My recent discussions have been taking up some space here, so I want to point out that there is artwork and video materials posted further on in the blog. I've linked the B&W image of Constable Warren in the sidebar (over to the right here) to the video of his first song. That way you won't need to look for it. I hope to post some more of the artwork in the sidebars too.
In regard to videos- looking at this particular one on YouTube is WAY better than the way appears here. The quality there is far superior to this one, but this is OK if you don't use the full screen function.
We recorded an VERY nice duet called "Completely". So far, I haven't figured out how to post music on this blog without a link to another site, but if I do It will also appear in the sidebar and so identified. I expect that that song will be our next video and so when we start up again with the illustrations, I expect to do the illustration work for that film with animation in mind. This other one was simple a collection of stills that rather emulates an animation, rather than being designed for that. In that regard, I am also looking for a television producer to begin development of a series. AG
Friday, February 27, 2015
Thursday, February 26, 2015
A Discussion of Business
Breifly, in terms of the Creative Material- I am focusing on establishing the page layout and numbering of Volume III, by inserting text panels which describe the artwork required on the remaining pages. Volumes I & II are fully illustrated and Volume III is currently up to page 489 at the end of Scene 10. There are 20 scenes, but S.10 numbering includes the Appendixes, which outline the back-story, under the title The Gnomic Tales. Understand that the Storybook, although it follows the sequence of events in the stage musical, has a very expanded view of the characters, events, and back-story. The idea being to give interested parties, a broader view of Gnomanity. So, at this stage of the process, rather than engage Jency (or other artists) to continue with the artwork, I've concluded that I need to finalize the page numbers of the Storybook and identify both the required artwork for the illustrations and the space that those illustrations will take up. It really is The Gnomic Tales that throws a snag in the illustrations, because the previous work we did in terms of illustration did not include those back-story elements. So once I move into S.11 I have a good amount of artwork to use for the panels, although I have expanded the descriptive nature of the text, so we will need more illustration panels than originally anticipated. I've taken the approach of describing the illustration panels because, although that was not the way we developed the illustrations before, I now think that is the most effective step which needs to included in the process. I can do that myself without incurring the additional expense of engaging anyone else (ie: artists) and completing this step will (not only) expedite the illustrating process (including creating material for animation), but it will also allow me to continue on the path to finalizing the entire layout in terms of the e-book and the hard copy layout. In this way, I will only need to replace the scenes (pages) in the layout with the newer revisions which have the illustrations. So, basically I am moving the illustration work further into the process and putting a priority on the other aspects of the layout. This will also better serve the packaging requirements of presenting the project to the industry, because the panel descriptions represent the storyboard sufficiently and also allow me to pitch it to potential partners in the assorted fields of endeavor- publishing, film, theatre, etc. I admit that I am a little concerned about how large this has become, because that may prove to be prohibitive in regards to publishing the hard-copy, but that could work to our advantage in marketing it as an epic tale.
Now in terms of the Business Structure- I've come to the conclusion that the most effective direction, in which to proceed, is Executive Management. I have decided that we need to build an Executive Producing Team which will consist of seven Executive Producers. Each producer will be delegated a different aspect of the project, which I've begun to define. I will discus those arenas of delegation in another posting, after I review my notes, but basically each Executive Producer will need to buy into the project, because all parties to the Joint Venture will need to be vested. My terms as writer are ten percent of the budget and ten percent of the gross. Those seven producers will be responsible for gathering the budget in each of their respective fields and providing that ten percent to me, as their buy in. This is only a buy-in for the writers share. There are other terms pertaining to music rights which need to be addressed separately, as well as the various ancillary markets, which are all separate markets operating under their own specific terms. but all of those terms are to be developed & refined by the producing team under the Joint Venture as a collective endeavor based, on outlines and basic premises which I have already developed. There are also other categories of investment which are managed by the producing team and which, are subservient to the JV. Those other categories allow for other producers to be engaged under the various appropriate titles, such as Associate, Supervising and Managing Producers. They may or may not be responsible for gathering funds, depending upon what they bring to the table. The other aspects of the management structure will not be discussed here, but you may find some comments on that subject at IMS Producing Partners or the IMS Virtual Studio.
So, I post these subjects for those of you who are far enough into this aspect of the industry, that you might end up becoming one of our Executive Producers. It is my belief that posting these discussions will give you an idea of how I plan on going about this project and if you are onboard with my thinking in this regard, then we might possibly move toward coming to some agreement or working together. I assume that some of the more savvy individuals I have known, or will meet in the future, may be watching the progress of this project. But I also want those of you who have contributed and are continuing to contribute to be appraised of the progress and our overall methodology.
The more detailed information, that may be considered classified, will be available on the subscription site IMS Producing Partners. AG
Now in terms of the Business Structure- I've come to the conclusion that the most effective direction, in which to proceed, is Executive Management. I have decided that we need to build an Executive Producing Team which will consist of seven Executive Producers. Each producer will be delegated a different aspect of the project, which I've begun to define. I will discus those arenas of delegation in another posting, after I review my notes, but basically each Executive Producer will need to buy into the project, because all parties to the Joint Venture will need to be vested. My terms as writer are ten percent of the budget and ten percent of the gross. Those seven producers will be responsible for gathering the budget in each of their respective fields and providing that ten percent to me, as their buy in. This is only a buy-in for the writers share. There are other terms pertaining to music rights which need to be addressed separately, as well as the various ancillary markets, which are all separate markets operating under their own specific terms. but all of those terms are to be developed & refined by the producing team under the Joint Venture as a collective endeavor based, on outlines and basic premises which I have already developed. There are also other categories of investment which are managed by the producing team and which, are subservient to the JV. Those other categories allow for other producers to be engaged under the various appropriate titles, such as Associate, Supervising and Managing Producers. They may or may not be responsible for gathering funds, depending upon what they bring to the table. The other aspects of the management structure will not be discussed here, but you may find some comments on that subject at IMS Producing Partners or the IMS Virtual Studio.
