- Finger three, and flick.
Both cards turn over, you hear that slap.
It hits the back of the deck
and slaps to a dead stop,
and you have achieved the colour change.
The mugician takes the ace of spades.
He flicks it.
He flicks it.
He flicks it.
Flicks it.
He flicks it.
Flicks--
Flicks it.
He flicks it.
Eh.
(laughs)
Flicks it.
Flicks it.
He Flicks it.
He flicks it.
Ooh.
(sobs)
He flicks it, and it
becomes the nine of clubs.
The nine of clubs is then
handed out for inspection,
where the participant is invited
to respond accordingly.
I don't believe what I'm seeing.
Margaret, Margaret,
Margaret, did you see it?
Margaret, he, he, he,
he, he, he, he, he, he.
He took the ace of spades.
He had the nine of clubs
hidden behind it like this,
and then he flicked it,
and they turned around so quickly
that it just looked like a magic trick.
It's so good, isn't it, Margaret?
Margaret.
Hold on a second.
Margaret.
Hi, I'm Daniel Madison.
Welcome back.
Thanks for being here.
Thanks for choosing to spend
a little bit more time with me today.
In this video, I'm gonna teach
you another transformation.
I'm gonna teach you another colour change.
Used to be called colour.
Wanted to refresh it.
Wanted to call it the mad change,
so it's called the mad change.
There are three, free,
there are three variations
in this video, and I'm
gonna teach you each
and every one of them, very simple.
The mechanics are also very
simple to do, easy to achieve.
Let's get straight to it.
Let's get straight to the mechanics,
and let's learn how to
achieve the mad change.
You want to buy some sausages?
Straight to the mechanics,
I'm gonna show you
three different versions up close.
I'm gonna reveal everything, and then,
after this little
segment, we're gonna look
at this more intricately.
Basically, you're gonna
take two playing cards.
This is just what it looks like, I guess.
You're gonna take two playing cards.
The top one, you're gonna turn face up.
We're gonna have the ace of spades
and the nine of clubs behind it.
Here's version one, which is suitable
for looking down up close
where you have the deck at waist height,
people are kind of
looking down on the deck.
You're gonna hold a break
underneath the top two cards
so that you can get to
them so much easier.
You're gonna have your
thumb on this corner here,
on the index corner, top left corner,
top right, left, right,
left, top left corner.
Finger one, you're gonna
turn your right hand face up.
This will make it so much
easier, the mechanics.
Turn your right hand face up.
Use finger one to pick up both cards here.
You're gonna press so
there's some pressure
in between those two playing cards.
Once you feel that pressure,
once you feel safe that these two cards
aren't gonna fall apart--
(cat meows)
Cheers, Charlie.
You're gonna pivot.
You're gonna rotate over here
a bit like the swing change,
a bit like yesterday's
video, the swing change.
You're gonna pull over here
just until the cards clear
the deck, there we go.
Just as soon as they're
clear, we're good to go.
You want the card to be
parallel with the top.
You want it to be straight,
but you do want a gap to be there.
You want a gap by about half a centimetre.
You don't want that gap to be too big,
but it's not a big deal.
You just want there to be a gap.
That's all that matters at this point.
Once you're in this position,
you swing out like this.
You're now in position to go.
Keep that grip with either
finger two or finger three,
whichever one you feel
the most comfortable with,
and this will only come with practise.
You're now gonna flick
both of these playing cards
on this corner as hard as you like.
The harder you flick, the
faster the cards will turn over.
When the cards turn over,
this corner is gonna
be stopped by the deck,
so there's no way in the world
that this card can do a full spin.
It simply has to stop in
this position because,
right there, the index stops
on the back of the deck.
Here, here, flick as hard as you like.
I usually use finger three.
A few people I've taught
this to prefer finger two.
I usually go for finger three
simply because of the position.
Finger three is already in that position.
Makes it look more natural
when I just go and grab finger three
rather than overstretching.
Finger three, I flick.
Both cards turn over.
You hear that slap,
and it hits the back of the deck
and slaps to a dead stop,
and you have achieved the colour change.
