theory11 — Magic Tricks & the World's Finest Playing Cards
One-handed double lift
- Thread starter pific
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I don't remember if it is taught on Double Take by Gregory Wilson. It may be, but don't hold me to it, I am unsure. It very well may be taught on the DVD.
Mitchell
Mitchell
Double Lift
Actually Lee Asher teaches a one-handed double called Diving Board Double. It is on his website for sale if you would like to purchase it.
Actually Lee Asher teaches a one-handed double called Diving Board Double. It is on his website for sale if you would like to purchase it.
Not intended to start any argument but,
The Diving Board Double by Lee Asher is a really nice double lift. I don't have it but I have been looking into it and it looks like a great move. I believe there is a version though, that you can use two hands for. So it would be a nice one to use. And the other more flashy versions could be used as a nice flourish.
That a good point, It may be good looking but the idea of a double lift is to make it appear as if you are lifting up a single card. But in reality you are taking to cards. So it wouldn't make sense to do it with one hand because you would not naturally pick up one card with one hand.
Hope I made some sense,
Michael
Incase you have another card in your other hand..
Lee Asher's diving board double is the way to go.
Calvin Lauber
the point is that in my hometown i have already established my reputation as a magician and it seems as though many people even lay people catch on to the double lift. Although mine is flawless, there are peoplle who question the fact that i was holding two cards.
I just figure if you can accomplish the double lift using just one hand, which looks clean and fair, then there is absolutely no room for the spectator to believe that it was two cards instead of one.
Yes sir, not only is rene amazing but his one handed technique comes to you from a man who only truly has one hand, so you know he knows his stuff
If you had a disability or physical impairment that force you to use one hand for everything I can see a one-handed double lift being useful. Aside from impressing magicians with the move it is more than likely going to be lost on a layman completely. Its like asking where can I learn to muscle pass a penny 3 feet vertically....
--Jim
p.s. pific if your DL was in fact "flawless" in addition to your routining and presentation no one would ever question if you were holding one or two cards.
--Jim
p.s. pific if your DL was in fact "flawless" in addition to your routining and presentation no one would ever question if you were holding one or two cards.
Agreed! I do believe that our audience is getting smarter to some of our handlings, but I have yet to run into a problem with a double lift. I use a few different methods which I change around from time to time. The more natural you do it, the more convincing it is. I practiced with just lifting one card at a time and observed how I was doing it. Most people when lifting the first card will usually slide the top card with their thumb to the edge of the deck while the other hand comes in to receive it. I use the same method when double lifting and it looks completely natural.
You'd be surprised how many laymen actually know about the double lift and palming. If you can pull off a one handed double lift, very few people will question that you have more than one card. Psychologically, its a great thing to be able to do. It dispels all thought that its a double. Just like The Bucks Ginastaire Double. Just another way to prove it is in fact one card.
-ThrallMind
I agree that many laymen might know that doubles and palming are involved but in all honesty I am not concerned with it. Doing a one-handed double to me is changing something or complicating what is otherwise a very simple and casual movement to minimize the risk of being caught. I am not saying its useless but I believe it falls more along the lines of trying way to hard to avoid getting found out for fear of getting caught.
Many laymen know what an overhand false shuffle looks like as well but it still works just fine for most people and if you can feel them burning up your hands you just perform an alternate false shuffle/cut, or just run a pass by them when they think you moved it to the middle of the deck.
I am all for practical convincers but over the top flashy moves are more likely to get you busted instead of just sticking with what works and focusing more on your presentation and maintaining the moment with your spectators.
--Jim
p.s. I saw Chris Hestnes do the Ginastaire Double and I do like it quite a bit. It's not too flashy and pleasing to watch it done from a layman perspective. It's convincing while at the same time not a one-handed double either =)
To merely answer your question, Daryl teaches a convincing one-handed double lift on his Ambitious Card Video. As stated earlier, I believe the same sleight is taught on one of his Encyclopedia volumes as well.