So, I post these subjects for those of you who are far enough into this aspect of the industry, that you might end up becoming one of our Executive Producers. It is my belief that posting these discussions will give you an idea of how I plan on going about this project and if you are onboard with my thinking in this regard, then we might possibly move toward coming to some agreement or working together. I assume that some of the more savvy individuals I have known, or will meet in the future, may be watching the progress of this project. But I also want those of you who have contributed and are continuing to contribute to be appraised of the progress and our overall methodology.
The more detailed information, that may be considered classified, will be available on the subscription site IMS Producing Partners. AG
Tuesday, February 10, 2015
CG Animation
I've been getting a fair amount of comments about how incredible the Gnomes would be as a CG Animation, like some of the products Disney and a few other larger companies are producing. I tend to agree, but this is not an arena that I have enough expertise in to believe that I could implement a quality product in CG. I've been studying some of the work, particularly "Tangled" and "Frozen" and it is quite impressive, but I have to be honest and say I wonder about the number of people in the credits. It seems like too many cooks in the kitchen, although the meal was excellent, albeit, formulaic.
I was also recently reading a blog about hand drawn animation. The writer seemed to imply that it was a dying art form. Well, I'm afraid I have no other choice but to use hand drawn animation. So that is what I intend to pursue, but I am thinking of it as part of the developmental process for packaging, rather than a finished product.
I certainly do think that The Gnomes would be an excellent CG project, if it was to be done right. As I think about the story line and the embellishments which I have written into it, it is ripe for the picking in that regard.
Well, in order for me to have moved the story forward in terms of a stage production, I needed to skip over certain details, which are generally required in film. But interestingly enough, as I am finishing up the third volume of the Storybook, I realize that I have been filling many of those details in the Storybook. I've been consciously thinking of it primarily from a literary/illustrative point of view, for the sake of a book, but as it turns out, that point of view is essentially a storyboard for the film. So I guess that, in part because I have been a (sometimes) filmmaker for so many years, I think in cinematic terms.
As I continue to define the illustrations which are still required, I've been looking more deeply at the circumstances which have been set up in the overall story. In a number of scenes, there are instances where there is definitive drama occurring in the forefront, which is supported by implied activities or characters around that drama. I'm thinking that - taking that backdrop drama and putting it into a cinematic environment will be a lot easier than I originally thought and that - that will really give the overall picture substance.
For the stage, there are a number of elements within the scenes that inherently are dramatic, but which need to be "selectively" skipped over due to time and space constraints. Those elements can only be referred to in such a way as to advance the overall story, as it fits into the theatrical boundaries of a stage show, but they are still there none-the-less. I have made certain that those elements were not overlooked.
An interesting comment was that the Gnomes is better because it doesn't depend on magic to bring the story to a resolution. It's true that some stories are so disjointed that the only way to solve certain circumstances is to use some sort of magical power as the answer to the question. I have consciously worked to avoid that as a solution in the Gnomes and fortunately, I think that works on our behalf.
It has become apparent to me that the cinematic sense is inherent in the story, because I was aware of that as I was writing. But it is true that the cinema was only able to come forward periodically; because first the stage show, then the literary presentation and finally the cinematic aspect have been the order of priority. Interestingly enough, the structure is more refined in regard to cinema than I thought, particularly after studying these other films.
So that being said, I am even more enthused about opening a dialogue that will lead to active production of a CG product. I do think that this would be the right direction to go in and I do think that such a product could support the theatrical presentation, although it is still a question as to which format should go first. Of course, because of the magnitude of this project and the amount of work over 25 years that has gone into it, that dialogue will need to take place with a well established and substantial organization, something I am not sure how to bring about. So in the meanwhile, I will continue along my path doing what I can.
Unfortunately, the talents and resources to do a CG Animation are beyond me right now, so it seems the inevitable that the first outlet, I will be able to approach, will likely be the book products along with some basic animations using the illustrations.
AG
I was also recently reading a blog about hand drawn animation. The writer seemed to imply that it was a dying art form. Well, I'm afraid I have no other choice but to use hand drawn animation. So that is what I intend to pursue, but I am thinking of it as part of the developmental process for packaging, rather than a finished product.
I certainly do think that The Gnomes would be an excellent CG project, if it was to be done right. As I think about the story line and the embellishments which I have written into it, it is ripe for the picking in that regard.
Well, in order for me to have moved the story forward in terms of a stage production, I needed to skip over certain details, which are generally required in film. But interestingly enough, as I am finishing up the third volume of the Storybook, I realize that I have been filling many of those details in the Storybook. I've been consciously thinking of it primarily from a literary/illustrative point of view, for the sake of a book, but as it turns out, that point of view is essentially a storyboard for the film. So I guess that, in part because I have been a (sometimes) filmmaker for so many years, I think in cinematic terms.
As I continue to define the illustrations which are still required, I've been looking more deeply at the circumstances which have been set up in the overall story. In a number of scenes, there are instances where there is definitive drama occurring in the forefront, which is supported by implied activities or characters around that drama. I'm thinking that - taking that backdrop drama and putting it into a cinematic environment will be a lot easier than I originally thought and that - that will really give the overall picture substance.
For the stage, there are a number of elements within the scenes that inherently are dramatic, but which need to be "selectively" skipped over due to time and space constraints. Those elements can only be referred to in such a way as to advance the overall story, as it fits into the theatrical boundaries of a stage show, but they are still there none-the-less. I have made certain that those elements were not overlooked.
