TINT by Arief Nugroho Magic Review – IS IT ANY GOOD?

Here’s what the official TINT by Arief Nugroho product description says:

You show a deck of cards in its box – and then, all of a sudden the case changes colour – on both of it’s sides!

TINT allows you to do a colour change with your playing card box . It all happens with a quick, visual move.. No switching required! And, the card can be fully examined by your spectators.

Best of all… You only need a moment to set it up.TINT is super clean to perform, and works perfectly with your other card tricks.

TINT happens using a real, examinable playing card box.

Features:

– Clever TINT gimmick
– Resets in an instant.
– You use a real playing card box.
– All done with just a simple easy move.

So.. that’s what the manufacturer says, but IS IT ANY GOOD? Here’s a behind the curtain look at TINT by Arief Nugroho

Tint is available here

NEXT:

Collecting Playing Cards.. Why!?!

The 3 Questions to Ask When Choosing a New Magic Trick

3 Questions to Ask Yourself About Your Magicians Props

by Dominic Reyes Leave a Comment

By Dominic Reyes

Have you noticed that many magicians perform magic tricks that don't make sense? Why would someone turn a red card box into a blue card box, push a coin inside a bottle, or produce a load of silks out of thin air?

Many props that magicians use, only exist because they are used by magicians. Strange fake flowers that appear out of nowhere or little red balls that multiply in the spectator's hands. More often than not, no explanation or justification is given for these strange objects existence other than as a tool for something odd to happen.

Magicians Props upstaging the magicians

If you use magician's props that are unusual or obviously a 'magician only' device, your audience will be interested in it for its own sake. This can be a problem if it causes your audience to focus on the props rather than the magic you perform with them. If you are not careful, the audience switches from experiencing the magic, to watching a 'puzzle', as they attribute the magic to the props you use. That doesn't mean they don't enjoy it, only that the magic is seen to come from the props rather than the performer on an unconscious level. It's a subtle change in perception in the same way that a film going audience can end up paying more attention to the impressive special effects in a film rather than the actors.

The magical box's or equipment you use should not be the star of the show. If you do use a strange prop, keep yourself and your presentation the centre of attention as much as possible. Don't hide behind your tools, leaning on them to amaze your audience. It's more important that they remember YOU more than the effects.

Why I don't like wonder.

I've never liked the word 'wonder'. To me, the word means to 'puzzle over'. A person wonders how the trick is done.

The goal of your performance is that the audience experience something impossible and be amazed, rather than to be presented with a series of puzzles to work out. You want them to be surprised, spellbound, and emotionally captured. The impossible events they witnessed should be from 'magic' and that's where the entertainment should come from. If you perform with a series of obvious props, you risk the audience switching from amazement to simply wondering how the trick was done.

Puzzles are still fun, and many successful magicians only present tricks in this way, but it's possible to take almost any trick and adjust the way you present it, so that it stops inviting the audience to 'wonder' about its method. When a trick is performed in this way, it becomes more like theatre and art.

How to justify your magicians props

If you are going to use a strange prop, justify why it's being used through your presentation and storytelling. If it's not clear why a prop is there, your audience may assume it's there because IT is how the magic trick is done.

What possible reason is there for anyone to even use one sponge ball, let alone a whole hand full of them..? Why are they made of sponge in the first place? Can you think of a justification for using them in your magic act?

"Have you noticed that you don't see many clowns these days? They used to be everywhere! It's a little known fact that for years clowns have been hunted by magicians. It's a cruel blood sport, but so much fun. Look.. We take their noses as trophies.."

3 things you should ask yourself about your magicians props

Take a look at each magic trick you perform and ask yourself:

Why do you perform it?
Why should the audience care about it?
How could you build a story around the objects to give them more significance and meaning?

How Magicians Build Magic Sets For Their Acts – Choosing Magic tricks

by Dominic Reyes 3 Comments

By Dominic Reyes

We discuss how to build your magic tricks into magic sets that flow together. Constructing a magic act.

One of the most common questions our magicians get asked is how to order magic tricks into sets for performing to the public. Let’s look at the types of magic tricks that can be built into working magic sets, and how to order them into your act to get the best results.

Getting ready.

The first step is to understand what kind of magician you are. Do you enjoy comedy magic? Perhaps you prefer a more serious style, featuring hard hitting mentalism? Your magic style should dictate the shape and style the magic sets, and how you will be perceived by your audience. Take time to decide exactly which style of presentation would suit you best. Choose tricks that compliment and communicate the ‘style of magician’ you want to be.

