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=C2=BB Trickbusters Copperfield, video trickbusters secrets
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billpage Posted: Apr 2 2008, 06:49 PM
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use google and youtubesearch engines
type in
trickbusters copperfield
type in
copperfield revealed
the blade use either one girl an she jumps secretly from platform to
plat form or have look alikes ,twins, doubles extc one gets legs
cuffed while other is in back on plat form shelve idea
either way the cross pieces as back part revolves around to do a
switch out
****ts uses fast opening chute added from all around ****tal high in the
air above live and tv audience lightbullbs to give neat illusion you
see all the way to the back of the stage idea bu secretly fas moving
sprinin loaded mirrors go in place to give illusion of emptyness
and either prerecorded footage of hawaie or a look alike back stage
set
billpage Posted: Apr 3 2008, 06:36 PM
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well im glad you loike stage illusion ideas of cool science
friend:)
ps usually when somone says i sure wish i knew how to do stage
illusionist david copperfield llusions?
that lets me know they want it badly:)
so i help theme out like everyone hlped me to learn the big stage
illusions im thankful to JESUS to help me learn the cool stage
illusion ideas i allways wished i knew ow to do like cool illsionist
doug henning and david copperfield
ps thas in the year 1970s and 1980s and yahoo! JESUS ansered my
prayers cause i ran into folks and children nd even teenagers thatknew
what iwanted to know
at i said thanks JESUS for answering my prayers
ps again even at my church howard chapel ventriquest
so i dubbed him 6 hours worth on vhs tape secrets ours worth of top
notch stage illusion shows and top notch illusion secrets its the same
vhs tape i gave to copperfield and herbert l becker i like to share
like JESUS does :)he gave freely his life on the cross
lik wize i gave back frely also:)
mhb22 Posted: Apr 3 2008, 06:52 PM
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"at i said thanks JESUS for answering my prayers"
Yeah Jesus is great, could that work for my pass?
--------------------
I deny the Holy Spirit!
billpage Posted: Apr 3 2008, 07:10 PM
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Biography | Magic Magazine Article
Jim Steinmeyer: Deviser of Illusions
By T.A. Waters, MAGIC Magazine, September 1996
In the chill of an early April night she stands there, as if her great
copper eyes could see she would be gazing across the water to the
glittering city beyond. She is gigantic, over 150 feet high and
weighing more than 22 tons; a helicopter darts around her, as a
hummingbird might attend a princess. Far below, a darkly handsome
young man gestures--and before the unbelieving eyes of assembled
witnesses and the viewing millions, she is gone. The Statue of Liberty
has vanished. Soon she returns, appearing in the same miraculous
fa****on. From that moment onward, something has been added to her
century of myth and legend. For the young man, a new myth has been
created--from this night forward, no longer will he be "illusionist
David Copperfield." He will be David Copperfield, the man who vanished
the Statue of Liberty.
Copperfield knows the value of mythmaking, and his performance of this
feat captured the public imagination in a way not seen since the days
of Houdini. It would be fair to say that it may be the single most
amazing magic effect of the latter half of the 20th century. But what
sort of person would have the imagination to conceive of such an
epochal effect? And what kind of mind would have the ingenuity and
expertise to take this notion and actually devise a way to perform it?
When Jim Steinmeyer was born just outside Chicago in 1958, it was not
with a silver T-square in his mouth. You will be relieved to learn
that--for a time at least--he was indistinguishable from the rest of
us. Yes, he did the church basement shows, and the birthday parties,
and relied on the "Egg Bag" and the "Linking Rings," just like we did.
It was, he says, a very standard talk-magic act, and he did it for
about a decade. It is interesting to note that the man destined to
become known as perhaps the best living originator of stage magic
hated to do new material; he would fret about it all during the act,
perform it, then analyze it instead of concentrate on the rest of the
show. He finally decided that being a performer took a certain quality
of irrationality that he didn't possess. "I was much too rational,"
says Jim. "I was much better offstage, planning the stuff." Sounds
reasonable, doesn't it? Of course, during that same time Jim devised
his own version of the classic "medicine show pitch act"--of the kind
made famous by Tommy Windsor and Sid Lorraine--and it was so unusual
that his performances garnered several awards in the magic community.
Out in the real world, however, there was not a huge market for a high-
school kid doing a pitch act. Jim continued with the "standard" act
through his college years, graduating magna cum laude from Loyola
University in 1980.