An interesting comment was that the Gnomes is better because it doesn't depend on magic to bring the story to a resolution. It's true that some stories are so disjointed that the only way to solve certain circumstances is to use some sort of magical power as the answer to the question. I have consciously worked to avoid that as a solution in the Gnomes and fortunately, I think that works on our behalf.
It has become apparent to me that the cinematic sense is inherent in the story, because I was aware of that as I was writing. But it is true that the cinema was only able to come forward periodically; because first the stage show, then the literary presentation and finally the cinematic aspect have been the order of priority. Interestingly enough, the structure is more refined in regard to cinema than I thought, particularly after studying these other films.
So that being said, I am even more enthused about opening a dialogue that will lead to active production of a CG product. I do think that this would be the right direction to go in and I do think that such a product could support the theatrical presentation, although it is still a question as to which format should go first. Of course, because of the magnitude of this project and the amount of work over 25 years that has gone into it, that dialogue will need to take place with a well established and substantial organization, something I am not sure how to bring about. So in the meanwhile, I will continue along my path doing what I can.
Unfortunately, the talents and resources to do a CG Animation are beyond me right now, so it seems the inevitable that the first outlet, I will be able to approach, will likely be the book products along with some basic animations using the illustrations.
AG
Saturday, February 7, 2015
Most Recent Game Plan
As you can see from the various posts here, the subjects move around to the assorted arenas which are in need of attention. This has the net effect of nudging the overall project forward in a collective fashion. Over the years this has been an effective approach, but of course is has taken years to get this up to where it is.
So now the overall thinking is along the lines of aligning the various components to work in concert with one another and this is within the grasp of actually taking place. There are sufficient pieces of the puzzle categorized into groups and partially assembled that the overall picture and how it fits together can be clearly seen.
This brings us to the next focus of attention. Even though the arenas which are identified in other posts remain active goals and are being pursued in the context of the overall picture, there are other areas which still need to be identified and developed. Budgeting is a significant aspect of production management which needs to be addressed and of course that is tied to a plethora of other issues (as any producer knows). From my point of view budgeting for the larger productions is currently outside my scope of attention and that will require my partnering with other producers who are more accustomed to that level of production.
So, I am currently pursuing, the final establishment of the progression out of the printed page into the simple theatrical presentation into the more complex. What this means is that a simple presentation is a Storytelling event with two puppets (and some exhibition embellishments) to the little theatre, and then onto a developmental regional presentation (with more than one production management structure) and then onto the higher level productions which lead toward a first class production.
The presentation in cinema and television take very much the same pathway and is coordinated with those efforts, not so much as an individual production, but more so. as it is meant to be a support mechanism for the overall production objective, which includes all markets and merchandizing. Yes the larger cinema production is a goal, but the smaller work required for experimentation and marketing support, particularly as it pertains to installations in the e-Storybook, also serves as a foundation for the larger cinema and animation work. So this smaller work is being pursued in conjunction with the remaining illustrations for the storybook. There are discussions about that in other posts, somewhere on this blog.
So each of these arenas has some degree of development going on which are coordinated with one another and thus affect release and distribution.
Certainly, you can see that entering into a retail market such as toys (for example) involves a significant investment, as does publishing, distribution, and support of those markets. Relatively speaking the investment in those markets is miniscule in comparison to the film and theatre expenditures required to bring this fully into the public eye.
It is my position that dribbling this out into the market, because I am anxious to do so would be a profound mistake and so I am continuing to develop the smaller aspects of the entire scope of the markets into which this product can reach, simply because that is within the scope of my resources.
Of course this all implies that I am actively seeking associations with individuals and organizations who can contribute resources that I simply do not have, as I have spent the bulk of my years and attention involved in development. That's not to say that the 350 plus productions I have been involved in do not serve me well in terms of conceiving not only the structure and scope of the production, but also the aesthetic elements required for success.
Those are my most recent thoughts. AG
So now the overall thinking is along the lines of aligning the various components to work in concert with one another and this is within the grasp of actually taking place. There are sufficient pieces of the puzzle categorized into groups and partially assembled that the overall picture and how it fits together can be clearly seen.
This brings us to the next focus of attention. Even though the arenas which are identified in other posts remain active goals and are being pursued in the context of the overall picture, there are other areas which still need to be identified and developed. Budgeting is a significant aspect of production management which needs to be addressed and of course that is tied to a plethora of other issues (as any producer knows). From my point of view budgeting for the larger productions is currently outside my scope of attention and that will require my partnering with other producers who are more accustomed to that level of production.
So, I am currently pursuing, the final establishment of the progression out of the printed page into the simple theatrical presentation into the more complex. What this means is that a simple presentation is a Storytelling event with two puppets (and some exhibition embellishments) to the little theatre, and then onto a developmental regional presentation (with more than one production management structure) and then onto the higher level productions which lead toward a first class production.
The presentation in cinema and television take very much the same pathway and is coordinated with those efforts, not so much as an individual production, but more so. as it is meant to be a support mechanism for the overall production objective, which includes all markets and merchandizing. Yes the larger cinema production is a goal, but the smaller work required for experimentation and marketing support, particularly as it pertains to installations in the e-Storybook, also serves as a foundation for the larger cinema and animation work. So this smaller work is being pursued in conjunction with the remaining illustrations for the storybook. There are discussions about that in other posts, somewhere on this blog.
So each of these arenas has some degree of development going on which are coordinated with one another and thus affect release and distribution.
Certainly, you can see that entering into a retail market such as toys (for example) involves a significant investment, as does publishing, distribution, and support of those markets. Relatively speaking the investment in those markets is miniscule in comparison to the film and theatre expenditures required to bring this fully into the public eye.
