On 2013-09-07 12:28, Michael Baker wrote:
The traditional way was to use elastic strips to simulate cage bars. But, it seems as if your design will appear to be a solid top. My preference would be the mechanical top. This can be worked with springs, spring hinges, spring rollers, or probably even counterweights. Spandex is a quick fix, but it will eventually lose its elasticity and begin to sag.

The word "examination" would never enter my vocabulary for this illusion.

On 2013-09-07 14:49, john wills wrote:
That's my question also: WHY should the the table(-top) be examined??
I have never seen that kind of demonstration/performing.
A table IS solid (an assumption) in the mind of the audience. So why you have to prove that?
It's a (nasty) magicians way of thinking......

On 2013-09-07 17:38, john wills wrote:
OK that's the right way of thinking: place an object on it, before using the table.
By the way: you're talking about elastic cord. But you can also search for
flat strokes of elastic.
You can find that in specialized shops (for needles and knitting etc). In
earlier days these strokes where sewn in the rims(?) of lady trousers and skirts.
You can find them in different wides (1 inch - 2 inches etc).
In the old days this was used also for the table of the asrah-illusion.
Cheers!
John.

On 2013-09-07 17:52, Michael Baker wrote:
I think we all now understand the logic behind locking the top. To me, it is a valid reason. Typically, a cage is used in conjunction with the vanishing box, first to hold the ducks and later to disguise their presence. A table can be just as deceptive, but do you still intend to use a cage to initially hold the ducks? I'd think you'd want to be careful not to "over-populate" the stage with too many props for a single routine.

Regarding the mechanical method, one idea came to mind earlier that would be simple enough to build... Have the four corners of the movable panel each connected to a line, like strong monofilament. These would each run through a small eyelet adjacent to the corners. From there, they would run outward away from the corners and tie to a helical (coil) spring. At their default, these would be under tension, keeping the panel in the "up" position. Downward pressure would increase this tension, but still allow the panel to sink. You can adjust the tension by the strength of the spring, the length of the line, or both.

I haven't thought about the locking mechanism, but I'll put my mind to it.

Have you studied the Okito books and DVDs by Robert Albo? He discusses several versions of the trick.

On 2013-09-08 17:40, Michael Baker wrote:
Dr Robert Albo, wrote and produced a series of books on the classic secrets of apparatus. The first was titled, "Oriental Magic of the Bambergs". Subsequent books also included sections on Okito's magic. However, "The Ultimate Okito" contains the DVD set that has the various duck vanishes shown. The full set is expensive, but you can also buy just the DVD set or individual DVDs.

Here is the best source for these that I know of. http://byronwalkermagicbooks.com/magic.html

On 2013-09-09 07:35, Michael Baker wrote:
Be aware that the Albo series is mostly for the historical documentation. While explanations are given, they are not to be considered fully detailed instructions on building these props. You get to see some of the most beautiful apparatus ever made, and understand what they do and how they work. Robert Albo had the most extensive collection of Okito magic ever amassed. It was purchased by David Copperfield some time before Albo death. I will look at my set later and post which of the DVDs have the duck vanishes.

On 2013-09-10 06:47, FedericoFitzko wrote:
Here some pics of the finished wooden table: (It's just an experiment, so did not spent much time to make it look good)
cheers
Federico