Rodney

Yes, Qucktime files are allowed/preferred. You could upload an AVI if compressed as a .ZIP file (that'd be an extra step that might prevent some from accessing). As for why AVIs are not accepted... I dunno. Perhaps they don't stream online very well.

Very nice Paul! I'm a bit surprised we haven't seen Charlie Chaplin (or Buster Keaton) show up here in animated form before this. It doesn't surprise me to see that you're the one to do it! Here's hoping the challenges of the past couple months are well behind you.

Congratulations on the gig!

That was awesome Mark! I was going to say, "No Crits" but I have one little tiny you've-gotta-be-kidding-me critique. Make those TVs in opening sequence larger and/or flying toward the our screen) The rationale is to fill up more space but more specifically to keep viewers from wondering what the heck is actually on those screens. Because the screens themselves weren't visible for much time, it took a few moments to actually realize they were TVs. Edit: That's not the problem... subsequent viewings make it a lot less of an issue. (I did say it was a tiny you've-gotta-be-kidding-me critique) Outstanding job. Very impressive. The thing that most impresses me is that you did all those voices!

The idea of older and taller is easily sinking in. It just forces me to adjust my previous view on things. A few for instances: - I was picturing Death as tall and skinny (besides the robe thing). There are several scene where Death is looking down at Latimer and Latimer is looking up at him. Unless Death is even taller than I originally imagined certainly changes things. I suppose you could opt for a really short Death and go the opposite direction. That'd lead to some very interesting storytelling possibilities just as drives home the point that Latimer raises and that everyone in the audience is thinking, (to Death) "I always imagined you being... different." To which Death reponds, "I get that a lot." Works for me. I'm not suggesting that Death should be tiny but it's an idea worth exploring. The main reason for liking that angle being that it brings Death and Edgar physically closer together in each scene and the contrast at the end where Death assumes his 'proper' form would stand in nice contrast to his earlier stature. Not only that but in short order everyone would want their own cute little cuddly Death doll to carry around with them. Gotta track that merchandising! At any rate, It'll be fun to see Latimer, Death, Edgar and Franky all in the same scene. For what it's worth I originally saw Death and Franky as being about the same height and both towering over Latimer. I still assume that they will be bigger. For discussion sake, I do have general concerns with making Latimer older/taller and those relate to audience rapport and empathy. A lot of this depends on how seriously you want the movie to play and we are finding out more about that aspect as we see your designs appear. The (stereotypical) general rule of thumb is; the older the main character(s) the more serious the underlying themes of the movie will be. The classic examples of this in recent animation are 'Treasure Planet' and 'Titan A.E.' which were seen as movies for older kids but marketed to kids. This caused considerable confusion at the box office. I had originally assumed you were going for all ages but raising Latimer's age suggests the film will not be as appealing to pre-teens. In many movies this is where the sidekick, familiar or Jiminy cricket type character gets thrown in to keep the movie from becoming or remaining too serious. Love the side by side comparisons. They always get the personality traits flowing.

While you have a lot of room to maneuver I think your instinct is serving you well in this case. A lot depends of the contrast you want to play up between Cleo/Franky/Nora. If you design/refine them in tandem with each other you'll be able to obtain the optimal looks. I would even throw Latimer's mother into this mix to make sure her design also complements them. Suggestion: Draw/render each of the character in black silhouette only. Each one should be completely recognizable and distinct by their shapes/silhouettes/profiles. The age and height of Latimer in this last render is certainly readjusting my understanding of who the character is. I pictured him as younger and shorter. No wonder he feels overly constrained by his Mother and Father! Age is especially important because of how maturity of a character effects personality. I appreciate how your image suggests that aspect.

As Robert suggests, as long as v17 is in Alpha things are being added that otherwise would have to wait for the next version. Although it may seem counter intuitive, a longer Alpha cycle for v17 is a very good thing!

