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Learning Principle 4 of 7: Immediate Feedback

Should you practice magic in a mirror or on camera?

Assess every rehearsal for instant, actionable focus areas. A mirror helps you check an angle, but only a recording shows you what the audience saw.

Table of contents
  1. The trouble with mirrors
  2. Why feedback has to be fast
  3. How to review a rehearsal
  4. What to look for
  5. Scoring yourself honestly
  6. How Trickifi applies it
  7. Sources
All guides

Table of contents

  1. The trouble with mirrors
  2. Why feedback has to be fast
  3. How to review a rehearsal
  4. What to look for
  5. Scoring yourself honestly
  6. How Trickifi applies it
  7. Sources

The short version

  • A mirror is useful for checking angles on a single move. For a full rehearsal, record it.
  • You can't perform a trick and judge it at the same time. A recording separates the 2 jobs.
  • Feedback works when it's fast and specific: watch the recording the same day, and score it against the same questions every time.
  • You score yourself to find out exactly what to practice next, not to earn a grade.

Both, for different jobs. A mirror is for checking an angle while you practice a single move. A camera is for rehearsals, because it's the only way to see a trick from where the audience sits.

The trouble with mirrors.

Mirrors have been part of magic practice for as long as there have been mirrors, and for good reason: you see an angle as you adjust it. But a mirror has 3 problems as a rehearsal partner.

  • You're watching while you're performing, so your attention is split between doing the trick and judging it. Neither gets done well.
  • You look at your hands in the mirror. An audience watches your face, and they look where you look.
  • You see each moment once, in real time, and then it's gone. There's no going back to check what happened when it went wrong.

There's a subtler problem too. In a mirror you know where to look, because you know where the secret is. Your audience doesn't, and that changes what they see. Gustav Kuhn and Alice Pailhès cover the research in The Psychology of Magic: what people perceive depends heavily on where their attention is. That's why a move that feels obvious to you can be invisible to them, and the other way around.

Mirror or camera

A mirror has 3 problems as a rehearsal partner. A recording answers each one.

A mirror

Good for one move

You see an angle as you adjust it.

A camera

Good for a rehearsal

The whole trick, from where the audience sits.

  1. Split attention

    You watch while you perform, so your attention is split between doing the trick and judging it. Neither gets done well.

    One job at a time

    You perform it once, and judge it afterwards. A recording separates the 2 jobs.

  2. Your eyeline

    You look at your hands in the mirror. An audience watches your face, and they look where you look.

    Their seat

    The lens sits where a spectator's eyes would be, so you see the trick from there instead.

  3. Gone in the moment

    You see each moment once, in real time, and then it's gone. There's no going back to check what happened when it went wrong.

    It keeps

    Watch it back the same day, all the way through, and again at the moment it went wrong.

A mirror

Good for one move

You see an angle as you adjust it.

  1. Split attention

    You watch while you perform, so your attention is split between doing the trick and judging it. Neither gets done well.

  2. Your eyeline

    You look at your hands in the mirror. An audience watches your face, and they look where you look.

  3. Gone in the moment

    You see each moment once, in real time, and then it's gone. There's no going back to check what happened when it went wrong.

A camera

Good for a rehearsal

The whole trick, from where the audience sits.

  1. One job at a time

    You perform it once, and judge it afterwards. A recording separates the 2 jobs.

  2. Their seat

    The lens sits where a spectator's eyes would be, so you see the trick from there instead.

  3. It keeps

    Watch it back the same day, all the way through, and again at the moment it went wrong.

Both, for different jobs. Keep the mirror for the move you are adjusting. For a full rehearsal, record it.

Why feedback has to be fast.

The best way to avoid bad habits and fix mistakes while you learn is to get feedback right away. It provides guardrails that stop you wandering toward unfocused goals, especially if you're jumping in early and often (Rapid Immersion). After all, how can you improve if you don't know what to improve?

Daniel Kahneman spends a chapter of Thinking, Fast and Slow on when an expert's intuition can be trusted. His answer: only when the skill was built in a setting with regular patterns, plenty of practice, and feedback that arrives quickly and clearly. Without that feedback, years of experience can build confidence without building skill.

The books on deliberate practice agree. Angela Duckworth lists feedback among its basic requirements in Grit, and Scott Young breaks feedback into 3 kinds in Ultralearning: whether it worked, what went wrong, and how to fix it. A recording gives you the first 2 on your own. The third is where practice exercises, and mentors, come in.

