(lo fi hip hop music) – Charlie, Charlie, Charlie,
you are smelling divine today. I know I say this all the time, Charlie, but this video today is dope. Dope! This is a dope aerial move, Charlie, a move in which two red aces are seen to fly out of the deck, you catch them in the air, and they have the selected
playing card between them. It looks beautiful, Charlie,
and it’s easy to do, so without further ado,
(hands clap) let’s get to it. I’m Daniel Madison,
you’re Charlie Madison, and this is Catch. ♪ Ah, ah, ah, ah ♪ ♪ Ah ♪ ♪ Ah ♪ ♪ Ah, ah, ah, ah ♪ ♪ Ah, ah ♪ ♪ Ah, ah ♪ ♪ Ah, ah, ah, ah ♪ ♪ Ah, ah ♪ ♪ Ah, ah, ah, ah ♪ ♪ Ah, ah ♪ ♪ Ah, ah ♪ ♪ Ah, oh, ah, ah, ah ♪ ♪ Oh, oh ♪ ♪ Ah, ah, ah ♪ – Hi, I’m Daniel Madison, welcome back. Thanks for being here. Thanks for choosing to
spend a bit more time with Charlie Madison, with me today. We both really appreciate it. I know I say it all the time, but this is a dope video.
(hands clapping) This started for me as a sandwich trick, but it became something and developed along the years
into something that’s more an introduction to a sandwich effect, so you would begin with
this as a way of introducing the two red aces, for example,
for a sandwich routine. Stick with me. After this video, the next
video that follows this one, I’m gonna teach you something, a way to follow Catch, a way to take those red aces, take that nine of clubs,
caught between them, and use it for a more intricate, a more detailed and a more
impactful sandwich effect. Don’t get ahead of yourself, Madison. Let’s stick to Catch. These are the Miscellaneous
Goods Playing Cards from Tyler. Dude, I loved his playing cards. We’re gonna open these up, have a closer look at them
during the performance, during the explanation, but right now, let’s get straight to it. I’m Daniel Madison. This is Catch. As always, we’re gonna get
straight into the mechanics. We’re gonna take a close-up
look at the technique itself and how you achieve that moment, where those three cards
fly away from the deck and you catch them. There’s moving parts, there’s
all these different parts where you create in the deck and they all seem to fall into place and it looks more difficult than it is. When you achieve this, you will realise, actually, this is really easy. It should be this easy
but it really is easy, if you do everything right,
if you do things right that I’m about to tell you. Before we get into the performance, as always, I want you to
know the mechanics first. I want you to know exactly
how to execute that moment, that important, I was gonna
say pinnacle moment I guess, so starting with that, we’ll go from there then we’re
gonna move the camera angle so I can tell you everything
about performance of Catch. Take two red aces out of your deck, take the nine of clubs and
we’ll start from there. The move itself, we need to
be in position for the move, so we’re gonna take the
two red aces, face up, the selected nine of clubs
as always in between them, face down so we have
the sandwich situation. These three cards are gonna be at the very bottom of the deck. So we arrive in this position somehow and we’ll get to that in the
performance part of this video once I’ve explained the mechanics. So those three cards are
at the bottom of the deck. We’re gonna take the
deck, hold it like this, upper mechanics grip, just
at the end of your fingers so finger one’s underneath. Make sure no one sees underneath the deck because they’re gonna
see this discrepancy. With your thumb, with
your right hand thumb, you’re gonna riffle one, two, three. Three cards, the bottom three cards away and they’re gonna lean away
from the deck like this. They’re gonna tilt away
from the deck like so. This is the position we need
to be in from the beginning. Once you are like this,
you don’t have to do this but I would suggest pushing
those three cards back slightly with finger one by no
more than a centimetre so that those three cards
are kind of leaning away from the deck at the back by a centimetre. You don’t have to do that. I find it helps at the moment where you’re gonna
throw that final packet. From this position, we’re
gonna take this hand, the free hand. I don’t know my left from my right. My right hand, free hand
is gonna come over the top and we’re gonna hold
everything at the back, so thumb goes over the front like this, over the side should I say,
right at the very back. Fingers two and three are
gonna go here at the back so we can hold everything like this. Obviously, making sure nobody sees the deceptive part of this. Now from here, we’re gonna