Once again, gap between two cards,
pick up with finger one here,
swing it around so that
it clears the deck,
flick with finger three, card turns over,
and stops on the back of the deck.
From this position, you
can simply put both cards
on top of the deck, and clean up.
We're gonna cover
some cleanup techniques
after this section.
That was version one.
I'm gonna show you version two.
Version two looks like this.
The ace of spades is
turned over on top like so.
Let me get you in focus even.
We turn the ace of spades over like this.
This time, we turn it over like this
so people can look head on.
Now I do the same thing.
I'm gonna flick this corner,
and they're gonna turn around and stop
on the back of the deck.
Now, what's happening here,
this is ideal for people
who are looking head on,
people who aren't looking down on it
because of the angle.
You're lifting up two playing cards.
When you turn over the ace of spades,
you're gonna get a break
underneath the nine of
clubs behind it too,
and you're pressing the
deck into your flannel.
I believe this part of your
hand is called the flannel.
You're pushing the deck into here.
The pivot point now, you
grab both those cards
at the outer top right corner here,
and this is the pivot angle now.
You're gonna pivot backwards,
and now use your thumb and other fingers
if you need to to go upwards
and into this position
so it's kind of stood up
nicely next to the deck,
to the side of the deck and to the back.
Now, pay attention to a few things here.
One, the deck is in line
with these two playing cards.
They line up perfectly
with the back of the deck.
I tilt the deck up slightly like so.
I tilt it up a little bit because,
when I flick these two cards now,
they're gonna be stopped by the deck
so it can do a dead stop
on the nine of clubs,
revealing the change,
but you're gonna need
to get used to those two things first,
back, upwards, tilt it out
here, the deck goes up.
Once you feel that this
is comfortable enough
that these playing cards
aren't gonna come apart here,
you're now gonna take finger three
and flick this outside
corner as hard as you like.
The cards are gonna both spin 'round
and be stopped by the deck,
achieving the colour change.
From this point, I simply grab
with the finger that's
already there on my thumb,
put them on top of the deck,
and I have cleaned up once again.
Again, we'll cover the
cleanup bits after this.
There's another version of
this that I really love,
which is in the hands.
You just take apparently one playing card.
You're gonna hold two cards back to back,
nine of clubs hidden
behind the ace of spades.
The fingers are gonna work their way
down the side of the deck,
and finger three is
gonna meet this corner.
I'm now gonna manoeuvre the
card into this position.
My thumb has now made its way
to the top here, and it's
gonna grip this corner.
Finger three's gonna
grip this corner here,
and I'm gonna stretch
those two cards upwards
like this, away from my hand,
so that they're away
from my hand like this.
What you'll notice about this,
hopefully, you'll notice about this,
this is a big enough
hole, a big enough gap
so that the card can turn around
without being stopped anywhere on my hand.
That's where you need to go for.
You need to allow those
two cards to be able
to spin in your hands freely.
I apologise if your hands
are too small for this,
but at least you've got
the other two versions.
We moved into this position
from here, into this position.
We lift the cards upwards like this.
Now, you want to be in a position
where it's kind of lateral to your body,
parallel to your body,
and finger three is more
towards the participant,
the thumb's towards me.
It looks very strange
with these two fingers sticking out.
I'm gonna now come over the top like this,
this finger, and I'm gonna
flick downwards on this corner.
Now, when I do that,
I can flick as hard as I'd like.
I'm gonna go over far enough so that,
when I've flicked, this finger,
this hand is in the way,
and stops the card as well.
Get a little bit closer, like this.
Now, the card naturally
stops on my fingers,
which are behind the card now.
I'm now in a perfect position
to let go with my left hand,
grab both cards with my right hand,
let go with my left
to show the card.
(cat meows)
Cheers, Charlie.
I'm now in a position where
I have a hidden ace of spades
on the back of this card.
If the deck's close by, can
drop them on top, and clean up.
However, I do like the idea
of putting them back in this hand
and then doing a gambler's cop
to take away the ace of
spades, to steal it away.