It is my position that dribbling this out into the market, because I am anxious to do so would be a profound mistake and so I am continuing to develop the smaller aspects of the entire scope of the markets into which this product can reach, simply because that is within the scope of my resources.
Of course this all implies that I am actively seeking associations with individuals and organizations who can contribute resources that I simply do not have, as I have spent the bulk of my years and attention involved in development. That's not to say that the 350 plus productions I have been involved in do not serve me well in terms of conceiving not only the structure and scope of the production, but also the aesthetic elements required for success.
Those are my most recent thoughts. AG
Sunday, February 1, 2015
Core Narrative Materials
(Some of theses thoughts are already outdated in the context of more recent events)
The most recent activity taking place, in regard to finishing up the publishing layouts for The Gnomes, is to continue on laying out the page spacing; as if the illustrations are complete. To explain what I mean - although Volumes One & Two are complete, Volume Two needs a few more illustrations and Volume Three is still devoid of many of the required illustrations. Advancement with the illustrations could take place with further funding, but until then it will be stalled.
So in order to move forward and establish the actual page numbering for publishing purposes, I have chosen to continue working on the layout by inserting text panels in lieu of the actual artwork. These panels are sized accordingly and contain descriptions of the artwork that is required, for that space in the Storybook. Approaching it this way establishes the position in the layout, the size of the illustration and instructions to the illustrator. So I have determined that this it the best way to advance, particularly with limited funds, which now seems to be the case.
There are many changes occurring around this project, changes that involve the working space , the art department, the offices and the shop. My stability in this regard is somewhat erratic and hindering the progress. So this leads me to believe, and quite justifiably, that the single thing which would solve these difficulties is funding.
It has gotten to the point where I have to buy my own time... or someone else might do that by buying into the project. The point being that my resources to advance this project are extremely limited right now. So, if you are reading through this blog keep that in mind, because this appears to be the most important element that is needed, even though - I have tried to avoid selling any of the project off, other than to back up the investments already made, I'm afraid that we may have to do that.
So this consideration is on-the-boards right now. Either selling interest in the stage musical, book publishing, or film projects or selling interest in Image of the Mind Studios (as a restructured business endeavor) (added 2/6: understand that these thoughts are essentially me thinking out loud about what the options may be and are not necessarily any definitive course of action)
As I mention numerous times, I am seeking representation for The Gnomes of New Hope: Zach & Zebby's Grand Adventure, or preferably funding - which I hope and believe will expedite entering into the appropriate marketplace with product lines, which include film & television versions of the show.
That's all for now, it's late. AG
The most recent activity taking place, in regard to finishing up the publishing layouts for The Gnomes, is to continue on laying out the page spacing; as if the illustrations are complete. To explain what I mean - although Volumes One & Two are complete, Volume Two needs a few more illustrations and Volume Three is still devoid of many of the required illustrations. Advancement with the illustrations could take place with further funding, but until then it will be stalled.
So in order to move forward and establish the actual page numbering for publishing purposes, I have chosen to continue working on the layout by inserting text panels in lieu of the actual artwork. These panels are sized accordingly and contain descriptions of the artwork that is required, for that space in the Storybook. Approaching it this way establishes the position in the layout, the size of the illustration and instructions to the illustrator. So I have determined that this it the best way to advance, particularly with limited funds, which now seems to be the case.
There are many changes occurring around this project, changes that involve the working space , the art department, the offices and the shop. My stability in this regard is somewhat erratic and hindering the progress. So this leads me to believe, and quite justifiably, that the single thing which would solve these difficulties is funding.
It has gotten to the point where I have to buy my own time... or someone else might do that by buying into the project. The point being that my resources to advance this project are extremely limited right now. So, if you are reading through this blog keep that in mind, because this appears to be the most important element that is needed, even though - I have tried to avoid selling any of the project off, other than to back up the investments already made, I'm afraid that we may have to do that.
So this consideration is on-the-boards right now. Either selling interest in the stage musical, book publishing, or film projects or selling interest in Image of the Mind Studios (as a restructured business endeavor) (added 2/6: understand that these thoughts are essentially me thinking out loud about what the options may be and are not necessarily any definitive course of action)
As I mention numerous times, I am seeking representation for The Gnomes of New Hope: Zach & Zebby's Grand Adventure, or preferably funding - which I hope and believe will expedite entering into the appropriate marketplace with product lines, which include film & television versions of the show.
That's all for now, it's late. AG
Tuesday, January 27, 2015
Release of the Libretto to the Industry
Release of the Libretto
Well, I've moved forward sufficiently with the e-storybook, the hard copy layout and other ancillary markets, that I feel like it is time to release the Libretto to the Industry.
If we were to move into production with some of the foundational activities, in terms of sets and other design/construction, then that would be a good thing. It is clear that we will need to secure a self-contained management team, as conversations I have had with a few venues indicate that they would rather see a four-wall, but that limits our run at each venue. Therefore, we need to build a tour scenario to present previews in numerous cities until we can settle into a space that will give us a decent run. One way to do that is with a reduced design which uses strictly drops and flats, not my favorite way to go, but certainly that design needs to be developed for the smaller venues anyway, as an option. Ultimately, the smaller show (of that nature) would be a rental, possibly in conjunction with the puppetry version. The initial thoughts regarding that design for the show, were that it could easily be put up in our current studio space and shot for film/television or as tests to analyze the material, or the way the show looks to an audience as a puppet version, so proceeding in that direction has multiple applications both in house and for touring.
Clearly, in regard to touring, each show needs to pay for the trip to the next venue, so I am also developing a licensing/option for theaters who want to assure that the show will run in their house. That will provide some of the costs to move the show in. Basically, a prepay on the percentage of the house assuming a certain number of performances. I will post on that at another time.
