Rodney

When your Mom purchased the software she either got the Activation code or it was sent via email. You might check your spam folder for an email from Hash Inc. If purchased via the Hash Inc store the activation code is there as well. Here is the link to the store (if that is where she bought it): http://www.hash.com/store/

Chris, Here are my initial impressions after reviewing a few of your old Captain Heroic episodes: - You put a lot of thought (and work) into these and it shows. - If you are able and willing to 'ruin' these older tales by returning to them, extracting the most important scenes from them might form the basis of a new animatic for Captain Heroic. - In the episodes you linked to there wasn't a whole lot revealed about Captain Heroic. This didn't appear to be because he was mysterious but rather because the plot simply did not call for it. - There were a couple of things that caught my interest in Episode 4. The human equation (I've formulated some questions because of this relative to Heroic) and a curiosity about the 'nastasis'. (apologies to you as I know I've spelled that wrong) - I watched the beginning of episode 5 but stopped because I really liked the initial premise (For some strange reason I am drawn to the idea of Heroic entering this world/ship/faciity with the floating corpses) and I wanted to hold onto that suspenseful imagery for as long as I could. There is something there worth exploring. What it is I'm not entirely sure. It is my opinion that there is an underlying question related to the human element that you must answer (even though it might not be revealed to the audience) and that is that of Heroic's connection to the human race. This is a intrinsic problem with all alien heroes and it is approached in various ways by authors. Superman is the prototypical example in superheroes. Although said to be of alien origin, for all intents and purposes Superman is human. To my knowledge the underlying relationship/common origin of these alien races is never explained to the audience although it can be assumed be be known by the original authors and simply reserved/set aside as something 'unknowable' within the conceptual framework. In other words, to reveal the backstory would be to break the spell... and therefore ruin... the ongoing story. In the chronicles of Superman we are firmly planted in Act II of history. So what to do here about the human equation? I have thoughts on this but am more interested your take on who Heroic is. For what it is worth, it may help to understand that the term Heroes itself comes from the legendary lovers of old. Any modern day hero is presumed to have been borne of or at least gifted by those Eros of olde. This race so closely relates to us and yet is so unlike us in our experience; supremely talented, full of knowledge, wielding great influence, gifted of the gods before them and, it is said, nearly as immortal. Their tales are familiar to all of us because they are so regularly told. If Heroic is truly alien to us this truly represents a writer's dilemma. How does one begin to relate to an alien who appears in and presumably prefers a human form? How do we explain the evidence we observe in the physical and mental similarities in both alien and human forms? Tune in to the next exciting episode! It may be that Heroic is not human but if not then perhaps he is a copy of the original... or a copy of a copy of a copy... or we are. What does it mean to be human? What does it mean to be heroic? This is not a particularly difficult problem. Being the creative type, you already know.

I'll be honored to review anything you send my way. The best advice I can give is to review your draft three times at least, for content, for flow and finally for proper formatting. Order and refine the word pictures until the view relates precisely what you suppose it to say according to your interpretation. And be mindful of the standard disclaimer; the value of opinion is variable. In short, bring it on. rodney.baker@gmail.com