Once again, the gambler's cop is,
if you haven't picked it up yet,
the gambler's cop master class,
or if you haven't learned
it yet from anywhere else,
please, please do.
It's a genius sleight.
Probably my favourite sleight of all time.
Now, if you want to be
a bit more confident,
you can put finger two
on this corner instead of finger three.
This allows for a much bigger window here
so that there's definitely no chance
that that card's gonna get stuck anywhere
in between the change.
Let's talk about the intricacies of this
a little bit closer up.
The first version of this
is probably my favourite.
It's the first one that I
came up with a long time ago.
As usual, a lot of sleight of hand,
and a lot of these techniques,
and a lot of tricks, you carry them
for years and years before
you get them perfect,
and secretively, you never
actually get them perfect.
You never do, but along the way,
trying to become perfect,
that's how you improve,
and that's how they become so nice,
and refined, and good-looking.
I believe that I'm only
halfway through this one.
I think it stands a chance
of being so much better.
I play around with all
different kinds of ideas,
and different angles, and different ways
of tilting them, and different positions
to put them in and flick, you know,
and trying to find the
most beautiful ones.
These are the three that I've settled on.
I don't always like doing the one
that's in the hand without the deck.
That's kind of a showoff thing
that became something that I'd only show
to sleight of hand people and card people,
which is kind of a bad habit,
I guess.
(cat meows)
Cheers, Charlie.
Because it was impressive to
magicians and card people,
especially the end, where you clean up
with a gambler's cop.
We'll get to that one.
Let's look at the first one
first out with the deck.
This is my favourite one to do.
Usually, I consider myself
more of a close up performer
than any other kind, so
when I'm doing card tricks
for people, I'll be right there with them.
They'll be right with me.
I'm usually stood up.
I love performing in bars
and in weird situations
where you won't usually see
a performer like me, or somebody
like, you're a magician.
It's usually somewhere stood up.
Very rarely sat down unless
it's a gambling demonstration,
a card cheating demonstration.
That puts me in a position
where people are looking down a lot.
If I lift this ace of spades up here,
then it makes it an awkward situation
where they're stood here, and now,
all of a sudden, I've gotta move back
in order to show them the colour change.
You don't want to do that.
The first one for me,
and the first idea I came up with
was the one down here,
where you're looking down.
Turn over the ace of spades,
pick up the nine of clubs behind it,
pivot them out just over the deck,
and you flick, and it turns over,
and there you have the nine of clubs.
Perfect reveal.
The things I want to talk
about in this segment is,
basically, you can apply
it to any sleight of hand.
You don't want to rush this.
You don't want to rush it.
There's a very kind of smooth thing
where nothing's happened
until it's happened.
Nobody's trying to catch you out.
Nobody's trying to catch you out.
By the way, like with
all of my techniques,
and tricks, and sleight of hand things
that I give to you, I
want to encourage you
to do your own thing with them,
so I'm not gonna tell
you what words to use
and what to say because,
if you left that to me,
you'd probably get fired.
I'd be telling you to
talk about frozen sausages
and crows that make sounds like cats.
What's that called?
A woof.
When this is taken over the top,
when you pull those two cards
over out to the top like this,
it's not a rushed thing.
Nothing's happened yet.
Nothing's happened.
You're just presenting the playing card.
Say what you like at this point.
Say what you'd like.
The trick kinda just does itself.
It doesn't even need words, I guess.
Depends on your situation.
I'm gonna take the ace of spades,
and then pull it out here.
You have to have a
motivation for everything.
You have to have a reason.
You have to be able to justify
everything that you do.
This is one of my pet peeves.
One of the things I don't really like
about magicians and magic in general is,
they hold things in such strange ways.
Magicians hold things in ways
that only magicians could,
the way that they hold,
they use their hands,
the way that they turn
the playing card over.
No one in the world
turns a playing card over like a magician.
Or.
If you were gonna do a colour change,
you wouldn't--
You wouldn't have to do
these magician moves.
So annoying, but we can use that,
we can use what we've seen magicians do,
and use it as a measuring system, and say,
what are magicians doing?
