is money effect is a very strong trick for laymen.

I'm curious if anyone else has reached the same conclusion as me: after performing this a fair amount, the best reactions always seem to come from the final spread display still being in the "mess" state, then having the spectator see that the effect was actually achieved on the phone (which Asi shows in one of his presentations.) Simply taking the cards from the spec, closing the spread, and putting them aside (as Blaine does on his special) or correcting the spread to show it is fixed as well (which Asi also demos) apparently lessens the impact of the photo.

If anyone is on the fence about getting Double Exposure: get it. Asi has an ingenious way of taking a principle/slight/concept and doing something spectacular with it. I remember when a number of magicians were jamming in my living room when Asi showed us an effect that, years later, would be published in Chapter One. The entire work was based around a principle I use daily. Yet, he fried all of us. His presentation was so impeccable and perfectly constructed, his application of the principle so beautifully and simply woven into the process, that it blew right past all of us. For my money, anything from Asi is pure gold.

I can't decide which presentation is strongest yet but the one you describe is very strong. I think for a group of people it easier to communicate the effect with the deck because they can all see it at once