go straight into a Hindu cut. Hindu cut looks like this. We pull with finger two and the thumb of the now free hand, with my left hand, about ten cards from the top, and we allow them to fall
into our hand like this. So we do this quite a few times. Maybe five, six, ten cards at a time and then as this packet
gets down to about 20 cards, we pull like this, this hand comes back, the right hand’s gonna come back. It’s gonna go around
here to this position, where I’m gonna flip the packet. My intention here, we’ll
leave the aces there for now, my intention here is to achieve this. All I’m trying to do is to
get that packet to land here. I don’t think about these cards. So in itself, without the
aces, one, two, three, four. So practise this first. One, two, three, four. One, two, three, over to the side, flip it up so when I’m
flipping that packet up, finger one presses on
the back and the hand kind of just tilts and it’s
very easy to achieve that.. (laughs) Just as I say it’s very
easy, I get it wrong. It’s very easy to achieve just a half flip because the right hand that’s
holding that flipping packet, flipping packet, when we get here, this is when we let go so we’re not doing a full flip. It does look like a full flip but really, it’s a half flip because our hand does half
the work and then we let go. So it’s very easy to achieve this and it kind of looks
a bit like a flourish, the more you get comfortable with it, the better because you
want that packet to throw, to actually throw it and land in position. So we want it to look like this. We want that aerial moment where the packet flies to the top of the, or completes the cut, we want that aerial to be appreciated. So if we do it small, you
can’t really appreciate it. We also need that packet to
have quite a bit of rotation to it because that final
packet is gonna force these three cards away from it, where we’re gonna catch them separately, so that’s a next thing to bear in mind. When we do this, this hand,
the right hand has to be empty because it’s gonna throw here and it’s gonna return back here empty because this is the
position where the aces and the nine of clubs is gonna land. So it goes, from here, to here, and it’s very natural, very organic, I’m not trying to chase
anything, I’m not running, It doesn’t look strange. My hand’s just going back
to it’s natural position. Now, if we add these cards in, in the way that I taught
you in the beginning, riffle one, two, three, hold at a tilt, push back by a centimetre, hold here, now do this same thing. Hindu cut, one, two,
three, on the forth one, we’re gonna move over
here and we’re gonna throw and the aces and the nine
of clubs will come away from the packet, where you’re
gonna catch them in this hand. It is the tilt itself. It is the space between those three cards and the rest of deck that
is what allows those cards to fly away from the deck,
it is not your force. You will not force them
away from the deck, it is the air that is
going in between the deck and these three cards that
forces them to separate and it will also force them
to move further up in the air. So you don’t have to try too hard. Don’t feel like you’ve
got to try to throw them, it will happen by itself, trust me. Like this, one, two, three, four. And dropping cards, forget about that, we don’t have to worry about that. We’ll get to that in the
performance section of this. So once again, we’re in the position, right from the beginning. We’re in position, riffle one, two, three, tilt back a centimetre
and I usually count four, so I’ll do four cuts
and on the fourth cut, I’ll do the move. One, two, three, four. Notice how’s it’s all landed perfectly. The deck’s back in order,
I can put that down. You can clearly see three
playing cards in my hand. Two aces, face up, with the
nine face down between them, ready for the reveal. So that is the mechanics. Those are the mechanics. Practise, practise, practise. Get used to it. Learn as much as you can. With the way that the cards
leave the bottom packet. Learn as much as you can from experience because there’s only so
much I can tell you on film. The rest is down to you, figuring out what happens in your hands. You need to experience this to appreciate, so practise, practise, practise, practise. Now, time for the most
important part of this video. The performance. My original idea for this
starts with a bit of a set up where you have to have
the two red aces face up on the bottom of the deck and that’s a very easy thing to hide, you don’t have to worry
about anybody seeing that, and you can even set that up afterwards. To the extreme, to the
extreme that I like to go, I would hand the playing
