Many coin effects depend on the creation of an illusion of motion or transportation. There are reasons to justify the idea that such effects are the "most magical" of all effects.

Many magicians have the shift from one place to another be simultaneous such as in 3Fly. In other Coins Across effect the reveal of the Vanish and the Appearance are delayed a bit.

Obviously, if the time-gap is too long then any illusion of "move" will not occur. Audience expectations also play a part in the impact of the illusion.

Many sensory impression come into play in creating this illusion and a study of "Multisensory Integration" is a worthwhile read for the serious coin worker.

One significant revelation for me is that a slight pause between the Vanish and Appearance may enhance the effect over a simultaneous jump.

With both hands waving in 3Fly think "Gone - tick - Wow!

The key is that several parts of the sub-cortical brain are processing input that combine to produce the perception of "move" over "vanish-appear."

You do not rationally decide that the coin has jumped, but may have to supply convincers to "close the door" on any attempted replay.

The slight pause forms a more solid memory on which any rational consideration is built. (if it occurs at all)

It is not clear whether this pause is critical on the repeat passes after the observer is trained to expect the jump.

Since many performers tend to rush their presentation, this is just something to think about.

I've been thinking along these lines, though not quite as deep. when I do a Three Fly (which I call Bar fly) I pause after the appearance of the coin. This gives people time to not only see what happened, tha one vanished and it re-appeared in the other hand, but also to get a good look at the number of coins in play.
I don't want to do it too quickly, I want people to see

Curtis Kam had an interesting comment on this a while back. See: http://www.themagiccafe.com/forums/viewt......25190#12

Jim

Me too. Heck, oftentimes I walk them along an effect, and even stop and ask them to verify…"Is this fair?"

I learned long ago, don't run (you could fall) Many, many years back now at Newark airport here, I ran into The Great Rocco. He was doing some magic there at a stand. I showed him something and the first thing he said was, "Heyyyy, slow down." It means a lot more than just the words of it, I came better to learn. The use of pauses, sly misdirection, re-focusing specs, and engagement, help you to better walk and not run through an effect.

I use pauses all the time as I engage people. I often love when I quip to specs, "Hey, was I standing too close to you?" They smile as they realize that if I was any closer, I'd be standing behind them.

There is so much more to doing a trick well, it involves quite a lot all brought studiously together in a few moments to produce something magical in their mind's eye forever.

What's the effect?

Do the coins invisibly travel - perhaps taking detours and getting stuck in places along the way?

Are the coins "where you want them to be"? IE when you go looking for them - there they are.

Do the coins instantly travel - darting to where they go so quickly that you only see them in transit as a blur out of your peripheral vision?

After you pick the basic effect you can look for ways your performing character can "deal with" the magic.

Funway
I agree to what you say
I think it's better to make a pause (a small one) in a travelling coin effect, even if it is a trick ala 3fly. A tiny pause is really a great addition to a lot of effects.

Imagine the next situation :
Point 1 - 3 coins in the RH and 0 in the LF
Point 2 - A wave of the hands and : 2 coins in the RH and 1 in the LH
Point 3 - A smile on your face and you say "no, I don't cheat. the coins are here" and you do the point 2 in reverse

The problem in point 2 is that you give 2 spoons at the same time (as T Wonder said). The fact that you immediatly go on with point 3 gives a little more confusion.

In addition things that are instantaneous doesn't seem to exist in our world (even light has a speed)

Doing a thing more quickly gives more confusion than magic because most of the time you give 2 spoons at one time. For example, if you have a coin at the fingertips and it vanishes in a blink, it can be good but if you do an effect like in point 2 (A wave of the hands and : 2 coins in the RH and 1 in the LH), it is good but it can be better with a tiny pause.

How did you get from point 1 to point 2?
You have coins in your hand...
- did you close your hands?
- did you table the coins and cover with your hand?
what happened? What did you do or say (real actions)
what was the magical effect supposed to be?
Was the audience supposed to know you were directing some magic with the coins?

For the point he was making, it doesn't matter.

Several of Jonathan's questions do not seem to apply to 3Fly as defined in other threads.

Here, the man who should know suggests that a 3FLy can include closing hands, putting the coins down, etc.

The penultimate question is critical, methinks. What is the spectator expecting when presented with 3Fly?

Is it the lead effect when it is not even known you are a magician? Does it follow a One Coin routine or Misers Dream?

I did not suggest that 3Fly was the effect you are supposed to do -- just that a change in timing can be important to creating astonishment rather than surprise or confusion.

I think Jonathan's comments definitely apply to three fly, considering you can be as creative as you want, and considering he started it all, and his original is done in a way much different way than, say, the popular Kenner variation.

He always gets me thinking

I was wondering about the hand waving, as usually that's with empty hands doing gestures. in the visual coins across there's not much noticeable hand activity during the transits. I got the impression the poster wanted to break between displays and do the transits as classical / covered magic