Effect

[TylerRouss]

Hi guys, this is an effect I have been working on for about a year now. As you can see, it is in dire need of some good scripting, patter, presentation, and so on, however that's something I'll have to take care of myself in the months to come. For now I am simply looking for critique/advice on the moves, the handling, and from a purely visual standpoint, the presentation.
[video=youtube;3kdz5c1YG-Y]http://www.youtube.com/watch?v=3kdz5c1YG-Y&feature=youtu.be[/video]
Thanks in advance!
Tyler

Edit: All thoughts are welcome!!!
Edit2: This is an improved take over last nights upload in the card magic section.

 

[KonTW]

Wow!
I really enjoyed watching this!
Especially the end blew my mind, because this was not, what I expected!
Even though the moves that you do won't fool magicians, you can really impress a magician with the end, because, like I said, this is not, what you would expect.

I'm really impressed!

- Konrad

 

[TylerRouss]

I've never cared too much about finding magician fooling moves (what's the point!?) except for theory11 SNC's and stuff of that nature. Regardless, any advice on improvements for the sleights?

 

[AnthonyL]

Wow!
I really enjoyed watching this!
Especially the end blew my mind, because this was not, what I expected!
Even though the moves that you do won't fool magicians, you can really impress a magician with the end, because, like I said, this is not, what you would expect.

I'm really impressed!

- Konrad

I'm gonna have to disagree. i knew exactly what was going to happen. not that it makes any difference, the effect was incredible.

as for the moves, your second deals were a little obvious (although i'd imagine it being hard under the constraints). I don't really do gambling sleights but you might wanna check out Jason Englands download on second deals.

everything else was done really smoothly, it's a great trick.

 

[KonTW]

Regardless, any advice on improvements for the sleights?

I found the sleights very good, and I don't think there is much improvement necessary. The moves are smooth and look pretty natural.

I'm gonna have to disagree. i knew exactly what was going to happen. not that it makes any difference, the effect was incredible.

as for the moves, your second deals were a little obvious (although i'd imagine it being hard under the constraints). I don't really do gambling sleights but you might wanna check out Jason Englands download on second deals.
everything else was done really smoothly, it's a great trick.

How ever you knew what was going to happen or not, Jason Englands 1on1s teach the second deal under completely other conditions. And this is a good example for, how the method (or in this case the handeling) changes in different enviroments.
So in this situations Tyler's deal was perfect!
(For more examples I recomend buying "Colorblind by Luke Jeremy", but that's another topic )

Kind Regards!

- Konrad

 

[TylerRouss]

Thank you very much for the replies guys! Anthony, what improvements would you recommend precisely? I know I need to give less of necktie to the deal and hold my hands lower in general, what else should I be working on? Also you said it was apparent where the effect was going, what gave it away?
Also, does anyone recognize the second sleight I use? Anyone know a name or resource for it? I came up with it independently but would love to have a solid resource.
Konrad, what exactly are you seeing as constraints to my situation? Perhaps I could improve the situation with a sprightly different presentation.
Thanks again guys! And I would love to hear any and all thoughts!

 

[ZachMueller]

Hey Tyler,

The effect is very well done! I think technically the moves were executed well, and the routine is nice. My only notes were to look at the camera less, and also you look literally miserable throughout the video. YOU DO MAGIC. YOU JUST PERFORMED A MIRACLE. BE HAPPY.

Unless that's your performance style, I just wouldn't know because you didn't speak in the video. None of us can or should tell you exactly what your patter should be, as that's for the specific styling of the performer. However, I would suggest some justification for placing the 6 into the deck while handing the pen to the spectator, only to then take it back out. I'm sure there's an easy way for you to explain that, just something to keep in mind.

Other than that I really enjoyed it. Keep it up man

 

[KonTW]

Konrad, what exactly are you seeing as constraints to my situation? Perhaps I could improve the situation with a sprightly different presentation.

I mean, that you are in the sitation, that your angles aren't perfect, so you have to hold the deck just as you are holding it in your performance. If you were in a "normal" sitation, where people can stand around you, you would not have to tilt the deck like that.
So I think the "method" of your false deals is perfect for your situation and you can not change it; and changing your performance would not change anything on your situation. The only thing that would change the situation you are caught in is using another method, and that's not necessary.
So I think you have found a perfect "method" for the situation you are in when you perform the effect.

I really hope this makes any sense to you
If you don't understand what I mean, please ask...

The second slight you use, looks a little bit like a control wich comes from Colective EP by Eric Jones and Ellusionist.
This would be the only source I know, wich looks a little bit familiar to your move.

Kind regards!

- Konrad

 

[SinCera]

The effect was INCREDIBLE

It would be a good routine and good card magic. But yes, as you would have expected, scripting is a little bit needed. ( I cannot follow what is going to happen, etc ).

But overall, it's killer effect and got me in the end.
Nice work, Tyler.

 

[TylerRouss]

Zach! The dead look on my face is just because I wanted the focus to all be on the cards, it is also a side effect of being a people person, which means that I have a bit of trouble showing my personality to camera. As to the placement and removal of the six; the effect is normally performed standing up, the motivation then being that I need to free my hand in order to pull the pen out of my pocket. For tabled performances, I attempt to use it to show contrast between the backs as motivation, although that does not make all that much sense.