cards out to be shuffled, I would keep hold of the two aces face up in a gambler’s cop. Again, don’t know the gambler’s cop, then don’t waste my time. I’m just kidding. I teach the gambler’s cop in
great detail on my website, I’ll leave the link in
the video description. The most arguably, the most powerful, the most powerful slight
of hand technique, especially the most
powerful palming technique, there’s no other palm that you need apart from the gambler’s cop,
maybe a Tenkai palm, different tricks, different ideas. Gambler’s cop, I would gambler’s cop two the
red aces face up in this hand, as Susan Sausage is
shuffling the playing cards, she returns them to me,
before she returns them to me, Susan, take out a playing
card, sorry Charlie, take out any playing card, have
a look through if you want, look through them. Go on, go on, look. Go on Susan! So she’s looking through,
she chooses the card, she always chooses nine of clubs so we use the nine of clubs,
she chooses the nine of clubs, she gives me the deck back. I load the two red aces
underneath the deck so they’re now at the bottom of the deck. I cut the deck like this. Take the top half, throw the bottom half back on top. Like this. What this does at the back of the deck, you can see everything was out jogged, so, and this is really bad teaching but let me get closer to the camera. Once again, the aces are
at the bottom of the deck, I loaded them back to the
bottom of the deck like so. They’re now on the bottom of the deck and now I cut the top
packet into this hand, the aces are here, and I
throw them, get you in focus, throw them like this and you
can see, you Mother Hubbard. I didn’t get it in focus. The aces are here, I throw
them and you can see, the aces naturally let
themselves sticking out. The force of it hit them and I’m not throwing it down,
just allowing it to fall and slide forward, allows
these cards to stick out, that’s right Charlie. So I then push everything in
to square up apart from the bottom ace, so I have the bottom
ace protruding at the back. Right, so from the front, from
a performance point of view, with the aces on the bottom, it looks like I’m just cutting the deck, I don’t even look at the
deck when I’m doing it, I don’t look to see if I’ve done it right because I know I’ve done it right, I can feel it in my hands. Now if you look, you can
see, I’ve managed to have it so just the bottom ace is protruding. I can see the next ace a little bit, doesn’t matter, in fact, that’s beneficial to me at this point so I’m in this position, now I wanna take Susan’s
freely selected nine of clubs, she can sign it if she
wants, I don’t really care. Take the selected nine of
clubs back to the camera. I then take the nine and
it might look a bit strange when you first do this but
you come to the bottom of the deck and you make contact
with the face of that ace. As soon as I know that
nine of clubs has touched the face of that ace, I
know it’s between the aces, so now it’s between the
aces, I’m good to go. So from a performer’s point of view, you might think that looks strange, but I’m here, I come down here, I say we lose your card in the deck, the way that I put it
in is quite incidental, it’s quite unnecessary, it
doesn’t make a difference, to Susan at least. You can see it’s in the middle of the deck and at this moment, I can straighten up, however, I don’t straighten up, there’s another move on the way. So the nine’s here, the
objective at this point is that Susan can see the nine protruding on the top of the deck from the middle. Right so, we know it’s going
in the middle of the deck. What I’d actually do, because
the bottom ace is protruding, it’s sticking out, my
thumb connects with it and pulls it towards me like this, as I push the nine in and straighten up. This allows me to keep a break with the side of that Mother Hubbard. The size on that break. So now I push it in, I got
the biggest break ever, all I got to do is cut the
top packet to the bottom. You can just do this. There’s nothing wrong with doing that. Well, there are a few things
wrong with doing that, I shouldn’t say that. The way that I do it, I found a natural way of
just having that break there, going into a bit of a flourish, or a bit of a fancy cut that would make sure those cards go to the bottom of the deck. I don’t want to spend time
teaching that move on this video but from here, because I’ve got the break, I can do this. Let me get close again. I’ve got a break, in my thumb here, I transfer the deck into this hand, transfer the break onto my pinky. Now I can come underneath
with my right hand, grab the bottom packet and then just shuffle them onto the top, depleting the cards, forcing the aces and