After the work on scoring is completed I will be moving onto budget issues. Until then anything I say is purely speculative. Also until then, the options are wide open in terms of production management. Once the budget is developed and the production funds are gathered, then we will be locked into a production management scheme. So if anyone wants to offer a proposal, I would suggest doing it before we become contracted and therefore obliged.
As I have said numerous times before, I am seeking representation, mostly because I am swamped and the work that is required on the core materials is taking the majority of my time. I would like to have the freedom to concentrate on matters other than management. For those of you who are producers, you know how complex that can become. So I am seeking partnerships in both production and distribution. Since this material is now ready to move forward, I suggest that the opportunity is ripe. My goal is a national campaign, so I need competent & trustworthy persons/organizations who are able to implement that plan in partnership with IMS. This is frankly the objective, which I intend to pursue.
I am not expecting any producing organization to step up to the plate on this (although I would be pleasantly surprised if that did happen), so I am proceeding on the assumption that the production team will be primarily Image of the Mind Studio employees. With that in mind, persons who are interested in this opportunity should make their voices heard. But I also want to make it clear that I am seriously looking at relocating to the Poconos and that may effect our progress. Building or adapting a facility is no small endeavor, but it may be a priority. So keep that in mind.
That being said, I am going to proceed with licensing and/or partnership with television and film companies, so as to free myself up to concentrate on establishing this new facility - The Theatrical Development Centre. I am uncertain as to how much energy I can expend in this direction. I would hope that it would not impair the progress of The Gnomes of New Hope.
Restrictive Covenant Agreement
I've met with legal council regarding the conduit through which this can happen, so we have established that link in the chain. The Libretto will be released, when I feel as though a flash drive is fully prepared with the appropriate materials. The Score along with recorded versions of some of the music will follow as a separate release, as I am currently reviewing these materials for publishing the score.
There is still quite a bit of work to do on the music (as I have discussed below) but there is enough to give an idea of the entire show, realizing of course that the actual recordings with a music director/maestro and a full complement of singers/musicians will GREATLY improve the MIDI generated music that we currently have.
A major issue we are facing right now is the failing computer systems that we have been working with. A great deal of important files are now locked on more than one failed hard disks and it will not be inexpensive to recover those files. Fortunately the bulk of the primary file have been backed up multiple times, but I am finding that some of my primary management documents are inaccessible to me. In particular, a spreadsheet which identifies the five different versions of the show to fit into assorted timeframes. This is quite distressing, but I am hopeful that I can recover this important analysis document.
Review of the core materials will require a signed Restrictive Covenant Agreement, acquired via an request to review on letterhead to William Dudeck c/o Eastburn and Gray, 60 East Court Street, PO Box 1389, Doylestown, Pennsylvania 18901. Once we receive a request we will send out some preliminary materials and proceed from there.
That's all for now. AG
Well, I've moved forward sufficiently with the e-storybook, the hard copy layout and other ancillary markets, that I feel like it is time to release the Libretto to the Industry.
If we were to move into production with some of the foundational activities, in terms of sets and other design/construction, then that would be a good thing. It is clear that we will need to secure a self-contained management team, as conversations I have had with a few venues indicate that they would rather see a four-wall, but that limits our run at each venue. Therefore, we need to build a tour scenario to present previews in numerous cities until we can settle into a space that will give us a decent run. One way to do that is with a reduced design which uses strictly drops and flats, not my favorite way to go, but certainly that design needs to be developed for the smaller venues anyway, as an option. Ultimately, the smaller show (of that nature) would be a rental, possibly in conjunction with the puppetry version. The initial thoughts regarding that design for the show, were that it could easily be put up in our current studio space and shot for film/television or as tests to analyze the material, or the way the show looks to an audience as a puppet version, so proceeding in that direction has multiple applications both in house and for touring.
Clearly, in regard to touring, each show needs to pay for the trip to the next venue, so I am also developing a licensing/option for theaters who want to assure that the show will run in their house. That will provide some of the costs to move the show in. Basically, a prepay on the percentage of the house assuming a certain number of performances. I will post on that at another time.
After the work on scoring is completed I will be moving onto budget issues. Until then anything I say is purely speculative. Also until then, the options are wide open in terms of production management. Once the budget is developed and the production funds are gathered, then we will be locked into a production management scheme. So if anyone wants to offer a proposal, I would suggest doing it before we become contracted and therefore obliged.
As I have said numerous times before, I am seeking representation, mostly because I am swamped and the work that is required on the core materials is taking the majority of my time. I would like to have the freedom to concentrate on matters other than management. For those of you who are producers, you know how complex that can become. So I am seeking partnerships in both production and distribution. Since this material is now ready to move forward, I suggest that the opportunity is ripe. My goal is a national campaign, so I need competent & trustworthy persons/organizations who are able to implement that plan in partnership with IMS. This is frankly the objective, which I intend to pursue.
I am not expecting any producing organization to step up to the plate on this (although I would be pleasantly surprised if that did happen), so I am proceeding on the assumption that the production team will be primarily Image of the Mind Studio employees. With that in mind, persons who are interested in this opportunity should make their voices heard. But I also want to make it clear that I am seriously looking at relocating to the Poconos and that may effect our progress. Building or adapting a facility is no small endeavor, but it may be a priority. So keep that in mind.
That being said, I am going to proceed with licensing and/or partnership with television and film companies, so as to free myself up to concentrate on establishing this new facility - The Theatrical Development Centre. I am uncertain as to how much energy I can expend in this direction. I would hope that it would not impair the progress of The Gnomes of New Hope.
Restrictive Covenant Agreement
I've met with legal council regarding the conduit through which this can happen, so we have established that link in the chain. The Libretto will be released, when I feel as though a flash drive is fully prepared with the appropriate materials. The Score along with recorded versions of some of the music will follow as a separate release, as I am currently reviewing these materials for publishing the score.