And with that said, if people are catching on to your technique, it's my opinion that you should always analyze how you actually perform before you pass off an excuse to hide your shortcomings. If people can see a flawless double-- guess what-- it's not flawless. To resolve this issue, I suggest further masking your technique with logical timing and misdirection. Whenever I perform a sleight such as a palm or double, I generally deliver a line to take people's eyes off the cards for a moment. This should seem like common sense, but it's almost alarming to see how many amateurs choose to do things the hard way with their hands being burned the entire time.
If the move is properly executed, it shouldn't be seen at all. For instance, in an Ambitious Card routine, just prior to palming the card to a wallet for a finale-- I'll put a lot of weight and suspense into a specific moment... only to turn over an indifferent card to show that nothing happened. This naturally creates an amusing relaxation point, and instead of manipulating the cards-- I manipulate the timing to get away with a sleight as bold as a classic palm. The spectators naturally don't see anything and yet they still believe they were burning my hands the entire time.
*****
I feel like too many people these days focus on the mechanics of magic rather than the art. There's so much more to the craft than the sleights necessary to create an illusion. The presentation, timing, and flow are just as important as the moves. These days, it's difficult for people to grasp that-- they get so caught up in the latest trick and latest sleight, thinking that such things will improve the experience they're trying to create for a spectator. They won't. The only thing, in my opinion, that will truly make for a dynamic experience is old-fashioned social skills. Communication, theatrics, etc. These skills will make the experience much more entertaining than your offbeat use of the pass or a fancy one-handed double lift. Lay audiences couldn't care less about any of that anyway.
Hopefully, that makes sense. It's something worth thinking about.
RS.
And with that said, if people are catching on to your technique, it's my opinion that you should always analyze how you actually perform before you pass off an excuse to hide your shortcomings. If people can see a flawless double-- guess what-- it's not flawless. To resolve this issue, I suggest further masking your technique with logical timing and misdirection. Whenever I perform a sleight such as a palm or double, I generally deliver a line to take people's eyes off the cards for a moment. This should seem like common sense, but it's almost alarming to see how many amateurs choose to do things the hard way with their hands being burned the entire time.
If the move is properly executed, it shouldn't be seen at all. For instance, in an Ambitious Card routine, just prior to palming the card to a wallet for a finale-- I'll put a lot of weight and suspense into a specific moment... only to turn over an indifferent card to show that nothing happened. This naturally creates an amusing relaxation point, and instead of manipulating the cards-- I manipulate the timing to get away with a sleight as bold as a classic palm. The spectators naturally don't see anything and yet they still believe they were burning my hands the entire time.
*****
I feel like too many people these days focus on the mechanics of magic rather than the art. There's so much more to the craft than the sleights necessary to create an illusion. The presentation, timing, and flow are just as important as the moves. These days, it's difficult for people to grasp that-- they get so caught up in the latest trick and latest sleight, thinking that such things will improve the experience they're trying to create for a spectator. They won't. The only thing, in my opinion, that will truly make for a dynamic experience is old-fashioned social skills. Communication, theatrics, etc. These skills will make the experience much more entertaining than your offbeat use of the pass or a fancy one-handed double lift. Lay audiences couldn't care less about any of that anyway.
Hopefully, that makes sense. It's something worth thinking about.
RS.
IT'S NOT THAT THEY CATCH ME DOING MY DOUBLE LIFT. WHEN I SAY MY DOUBLE LIFT IS FLAWLESS, THEN TRUST ME IT IS FLAWLESS. WHAT HAPPENS IS WHEN I'M DONE DOING AN EFFECT. THEY TELL ME IT LOOKS AMAZING BUT THEY ALSO TELL ME THAT WHEN I PICKED UP THE CARD THEY KNEW IT WAS MORE THAN ONE CARD EVEN THOUGH THE EFFECT LOOK GOOD.
THAT'S LIKE SAYING "YOU DID GREAT, BUT I KNOW HOW IT'S DONE"
YOU GUYS KNOW WHAT I MEAN?