the nine to the bottom. So once again, I’ll do this up close. So I got the aces to the
bottom, I cut them inside, bottom ace is protruding, like so, I take the selection and I say, your card goes in the middle, press down the face of the ace, it goes up to the top, my thumb presses and pulls the bottom ace, as the thumb presses and that finger presses the nine inside. This causes the break here. It’s already transferred
onto the deck hand so this hand comes underneath, allow the top packet to slide off and then I shuffle the rest on top. Very easy in forcing the situation to the bottom, the aces and nine to the bottom. From this position, I’m good to go. What I like to do once I’ve shuffled, now that they’re at the bottom, I can keep shuffling and shuffling and keep those three cards at the bottom, just hold them with your
fingers against your hand, it’s a very easy thing. Grip the bottom half of the packet, if you want to just
shuffle the top half on top and it looks like you’re fairly
shuffling the playing cards. All the while when you’re doing this, try not to look at the playing cards. Try your best not to be
looking at the deck itself. That gives away everything. When you look at a move,
it forces your participant, it forces Susan to
stare into it like this, she’s gonna be watching
what you’re watching. If I’m looking at her, paying
her a lot of attention, she’s gonna be paying me
a lot of attention too. Natural. So I got to the situation, to the bottom with the aces and the nine. Now I get ready to go. What I like to do, I like
to put the deck down, and offer a moment where I’m gonna talk about what’s gonna come,
what’s gonna happen. Anytime you can disassociate
yourself from the playing cards is a good moment, is a powerful
moment for your deceptions. It looks like you’ve got no
control over the playing cards and the less control
that you appear to have, the more impactful it’s gonna be once something special happens. At this moment, we have
to bear in mind that Susan has no idea about the red aces, I’ve not introduced them
in any way but right now, let’s just keep focus on the move itself, I don’t want to get ahead of
myself, we will get to that. So I take the deck, I riffle
three cards and again, don’t look at that when
you do it, just count, you don’t have to look to count. It’s a very easy thing. I just did it, I’m set up. Very easy. And you can take your
time as well, don’t rush because if you rush, (cards fluttering) you start to hear this noise, you don’t want to hear that noise. It’s a very simple, easy, straight forward combination of moments where it looks like you’re not really doing anything, you’re just holding the playing cards. Now I’m in position. I have to think about where Susan stood because if she’s stood here, she’s gonna be seeing things
that she shouldn’t be, that I don’t want her to see. Now that doesn’t mean
this is angle sensitive, as angle sensitive as it might sound because I can just tilt my hand so that the deck’s more face up so people on this side, it
doesn’t really make a difference, I can wrist kilt to the
side so nobody can see. Ideally I wanna be
facing kind of like this so I’m looking at Susan here, so she can see the top
of the playing cards. Then as I start cutting, the
angles don’t matter anymore so I can come back here. One, two, three. I try and make sure that there’s
about 20 cards left here, a nice heavy packet and at this point, I know I said in the mechanic
section of this part here, that it doesn’t really matter the flick, but you’ll learn from practising , the more that you can make
a natural flow of this, the higher the packet can fall, the further the aces
separate from the deck. So they move further
away if you get higher up with your hand and it just
looks more pretty that way so I’ll do that again. They kind of shoot over to
the side at the last minute and it’s always when this
packet’s at this position when it’s about here. You notice they kind of slide aside. The table’s a good idea too. We’ll get to that in a second. So from this position, I’ll be stood here, looking at Susan and then I start to cut and then we do this. Drop cat and I drop to Charlie, I’m sorry. The cards land in my hand, drop cards, it doesn’t make a difference because cards flew away
from the deck anyway, so I quite like it when cards fall away because it makes this look
like a bit of a happy accident which is not a bad thing at all. As long as you catch those
three playing cards together, the rest of it doesn’t mean too much. From this position, once I
catch those three playing cards, I like to put the deck down, if I can, if I’m in a position. Don’t go putting it in your pocket, it looks like you’re up to no good. But if you can put the deck down, then do. Especially if you’re gonna
