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Montana76 Inner circle I hope I one day reach 1177 Posts |
Hi!
I riffle down, spectator says stop and I show the card on top of the left pack. I push it slightly to the right and come in with the right pack which is still spread. The problem I am having is that I have to stop closing when when doing "the move" (cu**ing). And I can see the card being stolen.. Any tips for a newbie? I've watched Daryl's encyclopedia numerous times but this is covered very briefly. I'm also trying out The Roadru**er Cu** which is somewhat similar if I understand correctly. But I'd really like to get the HC down tight before moving on. And then there is Daves Cu**. Is that something different alltogether? Would I be smarter to go that route? All help is greatly appreciated:) |
BarryFernelius Inner circle Still learning, even though I've made 2537 Posts |
Quote:
On 2013-01-16 15:23, Montana76 wrote: Instead of riffling down, spread the cards between the hands, and instruct the spectator to touch the corner of a card. After he's touched one, the left hand moves up, and the right hand stays in place, with the cards still slightly spread. After the card has been shown, the left moves back to the right hand spread cards, placing the sidejogged card directly beneath the left-most card of the right hand spread. The instant that both hands have come together, the card is cu**ed under the right hand spread. Now, consider what you're doing with your eyes. When you're spreading the cards, you're looking down at the spread to see which card has been touched. When you raise your left hand up to display the card, you're looking right at the person who touched the card. When the cards come back togehter, you're looking at the cards again. But just before the cu**, you look up to the next person who is going to touch a card. Then, you look down at the spread, waiting for him to touch a card. Once you have mastered the cu**ing action, you should rehearse the head and eye movements so that everything is synchronized. In actual performance, you should be able to do the cu** without looking. Does any of that make sense?
"To achieve great things, two things are needed: a plan and not quite enough time."
-Leonard Bernstein |
Montana76 Inner circle I hope I one day reach 1177 Posts |
I see, so I'm really not expected to do the move when the spectator are looking at the deck?
Thank you for explaining. |
BarryFernelius Inner circle Still learning, even though I've made 2537 Posts |
You're welcome to do the move when the spectators are looking at the deck. I know for a fact that you can become proficient enough with the move that even if someone looks, he won't see anything. But I'd still use the 'shifting of the gaze' to make it less likely that anyone will be looking.
The action of spreading a deck shouldn't be that important. If you're not looking at it, why would anyone else be interested in it? The focus should be on each spectator, the fact that he's supposed to remember his card, and your personal interaction with him.
"To achieve great things, two things are needed: a plan and not quite enough time."
-Leonard Bernstein |
Montana76 Inner circle I hope I one day reach 1177 Posts |
Thank you very much. Very good advice.
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Jean-Eugène New user 12 Posts |
Make shure your fingers are not too dry; moisture is essential for a good Cu**. In addition, with the right fingering, you'll be able to do whatever you want.
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failed_drummer Veteran user 314 Posts |
Personally, I've never used the cu** in this way. It just seems to give no reasurance that their card is where you say it is. Once you get a feel for the movements, I would suggest looking into Dan and Dave's DMB spread control (if you're feeling up to lots on practice) or Alex Pandrea's AP spread control, which might be slightly easier. Or, if you've got a decent little-finger count, do a Marlo tilt beneath a few cards (say 3) and then cu** it as you spread the deck for whatever reason. This was the way I learnt to cu**, from Patrick Kun's CentrePoint.
I would also highly recommend Cullology by Harapan Ong if you want some good video teaching. He covers all the basics, some applications, two original moves (I believe, but that's from memory. They could equally well be refinements, etc.) and four effects. Really good value, even if you already know how to cu** well. |
failed_drummer Veteran user 314 Posts |
I also agree with trying to look at their eyes when actually do the cu**. Even though it should be invisible, it can still flash, especially if you've only got a spread of three or four cards to cu** under. And why would you say no to extra cover anyway?
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Dennis Loomis 1943 - 2013 2113 Posts |
The Kostya Kimlat DVD is excellent. The Roadrunner cull is basically the same thing as the Hofzinser Cull. It's also called the Spread Cull. You can read about it in the Roberto Giobbi Card College book... Vol 1.
You should be able to learn it from the DVD. Do it 100 times a day and in a few weeks you'll wonder why you ever had any trouble with it. Most card sleights are meant to be done without the spectator staring intently at your hands. There are two kinds of things going on when you're performing. The "overt" or pointed up things which you want the spectators to see, and the secret, sneaky things which are meant to be kept hidden. Misdirection is about drawing attention away from the sneaky stuff. One way to get a spectator to look up at your face is to ask him a question. At the same time the other spectators will look at him to see what his answer is. The point is that for a brief moment no one is looking right at your hands. To fool people with sleight of hand you want to do the moves so well that even if they are looking at your hands they see nothing. And, at the same time you cause their focus to go elsewhere so they can't watch your hands. Dennis Loomis
Itinerant Montebank
<BR>http://www.loomismagic.com |
failed_drummer Veteran user 314 Posts |
Dennis' point about questions as misdirection reminded me that if you're using this a a control, the perfect question to ask is 'Do you remember your card? Are you sure?'. A remerkable number of people forget their cards, so not only is this appropriate, it re-enforces their memory of their card.
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Dennis Loomis 1943 - 2013 2113 Posts |
You're absolutely right, failed_drummer. That's why it's very important to get a spectator to show the selected card around to other spectators. Somebody's going to remember.
Dennis Loomis
Itinerant Montebank
<BR>http://www.loomismagic.com |
Tanay Regular user 162 Posts |
I've been using the cull (Roadrunner Cull) in perhaps every card performance, day in/out for a few years now, for Culligula Triumph as well as a control, but the points Barry made so succinctly and clearly (especially on the timing of the head movements) have helped me to make it even better!
Tanay
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