Nancy's scheme really is a great way to go. It's so easy to find things that way. I'll stare at yours as well but at a glance there was only one thing that popped out to me. I can't remember the whys and wherefores but something/someone convinced me that Misc folders were to be avoided. The problem with Misc folders is they are on their face just collections of random (unorganized) files. Somehow I ended up with pretty much the same thing as a 'Misc' folder but I call it 'Archives'. Note that there is a subtle but important difference between these two labels because they imply the process that is being used. With an Archive the whole point is to maintain/extend the organization of your files and folders while documenting. Whereas 'Misc' is an unorganized collection, 'Archives' is intended to be organized, even if only at a later time. In practice anything that you run into in a folder that doesn't belong there is either 1) moved to where it belongs or 2) Archived What this means practically is that every folder you create can have an associated Archive. It doesn't have to but your most active folders will probably have one. If the assets you are looking for in a particular area of the production cannot be found they are more than likely in the Archive. Why bother with this methodology? It adds the element of Rapidity to (temporarily) organizing your files. If something isn't needed in a folder drag and drop it out of the way into the Archive. Later in the production cycle, when you are not in the peak creative mode, you'll put on a different hat and organize that Archive. If in looking into the Archive you see it already well organized you can simply rename the title of the Archive and move it to where it should reside. Underneath it all I believe is our understanding of what the words Archives means to us versus the word Miscellaneous. Archives gets us into a mode of backing up, organizing and preserving files whereas Miscellaneous files are unknown, unrelated or simply set aside. I should also say that I feel I have moved one step beyond this scheme of Archiving but I haven't quite locked down my approach to that. It's hush/hush secret proprietary stuff that helps me (in theory!) be more organized and more productive. An element of it is that any key to rapidity must work on/with/against the principle of 'garbage in. garbage out.' In this realm we need something to play the opposite role that is played by the Archives folder which is one of collecting, storing and categorizing useful assets; that's the backend of the store. At the front end is Research and Development which is required in the rapid collection and processing of useful information and ideas that need to be assessed, procured, prepare, processed and fed into the project. So, a whole lot of words here to say I think you need two folders that bookend your project; one for information and assets flowing in (Research and Development) and one for those you aren't currently using (Achives). Note that for our purposes here Archives is also a (temporary) waste folder. One final addition. You need some type of journal. While this could double as your Research and Development folder I confess I alter the way I implement this one from time to time (most due to not having a consistent project to work on but I think to keep the process itself fresh and interesting vs unbearably boring). Something that has helped me in the arena of documentation is to create a folder with the current date and then add matters of interest for that day into that folder. The benefit of this is that it helps you sort through the issues of the day quickly and keep moving toward your goal. The downside to this naming scheme is that after that day has passed you cannot determine by the title of the folder alone the contents of the folder. Of course this is where the search function of your computer comes in and it's always a good idea to leverage the power of search tools when the goal is rapid processing of information. The most important thing about these journal entries however is that they are documenting your journey. If later on you have any question about where a particular idea came from or where an asset is located important clues will be found here in the journal. Important processes will be recorded. Important ideas not yet explored. And all of this because you took the time to keep a journal. Note: If using the date as the journal folder title my recommendation is to use the following format; "20120204 (plus title, description or focus as necessary)". This will allow your operating system to automatically sort them. So, to recap: Journal folder (Titled by Date) Purpose: Document your Journey R&D folder (Titled by Subject) Purpose: Organize assets for use in your project Production folders (Titled by Production Number) Purpose: Keep the Production simple and organized Archives: (Titled by Subject) Usually only added to a folder as a previous file in that folder is superseded Purpose: Temporarily store assets that are not being used Backup: (Copies of Originals - More preferrably the originals!) Purpose: Maintain the original files or authenticated (tested) copies in a safe and secure location The above is a general system of file structure I try to use mostly because otherwise I am a very disorganized person. More accurately, even with the above I am still a disorganized person.

Great job Matt! ...and look at Thom representing too!

