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How to do BLACK Magic

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Hi, I’m Daniel Madison, welcome back. Fanx for being here.

Charlie Madison and I have a dope for you today. In my last , I executed this perception that everybody’s been asking, how did you do it? And in this , I’m gonna dedicate some time to exposing and teaching you exactly how to achieve a little bit of black magic. Now, there are thousands and thousands of things that you can achieve with this concept, but I’m only gonna teach you a few in hope to inspire your creativity so you can take this idea and go create your own pieces of black magic.

You’re gonna need a few different things. I’m gonna list everything in the description. We’ll go over everything, but right now, let’s start with getting yourself a deck of playing cards. I’m Daniel Madison, and this is black magic. The best way for me to teach you this deceptive method is, right from the beginning, straight up exposing the secret, and we can work backwards from there, working towards a few of my ideas that you saw in the introduction .

This is black felt, a piece of black felt. This is an ace of spades, and it has the exact same black felt stuck to the back of it. This is the concept of black art. If I hold the ace of spades like this, you can see the ace of spades. If I turn it face down, the ace of spades vanishes. Black art, the practise of black magic, black art, isn’t something that you’re gonna get a way with in a close up environment, in a close up situation, that, if you have an audience at a comfortable (stutters) If you have an audience at a comfortable enough distance, they’re not gonna see the secret, they’re not gonna see the discrepancy. That discrepancy can be seen on film, it really can, so a big part of this deception, a big part of this lesson is to show you how to fix that. If we watch the introduction to again without the editing, without the contrast fixes, then it looks like a completely different

. (lively music) (cow moos) I’ve always been a fan of editing and camera trickery within magic. The screen that you’re watching me on now, the digital screen, that is my digital theatre, and everything that’s inside of that is for my manipulation. All you see is the final grand deception. Every step inside of that, starting from the playing cards, going to the cameras, going to the editing inside the laptop over there, that’s all part of my deception. Our number one job, as a magician, we are entertainers. That is our number one goal, is to entertain, so, when you see my , when you watch my digital theatre, everything on that screen is designed not to fool you, but to entertain you. So, this black material, I got this from Amazon.

I’m gonna leave a link in the description where you can pick some of this up. This is actually sticky back black felt. The back of these A4 sheets peel off, and this can actually be stuck down. Now, I got this specifically so that it made it easier to stick the material to the back of playing cards for certain deceptions that we’re gonna take a look at. You also need a black surface to perform on, but one of the reasons why I chose this and I advise this is that you, too, can make one of these. I’ve just stuck two sheets together. Now, this can work as a performance surface. We’re gonna move over to the table right now, and I’m gonna perform some of these things and show you exactly how I made the introduction to this . Then we’re gonna go into the edit, and I’m gonna show you how to edit the same way that I do. So Charlie, what are you waiting for?

Let’s do it. So this is gonna be the performance camera. This is our black table, and we have to take care of a few conditions first that are gonna help us during the edit, which is turning the lights off. Obviously, we can’t do this in the dark, but if I just turn this off, and then the lights over there so that the only light in this room right now, aside from Charlie’s neon pink light, which, I don’t mind, that brings in a nice little vibe, is this single light source from the side. This is just enough to light up my situation, but more importantly, it makes it easier in the edit to correct everything, all the discrepancies that this camera is going to pick up.

If I grab some of my material that I have here, and I’ll show you one piece at a time, how to achieve mainly just the things that you saw me doing in the beginning of this , so, the first one, we’re gonna make a playing card vanish, and then we’re gonna bring a playing card back, but it’s gonna be a different playing card. We’ll use the nine of clubs and the ace of spades, and this is the secret piece that the camera doesn’t see. Just so you can see the perspective, I’ve made this pretty big. It’s bigger than the playing cards itself, but it’s just enough for me to hold in my hand like this. I’m gripping this between finger one and my thumb. I have made it this big for two different reasons. One, I can hold my hand with my fingers open so it looks like there’s nothing in my hand, especially when I’m holding it over a black table.

Two, when I drop this, it’s big enough so I can make sure it covers that card when it lands. I’m gonna have this held exactly like that in my right hand, pinched between my thumb and finger one, and I’m gonna have the ace of spades on the table, and I’m gonna have the nine of clubs in a face up kind of flat palm, classic palm, gambler’s cam. Gambler’s cam, Charlie? What is that? I’ve never heard of that. Basically, a comfortable palming position where you can just simply drop it to the table in a way that it looks like nothing’s happening with your fingers.

It’s as simple as this. I wave my hand over once, drop the felt, then I wave again, drop the card, so the ace vanishes, the nine of clubs appears. The ace of spades to the nine of clubs. Notice too how, the end, because this fabric is covering up the ace of spades and the nine of clubs is on top of it, I can treat the table as if it’s one solid table without the felt there.

