I think is the best force that someone could use, I Have troubles using it, could you guys give me some tips?
Thanks
Thanks
Classic Force Help
- Thread starter RDChopper
- Start date
The way I practiced for it is by doing it all the time, even if the effect I'm doing using a free selection I still classic force cards on them.
It is an excellent DVD, and he covers EVERYTHING there is to be covered in order to make this force succesful. Of course, practicing it when it doesn't really matter what card they choose will work just as well if you put the time into it.
Haha, nice for the comments, I bought Panic like a month ago, and I had some money saved so I just bought the classic pass by paul green, weird thing is that, I was looking for a nice effect to add to my repertoire(by the way I had a horrible day today, all thanks to hecklers that hate me) and I just realised that I just have to cover some basics a little more, the classic pass is something I think is going to be very resouceful.
Thanks for the help.
Thanks for the help.
Card College 1 has a lot of good material on the Classic Force. It has a lot of overlooked, but very useful, sleights in it also.
But yeah, learn an impromptu card trick...or if you do an ACR...but always try to classic force a card. And if you get it successfully you can do a quick mind reading trick or say something like 'this trick works with everything except the three of spades, you didn't pick the three of spades did you?'
Anyway, good luck, as it is one of the better 'free selection' forces out there.
-Rik
But yeah, learn an impromptu card trick...or if you do an ACR...but always try to classic force a card. And if you get it successfully you can do a quick mind reading trick or say something like 'this trick works with everything except the three of spades, you didn't pick the three of spades did you?'
Anyway, good luck, as it is one of the better 'free selection' forces out there.
-Rik
there's some psychological factors that play into this sleight. Doesn't work 100%. You have to know your type of audience.
I think is the best force that someone could use, I Have troubles using it, could you guys give me some tips?
Thanks
As you said in a later post, Paul Green has a great resource on this.
The ONLY good advice I can give you here is confidence. Well...........confidence and a backup.
Personally I feel very confident in my presentation of the classic force, and it is successful far more often than it isnt.
I get my confidence from the fact that I always have an "out" effect. In other words, an effect that can be performed if they DONT go for it.
My advice, set up your backup effect FIRST. As if it was the one you were performing. Use the classic force. If they go for it, move into the effect you have ready for it, if not, just move on with your backup effect.
The more you do this type of setup, you will begin to notice how the way you present the force affects the outcome, and you can adjust accordingly.
The classic force is an art within an art. Always changes, always evolves. The more you try to use it in the style I described above, the more comfortable you will be in attempting to use it.
Best of luck!
Here are some useful tips without exposure:
If they believe the deck is well mixed...it puts less pressure on the selection making your job easier.
Read more on it, there are many nice tips in ANY book on the topic.
The tips above on do it everytime is great advice
TIMING is key, that comes with doing it
DON'T cut the cards to centre the force - jog shuffle.
If they believe the deck is well mixed...it puts less pressure on the selection making your job easier.
Read more on it, there are many nice tips in ANY book on the topic.
The tips above on do it everytime is great advice
TIMING is key, that comes with doing it
DON'T cut the cards to centre the force - jog shuffle.
I think one of the big problems with learning the classic force is over-thinking it. It's not complicated, and I found that Paul Green's DVD actually made it more difficult because it implied that there are about five things to think about at the same time while you're doing it. Watch Simon Lovell's "The Madness Behind the Methods" Volume 1, and, as long as you aren't really nervous, you will be able to hit it every time.
Basically, just put the card into the spectators hand. That's it. They key is to act as if it genuinely doesn't matter which one they take. When you're building your confidence with it, have a backup trick ready just in case they take the wrong one, but really, it is incredibly simple.
Basically, just put the card into the spectators hand. That's it. They key is to act as if it genuinely doesn't matter which one they take. When you're building your confidence with it, have a backup trick ready just in case they take the wrong one, but really, it is incredibly simple.
The only advice I can give you is you have tooooooooo have your timing right. The whole force is timing. This is the only force I use ever. It folls the pants off laymen take your time on the force to get it perfect and then try it on your parents. I have been doing this force for about a year and a half and it has ever failed to work.
Any more querstions PM me.