Once you have a style, it’s time to build magic sets. We will build 3 magic sets, each containing 3 magic tricks. The three sets will each have a different pace, designed for specific parts of an event, and types of spectator.

Set one: The approach.

Magic Trick 1) The Impression.

The first magic trick will be your opener. This is the trick you will use when you join the first group of the evening. It needs to be quick, with a goal of capturing the attention. The magic trick must show that you are professional and skilled. When you join your first group, they may not know that a magician has been booked, so may not have anticipation of the magic they are going to see. Choose a magic trick that requires little initial attention. Think quick, fast, and impressive! A simple coin routine works well in this position, especially a 3 fly coins across. Perhaps a colour change card trick with a little flourish built in? If you use comedy, make sure you get a laugh with a strong line. The aim is to make everyone notice, and focus on the magic as quickly as possible.

Magic Trick 2) The Build.

After your opener magic trick, you will have the group engaged with your magic. This is the time to perform a longer trick that will stand up to focused attention. You are now interacting with the group. Start using spectators names, and get them involved. It’s this point that will most often have new spectators joining the group to see what is going on. Open up the circle if you can. Involve a few spectators, and look for magic that takes place in their hands. This could be a strong card routine, an expanded sponge balls set, chop cup routine. The aim is to relate to the group and expand it.

Magic Trick 3) The Shout Out.

Your final magic trick in this set should cause people to freak out. The aim is to have people getting noisy about what they have just seen. The goal is to capture the attention of other people in the room. Go for a magic trick that blows people away, and gets a round of applause, or some high fives. A bill in lemon, an omni deck, a bottle through table. This trick is a closer, so should end in an applause cue stance, with your arms open.

Keep it to three.

Each set should contain maybe 3 tricks. You want people to remain hungry for more. Explain that you need to visit everyone, but will show them more later.

Set Two : The group next door.

This set follows set 1 as you move to a group nearby. It may be the case that some of the first group will follow you as they want to see more. The new group may have watched a little of you magic from a distance as they heard the reactions form the first group. You now need a new set of magic tricks to perform for the new group.

Magic Trick 1) Moving house.

You are already warmed up, and the reactions you have been getting from your first set, will have been notices around the room. This first magic trick also needs to be quick and capture the attention. This magic set doesn't need to demonstrate your abilities as much as the first trick in set 1. A three card monte works well in this position, or an ambitious card routine. Short, punchy, and lots of climaxes and the secret to opener tricks. Your aim here is to move to the new group and get them engaged quickly to keep the buzz about you going from the first groups reactions.

Magic Trick 2) The Meat.

Now is the perfect position for a more meaty routine. Perhaps some mind reading, metal bending or a levitation routine. Play to the whole group and expand it. Card magic works well here as you could do a multiple selection routine such as the MRD deck by Liam Montier.

Magic Trick 3) The Big One.

To end the second set, we recommend that you hit them hard with a signature piece that will cause a stir. Ring flight, ring in walnut, bottle through body. Something that makes everyone applaud and freak out.

Set Three) The Circus.

You’re in the middle of the room and at a point where a large group is all around you. Most of the people have already seen your magic from sets 1 and 2. This set is almost like a theatre show.

Magic Trick 1) Helpers.

Use 2 or 3 helpers for a routine and bring them into the center of the group. In the hands chop cup routine, a rope routine like fiber optics extended, or a mind reading routine may be perfect here.

Magic Trick 2) Comedy.

Look for a magic trick that allows a few of the spectators to be comic if their personalities suit this. A street hypnosis routine, or an arm bend/twist routine would work well here.

Magic Trick 3) The Closer.

To end The circus set, you need your most dramatic closer. Something that gets 3-4 people joining you to help. Bring in some interaction from tables near you as well, and address the whole room. At the end, go for an applause stance. If you are performing to a single table, have the guests stand during the trick as this is a feature effect and should aim to be as visible as possible.

It's about pace.

So there you have three sets of magic tricks. Each set designed to be used at a different point in an event. You repeat sets 1 and 2 around the room, working towards the middle of the room, stage, or towards a top table. If you have the whole rooms attention, set 3 brings everything to a climax.

The pace for each set is different. Building from fast and flashy, to engaged and interactive.

Once you understand the flow and goal of your magic sets, it becomes much easier to choose new magic tricks to include, and to be able to order the magic tricks you already know, to be positioned within your sets to get the most out of them.