be watching my next video, the one that follows this, as
this is an important moment. At this point, all
that’s left is to reveal. You reveal a nine, do it however
you want, between the aces. So that’s the core performance, the core mechanics of everything. Now, the development of this, for me, I like to use this as a way of
introducing a sandwich effect so I don’t mention the
red aces, not at all. Right up until the moment,
moments before I do the shuffle. So get into position, get to
the point where you’ve shuffled and you’ve shuffled and you’re going to put
the playing cards down. At this moment, I would say, I’m gonna show you something
with your playing card, but I’m gonna use your playing
card as lost in the deck. I’m a magician, this is a card trick, the whole point is that I
find the lost playing card. However, I wanna use two
other playing cards too. Two cards that look similar
that are gonna act as helpers. Sandwich cards. Explain it how you want. It’s up to you how you explain this but this is my way of
introducing the red aces and giving them a meaning, giving them a reason to be there. So I say, we need two more playing cards because I’m gonna show you
something with your playing card. Not just your playing card
but with two others as well. So now I get into this and I say, look, we use two red aces and your playing card. So in and of itself,
it’s not really a trick. For me, it’s not. You can obviously perform this as a trick and it can be a trick, just
there, just move itself. But for me, this is an
introduction to a sandwich routine. This is how you introduce the idea of two mates, two red aces. Now I can use them for tricks. It’s always really strange
in a trick where you say, right, I need two mates,
let’s use two red aces, let’s find two red aces. I like the idea of them kind
of showing up in a flourishy kind of way in, not
necessarily in a deceptive way but a way that’s gonna
go whoa, that was cool. So you’re not just going,
oh, let’s use two red cards. It gives it a little more depth, it gives it a little more
power to your introduction. We’re magicians, the way that
we introduce a playing card, sometimes they’ll fly away from the deck, everything’s kind of, has
a bit of showmanship to it and I like the idea of
that being very subtle but at the same time,
something that makes people go, oh wow, that was cool and that’s all this is really. This moment is, wow that was cool. Found my card and you
found it in a strange way. Now, I’m in position. I’ve introduced two aces without saying, I need two red cards. I’ve got my aces, now I
can start doing tricks, sandwich tricks without having
to explain what a sandwich trick is because I’ve just
explained it by the performance, by the demonstration of it, itself. Now the video that follows this is gonna be dedicated to sandwich ideas. I’ve got a lot, I’ve got so many ideas with sandwich style of effects but before I even move on
and talk about that stuff, I want you to play with this idea, try it with one playing card
flying away from the deck but also try it with maybe four. What if it was four aces
on the bottom of the deck? Somebody shuffled, you did the move and then it did catch
itself and all of a sudden you’ve caught four aces in the air. I don’t wanna give too much
in terms of demonstrations and performances for you right now because I want the focus to
remain on sandwich effects because the next video I
think you’re gonna love. So play with that. I’ll give maybe a few days
before I put the next video up so you’ve got enough time to practise because we’re gonna need
this for the next video, for the next lesson. With all that being said, I appreciate people don’t
necessarily like the long videos and I think I’ve covered
everything in this. I’m gonna go into so much
more detail with this and ideas about this, for a Malliance. Only video over at Madison
IST so Malliance members, more on the way. Everybody else, outro. That was Catch, hope you enjoyed it. If you use it, I’m looking
forward to seeing you online as always, don’t tag me because that would lead
your audience to me, where they’ll find the
method and that’s a bad idea. I’ll be back soon with some
more dope tutorials including a video in which I’m gonna
explain a few different sandwich effects so that you
can take catch and use it in a more detail, more
intricate, more impactful trick. All I ask in return,
make sure you subscribe so you get that notification
bell going ding, ding, ding next time I drop a new tutorial. I’m Daniel Madison, thanks for
watching, see ya next time. (lo fi hip hop music)