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Mb217
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Quote:
On Sep 22, 2016, vinsmagic wrote:
Well I have several other switches that I do .. however in real time with misdirection that I jut cant do on camera and keep in frame
it works....
I have been performing these techniques folr years
andi get what you say mike that the card screams something has happened .
alos this is very bold that only a few magicians will attempt....

it is just like atop change the right moment to excute ..
vinny


Theory is important, but real experience counts too.

With all due respect here, within my experience what people notice and what flies by them in the in the heat of the moment, I don't think specs would notice this. And I don't think if it was found out more so than not that they didn't notice, that that little point would change anyone's mind here as to which way it still should be done.

I watched on the coin forum years ago here, when Ponta the Smith came out with some amazing new ways to do old coin magic, and it was many times shot down by the big boys as to his avant-garde approach. I think that it was almost totally lost that Ponta was also bringing about some bold new coin magic.
So, just do you! Smile
*Check out my latest: Gifts From The Old Country: A Mini-Magic Book, MBs Mini-Lecture on Coin Magic, The MB Tanspo PLUS, MB's Morgan, Copper Silver INC, Double Trouble, FlySki, Crimp Change - REDUX!, and other fine magic at gumroad.com/mb217magic Smile


"Believe in YOU, and you will see the greatest magic that ever was." -Mb Smile
vinsmagic
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Another switch I usualy work standing up

https://youtu.be/ZjctMkFplyI
i don't care who likes it or doesn' like it . these switches work in the real world
and it take courage top pujll it off
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pabloinus
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Thank you Tom, I will try it and see if the right hand will look so suspicious
Mb217
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"There is real merit in the magician who tries to be creative – from such endeavors magic sustains its life energy."
-Harold Rice

I'm just sayin'… Smile
*Check out my latest: Gifts From The Old Country: A Mini-Magic Book, MBs Mini-Lecture on Coin Magic, The MB Tanspo PLUS, MB's Morgan, Copper Silver INC, Double Trouble, FlySki, Crimp Change - REDUX!, and other fine magic at gumroad.com/mb217magic Smile


"Believe in YOU, and you will see the greatest magic that ever was." -Mb Smile
vinsmagic
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A quote from the godfather.." there are some that try no matter what
.and there are some that fault no matter what.."
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marc_carrion
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Quote:
On Sep 23, 2016, Mb217 wrote:
"There is real merit in the magician who tries to be creative – from such endeavors magic sustains its life energy."
-Harold Rice

I'm just sayin'… Smile


You also need to be your most strict critic. Just because you invented something, it does not mean it is good, or even if it is good, it does not mean there are not better alternatives. I know it's very difficult to be a your own critic, but we need to try. So, yes, there is merit on being creative, but not when we become stuborn about performing our own methods if those are inferior to those from others.
vinsmagic
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Ok give me an example my methods are inferior to what methods
???
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marc_carrion
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Hi Vins, I have made no comments about your methods. I'm not discussing if they work or not. What I said is that YOU need to do that, and be objective. Someone else suggested Marlo's spread. If you read Lorayne, he has some other open predictions. When YOU come up with your method, YOU need to evaluate if it is better than the existing methods, or at least better in certain conditions. If that is not the case you need to move on, don't hold onto something that does not add value. Still, just the fact of coming with a new method, and thinking it through adds value to the magic community, but the end result sometimes need to be discarded. I came up with a method of making the Statue of Liberty disappear... it can only be done at night, but four helicopters drop a sheet of black fabric on top of it... is it better than David Copperfield method? no, I don't think so... so moving on...
tomd
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With timed misdirection this would work, no doubt. I disagree entirely that this is move will always be deemed as suspicious, as each time you perform the conditions will be different. on a one on one situation, your guided directions will have a huge impact on the success of the move, and it's particularly easy to navigate one persons attention just enough to justify the right handed movement.

Derren brown performed a far more ballsy switch (twice in a row in the same performance), in a one on one situation on TV. No doubt, his spectator was incredibly observant, but it made no difference as the routine had been choreographed so a built in misdirected moment was there. It was so ballsy in fact, I saw it clear as day the first time I watched, and almost every YouTube comment mentioned the switch. But it worked perfectly.

I wouldn't perform this surrounded, nor if I was dealing with a person that was actively attempting to catch me out. There are 1000's of methods for those situations, but this is completely impromptu, and I could see myself trying this just to push the boundary.
Rupert Pupkin
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Quote:
On Sep 24, 2016, tomd wrote:
Derren brown performed a far more ballsy switch (twice in a row in the same performance), in a one on one situation on TV.