Magicians first began to take serious note of Jim in 1981, with the
publication of Jarrett--his annotated edition of Guy Jarrett's 1936
tome Magic and Stagecraft, Technical. The annotations revealed a mind
fully as astute as Jared's own, and constituted a compact syllabus of
illusion magic of the early 20th century. A few magicians, however,
already knew about this marvelously inventive mind; Jim had been
working for some time with well-known Chicago pros Bob High, Jim Royal
and others--and his illusions, notably the "Elevator" and "Walking
through a Mirror"--were being featured by a young man named Doug
Henning. Not surprisingly, when Doug found himself faced with
preparing a new television special and getting ready for the Broadway
production of Merlin, he knew he'd need expert help. Jim signed on for
a six-month sting, and worked with Henning for the next six years. On
that special, Jim was credited as "magic coordinator," a title that
still amuses him; it sounds, he says, like
"...enchanted...bureaucrat!" For Merlin he was the Magic Designer;
working in close conjunction with John Gaughan and Doug's staff, Jim
was able to recreate Devant's "Mascot Moth" illusion, a miracle
reincarnated after 75 years. Other startling illusions were integrated
into the scenic design; for Jim it was "a dream project." Reviews of
the show were mixed, but there was no ambivalence about the work of
Jim Steinmeyer; he received his first Drama Desk nomination. (Over a
dozen years later he would receive his second nomination for his work
on Beauty and the Beast; this Disney production now has eight touring
companies featuring the Steinmeyer/Gaughan illusions.)
In the early 1980s, Jim came up with the concept and method for the
vanish of the Statue of Liberty, and thereby hangs a tale of an odd
sidelight in magical history. Being employed by Doug Henning at the
time, he naturally brought the effect to Doug's attention--and Doug
didn't want to do it. "It's easy now to look back and say, why would
you not want to do that?" says Jim. "But in 1981, before the era of
mega-illusions, it was a big step to consider something like that.
Camera trick? Too unbelievable? Going from live to tape?" These were
all very valid considerations, and played their part in Doug's
decision. In time, David Copperfield became aware of the effect, and
through a complicated series of negotiations with Jim, David was able
to acquire the rights. It was almost certainly the wisest purchase
David has ever made, and would have been a bargain at any price.
"Historically, we can see that it's a good trick to have done," Jim
points out. "David had the foresight to understand that he was going
to create a show that was a creature of television and, in that sense,
it was a great trick."
During his half-dozen years with Doug, Jim devised several new
illusions. In coming up with a modern version of the venerable "Doll's
House" illusion of Fredrick Culpitt, Jim had the rather quaint notion
of crating one that actually looked like a real dollhouse--that is to
say, tiny. Magicians, how had for years been doing versions of this
illusion with props the size of Manhattan apartments, sat with jaws
agape as mounds of flowers were produced, and then Debby Henning, from
an enclosure that would have given claustrophobia to a Chihuahua.
Fooling magicians with principles they already know--or think they
know--is business as usual for Steinmeyer. Doug Henning recently said,
"I consider Jim the most brilliant mind in magic. He's a very deep
thinker, and he understands the psychology of magic and how to create
wonder."
In 1987, when Doug Henning abruptly retired, Jim was instantly scooped
up by Disney's Imagineering division, at first as Concept Designer,
and for several years now as a Consultant on projects ranging from
EPCOT to theme parks to Toontown. For many of these, he has written
outlines, treatments and full show scripts. In the space here allotted
it is impossible to give more than a suggestion of the many
accomplishments of Jim Steinmeyer--but think of it this way: if he
were to be divided into three parts, each part would still have more
credits than many "consultants" whose creativity seems most evident in
their self-promotion. Jim's television credits alone would make a
respectable career for anyone else: consultant on Blacke's Magic,
Young Harry Houdini, The Barbara Mandrell Special, Magic at the Magic
Kingdom, Ricky Jay's Learned Pigs and Fireproof Women (also co-
produced), Ricky Jay and his 52 Assistants, and on and on. Oh, and
then there are the television shows he's produced: Britain's
revolutionary Secret Cabaret series, the acclaimed Hidden Secrets of
Magic NBC special, and a forthcoming four-part A&E series on the
history of magic. Books, I hear you ask, what about books? In addition
to the previously mentioned Jarrett (now being revised by Jim for a
new edition), there is Device and Illusion (1991) and Strange Power
(1992). I reviewed both books, saying they were "a gift at the price,"
but I have to admit that I've since changed my mind. These books are a
gift at any price. Let's be clear about this: if Doug Henning, David
Copperfield, Lance Burton, the Pendragons and a long list of top
professionals pay attention (and money!) to Jim Steinmeyer--gee, maybe
he's worth a look and a listen. Jim's recent work includes The Magic
of Alan Wakeling (1993), a meticulous and loving tribute to a man Jim
admires and respects--and Modern Art, his 1995 book which details
(with plans) a bisecting illusion which may well be to the early 21st
century what Harbin's Zig-Zag Girl was to the 20th. As a bonus, Jim
includes a baffling new version of the "Drink Act," and "Shadow
Theatre"--in which an assistant or partner is folded up into
nothingness.
Folded up, did I say? That would bring us to another of Jim's
brainchildren, a little thing called "Origami." For those of you just
emerging from a 20-year retreat on a mountaintop, let me explain that
actually, it starts out as a big thing, a box just large enough to
hold an assistant--but once that assistant is inside, the box is
folded own into a space that might hold a basketball. Of course,
running three rods through the box wouldn't do a basketball any good,
but it seems to have remarkably little effect on the assistant, who
later emerges from the box unharmed. "Origami" has become one of the
most popular illusions of modern times.
