One Challenge After Another

OK, so I keep reporting the activities and advancements here on this blog, but I also report the things that stand in the way.  So here's another one.

Corrupted files.

I solved this problem once, indeed more than once, but it is recurring. I'm not sure of the cause, but I'm getting an idea. I bought a used array, I wonder if it didn't have a virus? My files are becoming corrupted, again. Hmmm.

Kernel, Directory Failures and Unreadable Files.

Add to that the problem that this project consists of hundreds, if not thousands of files.

I have had kernel difficulties with OSX 4.11, which was the original setup for the audio system we used to compose the music. When I switched that G4 over to OSX 10.5.8 , because I added a G5, into the mix, that G4 workstation died, well it didn't die, but it lost it's capability to run dual systems That seems to me like an intentional protocol written into the newer system, in order to force the purchase of a new computer. It's the only answer that makes sense. It corrupted the firmware. That taught me not to mingle the workstations.

Anyway, that first G5 died as well, but that machine had problems to start with. So I bumped that work station up to a G5 Quad. Now that system is corrupted and it seems to be the culprit in corrupting a whole new set of files. I just hope that it doesn't find its way into my Mac Pro OSX 10.13.

I had copied all the files over to a backup drive and that failed too. I lost all those files to a faulty drive. 

It seems I have to keep doing my work over and over again in order to reach the finish line.

I'm concentrating on isolating the files as GFX files, used for printing, but even they are vulnerable. It seems like the only secure medium is a printed hard copy. Let's hope I reach that plateau very soon.

So there you have it - the main culprit in causing massive delays in the process. I think I just need to buy a completely new computer system, with new and larger, secure storage systems. Big bucks, fifty grand? Probably. Oh well. Money I'd rather spend on production, like artwork.

AG

Parade Float

As I've mentioned elsewhere, the parade float will be the first stage scenario for public presentation. I've been working to acquire the mechanical components I need to build the stage chassis. Beyong that, I am working to set the scene shop up in preparation of building the show. As it turns out, the woodworking area is coming together nicely (at least in terms of planning and supplies) and it will serve other woodworking needs as well as those for the set construction. I'm also planning out the metalworking area for other fabricating needs. 

The parade float is starting to look a bit different than originally thought. I'm more inclined to make the stage to be more a backdrop than a performance stage. Of course, it is being designed and built to be as flexible as possible (for various applications), but in terms of the "Gnomes of New Hope", I see it more as a presentation of animatronic puppets with the live performance taking place in front of or around the stage area. In the event that the parade ends in a festival or craft fair, then the float will serve as part of a public performance, but mostly as a backdrop. The reason is primarily size. The sets on the parade float will be sized for the puppets and not live performers, making the play area down in front (so-to-speak).

Initially I had, thought that the sets for the parade float would be shared by the puppet show, but I'm not so certain of that now. That's a possibility, but there are set-up issues with that if it is tied to a parade. I think leaving the animatronic float as a separate "cyclorama" on exhibition in a festival environment simplifies matters and would be just as, if not more, effective. The other issue there is the complexity of wiring and mechanics for the float to be animatronic. In all likelihood, I will design the float with the ability for the chassis to be removed from the upper stage. That way we can build multiple floats that can be serviced by the one chassis. That would also allow the "float" to be used as a fixed stage for any given period if time.

More on this later.  AG

Reviewing this blog via the Archive files

I was just looking this blog over, trying to extract images to put in the sidebar, and I was using the Archive folders that are located in the left-hand sidebar. That is a very good way to explore the subjects that have been addressed here, but I have to say - take it with a grain of salt. I stated expectations in such a way as I believed the progression was going to occur. But I have to say; I know nothing! I feel like Sargent Schultz on Hogan's Hero's. Every time I think the road goes right, it goes left. It's impossible to know what is on the other side of the hill, even if you've been there before, the landscape changes over time. So take it with a grain of salt and accept it for what it is - hopes and expectations.

I try to outline the progress of The Gnomes of New Hope and to paint a picture of the scope involved in producing this show, publishing the books, and developing assorted product lines... and I hope that the picture is clear enough and enjoyable enough to look at. More than that, I know that many people need to be involved in this for it to reach out on an international scale, the scale it is designed for. But I also know that certain foundational components must be locked into place before that degree of involvement can occur.

The most recent effort to complete the e-Storybook designs covers a wide berth, and putting it up on a subscription page will make that information available to, not only the consuming public, but also the professionals who need to be involved. All editions of the Illustrated Storybook serve the dual purpose of telling the story in an enjoyable way and presenting is as Storyboards for cinema production, be it live action, animation, or puppetry.

Once again, I invite professionals and investors to contact me if any of this so perks your interest. I've put thirty years of work into this and frankly, handing the ball off doesn't sound like a bad idea to this old guy.

AG

Selling Books

I realized that I need to address this issue for those of you wondering what's going on.

Althought Volume One is set up for manufacturing and some degree of distribution and sales have been set up. The release of the books is restricted to Signed and Numbered Limited Editions. I will take orders and have been working on setting up a "shopping cart" scenario. That's not done yet so inquire via email.

One reason is that I am working on developing a server for the e-Storybook. I don't know yet whether to job it out or maintain a server in house. If anyone is savoy to this and would like to discuss it with me, please let me know.

As it turns out, the design adjustments made for the e-Storybook need to be transferred back into the Volume One publishing files. It is, I think, very important that the release versions of the hard copies match the design across the board. I've only done a few sections of that layout and don't expect to address that until the full series (to the end) have been converted. I'm up to scene eighteen of twenty, so within a week or two I will be going back to Volume One to rebuild those printing files.

I do expect to be printing the whole collection sometime soon and developing the publishing parameters for the entire collection in hard copy. The e-Storybook has some other very profound advantages when it comes to integrating animation and gifs into the storybook, so that will be a selling point to becoming a member of the subscription page. None-the-less, the hard copy books will also be available, although the release of the hard copy will be delayed because of the artwork needing to be finished. Whereas, the collection can be released as scenes on the subscription page as the work is completed, which differs from needing it all to be completed for publication in hard copy. That is the direction this is moving, so keep watch.

Gotta go. More later. AG

Adjustments

Well, as you can see from previous posts, minor adjustments to the color balance and composition have been taking place. What a HUGE difference. The layout is greatly improved by only minor adjustments which have been made to accommodate the resolution and color differences between the workstation and the final HDTV. More than that, there is a distinct difference between electronic and press presentation. The printing press responds differently to the file than does the television screen, so that requires two separate files. 

So thereby goes the delay in the release of the final product, for those of you who wonder about that.

AG

Conforming the HDTV

What a nightmare! Slow and difficult in numerous ways. The color shift between programs is causing me to make multiple files. Clarity on the text becomes an issue with that color shift. I have multiple versions, but any mistake must be corrected and some of the divergences are founded in the way the original files are processed by different programs. The multiple programs are necessary to craft the pages, as different components must be assembled in certain programs, as opposed to others, and the final product is a composite, each component being effected differently. I wish I could say it was simpler and that it was my fault, but I think not. The parameters are set by the programs being used and the diversity of the components responds differently... in layers. Gadzooks! I keep thinking I'm almost done. I'm afraid I may need to craft another set of files. It depends on how the final pptw file ends up looking. Yeow!