some constructive criticism of my classic pass please?

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some constructive criticism of my classic pass please?

Postby cragglecat » Aug 17th, '08, 13:17



I would appreciate it if people could take a look at my classic pass and offer some constructive criticism.

http://uk.youtube.com/watch?v=S7-IkyXNn48

This is my first ever video - be gentle :lol:

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Postby stevebo » Aug 17th, '08, 13:34

That was pretty good! You've got the timing and angles correct. I just think you need some more general practice on handling of cards because you seem a bit tense.

Remember that when you're in a performing situation, unless you want your pass to be a visual colour change or something, execute the pass under misdirection. I always do it as a dribble pass though, but prior to a trick, I would do a few dribbles just to get them spectator's acquainted with me doing it.

Also, when you spread the cards, try to make the spread a bit longer and not spreading the cards one by one. When someone spreads the cards one by one, I feel that it seems like there is something suspicious going on. I understand that laymen probably spread cards like this, but as a performer, you should spread it longer to provide a bit more freedom for the spectator.

Hope this helps buddy. Keep the videos coming. (But make sure you practice so that laymen don't find out ;))

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Postby bmat » Aug 17th, '08, 13:41

Overall not bad, but you do telegraph the move. I've seen a lot worse. My best advice try to get some advice from Queen of Clubs.

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Postby Noodlesoup » Aug 17th, '08, 13:44

Kudos for being brave enough to post your video and openly accept comments.

I just find it funny that a move like the classic pass is shown vividly where it is something done behind the spectator's eyes (under misdirection, of course). Anyway, I think you did pretty well! Keep on doing it until it flows naturally.

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Postby TheAlkhemist07 » Aug 17th, '08, 14:22

Yeah that was good. :)

Dont worry about the technicalnow and go onto hiding your pass with misdirection, cos I dont think the spec will ever see it like that?

:)

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Postby queen of clubs » Aug 17th, '08, 14:45

I liked it. Just remember when practicing that it's the hand underneath that moves while the back of the covering hand stays as still as possible.

Also, when I come over with my covering hand to grip the bottom packet with thumb and middle finger, I like to use the ring finger to help "pop" the bottom packet upwards as the hand underneath pivots the top packet to the side and under. Darn... that's hard to explain in words!

If I had to be critical I'd say make the tilting up and then forward of your wrists less obvious. I know you're coming back and then forward to hide the move with angles, but I find it's not really that necessary. You can do an immaculate classic pass without tilting for angles at all - just move slightly at the waist so your hands move horizontally a little and have the knuckle of your middle finger pointing at your spectator's face.

That's what I think anyway :)

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Postby babyshanks » Aug 17th, '08, 23:32

Well I think you did it very well. People are always saying that The Pass is not a move of speed, but of timing, and most people never listen and just try to speed everything up. You've actually listened and got the timing spot on, and not tried to go fast.

Well done.

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Postby cragglecat » Aug 18th, '08, 20:08

Thanks everyone for your very helpful comments - overall I'm chuffed that it didn't get a critical mauling!

queen of clubs wrote:
I'd say make the tilting up and then forward of your wrists less obvious. I know you're coming back and then forward to hide the move with angles, but I find it's not really that necessary.



Thanks - I thought there was probably a lot too much movement at the wrists to cover the move but so far I can't fathom how to cover it without the tilt backwards and forwards -more practice and playing around I guess!

Incidentally, why is the second finger used to provide motion rather than the index finger - is it to minimise movement of the covering hand?

Thanks again everyone.

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