Another Steinmeyer creation takes the notion of penetration to its
ultimate; in his "Interlude," one person passes directly through he
chest of another. This, too, has become a feature for many of the
world's top illusionists. Creating what have been called the defining
illusions of contem****ary magic; consulting for magic's foremost
performers; working with such companies as (in addition to Disney)
Universal Studios, Imagination Arts, and SKG Dreamworks; producing
major television specials and series; writing on the history of magic
(automata, The Howard Thurston Work Books, etc., as well as the books
mentioned above); lecturing on magic at theatre conventions....all
this has left Jim with a very serious problem. What to do with his
spare time? He has solved that part by becoming an organizer of the
Los Angeles Conference on Magic History. This gathering, held every
tow years, is regarded by its lucky attendees as quite simply "the
best, classiest and most enjoyable convention in magic." For the most
recent such event Jim decided to re-create the famous "Disappearing
Donkey of Charles Morritt"--and it is typical of his dedication that
for the eight-minute illusion he spent literally months of work; this
work, be it noted, often began with the 5:30 a.m. braying of a donkey
in the backyard.
In his book Strange Power: "Most magicians find it hard to believe
just how long I will be working on an idea before I'm happy with it,
and how much work will go into the development before there is a
finished product. ...Those unthinking magicians are quick to say,
'Well, I could have thought of that,' but they didn't, mainly because
they don't bother thinking. Too bad." And: "I've found that most
magicians are genuinely intrigued with new ideas, [and] value them
right up until that point that they want to steal them...there is
little thought necessary to heave a brick through a window. Most
criminals don't get much farther than this. Neither, in equivalents,
do most magicians."
If, reading these lines, one can detect a bit of irritation and
annoyance in the Steinmeyer point of view, then we can add to the list
of his other qualities that of restraint; most of us, in his position,
would be screaming our lungs out. Very, very few magicians have any
idea of the creative process of invention. Any one of us can, by luck
or chance, get a happy inspiration that seems to work. A career with
the consistency of quality and productivity--a career like Jim
Steinmeyer's--is not the result of waiting for inspiration; it's the
result of--surprise!--work and more work. It comes from knowing the
history of your subject forwards, backwards and sideways; from solving
a problem and then tearing it apart and solving it again; from working
a hundred hours to a dead end, retracing your steps and starting all
over again; and from knowing when, despite all your efforts, the
project won't come together and it's time to shelve it for now, no
matter how much you may love it. Magical creativity, like any other
kind, doesn't come from sitting next to the pool, sipping a margarita
and waiting for the idea to come flitting into your brain like a
demented butterfly. It may well be that, because magicians have this
notion that ideas are something that happens to you, rather than
something you create by your own efforts, they can rationalize that an
idea has no value--and hey, if it has no value, what's wrong with
taking it? Take it they have; it's a perverse measure of Steinmeyer's
stature as a creator that probably more unauthorized copies of his
illusion shave been made than those of anyone else since the days of
Robert Harbin. It's a distinction he could well do without. Having to
devote time to tracking down the rip-off artists, rather than working
on creative projects, has to be doubly frustrating--not unlike Donna
Karan having to leave the design rooms to go wash the dirty laundry.
It must be small consolation to know that his illusions are being
ripped off by the magicians how have seen them done by the "big boys"--
and who think, with an almost childlike innocence, that if they do the
same tricks, in the same way, they'll be stars too. It's an inane
notion, of course, and never works. "Magicians think if you act like a
star, you will be treated as a star," says Steinmeyer. "They schmooze
with the audience the way Sammy Davis Jr. used to do--but very few
people can do that; only the really big stars. When the lounge singer
at the Holiday Inn tries it, it's hilarious: what kind of jerk is
this? Magician's haven't learned that lesson. Maybe the lounge singer
will someday become a star by singing great songs with talent, and
then he can indulge himself. Magicians not only imitate the magic,
they imitate the success and all the trappings, and it looks
ridiculous. Who cares? Do the magic. Get on with it." The Pendragons,
he points out, have become one of the most sensational acts in all of
magic and what do they feature? The "Broom Suspension," the "Indian
Basket," and the "Substitution Trunk!" "It cannot work, on paper," he
says, smiling. "If you told me years ago that someone could become a
star, a hot act doing those tricks--impossible! But the Pendragons
made those illusions distinctive and unique, stylish and spectacular.
Sure, they've done other stuff, but they still do those pieces. The
Pendragons are proof that solid material wins out." It should be
pointed out that the "other stuff" mentioned includes several
Steinmeyer illusions, among them a startling and visceral "Interlude."
Even though his Hidden Secrets of Magic was the most critically
acclaimed of the recent spate of magic specials, Steinmeyer's views
regarding magic on television are perhaps not what you'd expect.