Alright, I lied. I couldn't resist tossing in my two cents into this scene. These mainly concern composition, scaling, focus and detail. My thought is that due to the size of the house in your image Latimer's father might have owned it since before he became successful in his business. Right now it seems to be too abstract to me (the window not to scale, the house not big enough, etc.) As such I figure the father might have built onto the house here and there, added a room, added a pantry, added little 'useful' things everywhere. The outhouse (off screen left and slightly downwind and downhill) hasn't been utilized since he added the water closet to the house eight years ago at his wife's insistence. I suppose the whole point to these doodles is to suggest that with a little geometry you should be able to suggest a lot of detail that really isn't there. Whatever you choose as the focus of the scene (we can assume the window here) it won't hurt to radiate lines out from that location and then place a few strategic objects to help guide the viewers attention there. Note that in what is represented in the attached image is general in nature. You've already got a lot of this going on in your scene. For instance, you've already got elements directing attention to the window where Latimer is seated. I've included that part for the sake of completeness. What could be added? Something out there where a mailbox might be (I don't think they had mailboxes back then so perhaps a gated fence, shrubs, rocks or a pathway.

I want to hear Nancy's commentary on the house so I'll defer to her feedback on that. I'll just say, I'm liking the direction of this latest house and move on to some trivial workflow and details. I assume you may be creating some of the drawings (i.e. the grass) in a different program that A:M. While you can certainly do that, I want to encourage you to create as much as you can directly in A:M. If you do you'll reap the rewards of reusage later. For instance, if creating the grass (via hair or simple geometry repeated over and over again) rendering out to PNG, TGA or EXR will give you nice crisp outlines in your Alpha Channels automatically. While the ultimate benefit is that once you have that created in A:M you can leverage them over and over and over again the real flexibility comes with being able to blur/adjust/recolor those elements later. When creating the assets in other programs they are a little more likely to be used for specifically targeted instances only (i.e. for decals). Of course I'm saying this without having a clue as to how you approached creating the grass in your earlier image.

That walk looks pretty good Chris! You are well on your way. There are some areas that could/should be tweaked (perhaps some minor relaxation in the hands) but I understand that is all yet to come in the final refinement. As far as bigger/broader areas, the main area that I might attack if it were my sequence to play with would be the movement in the hips. It seems to me that you could get just a hint of up/down movement in there to convey a sense of shifting weight. That up and down movement might also help you move away a little more from what I sense as a hunched posture in the character. That might also be due to the angle we are seeing the walk from in the rendering of the sequence. There is an aspect of this walk that really is pulling me in and I think it is the look of determination with a sense of purpose as if he's got a known destination. When you get to the final refinement you may be able to exploit that even more through some subtle movement in his face. As most of what I am thinking about outside of the hips seems to concern fine tuning I'd say that is a successful walk. (The video isn't looping while viewing online so I really should download and play it back while looping to get a better sense of how the whole walk as a cycle is working. It appears to working well. )

Have you ever tried to draw an image in Celtx??? Celtx is a lot of things but as a storyboard tool you'd be better off with paper and pencil.

Great start to Edgar! I like. Have you given much thought to what the base of his neck might consist of? As it remains a mystery why he's missing his body in the first place I won't speculate too much here but perhaps his head could be placed on/in various things as a joke* (which Edgar does not find amusing) such as a plate, a book, a cup, etc (Note: Death wouldn't do this but the patrons of the Raven might). Since no one seems to know why his body is missing perhaps Edgar doesn't know either which just adds to the never-ending list of frustrations for him. "Add that to the list please." I figure it's just part of the so-called mystery behind his real death. I'm rendering a test of that color thumbnail right now from A:M where I have the camera tracking the path. It's not very pretty but it might help to understand what the most difficult areas of that sequence will be. I don't think it'll even be worth uploading. If I didn't know any better I'd say you were taking this stuff seriously. *Note that I'm not saying I like this idea. It's just something that came to mind as I was pondering your image and how the neck could terminate. The only real suggestion I have of your current Edgar is that I think his neck could be shortened considerably.