There is still quite a bit of work to do on the music (as I have discussed below) but there is enough to give an idea of the entire show, realizing of course that the actual recordings with a music director/maestro and a full complement of singers/musicians will GREATLY improve the MIDI generated music that we currently have.
A major issue we are facing right now is the failing computer systems that we have been working with. A great deal of important files are now locked on more than one failed hard disks and it will not be inexpensive to recover those files. Fortunately the bulk of the primary file have been backed up multiple times, but I am finding that some of my primary management documents are inaccessible to me. In particular, a spreadsheet which identifies the five different versions of the show to fit into assorted timeframes. This is quite distressing, but I am hopeful that I can recover this important analysis document.
Review of the core materials will require a signed Restrictive Covenant Agreement, acquired via an request to review on letterhead to William Dudeck c/o Eastburn and Gray, 60 East Court Street, PO Box 1389, Doylestown, Pennsylvania 18901. Once we receive a request we will send out some preliminary materials and proceed from there.
That's all for now. AG
Thursday, January 15, 2015
Music Production
Recently, I have shown the the studio and some of our materials to a few folks, fellow thespians, musicians and other people interested in the creative process. This has caused me to think about the larger picture again. So I will give a review of where we stand with that.
Equipment
Our work on the music is on hold for a few reasons. First and most importantly, I need to finish the layout for the book production. I talk about that below. But also the computing systems, which we have been using for music production have failed. The dilemma here is that to replace the processor is not a matter of replacing the one we were using with another of the same type. That machine was a custom built G4 that cannot be replaced without rebuilding it again. Well that is simply not a good idea, since the cost does not justify that course of action and the functionality would limit us to older technology.
So the new Mac seems like it might be the right course of action. But to those of you who know about these things, we're talking about a chunk of change there. that also involves redesigning and upgrading all the operating systems and programs and adding in a learning curve as well, which makes that course of action rather prohibitive.
So upgrading in increments, the way it has always been done will likely be the approach, unless a surge of resources becomes available.
I am currently using a Quad G5 for the GFX work on the books and it is likely that I will shift that machine over to the music production, once I upgrade the PCI cards to link with our hardware and bring Digital Performer up to a newer version. I am rethinking the voice package we have been using. I'm considering switching over to Mach V from Reason, but again there is a learning curve involved there. However, I believe Mach V will interface better with DP, since they are both MOTU products.
So far I have been unable to set up the virtual instruments using Reason, but the rack in Reason is nice and easy to use. Possibly an upgraded version of Reason, but the MIDI functions in Reason don't come close to Digital Performer. The main problem with using Reason for the tone generators is that switching between programs in the middle of mixing creates problems. Mostly, doing so interferes with the process and does not allowing for smooth adjustments to be made, particularly on the fly., but also in the final mix. I have to say that once you obtain certain settings in Reason, then topping off the mix with the mixing board and meter bridge in DP works fairly well, but that's only good for the final Mastering process, not the sub-mixing. The problem I have with using two programs with mixing capabilities that is; layering plug-ins between two programs is not a good idea, or so it seems to me. That creates a situation where you loose control of the purity of your signal and it becomes confusing if you have to locate the source of artifacts which might show up. It is hard to determine if the artifacts are in the original signal or somewhere in the insert settings or even in the signal path.
Basically, unless I find out otherwise, I think the simplest approach here is to change voice programs, to one that interfaces better with Digital Performer and will continue to do so through upgrades.
So, all that being said- I feel like the entire methodology needs to be rethought in regard to the studio systems. Making changes in our working systems was a point of contention, so I deferred in that regard, but now there is no choice in the matter.
The Score
All of these facts are some of the primary factors which preventing us from moving forward to record more of the music. But in addition to these systems issues, there is scoring.
As it stands now, the score is possibly 60% printed and in various stages of being transcribed. Some of the orchestral scores have been finished, but only on those pieces which have Piano adaptations and Lead Sheets. Some of the Piano scores are adaptations and some are reductions.
Initially we started to work on Piano Reductions together, but Shawn was frustrated with working with Quickscribe and decided that he did not want to do scoring. We debated this many times to no good end. So I continued on with it, prefering to do adaptations, mostly because many orchestrations simply cannot be transcribed for piano. I also believe that since a Piano Adaptation is my interpretation of what we were working on, that an adaptation would allow me more latitude to reconstitute a workable vocal version of my melody lines and lyrics without stepping on Shawn's toes in regard to the orchestrations he was working on.
Lead Sheets
We came into disagreement about the importance of Lead Sheets. My belief was and is, that, as the producer, I need Lead Sheets (and scoring) to present the product, not only to our financial & business partners, but for the benefit of helping the singers & musicians to easily lear the material. It is my contention that I need these materials during the process, not after the entire score is fully written.
Shawn's belief was that the singers do not need Lead Sheets and should be able to sing against the orchestrations and that no work on piano reductions or scoring should take place until after the entire show is orchestrated. Sorry, I don't buy that. Every singer I know wants to hear their part on the piano.
The other factor her is that- there are seventy songs in this show and we already have spent nine years to do that. I can't wait another ten years of meandering along to see this finished and moving forward. So this was a serious rift, which more or less led us to stop working on the music. There were other issues over the operating systems and techniques of mixing/mastering the music, which put the kabosh on our progress.