"Magic doesn't work on TV. We should all say our prayers that the
public has accepted it; we're lucky because no art will survive [in
the commercial showplace] without TV." The proof of this is the
reaction of a layperson to magic done live: the magician was right
there in front of me. They're stunned, because they've seen magicians
on TV, and accepted them--but you can do anything on TV; magic is a
live art. If laypersons have some misconceptions about magic on
television, magicians have even more. "Magicians are still desperate
to be on network television, but it simply doesn't have that power any
more; it won't make you a star. It would be possible to come up with a
long list of performers for whom it has done nothing. Magicians have
to be much more clever, more judicious, as to just what their TV
appearances are." With just a tinge of cruelty, he adds, "If you're
over 30, you will still buy the notion that network TV will make you a
star." "That there are now 'rules' for how you do magic on
television," says Steinmeyer, "is simply inane; it's a product of
thinking of ten years ago, only useful if you want to try to be one
more David Copperfield clone."
The whole idea of Secret Cabaret, the spectacular British series which
he produced with Frankie Glass, was to "pull the rug out from under
notions of how magic is presented on TV. It was aimed at a different
audience, and the pacing, the effects and presentations, the music,
the cast, the suggestion of backstory reflected that. It was told in
the vernacular of MTV--not magic shows." Steinmeyer thinks--or perhaps
hopes--that there will be a learning curve for magicians. "They'll
have to get TV savvy, and part of that is not just saying, Where do I
sigh?, but understanding how they look the best, what the best
material is, how it's being staged and photographed. When it gets to
the point at which magicians are spending $90,000 to have gigantic
props built, with the notion that this will make them stars, it's
completely laughable. That's a freight train out of control--and on
the wrong track."
As a perfect counter-example, Steinmeyer cites Ricky Jay and His 52
Assistants: "Thank God it happened when it did. Right at a time when
people are saying how big can you get, how much production value can
you squeeze in, how much spectacle--there he is in a drawing room with
a deck of cards, talking about magic and doing sensational stuff--and
people saying this is the most incredible theatrical experience
they've ever had. What a great relief for all of us to see that the
core of this art is intact, and what a great example that it's the
cult of the personality again. Here is a great personality who can
hold an audience with conjuring tricks." And what, finally, is the
value of magic? "In our time, science has made wonders unspecial.
You're at the checkout counter, the clerk passes a pattern of lines
through a beam of light, and there it is, beef stew, $S1.59. Now
that's astounding, but you don't notice it, the clerk doesn't notice
it, the people waiting behind you in line couldn't care less." "But
magic makes you notice things--see how they're special--and now things
become unique and special, and you see the world in a new way." It
would be nice to end with that gentle philosophical observation, but I
can't resist a somewhat more characteristic quote from the estimable
Mr. Steinmeyer, this in response to criticisms of what is sometimes
pejoratively termed box magic: "If the red and chrome boxes are more
interesting than the performer on stage...well, the problem isn't with
the paint job."
Biography | Magic Magazine Article
=C2=A92004 J.H.S. Productions, Inc. | All Rights Reserved
Fax: (818) 563-1757 | eMail: info@[EMAIL PROTECTED]
Posted: Apr 3 2008, 07:21 PM
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if you talking about coin pass slight of hand yeah if you pray to
JESUS to help you learn cool slight of hand ideas then yeah but if yor
taking about finding JESUS in your heart ALL YOU have to do is ask
Jesus TO forgive you of your sins and come into your heart and save
you
once you do that you will feel a burden lifted off your shoulders
be safe (((little buddy)))
ps line from cool dvd tv series i have
gigiland island
billpage Posted: Apr 4 2008, 07:57 PM
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Original Message:
> well, i wish i could do illusions like david copperfield
http://groups.google.com/group/alt.magic.secrets/topics
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Original Message:
well, i wish i could do illusions like david copperfield
moconnellus Posted: Apr 4 2008, 11:47 PM
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Nice Bio re****t Bill.
billpage Posted: Apr 6 2008, 02:03 AM
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cool your welcome moco ((friend:))
the plateglass becomes the mirror as dc swings real mirror to the left
side like pu****ng adoor open in your house idea to the side
an as dc goes thru clear plateglass rectangle burst open yellow paper
you see dc hand and feet then other hand and then whole dc body as
real mirror swings back like a door hinge and pushes dc out as one
secret crew guy goes under neath with his hand and unlocks mirror so
everyone can slide mirror out an dc taps on mirror to show its still
solid
use lighting change in side or back of plateglass to give illusion its
still same solid platglass mirror ps jim styenmier invented this cool
idea illusion of science
billpage Posted: Yesterday, 05:34 PM
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mhb22 Posted: Yesterday, 06:22 PM
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I am a bit annoyed now by the word "trickbuster".
I really don't want to have a trickbuster in my audience.
Bill, how can you encourage this?
If I remember correctly, the trickbuster duo say "There is no magic,
it's just tricks".
Yeah but do they talk about how much work and preparation is needed to
create these wonderful illusions. I don't think so.
--------------------
I deny the Holy Spirit!