The megapanzoom shot isn't much to look at in this stage of the idea but it's a stab in the direction of having some fun while telling the story. My thought is that the path that the raven takes could be very similar to the path our heroes take during their great escape just in reverse (and maybe during a different time of day. This would help cut down on the amount of modeling. This thumbail represents two solid head-on perspective shots (The beginning at The Raven and the End at the balcony of the Castle. You can't really make out the bridge that the raven flies under and I didn't spend much time doodling the castle because zoomin up to it would likely be a forced perspective shot. The buildings and such between are just notional... had to put something in there. What is perhaps most interesting about this setup is that it is designed to cover the camera's POV from the time Death and Latimer pull up to The Raven until Cleopatra turns, leaves the balcony and walks into her throne room. Of course this doesn't have to be all done in one setup probably at least three hero sets (The Raven, the City and Cleo's Castle). The flow follows your script: Death and Latimer arrive at The Raven Death and carriage moves off screen left while Latimore heads to enter The Raven (screen right) Before he can enter The Raven he runs into Nora who is entering screen right Oops, Sorry... Hey wait! Drat. Latimer considers following Nora but goes back to his original mission and enters The Raven. Camear pans up to the sign. Raven is seen on sign watching Latimore. After a few seconds (Log enough to have seen Latimore enter) the raven flies off. Raven flies over the roofs of several small houses and down unoccupied streets. Flies under pipes. Flies through some structures (briefly) disappearing and reappearing from sight. Raven passes several intersections, houses and such that clue us in to what the city might be like (hints a much bigger city we know is there but will never visit). Flies toward and then under bridge (possibly to avoid some pedestrian traffic that is going over the top. Arches upward climbing through houses near the base of the castle. Locks in on figure in the distance at the top of the castle. As we zoom in to see Cleopatra for the first time on the balcony. The raven lands while the camera continues to drift up and reach appropriate height. Cleopatra 'communicates' with the Raven and then quickly leaves balcony and walks down the hallway. End of MegaPanZoom Cut to Cleopatra entering Throneroom. I don't know. What do you think? Would something like that work? While it wouldn't be as much fun, it certainly would be easier to just cut at the Raven flying off and then cut back in with it appearing at the balcony.

Lloyd, This is just a note to let you know I received the latest copy of your script and have starting into it. In an attempt to find a more efficient way of proving feedback I'm moving toward a three/four column breakdown in order to consider the mood/color right along with the current events in the script. The idea being that the next step after the script is to import these color keys this into A:M where they are layered into the animatic. I add the attached because it is a scene that asks a few questions that I feel will need answering eventually. 1. There are several areas in the script where events transpire out of plausible timeframes. This may or may not be intentional on your part but it will be disorienting to audiences so I address it here. It also might provide you the opportunity to layer in some interesting characteristics with regard to this city. The city, I confess, is still very much a mystery to me and I've got a few thoughts to send your way including a massive pan shot that might even impress Walt Disney. Best of all though is that it fits your current script and so you don't have to create a lot of space for it. Even if you wanted to expand upon it I'd image would only add about 30 seconds (approx. 900 frames) to the current sequence. That might be worth it to allow the audience a quick raven's eye view of the city. 2. Note that I am imagining the inside of The Raven in warmly lit brown and orange tones. This seems to me a good earthy tone for Edgar. It suggests the color of leather bound books and readings by firelight, warmth and a sense of safety. This might be contrasted a little by Edgar himself who might be a pale greyish color (I assume since we will be seeing a lot of his face that it will be rendered with Sub Surface Scattering which would be especially nice if it could lend a browish pale grey to his face. 3. Regarding the 'out-of-time-and-space' references. As I said before there are several passages in the current script that defy time. I believe those will either have to be adjusted or explained. As you've already got that big clock and several reference that suggest Death and Cleo have access to more modern knowledge than they should have this seems to suggest they don't exist with the same level of constraints as the average person who is dead. This appears to be a golden opportunity and I think can layer in some very interesting elements for this city that collects all things. The reference to 'poetry' is an example of purposefully pushing that 'out of time and space' theme. The use of the word 'poetry' would apply multiple layers to this scene. To me this is important as dialogue should always add something that cannot be displayed visually into the scene. 'Poetry' would be a word used outside of it's proper time and space and more fittingly applies to the author of the poetry itself. Cleo would have good reason to chuckle for her use of this word in her phrase. Edgar probably gets it too but not fully, he just knows that he the object of that turn of her phrase. Considered another way, underneath it all Cleo is mocking the immortality of his Edgar's fame. Too deep and too layered for animation? I don't think so. If nothing else it demonstrates how much gold can be spun from a one-word change. Note that I am claiming no real insight into history, poetry or whatever. I am suggesting that wherever error is found there is opportunity. Another example in this same vein is the Gansberg clock which if taken literally places this tale perhaps even as late as the 1930s. I find the clock to be a most excellent addition to this story but it does present some challenges that will need to be addressed. But with a out-of-time-and-space theme running through your script those problems quickly dissipate. With the Gansberg clock in play I would say that the ideal 'real time' (the time when Latimer was alive) was somewhere between 1903 and the mid 1930s. I believe you favor the ealier years? Now if you are not wanting to purse the idea of this land in between life and death working in such a way, the obvious approach would be to consider such references in the script as errors, root them out accordingly and expunge them mercilessly. Personally, I think the optimum references of this type will give a lot of depth to your city. Note: I'm not sure if you'll run into issue with copyright regarding the Gansberg clock. My feeling is that you might so you may want to take some care in pursuing that theme.

