Https://www.youtube.com/watch?v=q096e6PSCAI

Your palming is very natural. At least for most of the routine. You maybe let your arm dangle a bit unnaturally around the 1:40 mark, but I don't think a spectator would notice that.

A spectator would however notice that you tugged on your sleeves a bit more than strictly makes sense. The seem to fixate on stuff like that. Again, you did it well, so they wouldn't know why your fascination with tugging at your sleeves is suspect, but they would notice it. Perhaps get a shirt with looser sleeves that are constantly coming down, thus justifying the continual adjustments?

Anyways, I'm just nitpicking because you asked for advice and "looks good" is worthless. Overall I liked it. A bit wordy, but there's a time and a place for that sort of thing. A lot of mileage out of one coin and minimal moments of magic, and you took your time. I would have perhaps liked to see it in play a bit more, but that's just a matter of taste I guess.

Also the audio was a tad low.

hmmmmm. There's only one time where I actually use that action as misdirection, but you're totally right. I've been working on freeing up my hands to move without conscious thought which is resulting in that. I'll definitely work on toning those repetitive motions down. Thanks for the feedback!

Thanks for noticing this. Natural arm placement has been one of my biggest focuses over the last year, and I'm glad that it's noticeable (or not noticeable)

I couldn't hear much, but all the transfers made it look like your hands were really empty, and the subtleties added to that. I liked it very much. It's nice to see coin magic that is not all about cramming as many changes/vanishes/whatevers is as little time as possible.
The one thing I'd suggest you work on is the last production: can you try making it so that it looks like the coin appears falling? Maybe by dropping your hand as you feint the catch. Otherwise, it looks like the coin is appearing while going upwards, while you mime it falling...

P!

I think it was a great routine, but I personally don't like how you start with the greek philosophy, then go into a coin tossing game. Just my opinion of course, but I think it would be better to make the whole routine about greek philosophy, or make a better transition.

Some nice moves and I always the invisbiity approach.

too much pacing and figeting but that will pass with practice and confidence.

You might try being "In Touch" with your elbows touching your sides --
and only "breaking" when you want to direct focus or create anticipation,
with the other arm still In Touch.

You can train the audience to follow the proper hand without just eye cuing.

Use full body swing for movement and then your feet can signal action too.

You are not rushing things and that is great.

Stick with it. If the routine is "you" it will fit you. Time will teach you what gets good reaction and what doesn't and you will change along with it.

Though it brings up a magicians paradox. Magicians toss invisible coins around and catch them all the time ala misers dream, etc. so this implies that the coin is unseen by a spectator but seen by the magician, so is the coin really invisible? Is the coin really real? What would happen if an unstoppable force met an immovable object? What would happen if you discovered that the immovable object and the unstoppable force are really the same thing?

Sorry just goofing off with the nature of the philosophy theme. Oh and this will clear up the unstoppable force vs. immovable object:
http://youtu.be/9eKc5kgPVrA

I also couldn't hear it well, and it looked fine to me. There seemed to be a one hand vanish with the left, where your hand went quickly to the pocket or somewhere, and my eyes followed that because it looked deliberate, like you were going to your pocket for something. I would just that arm hang out of focus. But this might be the performance the camera thing.

Idea: doing this with a jumbo coin.

Can you explain what you mean by this?

Performing "In Touch" is a technique of using arm and full body movements to create anticipation and misdirection, and to insure continuity of motion and relationships of your hands.

Sort of Tai Chi for magicians and part of my Sway Methods developed over 60 years. Send me a request to the addy below and I'll send you more info.

The point is that any apparent nervousness or distracting actions can be minimized through practicing body and hand movements (congruency of motion)

The bonus is that a number of sleights can be performed from this posture not possible any other way. (and not just for coins)

Some of this is published in "T.U.C. Appreciation" and various e-books -- some for ChopCup and C&B.