Ace Ventura Posted: Yesterday, 07:52 PM
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QUOTE (mhb22 @[EMAIL PROTECTED]
Apr 20 2008, 06:22 PM)
Yeah but do they talk about how much work and preparation is needed to
create these wonderful illusions. I don't think so.
Couldn't agree more mhb...couldn't agree more.
--------------------
For those who believe, no explanation is necessary...for those who do
not, a whack in the head will do.
mhb22 Posted: Yesterday, 08:05 PM
Magician
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Posts: 202
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QUOTE (Ace Ventura @[EMAIL PROTECTED]
Apr 20 2008, 07:52 PM)
QUOTE (mhb22 @[EMAIL PROTECTED]
Apr 20 2008, 06:22 PM)
Yeah but do they talk about how much work and preparation is needed to
create these wonderful illusions. I don't think so.
Couldn't agree more mhb...couldn't agree more.
Well that's good then.
--------------------
I deny the Holy Spirit!
billpage Posted: A minute ago
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Walking thru the Great Wall of China Effect : David Copperfield walks
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More options Nov 29 2000, 4:00 am
Newsgroups: alt.magic.secrets
From: magic-b...@[EMAIL PROTECTED]
2000/11/29
Subject: Walking thru the Great Wall of China Effect : David
Copperfield walks
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Walking thru the Great Wall of China
Effect : David Copperfield walks through the great wall of china When
David Copperfield goes inside the first box there was a switch made,
copperfield goes under the box and goes into the hollow stairs he
then
gets carried away inside the hollow stairs. A lookalike in shadow
form
pretends to walk through the first part of the wall, after he plays
his
part he gets inside the hollow base plateform. By that time the
assistances pull the sheets away to show that he walked through the
first part of the wall.
The stairs that copperfield is in is behind the camera boom as it
makes
a complete rotation over the wall. The assistances on the ohter side
of
the wall take the same stairs and put it next to the other plate
form.
The assistances climb the special stairs and hold up a small white
sheet
of cloth. It looks like David Copperfield is pu****ng his and and face
through the cloth. The secret behind this action is that the person
on
the righte is just controling a pair of fake hands which he controls
with his right-hand. The person on the left is just pu****ng a fake
face
through the cloth with his left-hand.
The two assistances then drop the small sheet cloth and listen to the
wall to see if Savid is all right. They then slowly roll down the
sheets
to cover the frame box up and make sure it is tucked in good, they go
down the stairs to wait for copperfield to make his way through the
secound part of the wall.
All he has to do now is get out of the hollow stairs and inside the
box
and watch his angles with the light. He then comes closer to the
light
so it looks like he is coming through the secound part of the wall..
He
pulls the sheets away to reveal himself, the white cloth stays on the
floor becasue it contains the props.
--William Page's Web Site--
Address:http://membres.tripod.fr/poupounet/williampage/
From: magic-b...@[EMAIL PROTECTED]
Group: alt.magic.secrets
Subject: or? Date: Tue, Oct 10, 2000, 2:16pm (EST+1)
Organization: WebTV Subscriber
it ame up secrtly from the tall buiding? the circle ****led the girl
held
low to her leg was a nuf andle to hid the helicopter comong up wards
as
she finally held up the circle ****eld:) as she kept her legs apart
at all times so you could see under neather at all
times.magic.secrets
Date: Thu, Oct 5, 2000, 3:22pm From: magic-b...@[EMAIL PROTECTED]
Tue, Oct 3, 2000, 1:57pm From: magic-b...@[EMAIL PROTECTED]
oh and
hey
Franz had the simuler concept i had of making a helicoper appear!
inbroad day light in mid air but my friend said you can not do that
they will thing trick camerea but i said im sure thee isa way
like have a helicopter behinde a screen that projeted the pretty
blue sky with clouds in it or i could use thin rooler shade mirrors
in
the sky or i could use altought i couldnot use it. but if i could
the top secret invisible jet in broad day light concept and just
aply it to the helicopter:) itsa special ayer of thin clear skin that
some how? refelects what it sees in the back on to the front of the
jet
or if a ad guy in his jet is flying above he wouldjust see the
ground:)because the special chemcal paint would reflect what it sees
on
the ground to the top of jet plus its also stelthy off radar as
well.
Walking thru the Great Wall of China
Effect : David Copperfield walks through the great wall of china When
David Copperfield goes inside the first box there was a switch made,
copperfield goes under the box and goes into the hollow stairs he
then
gets carried away inside the hollow stairs. A lookalike in shadow
form
pretends to walk through the first part of the wall, after he plays
his
part he gets inside the hollow base plateform. By that time the
assistances pull the sheets away to show that he walked through the
first part of the wall.
The stairs that copperfield is in is behind the camera boom as it
makes
a complete rotation over the wall. The assistances on the ohter side
of
the wall take the same stairs and put it next to the other plate
form.
The assistances climb the special stairs and hold up a small white
sheet
of cloth. It looks like David Copperfield is pu****ng his and and face
through the cloth. The secret behind this action is that the person
on
the righte is just controling a pair of fake hands which he controls
with his right-hand. The person on the left is just pu****ng a fake
face
through the cloth with his left-hand.