Ah, I see what they're doing.
That means I'm not gonna do it.
(laughs)
The justification, and the
trying to get it right,
here's one of the things.
When you swing those two cards out
of the edge of the deck,
I always feel a little
bit uncomfortable about it
because it looks like one of
those magician things to do.
Like, it looks strange,
but the justification, the explanation is,
you're just holding it
out to be displayed,
and at the same time, you want to isolate
a single playing card away from the deck.
It's away from the deck.
It makes it more interesting, the change.
It makes the change more amazing somehow,
because it was away from the deck.
It was separate from the deck.
I think that makes sense.
I swing it away from the deck
just to isolate it, and just to show it.
The fact that I'm holding
it between one finger
and a thumb, then that kind of looks
like I've got very little control over it.
It looks like I couldn't
possibly do anything
with that situation, I
couldn't do any magic like that
because I'm only holding it
on my finger and thumb tip.
In this position, it looks
like the card's just isolated.
Again, it justifies itself.
You don't need to say any of this
to a participant, a spectator, by the way.
Can you imagine?
Oh, so, what I'm doing here is,
I'm isolating the playing
card away from the deck
so that it's more impossible.
You know, it doesn't make sense.
The card swings away like this.
You isolate it from the deck,
and then the snapping, and the clicking,
it's very magic-y.
It's a very magician thing, again,
which I don't like,
but it's, what's the word for it?
How do you describe it?
It's an action, and it has a result,
cause and effect, I think
that's what I was looking for.
It's here, and I flick, and it changes,
and there's a snap noise,
and it's questionable,
but it happens, you know.
The change happens, and
all of a sudden, magically,
the playing card is changed.
Once it's changed at the end--
By the way, before we get to that,
you don't want to rush it.
When you get here,
you want to hold it for a moment.
Although it might feel
like a magic-y thing to do,
hold your fingers out,
and hold your hand open as if to suggest
that you're not holding anything else.
Don't say it, just do it.
Hold it here, hands
out, wait a few seconds.
Let it be taken in.
Let them take the situation in.
Let them see the deck in your hand.
Let them see the ace of
spades away from your hand.
Let them see that you're
not gripping anything.
At the same time, don't
just stand there like this.
You know, I do that a lot.
When you get here, just hold it
for what feels like the
right about of time.
Don't rush the snap.
Go slowly into everything.
The only fast moment should
be when the card turns over.
Also, you're gonna learn
yourself, by practise,
what's gonna be hard enough,
and what's gonna work the best
for turning that card over.
For me, I like to flick it.
Flick it.
I like to flick it.
Flicks it as hard as I can because I know
that that's gonna make the
cards turn over faster.
With that, the danger comes
with the playing cards doing this.
(cat meows)
I know, Charlie.
I'm just showing people.
That's not actually the trick.
If you flick it too hard,
then the cards are gonna fall away.
They're gonna be flicked away.
You're gonna lose control.
You don't want to look
like you've got no control.
You want to look like
you've got a little control.
You want it to be just right.
You're gonna find that yourself.
You're gonna learn what that pressure is,
and what that flick is.
The only way to find
out is through practise.
Here, here, here, card changes.
Once the cards change,
we'll get to this position.
Once the--
(laughs)
Jesus.
Once you get here, once
the card's changed,
I like to do this.
I like to flick those cards with my thumb
as this hand goes down.
It's a very natural thing, by the way.
Like this, the hand just falls
down by my side like this.
Well, I didn't even do the change then.
Like this, flick.
Wait, and I'm showing the wrong angle.
Here, flick like this,
and then come back up, take
it to the top of the deck.
Now that allows me to just give
the nine of clubs out freely
with nothing hidden behind it.
By the way, I didn't mention anything
in the previous explanation,
or in the demonstration at the beginning,
but the exact same technique can be used
all the way up here, of course.
Ace of spades changes to nine of clubs.
Come back, steal the card from the back,
just place it on the back.
I just like it better when it's down here.