That certainly works for me. I do get the sense that this is something of teaser to a teaser so I believe you could dig deeper. Perhaps there might be something at the very end that further heightens interest beyond the characters walking into view and casts a glimpse into the actual series. Perhaps that is fodder for one of the next teasers (you are going to make at least three right?). While I like the symbol at the end it seems to be missing something important. (You've indicated that other things will appear there but here are my thoughts on it as it currently is. It's hard to judge what isn't there so I'm just giving you the 'this is what I see' feedback.) My initial thought is that it might be the actual title (Red Squad) but it might just be as appropriately your (the creators') names. In some of the standard trailers a symbol like that might be augmented with the release date. All that seems clear is that the isolation of the symbol itself seems to be lacking. Another thought would be that the symbol would stand there quietly for awhile and then suddendly out of the silence the other Chris's battle sequence takes over and dominates the screen. This leaves the viewer with the sense of, "Did I just see what I thought I saw??!?" and they then go back for repeated viewings. The element of light vs dark, silent vs loud, subtle vs IN YO' FACE can be compelling and entertaining. Note to others: Beware of the volume on this one if you often leave your speakers turned up!

That certainly works for me. I do get the sense that this is something of teaser to a teaser so I believe you could dig deeper. Perhaps there might be something at the very end that further heightens interest beyond the characters walking into view and casts a glimpse into the actual series. Perhaps that is fodder for one of the next teasers (you are going to make at least three right?). Added: Some of my edited text in this post didn't make it through. It was mostly in regard to what you said would eventually appear. You may be going to add text etc. into the teaser but we can't judge any of that because we can't see it. As such we can only address what we can see. As such the following commentary mainly focuses on what is currently there and what I feel should be/could be there. While I like the symbol at the end it seems to be missing something important. My initial thought is that it might be the actual title (Red Squad) but it might just be as appropriately your (the creators') names. In some of the standard trailers a symbol like that might be augmented with the release date. All that seems clear is that the isolation of the symbol itself seems to be lacking. Another thought would be that the symbol would stand there quietly for awhile and then suddendly out of the silence the other Chris's battle sequence takes over and dominates the screen. This leaves the viewer with the sense of, "Wow. That was intense. Did I just see what I thought I saw??!?" and they then go back for repeated viewings of the teaser. The element of light vs dark, silent vs loud, subtle vs IN YO' FACE can be compelling and entertaining. Like rendering out a sequence of images from A:M... you've got to set your range in order to see the results you are expecting. Added: Another important thing about teasers is that you've got to give the viewer room to compare something... to tease them into making assumptions that are worth investigating. If the battle scene was set against this walk in of the crew the viewer is forces to wonder what these two sequences have to do with each other and they begin to form ideas about what that might be. In other words, by inviting the comparison, you have successfully 'teased' them. The thing this setup does more than anything else is it sets up an anticipation in the teaser. The teaser then is the setup for the anticipation of the film the audience has an expectation of seeing. Of course, I assume you want them to anticipate/expect an exciting, action packed and engaging movie. So having the characters calmly walk in does this... it' lulls the audience into a (false) sense of security. But what do you do with them in that condition? One thing you don't want to do is leave them there without some kind of a payoff and then end the teaser. The effect of that will likely be, "Okay, got it. Next." Note to others: Beware of the volume on this one if you often leave your speakers turned up! I had left the room while the movie was downloading and was coming back and had forgotten I had my speakers turned up. The timing of the intensity of the sounds at the point of the teaser I walked in on made me think my computer was having a very serious seizure. Added: Of potential interest (especially to fans of Marvel Comics) I recently posted a note from Stan Lee to Len Wein back in the 60s that critiques a comic book cover, it's usage of 'dead space' and the emotional connection between the characters and the audience (readers). Its a very short critique but it packs a real wallop when it comes to getting the audience to immediately connect with the story. It's also one of the reasons Marvel was beating the pants off of DC in sales and in the number of comic book readers.

