Camera tricks are okay to use in magic

[bSmith]

People arguing with and contradicting a seasoned veteran. When did this place turn into the Magic Cafe?

It isn't an argument, but to be clear, if Craig is arguing with Mike then Craig is arguing with David Copperfield himself. I was sitting next to them both when Mike asked David about this.

Craig, how exactly were you a part of this or any of Davids illusions?

 

[Craig Browning]

First of all, I'm not the only person that caught the two frames in question and joked about it looking like studio shots. Secondly, I was there when Abb Dickson and I believe Billy McComb was in on it, sent a telegram to David that basically read "Watch you first step, it's a killer".

I was part of the Creative Illusions team and we had some dealings with David. Too, there are things in that museum that (technically speaking) would have been my inheritance (I was Kirk Kirkham's named successor); We even offered David what he's got and more before it went it Europe and he turned it down.

 

[KeoSilver]

I have to respectfully disagree. I agree about your idea of putting high value and focus on entertainment value. However, I think our craft demands enough focus on method and choice of material to be baffeling to spectators. Sure, I get caught sometimes, but that means I either ditch the trick or refine it to be better. Jim Collins wrote a fantstic leadership book called Good to Great, and in it he uses the phrase 'good is the enemey of great'. I think the idea that spectators are getting smarter, more informed, and have knowledge at their fingertips, so therefore focus more on entertainment rather than method, is an enemy of being a great and mystifying entertainer. Both can (and do) exist.

One of my blogs here on the site is abotu that (if you have access to the blog section).

Just my thoughts - sorry they are a bit off topic.

IDK if it is because I come from a more theatrical background than some, but I really feel that the performer is what makes a demonstration mystifying. Look at mentalism, the methods are sleek and almost stupid simple, yet spectators are baffled, bewildered, and even in some extreme cases actually believe that the performer has some mystical gift. Do you get that reaction with card tricks, even the most flawlessly, complex, card trick? I doubt it. Yes, methodology is important and should be mastered trick per trick. However, it is the showmanship that will sell a trick as an impossible feat. Mehtodology won't help make people suspend their disbelief, proper rapport, rhetoric, and entertaining persuasion will.

 

[Steerpike]

It isn't an argument, but to be clear, if Craig is arguing with Mike then Craig is arguing with David Copperfield himself. I was sitting next to them both when Mike asked David about this.

It was a joke, relax.

 

[Mike.Hankins]

I don't think that is correct.

Just to clarify,

David said that every shot was used on location.

 

[Justin.Morris]

IDK if it is because I come from a more theatrical background than some, but I really feel that the performer is what makes a demonstration mystifying. Look at mentalism, the methods are sleek and almost stupid simple, yet spectators are baffled, bewildered, and even in some extreme cases actually believe that the performer has some mystical gift. Do you get that reaction with card tricks, even the most flawlessly, complex, card trick? I doubt it. Yes, methodology is important and should be mastered trick per trick. However, it is the showmanship that will sell a trick as an impossible feat. Mehtodology won't help make people suspend their disbelief, proper rapport, rhetoric, and entertaining persuasion will.

Ah that makes more sense. Sorry I misunderstood your concept before. Yes I very much agree.

 

[Craig Browning]

See the message I sent

 

[Josh Burch]

IDK if it is because I come from a more theatrical background than some, but I really feel that the performer is what makes a demonstration mystifying. Look at mentalism, the methods are sleek and almost stupid simple, yet spectators are baffled, bewildered, and even in some extreme cases actually believe that the performer has some mystical gift. Do you get that reaction with card tricks, even the most flawlessly, complex, card trick? I doubt it. Yes, methodology is important and should be mastered trick per trick. However, it is the showmanship that will sell a trick as an impossible feat. Mehtodology won't help make people suspend their disbelief, proper rapport, rhetoric, and entertaining persuasion will.

Method is important. If we fail to fool our audience to some extent then we are only delivering good theater, but not necessarily good magic.

 

[Justin.Morris]

Method is important. If we fail to fool our audience to some extent then we are only delivering good theater, but not necessarily good magic.

I agree. I liked when he said "it is the showmanship that will sell a trick as an impossible feat". Showmanship can make or break a trick. I used to do this deck memorization bit, and I always did it as a joke. Half the room would figure out what I was doing and start laughing, and the other half would still be stumped. One time I presented it seriously as if I really had memorized a shuffled deck and the reactions were totally different. People were genuinely convinced. Same trick, different presentation, meant a more convincing effect.

 

[KeoSilver]

Method is important. If we fail to fool our audience to some extent then we are only delivering good theater, but not necessarily good magic.

What is the difference? If magicians are supposed to be actors playing the part of a magician it would make sense that good magic is good theater. I personally feel that if we want to push magic out if the ditch it is in right now, we as magicians need to start treating magic more like an actual performance art. Don't perform a trick, cold, to a stranger in a mall. Don't ask if someone wants to see a magic trick, make them want to see a magic trick. Don't be a performing monkey among your friends. Only perform magic in your own theatrical venue. That venue could be a club, bar, comedy club, theater, platform, etc. and you are the actor playing the magician, entertaining and astounding those who have come to see you. Any who, that is my view and I don't expect others to agree. Different paths often lead to the same place.

 

[Craig Browning]

What is the difference? If magicians are supposed to be actors playing the part of a magician it would make sense that good magic is good theater. I personally feel that if we want to push magic out if the ditch it is in right now, we as magicians need to start treating magic more like an actual performance art. Don't perform a trick, cold, to a stranger in a mall. Don't ask if someone wants to see a magic trick, make them want to see a magic trick. Don't be a performing monkey among your friends. Only perform magic in your own theatrical venue. That venue could be a club, bar, comedy club, theater, platform, etc. and you are the actor playing the magician, entertaining and astounding those who have come to see you. Any who, that is my view and I don't expect others to agree. Different paths often lead to the same place.

I underlined that one sentence in that I agree with it all except on word. . . "trick"

Make them want to see MAGIC and then give it to them -- DON'T do a trick but rather, present something of intrigue and enchantment. Far too many of us want to "fool" people and that should NEVER be the goal; the objective is mesmerism. That doesn't mean you can't do fun and funny material or even sucker routines that are good natured, only that you present everything in a way that is clean, perfected -- solid!

When it comes to video-based magic, there are effects that have been designed for that medium such as PERSPECTIVE by Harary (which Copperfield has used frequently), but this is not the same thing as using editing techniques, etc. As I've said previously, if we end up relying on such technology magic will die; the public will distrust us more and more but too, those with video know how will never apply themselves to learn the actual skills and technology associated with this craft and its kindred arts/sciences.