The two assistances then drop the small sheet cloth and listen to the
wall to see if Savid is all right. They then slowly roll down the
sheets
to cover the frame box up and make sure it is tucked in good, they go
down the stairs to wait for copperfield to make his way through the
secound part of the wall.
All he has to do now is get out of the hollow stairs and inside the
box
and watch his angles with the light. He then comes closer to the
light
so it looks like he is coming through the secound part of the wall.
He
pulls the sheets away to reveal himself, the white cloth stays on the
floor becasue it contains the props.
--William Page's Web Site-- 2008 is
http://groups.google.com/group/alt.magic.secrets/topics
ps illusionist magicians say bill page post more info it should be
called bill pages website:)
From: magic-b...@[EMAIL PROTECTED]
Group: alt.magic.secrets
Subject: or? Date: Tue, Oct 10, 2000, 2:16pm (EST+1)
Organization: WebTV Subscriber
it ame up secrtly from the tall buiding? the circle ****led the girl
held
low to her leg was a nuf angle to hide the helicopter coming up wards
as
she finally held up the circle ****eld:) above her head as she kept
her legs apart
at all times so you could see under neath her at all
times.magic.secrets
Date: Thu, Oct 5, 2000, 3:22pm From: magic-b...@[EMAIL PROTECTED]
Tue, Oct 3, 2000, 1:57pm From: magic-b...@[EMAIL PROTECTED]
oh and
hey
Franz had the simuler concept i had of making a helicoper appear!
inbroad day light in mid air but my friend said you can not do that
they will thing trick camerea but i said im sure thee isa way
like have a helicopter behinde a screen that projeted the pretty
blue sky with clouds in it or i could use thin rooler shade mirrors
in
the sky or i could use altought i couldnot use it. but if i could
the top secret invisible jet in broad day light concept and just
aply it to the helicopter:) itsa special ayer of thin clear skin that
some how? refelects what it sees in the back on to the front of the
jet
or if a ad guy in his jet is flying above he wouldjust see the
ground:)because the special chemcal paint would reflect what it sees
on
the ground to the top of jet plus its also stelthy off radar as
well. but what i think? franz did isjust let the remote
helicopter land in a small cage behind the girl in black suite that
holds the cirlce flixibele thing that is attaced to her back they
never show her back hmm? and she is also a nuff angle cover
togive
ample time for real helicopter come of clouds streight on to itsmark
for
the apparance! now! remove the cirlce sheld! thats why he could
do it also in slow motion.
I never Felt So Much Love In one Room Before ps.line from David
Copperfield on one of his CBS Special evenits doing close up
magic
and big stage illusions somtimes inviting Children onStage for a
illusion close up or stage or just in the audience and also he
uses
adults also men and woman.=3D)
http://groups.google.com/group/alt.magic.secrets/topics
Discussion subject changed to "Walking thru the Great Wall of China
Effect : David Copperfieldwalks" by M.Gwilym
M.Gwilym View profile
More options Nov 30 2000, 4:00 am
Newsgroups: alt.magic.secrets
From: "M.Gwilym" <tcu...@[EMAIL PROTECTED]
>
Date: 2000/11/30
Subject: Re: Walking thru the Great Wall of China Effect : David
Copperfieldwalks
Reply to author | Forward | Print | Individual message | Show
original
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Does any one know of any more Copperfield tricks in the public
domain?
Thancks, Mei.
magic-b...@[EMAIL PROTECTED]
Hide quoted text -
- Show quoted text -
> Walking thru the Great Wall of China
> Effect : David Copperfield walks through the great wall of china When
> David Copperfield goes inside the first box there was a switch made,
> copperfield goes under the box and goes into the hollow stairs he then
> gets carried away inside the hollow stairs. A lookalike in shadow form
> pretends to walk through the first part of the wall, after he plays his
> part he gets inside the hollow base plateform. By that time the
> assistances pull the sheets away to show that he walked through the
> first part of the wall.
> The stairs that copperfield is in is behind the camera boom as it makes
> a complete rotation over the wall. The assistances on the ohter side of
> the wall take the same stairs and put it next to the other plate form.
> The assistances climb the special stairs and hold up a small white sheet
> of cloth. It looks like David Copperfield is pu****ng his hands and and
fac=
e
> through the cloth. The secret behind this action is that the person on
> the right is just controling a pair of fake hands which he controls
> with his right-hand. The person on the left is just pu****ng a fake face
> through the cloth with his left-hand.
> The two assistances then drop the small sheet cloth and listen to the
> wall to see if Savid is all right. They then slowly roll down the sheets
> to cover the frame box up and make sure it is tucked in good, they go
> down the stairs to wait for copperfield to make his way through the
> secound part of the wall.