Interesting bit o' trivia: Did you know that Indiana Jones is based largely on a film character almost exactly like Indiana Jones? What you are doing here is following in the path that George Lucas and Steven Spieldberg took before so you are in good company and Indiana Jones is certainly a good starting point. There will be a lot of references and inferences to be found. Fun! Adventure! Action! The Challenge will be to differentiate your character in such a way that he is not Indiana Jones. Background (original series goals and ideas): Captain Heroic pays tribute to the sci-fi cartoons of the 60s (Doctor Who meets Indiana Jones) Sci-fi adventurer/hero of sorts who travels around in his (space)ship saving people and getting into (interesting) situations The Author (that'd be you) was originally inspired to follow the plot lines of Doctor Who a little too closely and Heroic was determined to be from an ancient race that disappeared after a massive civil war fought with Heroic's arch-nemesis Lordship Goriath. After the war most of the advanced tech from his race disappeared and the only remaining relic is his little ship (which is a lot more powerful than it looks). Short term: A single pilot episode of 5 minutes (Not longer than 10 minutes) Feedback will dictate additional episodes Distribution: Free (to encourage viewers to support the series) Distribtion Method: Youtube, A:M Films, etc. (anticipated) Goal: Produce a completed pilot (Start to Finish) Mid term (as greenlit): Each season: Min (5 episodes) Max (6 episodes) Each episode: Min (5 minutes) Max (10 minutes per) Season Finale (the 6th Episode): A cliffhanger leading to (and partially resolved in) Season 2 Distribution: TBD Distrubiton Method: [Targeting critical technology at the opportune moment] Goal: Personal contentment with being able to successfully tell Heroic's story. Long term (Post Mortem): Unk [suggested Outcome: Disney so highly values Heroic's tale they agree to license the property on your terms. You turn them down but discuss options for other properties you'd like to see move forward. They agree and produce those features but continually strive to get you to agree to modified terms with Heroic included. You grow to a comfortable old age and die before a contract is signed so your family now has to make that important decision for you. Because you were thinking long term you already talked with them about this and even put it in your will so they know exactly what you want to do with Heroic. With the final contract signed, a new generation soon thrills to an all new episode of the continuing adventures of Captain Heroic. ] So, who is Captain Heroic? A simple and clear cut adventurer whose flaws and mistakes cannot keep him from being true to his character and never compromise his morals. Heroic will serve the needs of (the people of) the galaxy as he stands against tyranny in all its forms... especially against the threat of Goriath, his evil arch-nemesis. Checking them out. I know for a fact I have seen them before... it's a vague memory... so I'm interested in seeing what my memory has recorded in comparison to the actual episodes. With luck I should be able to watch them tonight. I'll put my action adventuring glasses on.

The thought occurs to me that there is a fairly straightforward workflow for you to get your Model saved and into your Library... and to have it show up with your custom icon. - Open your Model - Position the Model in the window as appropriate (Zoom In/Out or move Left/Right) - Right Click anywhere in Modeling Window and select [Add Shortcut to Library] -- As unsaved Models cannot be added to the Library, A:M should prompt you to save it) - Browse to the location on your harddrive where you will be saving your models - Save your Model Notes: When first adding a Model to your Library via this method A:M will use the current view to create the Model's Icon. To edit that Icon, simply move/turn/zoom around your model to get the desired position, Right Click and select [Create Icon]. A:M's Library shortcuts are just that shortcuts. They simply point to the location where the Model is on your harddrive. Whether grabbing your Model from the shortcut in the Library or from the harddrive you are using the same model. As the links in your Library will depend on the original model remaining in the location specified by the shortcut, consider this well when moving files to other locations on your hard drive.

The use of a Library is optional but can be quite handy in keeping your Models organized. Perhaps the easiest way to add your Models to a Library is to: Open the Modeling Window of your Model Right Click and Choose the Option [Create Shortcut in Library] Note that right below this option you've got another important option (Create Icon) You will usually want to use this first to assign an Library Icon to your Model Keep in mind that Models will not have a custom image assigned to them until after you have assigned one so... move your model around, Zoom In/Zoom Out and try that Create Icon options a few times. Another quick way to add Models to your Library is to drag and drop them from their location on your hard drive right into A:M in a Library folder (Create as many folders as you like). See image below for a view of the Options available via the Modeling window when you Right Click.

Hi Schloss, Hopefully you are already familiar with the Project Workspace (PWS). If you don't have that opened go to up to the top of your Menu and select [View]. Then select Project Workspace. Note: If your computer has a number pad you can use a shortcut keys (Alt+1) to open/close the PWS. Simply holding down the Alt key and select the number 1. In the PWS look under [Objects] for your model. (If you haven't renamed the model it might be called Model1). Right Click and choose Save As. Then browse to the location of your choice and save the Model with a useful name. You'll be able to open or import the model in a variety of ways but the easiest is via the main menu using [Open] on the menu and then browsing to the location of your model. It's a lot easier than it sounds. There are other ways to save models as well... within Project, Choreographies and the like so depending on how you want to proceed you do have other options available to you.