Status of the Music
All the lyrics and melody lines are finished for the entire show, with about a dozen songs still needing orchestration. I have decided to stop orchestrating, until I have all the Piano Adaptations and Lead Sheets finished for the primary numbers, which is something I have to do on my own. I don't need adaptations for the bridges and instrumentals, since the Lead Sheets are only for the singers. Some of these numbers require divsi, so I'm working on that as part of the adaptation. I'm assigning instruments to the voices to define that divsi, but for the time being I am not worrying about divisi inside the parts, only between them. So the Vocal tracks are derived from the Piano Adaptation, which contains the re-constituted melody line, which seems to have been divided by orchestration. Something I have to say I did not approve of and made repeated appeals to preserve.
So as it stands, it's up to me to do Orchestral Scoring, Piano Adaptations and Lead Sheets. Needless to say Orchestral Scoring will be last on the list. My approach is to do all the rough drafts first and worry about refining them after I decide who the Maestro will be. I asked Shawn to perform that role but he does not want to do that. So I don't know how that's going to pan out, but first things first - lead sheets for the solos and the duets, trios and quartets. Much of that is done, but entering into the recording process will need to be considered in the light of how far along the other materials are developed. Mainly because once the momentum starts up, we ned to keep up with it.
Other Factors
Of course, one other major factor is funding. Our performers have to be paid. So that means significant capital influx to make that happen.
When you consider that some choral numbers have more than a dozen performers involved you can imagine the resources we will need. Certainly we will be doing the solos first, followed by duets, trios, quartets and so on.
It may very well be that continued work on the music will have to wait until the books start producing income... and that's still a ways off.
I'll address more of these issues later. AG
Equipment
Our work on the music is on hold for a few reasons. First and most importantly, I need to finish the layout for the book production. I talk about that below. But also the computing systems, which we have been using for music production have failed. The dilemma here is that to replace the processor is not a matter of replacing the one we were using with another of the same type. That machine was a custom built G4 that cannot be replaced without rebuilding it again. Well that is simply not a good idea, since the cost does not justify that course of action and the functionality would limit us to older technology.
So the new Mac seems like it might be the right course of action. But to those of you who know about these things, we're talking about a chunk of change there. that also involves redesigning and upgrading all the operating systems and programs and adding in a learning curve as well, which makes that course of action rather prohibitive.
So upgrading in increments, the way it has always been done will likely be the approach, unless a surge of resources becomes available.
I am currently using a Quad G5 for the GFX work on the books and it is likely that I will shift that machine over to the music production, once I upgrade the PCI cards to link with our hardware and bring Digital Performer up to a newer version. I am rethinking the voice package we have been using. I'm considering switching over to Mach V from Reason, but again there is a learning curve involved there. However, I believe Mach V will interface better with DP, since they are both MOTU products.
So far I have been unable to set up the virtual instruments using Reason, but the rack in Reason is nice and easy to use. Possibly an upgraded version of Reason, but the MIDI functions in Reason don't come close to Digital Performer. The main problem with using Reason for the tone generators is that switching between programs in the middle of mixing creates problems. Mostly, doing so interferes with the process and does not allowing for smooth adjustments to be made, particularly on the fly., but also in the final mix. I have to say that once you obtain certain settings in Reason, then topping off the mix with the mixing board and meter bridge in DP works fairly well, but that's only good for the final Mastering process, not the sub-mixing. The problem I have with using two programs with mixing capabilities that is; layering plug-ins between two programs is not a good idea, or so it seems to me. That creates a situation where you loose control of the purity of your signal and it becomes confusing if you have to locate the source of artifacts which might show up. It is hard to determine if the artifacts are in the original signal or somewhere in the insert settings or even in the signal path.
Basically, unless I find out otherwise, I think the simplest approach here is to change voice programs, to one that interfaces better with Digital Performer and will continue to do so through upgrades.
So, all that being said- I feel like the entire methodology needs to be rethought in regard to the studio systems. Making changes in our working systems was a point of contention, so I deferred in that regard, but now there is no choice in the matter.
The Score
All of these facts are some of the primary factors which preventing us from moving forward to record more of the music. But in addition to these systems issues, there is scoring.
As it stands now, the score is possibly 60% printed and in various stages of being transcribed. Some of the orchestral scores have been finished, but only on those pieces which have Piano adaptations and Lead Sheets. Some of the Piano scores are adaptations and some are reductions.
Initially we started to work on Piano Reductions together, but Shawn was frustrated with working with Quickscribe and decided that he did not want to do scoring. We debated this many times to no good end. So I continued on with it, prefering to do adaptations, mostly because many orchestrations simply cannot be transcribed for piano. I also believe that since a Piano Adaptation is my interpretation of what we were working on, that an adaptation would allow me more latitude to reconstitute a workable vocal version of my melody lines and lyrics without stepping on Shawn's toes in regard to the orchestrations he was working on.
Lead Sheets
We came into disagreement about the importance of Lead Sheets. My belief was and is, that, as the producer, I need Lead Sheets (and scoring) to present the product, not only to our financial & business partners, but for the benefit of helping the singers & musicians to easily lear the material. It is my contention that I need these materials during the process, not after the entire score is fully written.
Shawn's belief was that the singers do not need Lead Sheets and should be able to sing against the orchestrations and that no work on piano reductions or scoring should take place until after the entire show is orchestrated. Sorry, I don't buy that. Every singer I know wants to hear their part on the piano.
The other factor her is that- there are seventy songs in this show and we already have spent nine years to do that. I can't wait another ten years of meandering along to see this finished and moving forward. So this was a serious rift, which more or less led us to stop working on the music. There were other issues over the operating systems and techniques of mixing/mastering the music, which put the kabosh on our progress.