> All he has to do now is get out of the hollow stairs and inside the box
> and watch his angles with the light. He then comes closer to the light
> so it looks like he is coming through the secound part of the wall. He
> pulls the sheets away to reveal himself, the white cloth stays on the
> floor becasue it contains the props.
http://groups.google.com/group/alt.magic.secrets/topics
- Hide quoted text -
- Show quoted text -
> From: magic-b...@[EMAIL PROTECTED]
Group: alt.magic.secrets
> Subject: or? Date: Tue, Oct 10, 2000, 2:16pm (EST+1)
> Organization: WebTV Subscriber
> it ame up secrtly from the tall buiding? the circle ****led the girl held
> low to her leg was a nuf andle to hid the helicopter comong up wards as
> she finally held up the circle ****eld:) as she kept her legs apart
> at all times so you could see under neather at all times.magic.secrets
> Date: Thu, Oct 5, 2000, 3:22pm From: magic-b...@[EMAIL PROTECTED]
magic.secrets
> Date: Tue, Oct 3, 2000, 1:57pm From: magic-b...@[EMAIL PROTECTED]
oh and hey
> Franz had the simuler concept i had of making a helicoper appear!
> inbroad day light in mid air but my friend said you can not do that
> they will thing trick camerea but i said im sure thee isa way
> like have a helicopter behinde a screen that projeted the pretty
> blue sky with clouds in it or i could use thin rooler shade mirrors in
> the sky or i could use altought i couldnot use it. but if i could
> the top secret invisible jet in broad day light concept and just
> aply it to the helicopter:) itsa special ayer of thin clear skin that
> some how? refelects what it sees in the back on to the front of the jet
> or if a ad guy in his jet is flying above he wouldjust see the
> ground:)because the special chemcal paint would reflect what it sees on
> the ground to the top of jet plus its also stelthy off radar as
> well. but what i think? franz did isjust let the remote
> helicopter land in a small cage behind the girl in black suite that
> holds the cirlce flixibele thing that is attaced to her back they
> never show her back hmm? and she is also a nuff angle cover togive
> ample time for real helicopter come of clouds streight on to itsmark for
> the apparance! now! remove the cirlce sheld! thats why he could
> do it also in slow motion.
> --William Page's Web Site--
> Address
> --William Page's Web
Site--http://groups.google.com/group/alt.magic.secret=
s/topics
also to make large buildngs and air planes an jet airplanes appear or
vanish in day time or nite time have platform raise up higher in the
air or lower to the ground or move your way point of view with lazy
susanturn table or haul jet airplane or elephant out the back added
with stage scim netting nite time scrim or day time scrim stage
netting ideas plus a nother idea is use photo realistic coard board
cut outs of jet airplanes or buildins extc
or have jet airplane stay on real runway tarmac but the whole fake
runway tarmac raise up in mid air and then undercover of sheet or
cage
added wih sheets idea cover trap door up lock in it place have pre
recorded of jet airplane with shadow projector to look like elephant
or jet airplanes still there that way secretly haul jet airplane out
the back or under ground with fast elevador or lower plank to haule
jet airplane under real grown or real run way air ****t or have 2
dimsnion jet airlpane buthave airplane look like 3 dimnsion ideas or
cars ,trucks extc
use brighlighting to haul dinner train car out the back added with
wire frame insheet to look like diner train car is still there under
sheet asdc pull on sheet when he steps on stairs seet wire frame
falls flat idea anblack wire frame extra stuff now blends inside top
of blimp hanger area added with lighting change ideas
i like how franz haray illusionist says the new way of make large
objects vanish an reappear has to do with the sun meets the horizon
ps incodes secretly that platform raise higher up to vanish santa fe
hotel in day time and make hotel reapear by reversing the process
ideas
- Hide quoted text -
- Show quoted text -
> Walking thru the Great Wall of China
> Effect : David Copperfield walks through the great wall of china When
> David Copperfield goes inside the first box there was a switch made,
> copperfield goes under the box and goes into the hollow stairs he then
> gets carried away inside the hollow stairs. A lookalike in shadow form
> pretends to walk through the first part of the wall, after he plays his
> part he gets inside the hollow base plateform. By that time the
> assistances pull the sheets away to show that he walked through the
> first part of the wall.
> The stairs that copperfield is in is behind the camera boom as it makes
> a complete rotation over the wall. The assistances on the ohter side of
> the wall take the same stairs and put it next to the other plate form.
> The assistances climb the special stairs and hold up a small white sheet
> of cloth. It looks like David Copperfield is pu****ng his and and face
> through the cloth. The secret behind this action is that the person on
> the righte is just controling a pair of fake hands which he controls
> with his right-hand. The person on the left is just pu****ng a fake face
> through the cloth with his left-hand.
> The two assistances then drop the small sheet cloth and listen to the
> wall to see if Savid is all right. They then slowly roll down the sheets
> to cover the frame box up and make sure it is tucked in good, they go
> down the stairs to wait for copperfield to make his way through the
> secound part of the wall.