Mentors are an incredible resource if you have access to them. Most magicians don't, most of the time, and a camera is available at 11pm on a Tuesday.

The 3 kinds of feedback

Every rehearsal can answer 3 questions about itself. A camera answers the first 2 the moment you press record.

  1. A recording gives you these

    1. 1OutcomeWhether it workedYou watch it back and you know, without having to ask anyone.
    2. 2InformationalWhat went wrongThe moment it fell apart is still there, and you can watch it again.
  2. Where practice exercises, and mentors, come in

    1. 3CorrectiveHow to fix itSeeing the problem is not the same as knowing the way out of it.

How to review a rehearsal.

  1. Put the camera where a spectator's eyes would be. Seated spectator, seated camera.
  2. Perform the whole trick, out loud, without stopping. If you can, turn the preview off so you play to the lens and not to your reflection.
  3. Watch it back the same day, once all the way through before you judge anything.
  4. Score it against the same questions every time, so this week's rehearsal can be compared with last week's.
  5. Pick the weakest thing, and practice that first.

Though self-assessments can be subjective, the emphasis is less about getting a good grade and more about observing the nuances of each performance, so you can make actionable adjustments right away.

Setting up a rehearsal

A mirror is for checking an angle on a single move. For a rehearsal, the camera takes the spectator’s seat.

You

What they see

The camera

You

The whole trick, out loud, without stopping. Turn the preview off if you can, so you play to the lens and not to your reflection.

What they see

What the audience gets, and the one thing you cannot watch while you are busy performing it.

The camera

Where a spectator's eyes would be. Seated spectator, seated camera.

What to look for.

"Was that good?" is too big a question to answer honestly. Trickifi breaks it into 9 observations across 3 topics, each with a single question and a score from 1 to 5. They work just as well with a notebook.

Motor Skills

  • Stealth

    How well did you hide secret movements?

    1: Flashed. 5: Undetectable.

  • Coordination

    How deliberate were your movements?

    1: Clumsy. 5: Intentional.

  • Naturalness

    How natural were your movements?

    1: Suspicious. 5: Unsuspicious.

Structure

  • Timing

    How well did you manage cadence and pace?

    1: Rushed or Lagged. 5: Just right.

  • Motivation

    Was there a reason for everything you said and did?

    1: Illogical. 5: Rational.

  • Clarity

    How understandable were you?

    1: Indistinct. 5: Clear.

Showmanship

  • Character

    How well did your mood, attitude, and dialogue support the effect?

    1: Unsupportive. 5: Enriching.

  • Audience Management

    How well did you direct spectator focus?

    1: Inattentive. 5: Captivated.

  • Authenticity

    How well did you sell the effect?

    1: Forced. 5: Believable.

Scoring yourself honestly.

Self-assessment isn't a perfect instrument. You know the method, so you'll spot things no audience ever would, and on a bad day everything looks like a 2. That's fine. The score matters less than the habit of looking closely, and a harsh score only costs you a little extra practice.

An inflated score costs more. Most of Trickifi's win states are difficult to falsify, but it's not a cheat-proof system. You can't get stronger by lying to a fitness app, and you won't perform better magic by lying to Trickifi.

How Trickifi applies it.

Every rehearsal in Trickifi is recorded, watched back, and scored before you move on. You give each of the 3 topics a verdict, Looks Good or Needs Work, and anything that needs work is scored from 1 to 5 across its observations. Your scores decide which practice exercises come next, and when the next rehearsal is due.

The recording never leaves your device. It isn't uploaded to Trickifi, so your methods stay yours, and you can download it before you finish if you want to keep it. You can also switch the live preview off while you record, which takes the mirror away entirely.

Motor Skills
84
Structure
72
Showmanship
66
Overall
74

See also: Why practicing a trick the same way stops working

Sources.

  1. Daniel Kahneman (2011). Thinking, Fast and Slow.

    When intuition can be trusted: only after prolonged practice in a regular environment, with fast and clear feedback.

  2. Angela Duckworth (2016). Grit: The Power of Passion and Perseverance.

    Feedback as a basic requirement of deliberate practice.

  3. Scott H. Young (2019). Ultralearning: Master Hard Skills, Outsmart the Competition, and Accelerate Your Career.

    The 3 kinds of feedback: outcome, informational, and corrective.

  4. Gustav Kuhn and Alice Pailhès (2023). The Psychology of Magic: From Lab to Stage.

    The research on attention and perception: what an audience sees depends on where they are looking.

PreviousHow often should you practice a magic trick?NextWhy practicing a trick the same way stops working

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