Konrad, I believe I understand what you are getting at. I'll leave it at that haha. As to the avion switch, (eric jones' move from the collective ep) it is almost the exact opposite in technique, although they do have a similar feel. If anyone has any resources for the move that I used, please let me know!!

SinCera, thanks for the reply! I'm glad you enjoyed it.

I am really happy with this effect for a few reasons. You only need one extra card in order to do it. It ends 100% clean and examinable. And the revelation of the originally dealt cards being changed absolutely blows people away, especially because when performed standing I have someone make a table with their hands, and then pocket the remaining cards. It kills when they pull them back out, and see that they have all changed. Also I try and do the deal so that I flash the blue back on the deck each time a card is turned over, which reinforces the entire effect. More than anything though, I like this over other color changing deck routines because of my use of that second sleight. Which allows for a perfectly clean ending.

Does anyone have any suggestions on how to reveal at the end? Since it is a three-fold climax (which I think actually might be a bit much), I have many options as to how and in what order I want to reveal what has happened. So what do you guys think would be best?

 

[tpscot]

I really enjoyed this effect, I like the multiple 'beats' to it at the end. I think the selection being placed in the middle to justify getting out a pen could be ok but it would be better if it looked a little more casual as at the moment it looks very intentional and you give it a lot of attention. If it's on a table perhaps you could place it in then have it signed as an afterthought, almost like you forgot?

 

[ChrisWiens]

Also, does anyone recognize the second sleight I use? Anyone know a name or resource for it? I came up with it independently but would love to have a solid resource.

It looks similar to Sankey`s Topper move. Just a bit different.

 

[TylerRouss]

Jay sankey's topper is definitely the same idea, sadly though the actually execution is so different I don't think purchasing it would be worthwhile. Thanks a lot though Chris!

Tpscot, thank you very much! Do you have any advice on which order I should deliver the "beats?" And yeah as I said, the pen excuse makes a lot more sense in a standing environment. The idea of signing it as an after thought is not bad at all. I'll play with that a little bit, but as it is a scripting issue perhaps a solution will present itself when I decide on the patter.

 

[TylerRouss]

So guys.. I am playing with some ideas for the script working around the central theme of "markings." Don't have any real details worked out yet but essentially making the claim that its a marked deck, and then showing several other ways that cheater's will mark cards. This theme is great for this effect, because it draws a lot of attention to the backs of the cards, gives a good excuse for why I want them to say stop (during the selection process, I've been having one spectator close there eyes and tell me when to stop while the other spectators watch me, then they open their eyes and I deal the next card to them. This is what allows me to use the bottom deal as a force from my seconds), allows me to claim that I am "reading" the cards as I deal them, hence motivating the turnover action. But, I have hit a bit of a brick wall and would love some help on this, resources or direct advice. So the whole idea of marking draws tons of attention to the backs of the cards, which is great for every part of the trick except one; when I have them sign their card. At the moment, spectator's instinctively try and want to look at the back of the card. To try and see the "markings." I should also point out that I am currently allowing them to hold their card after they sign it, so that the final reveal happens in their hands.

I have tried to allow them to inspect their card before I do the switch, and that changed absolutely nothing. Still one of the spectators always tries to check out the back. I have literally had the card signed with one of my fingers holding it to the table, and then picked it up, placed it onto their open hand, told them to place their other hand on top and hold it tight, and they literally turned their hands over to spread their fingers and look at the back.

I feel like the idea of hidden marking's is currently coming across in some way as challenging, how do I fix that? Also while it might be my overall audience management skills that aren't working here, but I feel as though there is a very simply psychological solution that I am just not seeing here.

 

[4ofClubs]

One idea might be to go in the totally opposite direction. I understand your thinking behind the marking theme, but it does make one important shift that does (in my mind) introduce the challenge element. Because you are saying that the deck is marked, you are challenging them to recognize the "method". People are willing to be fooled, but they don't like to be cheated, and I think the whole concept of marked cards raises the element of challenge. You would have to frame it in a really compelling narrative (I'm thinking magician/gambler or some of Rene Lavands character driven pieces) in order to make it a fantasy instead of a contest.

The other aspect that makes that scripting problematic (in my eyes), is that it moves the deck backs from psychological subtlety to center stage. It draws attention to the backs, which is kind of like using a Ramsay Subtlety while saying "nothing in my hands". If you just leave all of that in the background, it registers, but when you bring it to the front of the spectators mind, it leads them to focus on the backs too much.

If that is a presentation that you really like, I think you need to make the markings about the face of the cards. If you have a memorized string of cards that you "call" as you deal them, maybe even pointing out the markings, then you may be able to complete that element of things and tie a button on it before going into the rest of the effect. I think you would need to shift tone before you move into the signed selection, presenting the next aspect as a new trick. That way you draw the attention to the backs initially, but move it away when you need the shade there. But to me, I think you might want to take the presentation in a different direction.