When it come to character arcs, I've got to tell you that your story is a treasure trove that perfectly sets the stage for the theme (of character arcs that is). I suppose the real trick though is to not smack a huge sign up in front of them that says "This is the next turn in the arc for this character." The whole idea of character arcs is just a framework with which to build upon because... the story has to be built on the characters. Why talk of characters arcs here? Because progression (or regression) of characters is what we need to see in a film. There is a lot on this that goes way beyond me but also consider the idea of the Steadfast character who is someone that could be seen as changing but in the end sticks to the integral core of their character. Usually the progression we see with a Steadfast character is that of them coming to grips with who they are or who they will be. This relates to the look of Death because there is a conflict in him that gets resolved in the end and it's a powerful one. A method I use to example a character's arc (or throughline) is simply to state their case: - This story is about Latimer. And following his perspective throughout the story. - This story is about Nora. And following her perspective throughout the story. - This story is abou Cleo. And following her perpsective throughout the story. - This story is about Death. And following that perspective throughout the story. This process is just as important (and in some cases almost more important) for the supporting cast and incidental characters but in their case it is complimentary contribution to the main characters. That's why they are called 'supporting characters'. Latimer's parents may be the best example of this. They are effected by what is happening to Latimer in significant ways. They are engaged in it from a first hand perspective (in the beginning) but miss out on some important things. Because of that they don't know what changes have been wrought in Latimer (if any). Everyone in the story seems to be undergoing significant change. Because Latimer seems to only momentarily question his way, perhaps it is only Latimer that doesn't significantly change. But back to the point of Death and what he looks like. The reason I've written all of the above is because the character of a person, place or thing dictates the form they will take. As such it seems that Death will reveal himself gradually (and perhaps even very reluctantly?) He more than even Latimer seems to be a Steadfast character even though we do appear to see change in him. I think that is primarly because Death is lying to himself (and therefore us) about who he really is even though he appears to be completely honest and forthcoming. We fully understand/accept who he is until the very end because we don't know who he is until he reveals that to the audience. It's this sudden revelation and our acceptance of Death (through Latimer) that seems to be key to your script. Death is hiding something and my feeling is that you will could do well to play this up especially at the beginning. As he gets closer to Latimer we need to be able to see more of him (or who he wants to be). If we don't get these brief looks into his character it seems clear to me that it will work against what you have accomplished in the finale). Death is most definitely a steadfast character but we don't realize that until the very end. Death is a lot more complicated character than we thought he was as evidenced by the acceptance of him by the ease with which Latimer embraces him despite the fact of who he really is. As a side note: Who Death really is could have more serious ramifications for Cleo than you have in your current script. On that we'll have to wait and see. I cannot help but sense that unless Latimer intervenes on her behalf she and all of her minions are heading for a more terminal fate.