I can pick the nine up, I can run my fingers across table almost as if to prove, maybe to over-prove, in a way, that there’s nothing to see here. Now, this leads me on to one of the biggest parts of the which is where I spread the playing cards across the table, wave my hand, and they slowly disappear one by one. I simply used a bigger version of this. I’m gonna make that right now so you can see it. I’ve got two of these felt pieces. I’m gonna pull the backs off of each one. Now I’m gonna stick these together almost as perfectly as I can.

It doesn’t matter too much about discrepancies at this point, but before I stick them down at the ends, I’m gonna put this in here so that I can make a double long piece. Now, this does look a little bit suspicious, and it feels really strange when you’re performing this one, when you’re filming and executing this one, but it works so beautifully. I’m gonna spread the playing cards out in a relatively straight ribbon spread. Now I’m gonna put this big carpet piece over this side. For the performance, as the spread stops over this side, this free hand is coming over and clipping that piece, so I’m picking this whole piece up now. Now that the ribbon spread has been achieved, my right hand comes back over here, and I simply drag the whole piece all the way across the cards until I’m confident that they’re all completely covered up. Then I can wave my hands back and show that all the cards have completely vanished.

Now, in my actual performance of this, I mixed this up with having a playing card palmed in my hand so, once I’ve made all those playing cards vanish, I could just wave over again, drop this playing card, and it looks like the whole deck went from a full deck to a single playing card. I did a very similar thing when I was shuffling the playing cards and I left the full deck on the table, then I waved my hands over, and it vanished. This is pretty much the same trick. However, I did something slightly different. Because I couldn’t pick the felt up off of the table because it was flat on the table, I wanted it all to be done in one take, so I folded up some felt like this. Now this just allows the felt, this waiting right here, to be lifted off of the table, which you can see right now on the camera, but if I do the shuffles, a few warning shuffles, now I can come over here, grab it with my thumb underneath. Now all I have to do is wave over the top, and the deck completely vanishes.

Now we’re gonna take those few things over to the laptop, over to Final Cut, and I’m gonna show you exactly how I clean it up, and make it look like real, genuine magic. So I’ve now got the raw footage in Final Cut. I’m gonna make two copies of the footage so that you can see what it’s gonna look like before and after. I’m not gonna do too much to it. If I hold down Command 6, that’s gonna open up my colour correction. All we need to do is flip over to exposure, and you’ll see three notches, so this deals with blacks, greys, and whites.

You would instinctively think that we go to the blacks because we’re lowering the blacks, but this can affect the skin tone, the colour of the deck, so instead, we go to the greys, to the middle notch, which actually controls the shadows. If you watch what happens when I pull this notch downwards, the blacks all seem to merge together, leaving nothing behind but the hands. Now, you can help this out by bringing the black notch down a tiny little bit. If it looks too dark, if it looks like we are actually in a dark room, the new can turn the white notch up a bit to turn the skin tone up a little bit. If the skin tone ends up looking a bit too colourful, then we flip over to saturation and pull it down, which I’ve already done in this case.

Now, if we first watch the original raw footage followed directly by this simple edit, you’ll see the difference. So there you go, as simple as that. With this piece of footage, I probably wouldn’t use this piece of footage because there are a few discrepancies. Number one, you can see the ace vanish before my hand actually goes over it and you can see the card in the other hand, so when I am editing after the performance, and I bring all the footage in, and it looks terrible, I don’t worry too much because I know, with a little bit of editing magic,

I can fix those discrepancies and make it look like real magic. That was a little bit of black magic. I hope that you enjoyed it. Remember rule number one of black magic. Don’t do a session of tricks with black magic. Don’t go black magic trick, black magic trick, black magic trick. Do it every so often. The way that I do this, I’ll bring in a little black magic trick everyso that it’s mixed in between different sleight of hand techniques so that the audience can’t catch on. The audience, your audience, Susan Sausage, will eventually catch on if they keep seeing the same concept after the same concept, they’re gonna catch on, and that’s not good for your magic.

Obviously, I’ve only shown you a few ideas here, but I’m very interested to see what you can come up with with black magic ideas. If you perform anything with black magic inspired from this , tag me in it. I’d love to see what you’ve come up with. Perhaps I can offer a little bit of guidance. I’ll be back soon with some more dope tutorials.

All I ask in return, make sure you’re subscribed so you get my notification bell ring, ding, ding, ding, ding, ding, every time I drop a new tutorial

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1 Comment

  1. Dusty Haberer

    May 6, 2020 at 7:46 am

    This article is great inspiration for us! If you want
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