Here's a Quick recap and Pitch Outline (general framework) taken from your post. Captain Heroic web series Captain Heroic: a simplistic, stylized and adventure-type hero This quick sketch represents an initial look at the character (general direction) Goal: Use Captain Heroic in a manner best suited to animation (not live action) Task 1: Explore the Idea and the Design Task 1.1: Focus on redesigning the Character (as we are not partial to the current design) Task 2: Expand the Main Idea Task 2.1: Collect Feedback (constructive of course) to set the stage and determine parameters for the show. As I see it there are two approaches that can be taken more or less simultaneously. One can be locked down while the other has no practical end to it. Constants: From one angle you've got the realities of math. (X number of webisodes at a specified length and frequency with a given number of people producing the show) While the math is usually considered the most boring it is the easiest and the most important in that it gives the parameters within the show must work. The beauty in this is that the math helps to channel creativity into the space that will eventually be occupied by the completed shows. The math will outline/dictate/reveal the extent of the production workload and help in outlining a schedule for it. Variables: The second angle is from the Storyteller's POV so much of that relies on and awaits further clarification of your vision and intepretation of who the character is... and isn't. Exploring who he is and what motivates him will ensure everyone is interested in knowing more about his story. Key Considerations: Marketability (The key idea of the show): Why will anyone pay to see this show? Disregard for a moment that you expect not to charge anyone to see the show... pretend for a moment. What will make that audience want to watch and and then return again for the next show. While they may not pay money to see it they'll need to pay attention to keep a web series viable. Are you able to take the key idea all the way to the audience (or bring them to you) and deliver consistently on schedule? Primary Obstacle: Consideration of how many other characters are also named 'Captain Heroic' and associated costs of securing the trademark. Primary question to answer: Who is Captain Heroic? References: Not everyone has seen the Youtube Captain Heroic adventures. Don't make anyone go look for them. Link those reference in so that others can easily consider them. Especially link in those references you deem critical to the direction of the show. Brainstorming Suggestion: In addition to 'word pictures' collect reference images for Look Development. (Google)

Impressive! (and at only two hours, even more impressive) For those just looking in, here is the original reference photo from the other topic:

I've always just ordered a new subscription and got the activation code immediately. Please advise if that is not what we are suppose to be doing.

Very interesting. I'm looking forward to seeing where this one is going...

Way to leave the old year on a cliffhanger! How many people can say their year ended making a fateful decision regarding a rip in the time/space continuum!?! (I can think of only one and that is you) Here's looking forward to what you have coming up for Epic Gamin' in 2012!

Bravo... and Wow! You put a lot of work into that and it shows. Congratulations Gerry!

As a purely technical exercise we could create just about anything in animation but I'm in agreement with Matt and others here about drawing so much from reality that we replicate it. There are times when I think the perfect capturing of things in the real world is useful and even necessary but it most cases this is as a means of reference; we want to refer to the original when the original is not readily available or might be adversely effected by our use of it. Speaking of originals... here's a guy that that says stuff better than me and hits on many of the topics we've been bashing about. (My apologies to the author for my heavy handed edit/summary/outline) Disclaimer: This article has been heavily edited. For more of the original content please refer to the original article published in Feb 2011 by Phil Willis: Source: http://animationideas.com/five-things-to-do-with-your-ideas/ Additional Resources: Phil works for http://www.drdstudios.com/ and was recently seen working on 'Happy Feet 2', his website and his blog: http://animationideas.com/

Now, isn't that better now. Red nosed reindeer... Now there's got to be a composition lesson in that. If artists and entertainers weren't up to their usual creative mischief, who else would come up with this stuff? I suppose that before Rudolf arrived the other reindeer just kind of meandered their way around. There is an interesting change that is prompted by this change. Whereas before the composition pushed the focus to the guy in the red suit gifting things out the new composition shifts the focus to what they are going about; redirecting the attention of the audience. The change is one that subtly shifts the attitude (an orientation with implied action or stasis) from one of going to the source to one where the arrival of the source wherever you may happen to be is expectantly anticipated. This unlikely thread drift brought to you by the makers of Turistocash; 'Leave home without it!'

