Solid: A coin appears to penetrate a can
A coin appears to penetrate into the can
A coin is tossed against the side of a can and appears to penetrate right through it. Afterwards, a coin is heard rattling inside, and the can can be handed out upon removing the gimmick. Juan Capilla explains the principle behind Solid, its construction, and the basic handling; Julio Montoro introduces the lesson and credits him as the creator of the effect.
The instruction works with two coins and a prepared can set for the performance. One coin is inside and the other outside. The illusion that the same piece has entered is produced by the release and catch caused by the assembly, rather than an actual hole in the can.
What the videos include
You get an introduction by Julio, a promotional video, two explanation parts by Juan, and a section on the creative process. Juan teaches the principle, how to craft the gimmick, how to calibrate its response, and how to remove it to hand out the can.
The promotional video shows a routine using a key and initials. That scene illustrates a performance possibility, but it is not equivalent to a full tutorial of that signed variant. The creative section previews another routine explanation; the full sequence is not fleshed out in the videos for this lesson. The content explained here is the coin method, its construction, the toss, and the removal.
Materials and construction
You will need a can, two coins that respond to the magnetic setup, a small neodymium magnet, a small piece of wrapping plastic, adhesive tape, double-sided tape, and scissors. The can must be prepared with the inner coin beforehand; starting with any completely unprepared object is not covered.
Juan shows how to repurpose the plastic from a common package. He uses the approximate size of a small coin as a reference, without imposing a strict measurement, and trims the piece according to the handling he wants.
The magnet is held between layers of tape, leaving a free section that allows it to move. It is then fixed to the plastic, and double-sided tape is applied to the indicated area to place it on the back of the can. The moving part must not be glued down rigidly.
The store-bought magnets mentioned are a potential source of materials. The tutorial allows you to use alternatives that provide the right response and teaches you how to build the gimmick; it does not require buying a pre-made Solid or any special commercial tool.
Calibrating the magnet and the toss
The explanation compares a hold that is too weak with one that is excessively strong. Juan uses two thin magnets together because he didn't have one of the thickness he wanted, and suggests adding or removing strength depending on how the gimmick responds.
The balance allows you to retain the inner coin before performing the action and release it upon connecting with the outer coin. It also explains why shaking too hard before the effect can make that preparation noticeable.
The toss is real and requires practice. Juan shows the starting position and reminds you that you must hit the area of the gimmick. The setup does not guarantee that any toss, coin, or impact force will produce the exact same result.
Removing the gimmick to hand out the can
At the end of the apparent penetration, the explanation ties the action of shaking and switching hands with the removal of the gimmick. The ability to hand out the can depends on completing that handling; the gimmick is not left stuck to the back as if it were an ordinary can examinable at all times.
Juan notes that the spectator can hold the can, but conditions it on having confidence in the toss and properly managing the situation. It is a handling option that requires rehearsal, not a condition that makes the effect automatic.
Juan Capilla's creative process
The creative section explains the problem with the first prototype: a magnet glued directly would hold the inner coin, but would not release it easily. Leaving the idea alone and testing it again allowed him to notice a useful change when the tape tore and left the magnet with some play.
Juan connects that slight free movement to the release the effect needed. The story helps explain why the final construction keeps a flexible part and why fixing everything rigidly would alter its function.
This is a lesson for anyone who wants to build an apparent penetration using simple materials and study how to fine-tune a mechanism through trial and error. It includes the method, construction, toss, removal, and creative research; the performance with signed objects and the announced complete routine retain the explanation limits noted.