> All he has to do now is get out of the hollow stairs and inside the box
> and watch his angles with the light. He then comes closer to the light
> so it looks like he is coming through the secound part of the wall. He
> pulls the sheets away to reveal himself, the white cloth stays on the
> floor becasue it contains the props.
william page
> From: magic-b...@[EMAIL PROTECTED]
Group: alt.magic.secrets
> Subject: or? Date: Tue, Oct 10, 2000, 2:16pm (EST+1)
> Organization: WebTV Subscriber
> it ame up secrtly from the tall buiding? the circle ****led the girl held
> low to her leg was a nuf andle to hid the helicopter comong up wards as
> she finally held up the circle ****eld:) as she kept her legs apart
> at all times so you could see under neather at all times.magic.secrets
> Date: Thu, Oct 5, 2000, 3:22pm From: magic-b...@[EMAIL PROTECTED]
magic.secrets
> Date: Tue, Oct 3, 2000, 1:57pm From: magic-b...@[EMAIL PROTECTED]
oh and hey
> Franz had the simuler concept i had of making a helicoper appear!
> inbroad day light in mid air but my friend said you can not do that
> they will thing trick camerea but i said im sure thee isa way
> like have a helicopter behinde a screen that projeted the pretty
> blue sky with clouds in it or i could use thin rooler shade mirrors in
> the sky or i could use altought i couldnot use it. but if i could
> the top secret invisible jet in broad day light concept and just
> aply it to the helicopter:) itsa special ayer of thin clear skin that
> some how? refelects what it sees in the back on to the front of the jet
> or if a ad guy in his jet is flying above he wouldjust see the
> ground:)because the special chemcal paint would reflect what it sees on
> the ground to the top of jet plus its also stelthy off radar as
> well. but what i think? franz did isjust let the remote
> helicopter land in a small cage behind the girl in black suite that
> holds the cirlce flixibele thing that is attaced to her back they
> never show her back hmm? and she is also a nuff angle cover togive
> ample time for real helicopter come of clouds streight on to itsmark for
> the apparance! now! remove the cirlce sheld! thats why he could
> do it also in slow motion.
> I never Felt So Much Love In one Room Before ps.line from David
> Copperfield on one of his CBS Special evenits doing close up magic
> and big stage illusions somtimes inviting Children onStage for a
illusion close up or stage or just in the audience and also he
uses
adults also men and woman:)
--
___ ___ ___
/\ \ /\__\ /\__\
/::\ \ /:/ _/_ /:/ /
/:/\:\ \ /:/ /\__\ /:/ /
_____/:/ /\:\ \ /:/ /:/ _/_ /::\ / ___
/::::::/ / \:\__\ /:/ /:/ /\__\ /:/\:\ \/\__\
\:\~~\~~ \/__/ \:\/:/ /:/ / \/__\:\/:/ /
\:\ \ \::/ /:/ / \::/ /
\:\ \ \:\/:/ / /:/ /
\:\__\ \::/ / /:/ /
\/__/ \/__/ \/__/
Mei tcu...@[EMAIL PROTECTED]
Haddad View profile
On Thu, 30 Nov 2000 11:04:28 +0000, "M.Gwilym" <tcu...@[EMAIL PROTECTED]
>
wrote: >Does any one know of any more Copperfield tricks in the
public
domain? >Thancks, Mei. Mei, None, and I do mean NONE of Copperfield's
large illusions are in the "public domain." Making something public
by
stealing the idea and writing about it is not, I repeat, NOT putting
something in the "public domain." Reading about it on a patent
website
or speculating about it here in alt.magic.secrets is also not putting
something in the "public domain.". Ray
More options Dec 1 2000, 4:00 am
Newsgroups: alt.magic.secrets
From: Ray Haddad <rhad...@[EMAIL PROTECTED]
>
Date: 2000/12/01
Subject: Re: Walking thru the Great Wall of China Effect : David
Copperfieldwalks
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On Thu, 30 Nov 2000 11:04:28 +0000, "M.Gwilym" <tcu...@[EMAIL PROTECTED]
>
wrote:
>Does any one know of any more Copperfield tricks in the public domain?
>Thancks, Mei.
Mei,
None, and I do mean NONE of Copperfield's large illusions are in the
"public domain." Making something public by stealing the idea and
writing about it is not, I repeat, NOT putting something in the
"public domain." Reading about it on a patent website or speculating
about it here in alt.magic.secrets is also not putting something in
the "public domain.".
Ray
friday nite irash songs ps had lots of info indeatil i just typed
up but google made it vanish?
oh well it had steve petit info on the 10 comand ments
and info on the grand canyon
and vhs tape agig with nbc mindreading illusion and real works
magician wth coin.cards,rope ideas plus churches christmas play 2001
or 2002
plus steve petit stuff they done last nite thats thurday nite arpril
17 plus
plus i printed up info on copperfield and ther info too in
alt.magic.secrets
the stuff up top igave them too add with goodnewsbaptist church soul
wining track
and line drawing with ext dc liberty vanish lazy susan turn tableinfo
ps lots of folks got saved again cool
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