Interestingly, I thought this might be an option you might pursue and that we might be talking about it. I didn't explore that thought beyond the aspect that it has an established track record of working rather well; MGMs's classic 'Wizard of Oz' being the classic example but so many other films using a similar methodology to enhance the fantasy world and provide a means of comparison with 'reality'. As you state, to make it more 'vibrant'. There has also been films that try to reverse that and take out all but the more important elements of color. 'Schindler's list being a good example of that.' I can see why you would pursue this but there are aspects of it that are problematic. Of course they may not be problematic to you because you have an inside into the story that others do not. Pursuing the exploration of the idea of having the middle Act(s) more vibrant, it also seems to have good potential for use of the recurring mood cycle. Let's say that Act II, starts out with a whole lot of wonderful color. That certainly would jolt the audience out of their commonly held understanding of what the graveside is like. You could use this rather effectively and subtly to hint to the viewer at the beginning (to guide them a little off track) that this is in fact Paradise. The only clue that it is not is Gravedigger, whose mere presence and disposition seems to indicate that it is not. This is a dangerous area for me to comment on because of the potential to muddy up your story in ways that I should not. As such I need to reemphasize, if only to myself, that this is not my story. In a way I suppose you could say it's not your story either. It is Latimer's and Edgar's and Nora's and Franky's and Cleo's and Mark's and Death's etc. etc. ad infinitum. I think it might be a given that as Act II reaches it's climax it will not be gaining brighter and brighter vibrancy (although again it could with some motivator in the story to guide it there logically). It seems to me that similar the Act I that I described above Act II would start rather vibrant and then spiral its way down. I don't think it is an accident that this once again would (literally) follow the path and progression taken Latimer; he awakens in the graveyard and then moves on down the road to the town (city) he then follows the trail of Nora down, down, doom, down. The odd thing about the whole scene being this incredibly beautiful creature who seems to be the essence of power and perfection... a beautiful siren... the arc angel of light (Cleopatra just in case you were wondering). Thus we see that as Latimer's second world continues to spiral ever further downward, Cleo's light appears to be burning brighter and brighter. So we have the environment at it's very darkest even as the plot reaches it's climax. Act III is then prepped and ready to play out the story's emotive cycling one last and final time. Using the entire range/scale from darkness to light and setting and then repeating patterns set the tone and conditions the audience. As the story gets to end, the finale will resound all the more if the audience is right where you want them. (I was thinking your Latimer model looked amazingly like a picture of Arthur Christmas I recently saw. I should have copied and posted that.) If you are going to have a problem... having Latimer look a bit like Luigi or Arthur is a pretty nice problem to have. Added: (A considerable shifting of focus for a moment) One of the things I haven't delved into yet with you is the primary through-line of the story (it should be clear to everyone already just by the title alone that it concerns death). Authors should very carefully consider the messages they are sending and how the story's through-lines will automatically play out. For instance, do you really want the primary theme of your story to be "This world is a lousy place and death is a great way to get to paradise if you can quickly find your way out of it." This might not be your intention but it might be the message that through-line spits out.