Still, I think the reason why I kept down,
in fact, is because it kind of looks
a bit like the--
(sighs)
It kind of looks a bit
like the swing change
that we did yesterday when it's up here,
and I wanted to do something
that looked a bit different.
Still, play with this idea,
swinging them both here,
flick, and from this position,
you can take the ace
of spades off the back.
Just for the sake of explanation,
I'll show you what I did just then.
Up here, flick, one, two,
take the nine with me, and
now, I can show both sides
of the ace of spades.
The one on the hand,
the one on the hand, where you stood,
where you have to do this.
Let me get the ace.
The one on the hand where you do this,
the one from a distance
where you're further back,
I'm not a fan of doing that.
I think it looks good for a camera.
It's certainly good from a distance,
but up close, you have to come here
to hide that back hand.
There's a lot to hide here because,
as soon as I get into this position here,
I have to hide all of this.
I have to hide this nine.
Then, when it's changed,
once the cards turn around,
I've got to get rid of
that ace quickly because,
if anybody stood at the side of me
or behind me, they can't see it.
I don't usually go for that one,
but still, it had to be
taught in this video.
The same rules apply, I guess,
the same things are gonna apply to this.
Ace here, up here, flick, changes.
Again, I can do the same thing
that I've just showed you
where you flex the ace,
flex it again, or the nine, shall I say,
and now, I can show the back of it.
It's a very simple idea
of the ace being here.
Obviously, I'm showing
you the back of this.
Now you see the ace.
I flick, I do one, two,
and now I can give this
out for inspection.
Meanwhile, I've cleaned
up with the ace of spades
on top of the deck.
Now, the one in the hand,
the one in the hand, as
I've already said that,
I'm not a fan of this,
but I had to teach it on
this video either way.
I'm not a fan because you're creating
more problems than miracles.
You're causing yourself more problems.
We're gonna skim over this one.
Please don't get into a
habit of performing this
or doing this for people.
It looks so unnatural in the hand.
No one holds playing cards like this.
Nobody does.
No one moves playing
cards around like this.
It's just wrong, it's just so weird,
but I had to teach it.
I just had to put it in here
because there's gonna be some
people out there who love it,
and I can't argue with this,
it does look good on film.
It does look good on film.
That's all I've got to say about that one.
I know I get accused a lot
of wasting a lot of people's time,
and then there's another crowd of people
who say they still want the theory.
I'm used to sharing so much theory.
That's why these videos are long.
I talk, talk, talk a lot
because there's so much
to say about deception,
and I've already said I
don't think I've reached
the ultimate effect with this principle.
I think it's out there somewhere,
so maybe one of you guys have found it.
Maybe you can find it, and if you do,
let me know, 'cause I
want to know what it is.
I think I've just scratched the surface
with this one, with the
three that I've shown you.
Well, maybe with the two, the first two.
If you figure it out,
if you've figured something out better
than what I've shown
you, please let me know.
Use the comments section.
Let me know how you're getting on.
That's it for this video.
Thanks for spending some time with me.
Let me know how you
get on with this trick.
If you use this trick or
any other of my sleights
on the social networks, on
YouTube, tag me in them.
Feel free, but tag me in them.
I want to see how well you do them.
I want to see how well you progress.
We're almost at 50,000 subs on YouTube,
and there's been some
great suggestions coming in
for what I should do when we hit 50.
I want to give, give, give,
and I want to make something special.
I want to do something
special for when we hit 50.
Keep letting me know.
Use the comments section below.
Use the comments below to let me know
if you've improved or
developed this colour change.
I really want to see it,
and I really want to develop this
to something even more special.
Maybe I can do that with your help.
Thanks for being here, thanks
for watching the Madison show.
I'm Daniel Madison.
I'll be back soon.
Margaret, quick, Margaret,
he's on the bloody floor.
Hiya there.
You want to buy some sunglasses?
(laughs)
The mugician takes the ace of spades.
Margaret, Margaret,
Margaret, he's on the floor.
I think he's might've had
an accident, you know.
Are you all watching me?
Do you want to buy some sunglasses?