Nice red alert!

I just ran across Jeffrey Katzenberg's letter to Disney executives back in tougher times at Disney. The letter is a long one and well worth reading but it has one section that applies to some of what we've been discussing here. In a way it's more fodder for the debate on what is most important character/story/idea/fill-in-the-blank. I should say that I agree only in part with what I've quoted here from Katzenberg and find the whole prospect of 'new ideas' to be a bit of a misnomer. As important as they are, new ideas are just old ideas presented in a different/unfamiliar/fresh way. Ideas cannot be kings. Neither can stories. Characters can. In order for an audience to make a connection there must be some characteristic in a story-line such as a compelling emotion, a point of interest for contrast or comparison, or a thought provoking message worth expressing. We connect to these because when present we see ourselves. In the dizzying world of moviemaking, we must not be distracted from one fundamental concept: the idea is king. Stars, directors, writers, hardware, special effects, new sound systems… all of these can have a role to play in the success of a film, but they must all serve as humble subjects to the supremacy of the idea. If a movie begins with a great, original idea, chances are good it will be successful, even if it is executed only marginally well. However, if a film begins with a flawed idea, it will most certainly fail, even if it is made with “A” talent and marketed to the hilt. People don’t want to see what they’ve already seen. So, we need to be bold enough to stretch bounds, push the envelope of creativity and follow our hearts along with our heads. When we fail, let it be because we tried to innovate, not emulate. And, by so doing, I am convinced that we will continue to reap success. This is the key for controlling our destiny -- to have the courage to search out authentic, great ideas… and then have the steadfastness to control the material that is subsequently developed. If the idea and the screenplay are strong, then it is possible to hire a less established star and a less established director and as a result be less of a hostage to the marketplace. Or, conversely, an idea and a screenplay can be so great as to attract major talent, who will be sufficiently excited that they will agree to terms that are acceptable to us. Of course, this idea of internal development runs counter to the actions of many of our competitors, who have been paying $2-3 million for screenplays. While their willingness to pay such sums may be a sign of financial strength, it is also a blatant admission of creative bankruptcy. In a world where we can come up with our own idea and engage a young writer for $50,000-$70,000 or a proven writer for $250,000 to develop it, it is hard to understand how the amounts being paid for spec scripts can be justified. Creative studio executives should be in the business of developing ideas, not buying them. To be sure, after having worked so hard and achieved such considerable success at Disney, the temptation is to kick back and spend our hard-won profits on a “Basic Instinct” or a Richard Donner in the hope that their mere acquisition will lead to continued success. It’s a temptation we’ll keep having to resist. It’s our job to find the great idea, then nurture it and manage it until it has a shot at finding its audience. It’s not easy. But whoever said it was. As I said, the letter is a long one and it can be read in its entirety here: http://www.lettersofnote.com/2011/11/some-...r-business.html

Sweet. Looking great John! I know you have limited time to apply but as a request can you slightly darken/lighten the surface color/skin of the reindeer to differentiate them. I'm thinking of your grandaughter who I know will get a kick out of naming each one. Of course you realize you are going to explain to the kids why Rudolf isn't pictured in this one. Note also: If you make them move I don't think you need to offset the reindeers' legs. They are trained to fly in synchronistic rhythmetric (and if that for the jingling bells... amazingly silent) harmony. Ah, the joys of being the Tinkering Gnome *and* a grandfather.