"Ballsiness" and poor blocking are not the same things.
vinsmagic
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Hi marc I never read marlow, or d brown or Copperfield ,,,, not sure what they did . I am being objective
I do perform for magicians and lay people all the time......

one person said I will stick with the normal top change because my offers nothing new..

that ok mine is just a different way for others who may want to try it out....

this is also different than the top change, because the selected card is in the hand that is holding the pack where the top change the switched card is in the other hand,

my two cents
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vinsmagic
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Here is another switch for accan or prediction plot

all in put welcome good or bad , but I must say this works although I don't use it that much https://youtu.be/xXNYHcnDYR4
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SamChak
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Quote:
On Sep 25, 2016, vinsmagic wrote:
all in put welcome good or bad , but I must say this works although I don't use it that much https://youtu.be/xXNYHcnDYR4


Wow! By understanding how spectators perceive and experience the presentation, your handling is streamlined, allowing you to carry out the covert actions smoothly and naturally right under the spectator's nose the whole time.
vinsmagic
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HERE IS ANOTHER PLOT USING SOME OF THE SAME SWITCHING IDEAS aand aslo some of my controls

https://youtu.be/tgYXwGuEVtE

i call it Birds of a feather,,,,,,
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javlin5
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This is an interesting approach. Thanks for sharing.
Mike Powers
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Let's say we're performing an ambitious card routine.

Scenario 1: The spec sees the card going cleanly into the middle of the deck. Then you seem to be thumbing the top card to the side of the deck as you make a fast tossing motion. A card lands on the table.

Scenario 2: The spec sees the card going cleanly into the middle of the deck. Now you draw attention to the deck as you slowly reach out with your right first finger and push the top card slowly to an outjogged position. You slowly move the deck near the spectator and have her turn the card over.

On a scale of 1 to 10, estimate the level of conviction that everything was fair in each case.

Clearly there a many details that are not mentioned here. But I think the point is clear - when fast movements occur at critical moments, the level of conviction that things are fair drops. When things are done slowly while everyone is encouraged to watch closely, the level of conviction that all is "copacetic" is high.

Getting a feeling of strong magic depends on a high conviction that everything is very fair.

If you're trying to sell the idea that a freely touched card had been previously predicted it needs to be clear that you didn't switch. If everything was really fair you'd push the card forward slowly with one finger. It would never have left the spectator's sight i.e. it wouldn't have been hidden for a moment under your hand etc.

Brother Hamman's "Signed Card" is very strong because everything is done very slowly. You point out that you never even touch the FD card. This is not quite true but it passes. There are no fast motions that might allow someone to think "switch."

Just some thoughts.

M
vinsmagic
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OK MIKE,I WILL SEND YOU A DETAILED DEMO, I THINK YOUR INPUT IS VERY VALUABLE TO ME AND I APPRECIATE YOUR INPUT

VINNY
VINNY
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RiderBacks
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From a technical standpoint, I think that your execution of that sleight requires more work. It's not utterly awful, but I don't think it's anywhere near polished as it should be. From an intelligent lay-person's standpoint, you have to force the predicted card. So the only question is when you'll do it. This routining leaves only one option for the occurrence of the force, and as noted, the card was not fairly produced at the point. Watching your video, I simply can't unsee the critical move. A good sleight should be one you struggle to see even if you know what's going on. If you must rely on this method, I would consider changing the routining so it's far less clear when you must have executed the force. That would add at least one layer of obfuscation. I think this will be back-tracked by anyone with a brain in seconds. A shuffle and cut which don't so obviously retain the top card would be useful, too. Just a few thoughts.
vinsmagic
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REALLY I HAVE SEVERAL METHODS that I shared, and I guarantee. in real time you would not notice .remember this is done for a camera where I have to stay in frame ..AND I ALSO NEVER DO THIS SITTING ,, this is just a demonstration.. for the Café

your input is well taken and I appreciate it
vinny
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http://www.vinnymarini.com
SvenSigma
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Quote:
On Sep 28, 2016, vinsmagic wrote:
REALLY I HAVE SEVERAL METHODS that I shared, and I guarantee. in real time you would not notice .remember this is done for a camera where I have to stay in frame ..AND I ALSO NEVER DO THIS SITTING ,, this is just a demonstration.. for the Café
vinny


I appreciate these demonstrations very much.

Regarding the restrictions you mention: have you considered trying it differently? Moving the camera away a little would make it easier for you, plus more like real audience interaction. One downside of the way you do it right now is that it is the typical angle of the myriads of YouTube exposure videos. Which your videos are not. Why make it look like they came from that crowd?
It takes a baby in the belly six months to learn how to put the thumb in the mouth.

The rest of life is essentially the same problem.

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