Thank You,
Donald
Any more querstions PM me.
Thank You,
Donald
Don't stress man I'm sure you'll learn lots from the DVD anyway. I guess to keep TeeDee's thoughts in mind then, be aware of the presence of all those facets, but don't think on it too much, they should happen naturally, don't try and balance five things simultaneously in your mind, just know in the back that they exist and use your instinct about it rather than your mind.
i rally have only one question: where do you think is the best place to have the force card? I am asking because on card stunts Greg Wilson sais to cut it in the bottom 3d of the deck while wayne houchin on stigmata cuts it no more than 20 cards from the top.
George
George
It depends on a few things, most notably: Are you pattering while you get them to pick a card, and how do you spread the cards?
1) If you're saying "Pick a card for me" as you start spreading you probably don't want it further down than halfway in the deck. This is because you'll only have spread through a few cards, and you don't want to leave too many cards to be spread - you can slow down if it's too high in the deck but it's much harder to speed up. Either way you don't want to take too long to get to the card. By contrast, if you're pattering as you start spreading and you say something like "So I'm gonna spread through the cards again and I want you to pick another one, any one, but a different one from before" then obviously you want it lower in the deck because they'll be waiting for your cue which happens later in the spread before they even consider picking a card.
2) How do you spread the cards? A little at a time? All of them in a small, bunched up spread? Very quickly? Very slowly? You'll have to alter these ones as you go along. I spread my cards considerably slower than Greg does in Card Stunts so I have my force card higher.
1) If you're saying "Pick a card for me" as you start spreading you probably don't want it further down than halfway in the deck. This is because you'll only have spread through a few cards, and you don't want to leave too many cards to be spread - you can slow down if it's too high in the deck but it's much harder to speed up. Either way you don't want to take too long to get to the card. By contrast, if you're pattering as you start spreading and you say something like "So I'm gonna spread through the cards again and I want you to pick another one, any one, but a different one from before" then obviously you want it lower in the deck because they'll be waiting for your cue which happens later in the spread before they even consider picking a card.
2) How do you spread the cards? A little at a time? All of them in a small, bunched up spread? Very quickly? Very slowly? You'll have to alter these ones as you go along. I spread my cards considerably slower than Greg does in Card Stunts so I have my force card higher.
I think one useful psychological subtlety with the classic force is to say "Just take a card for me now.", rather than "Pick a card". "Pick" suggests they have some choice in the matter, and it invites them to take their time and actually make a selection.
The word "Just" gets across the idea of the selection process being a small and insignificant event. "Take" is a clear instruction eliminating any suggestion of choice. "For me" suggests that this is a favour that you're asking of them, a task they must carry out on your behalf, and therefore not something that they are expected to be creative with, or to necessarily fully understand. "Now" indicates that they must carry out this instruction immediately and without hesitation. Of course, these ideas are not realised by the spectator consciously, but in that brief milli-moment of reaching forward and pulling out a card, it tips the balance in your favour that they will take the one you're guiding towards their hand.
In addition, the fact that the instruction is worded in a slightly more complex way than "Pick a card", means they are using more of their cognitive energy in interpreting the instruction, which means the card is in their hand before they have time to question it. When they remember what happened, and when other spectators see it, it will appear that a free selection was made, rather than you simply handing a card to them, which is what actually happened.
The word "Just" gets across the idea of the selection process being a small and insignificant event. "Take" is a clear instruction eliminating any suggestion of choice. "For me" suggests that this is a favour that you're asking of them, a task they must carry out on your behalf, and therefore not something that they are expected to be creative with, or to necessarily fully understand. "Now" indicates that they must carry out this instruction immediately and without hesitation. Of course, these ideas are not realised by the spectator consciously, but in that brief milli-moment of reaching forward and pulling out a card, it tips the balance in your favour that they will take the one you're guiding towards their hand.
In addition, the fact that the instruction is worded in a slightly more complex way than "Pick a card", means they are using more of their cognitive energy in interpreting the instruction, which means the card is in their hand before they have time to question it. When they remember what happened, and when other spectators see it, it will appear that a free selection was made, rather than you simply handing a card to them, which is what actually happened.