Yes, and the Easter Bunny would make a good villain also. The real question is can you characterize them as such and more importantly is she essential to your story's plot. To really be able to answer that question we might have to know more about where she fits into that plot. If at any time you could easily swap out Cleopatra for some other villain... she isn't the right villain for that specific plot. So the real questions to ask: Who is/was Cleopatra? What is Cleapatra doing in your plot? What does her presence add to the story? What does the story lose if she is taken out? Now having said all of this Cleopatra might be useful in your story even if she has no particularly prime role in the plot. For instance, she might be just hanging around, someone you run into from time to time. "Hey Cleo, what's up? How's Marc?" Sometimes, especially when the story starts to tell itself and the characters themselves lead you around, the secondary characters may rise to become essential to the plot. For instance, after many repetitions, one day she may unexpectedly snap when you ask her about Marc! Give her a motivation to act out. Note that I assume that you already have ideas that could hinge on Cleopatra... this is just to add more into the pot.

That looks really nice! The ambiance/lighting is definitely more important than the glow. I'd say as much as possible to reserve glow for times when you need to heighten the mood or present changes in the atmospherics. It may help to think of that as real lighting from the perspective of the crew and someone has turned the dimmer switch down a notch or two. Something that is really important, such as a blinking light, might then be better able to brighten/glow larger to temporarily draw attention to it. My thought when comparing the two images (higher glow versus lower) is that in the darker one things are going smoothly but in the brightened one all hands are on deck and at high alert! (Probably need some more red in there for the latter though) Edit: In looking more... I'm not convinced that you need much of any glow. That may be Jason's point.

That looks really nice! The ambiance/lighting is definitely more important than the glow. I'd say as much as possible to reserve glow for times when you need to heighten the mood or present changes in the atmospherics. It may help to think of that as real lighting from the perspective of the crew and someone has turned the dimmer switch down a notch or two. Something that is really important, such as a blinking light, might then be better able to brighten/glow larger to temporarily draw attention to it. My thought when comparing the two images (higher glow versus lower) is that in the darker one things are going smoothly but in the brightened one all hands are on deck and at high alert! (Probably need some more red in there for the latter though)

The forum area for this project is being created and subject to any changes it is titled 'Rear View Window'.

Looking great John. I see Blixen has joined the crew!

With regard to storytelling and 'bashing ideas around'... right on cue... Mark Kennedy just posted a related topic over on his blog and as usual he can say the words better than me (he should be able to he's got the experience!): Here's the opening paragraph from his latest blog entry: Note: The above paragraph is more about our current discussion than the rest of the blog entry which focuses more on continuity and consistency throughout a movie. But it's a good read anyway. Choices Create a Believeable and Consistent World There are a group of blogs I visit regularly and 'Seven Camels' is one of them.

Not probably. It is! (Although note, the probability of one person accomplishing a feature film on that scale is directly proportional to their continuing interest) The first thing everyone does is come up with stories on a grand scale... epics in the making. This is a very good thing but almost without fail becomes overwhelming. It can help also to think in terms of three. (and of eating elephants one bite at a time) Split your over all story/epic into three parts (films usually have three Acts... more on that controversy later). So with that you've got a Beginning, a Middle and the Ending. Unless one of those is overly compelling and must be told, its best to first focus on the middle. (like George Lucas did!) Now look hard at that middle Act and break it down into three parts again. How is the Act set up? How does it end? With those end points known we can then begin interpolate/understand what lies in between. ...and of course we are back focusing on a new 'middle' once again. Good stories are often found in the the middle of things. J.R.R Tolkien set 'The Lord of the Rings' in Middle Earth for very good reason. Balance is found midway between things. Want to heighten the tension of Act 2? Reach for elements you've considered near the extremes of Acts 1 and 3. While we are stuck here in the middle hope still springs eternal. Perhaps from the mere thought of the love of a Father and a Mother even as darkness falls to encompass all things. Reaching the end is not our goal in storytelling... it's the anticipation of reaching that goal that carries us forward. Similarly, we would never want to fully define and demonstrate the unstoppable incarnation of pure evil; that is something always best conceived in the audiences imagination with which we cannot compete. Somewhere in the middle between bad and good storytelling are the themes that entertain us. They also can be broken by threes. Don't forget, if you want to pursue this or any idea you can always create a WIP.