Nice additions! I know you are on the right track here but I feel I should register my concern with going for the depressing feel in the pre-dead world. Since I've mentioned it twice already I should just accept that you've seen it and are pressing on with your vision. The thought is that to the pattern of mood throughout the film. For discussion sake only submit the following just as a review of what I am seeing: Depressing. Dead. Happy Ending. (This seems to be the basic mood that is playing out at present) That certainly works. Something to avoid would be: Depressing. More Depressing and then Hopeless. Happy Ending (Note that I've added the four Act nature of this progression to at least make it workable. If it was three Act in nature (Depressing/More Depressing/Happy Ending) it'll be tough to slog through. I feel you are adequately avoiding that flawed approach in your current script but be careful not to have the middle Act(s) read too similarly to the pre-dead world or finale unless you are specifically and artfully weaving a story that suggests this present world and death are pretty much the same thing. That'd work but will be harder to pull off and definitely harder to keep the audience in their seats as most folks go the see movies to escape boredom and depression. One question seems important to ask (for yourself and only for the audience vicariously) is why Latimer is so depressed (morose?) at the beginning of this film. Especially as that is one of the element you are resolving at the ending. This is something that at least has my mind playing with the idea of the intro actually being set better as a bright and sunny day. Latimer should be happy but he isn't and we are going to find out why as the story progresses. Considering further I cannot help but wonder if the first Act could not consist of a mirror to the whole story within itself (Bright Sunny Day, Depressing Family Dinner, Death). Note the downward progression here is attempting to set a pattern with the audience one that will be repeated again in Act 2 as things go (literally) from encountering Death to encountering a fate worse than Death; namely Cleo. Then the stage is fully set for the final confrontation and resolution breaks out of that eternally downward spiraling pattern. Utimately, my thought seems to be that if you don't take advantage of a Sunny Day in the land of Latimer's living you have less of an opportunity to visually suggest the range and patterns of change. If you start with Depressing what comes next? Happiness? No... you've got that held in reserve for the ending. If beginning with Bright Sunny Day/Happiness this immediately allows a contrast in Latimer's demeanor which is not in sync with the required mood of the day. Latimer isn't happy and this is despite all the things around him that suggests that he should be. I do think if you were to go with the Bright Sunny Day at the beginning it should be a fleeting moment though and be interrupted with the knock on the door from his mother. He will then descend down the stairwell to the dining table where his father and mother reveal the bright future that awaits him; a path he only escapes after encountering that fateful cherry. In color terms this seem to suggest brighter colors fading to grey and then black. Would it work the other way? Dark and depressing in his room? Brighter in the hallway, down the steps and into the Dining room? Brighter still as Latimer's father reveals a glorious future and then suddenly this is all interrupted by the cherry? It might but that seems to work at odds with empathizing with Latimer in some key ways. His outlook certainly isn't getting brighter at this stage. Too many words and if you manage to read through them all I will be considerably impressed. These are just thoughts not suggestions. Keep on keepin' on and especially, keep on doing *your* thing.

Here's another random thought to consider (its definitely something I hadn't considered) Muscles do not stretch. They contract and they relax. This is an important distinction (I think). As bouncing balls generally do not have muscles we are fairly safe in the knowledge of this.

I don't know how the SVN requirement will effect those wishing to participate but perhaps adding a note to suggest an alternative for those who cannot go the route of SVN is to collaborate with someone who will be connected to SVN who can upload the files for them? There are a few really good reasons why strictly requiring SVN might be ideal: 1. A goal of this project is to increase the use of SVN. 2. A goal of this project is to increase knowledge of collaborative tools like SVN. The benefits of using SVN from the production side of this are self-evident but the rules are targeted the participants who may not understand this. To them it will be an obstacle... something they'll likely have to setup. Use of SVN is not likely to increase participation in the project but will increase the knowledge and productivity of those who participate. Perhaps the following statement could be added: "If you wish to participate but for any reason cannot use SVN, identify yourself." Yes, I'm overthinking this but I'm hoping this project will aid others in realizing the benefits to be gained through use of tools like SVN.

With regard to Rotos the primary reason they wouldn't appear in a Modeling window is that they must be seen from the cardinal directions of Top, Front, Right, Left etc. Perhaps they are set to a view that you aren't looking at? Of course this will not explain Decals not showing up. If not a user setting then this is usually this is an indicator of a video graphics setting. I had a similar problem when I turned Window's Aero back on a few weeks ago. Have you tried resetting A:M and shutting down your computer (all the way)? Sometimes that cleans out the cobwebs.

Hey Gene! Where are you not seeing the Rotoscopes? In the final render? To keep rotoscopes from appearing where they aren't needed A:M has a few settings that must be on in order to see them in final renderings. The biggest culprit of missing Rotos is probably the 'In Alpha Channel' setting. This can be perplexing at times because a Roto that is rendering suddenly will not render in a scene and perhaps the only thing that has changed is the file format you are rendering. Say, JPG versus PNG. When rendering out an image with an Alpha Channel the rotoscope will not be seen if this setting isn't set to "On". We'll need a little more information about your specific case in order to proceed. Final Render? Using Alpha Channels? Can they be seen anywhere else? If you are not seeing Decals *or* Rotoscopes this may be something else entirely. Perhaps the original image or a display driver that recently was changed.