Status of the Music
All the lyrics and melody lines are finished for the entire show, with about a dozen songs still needing orchestration. I have decided to stop orchestrating, until I have all the Piano Adaptations and Lead Sheets finished for the primary numbers, which is something I have to do on my own. I don't need adaptations for the bridges and instrumentals, since the Lead Sheets are only for the singers. Some of these numbers require divsi, so I'm working on that as part of the adaptation. I'm assigning instruments to the voices to define that divsi, but for the time being I am not worrying about divisi inside the parts, only between them. So the Vocal tracks are derived from the Piano Adaptation, which contains the re-constituted melody line, which seems to have been divided by orchestration. Something I have to say I did not approve of and made repeated appeals to preserve.
So as it stands, it's up to me to do Orchestral Scoring, Piano Adaptations and Lead Sheets. Needless to say Orchestral Scoring will be last on the list. My approach is to do all the rough drafts first and worry about refining them after I decide who the Maestro will be. I asked Shawn to perform that role but he does not want to do that. So I don't know how that's going to pan out, but first things first - lead sheets for the solos and the duets, trios and quartets. Much of that is done, but entering into the recording process will need to be considered in the light of how far along the other materials are developed. Mainly because once the momentum starts up, we ned to keep up with it.
Other Factors
Of course, one other major factor is funding. Our performers have to be paid. So that means significant capital influx to make that happen.
When you consider that some choral numbers have more than a dozen performers involved you can imagine the resources we will need. Certainly we will be doing the solos first, followed by duets, trios, quartets and so on.
It may very well be that continued work on the music will have to wait until the books start producing income... and that's still a ways off.
I'll address more of these issues later. AG
Tuesday, January 13, 2015
e-Storybook & Hard Copy Storybook
e-Storybook Update
The production line activities have been put on hold. Prototype assembly has proven methodology and some suppliers have been lined up. There are a few supply and service vendors who are missing from the puzzle, however, other facilities issues are standing in the way of fully setting up the production line. None-the-less, the designs and implementation methods have been confirmed, although there are variations to that theme which may come into play. I am continuing to construct the materials for distribution to industry partners and focusing on those aspects as opposed to entering the marketplace, even though I would certainly like to see an increased cash flow. So for the time being I will need to use investment funds, as much as I would prefer not to.
Hard Copy Storybook
It has become eminently clear that a presentation in the book stores will require a hard copy edition as well as the e-Storybook version. Some folks are simply not up to date with the e-book scenario, so we need to assure that we are meeting all the demands which might come about in the distribution and marketing effort. Since we are also developing a puppet show presentation to accompany the book release, the cost and effort involved there demands that we do not hinder our sales potential by limiting ourselves to one book product. With these facts in mind, the production efforts in terms of publishing set-up, has shifted to the hard copy book layout.
History of the Layout
When the storybook began to develop out of the Libretto (or simultaneous to it) the first effort was for a published edition. The page layout took a number of turns until it settled into the existing format (further down in this blog is a posting showing the page layout). After repeated printings which dealt with alterations and corrections, it became clear that if I were to shift my goal to that of producing an e-Storybook, then I would not have to contend with the expense of wasted printing supplies, but then also - the alignment and page set-up issues would be eliminated for the time being.
So the idea of a hard copy book was put aside in lieu of the e-Storybook. This greatly simplified things (not to say that made it simple). So as the e-storybook began to grow, mostly by the inclusion of artwork on every page, the project took on the form of a three volume edition.
An earlier concept which was developed were the "Gnome-Sized Editions" and the prototypes for these editions were produced and abandoned (for the time being). The larger issue with this format was and is the reality that the artwork is not displayed to it's best advantage when the editions are too small. We have over five years and a lot of money tied up in this artwork and we need to present it in it's best light. So the Gnome-Sized Editions will have to wait until we finish with the larger Hard Copy Versions under consideration.
Published Editions
Numerous published products are in development. An additional item which is expected to advance into production is a coloring book. This is a relatively simple item which will support the marketplace for the younger children.
In one way it would be most advantageous for these assorted editions to be released simultaneously, not only for the distribution aspect but also for the shared marketing costs. Whether or not this can happen depends largely upon the investment funds available.
In that regard, the budget materials, production line, personnel, supply & service vendors, and distribution outlets are all under development. I am not taking the position that, as a writer, I am sitting on the sideline waiting for some other organization to come in and fulfill these needs. As the proprietor and Artistic Director of IMS, I am obliged to develop this business and pursue these other arenas. Should other organizations wish to be involved it is on them to step up and make their voice known, otherwise I am continuing on my path to building the studio and access this project as a primary asset (although numerous other of this nature exist). Once these elements are in place and fully functional, these other products can be installed into that system.
I am going to stop here in order to avoid a dissertation. AG
The production line activities have been put on hold. Prototype assembly has proven methodology and some suppliers have been lined up. There are a few supply and service vendors who are missing from the puzzle, however, other facilities issues are standing in the way of fully setting up the production line. None-the-less, the designs and implementation methods have been confirmed, although there are variations to that theme which may come into play. I am continuing to construct the materials for distribution to industry partners and focusing on those aspects as opposed to entering the marketplace, even though I would certainly like to see an increased cash flow. So for the time being I will need to use investment funds, as much as I would prefer not to.
Hard Copy Storybook
It has become eminently clear that a presentation in the book stores will require a hard copy edition as well as the e-Storybook version. Some folks are simply not up to date with the e-book scenario, so we need to assure that we are meeting all the demands which might come about in the distribution and marketing effort. Since we are also developing a puppet show presentation to accompany the book release, the cost and effort involved there demands that we do not hinder our sales potential by limiting ourselves to one book product. With these facts in mind, the production efforts in terms of publishing set-up, has shifted to the hard copy book layout.
History of the Layout
When the storybook began to develop out of the Libretto (or simultaneous to it) the first effort was for a published edition. The page layout took a number of turns until it settled into the existing format (further down in this blog is a posting showing the page layout). After repeated printings which dealt with alterations and corrections, it became clear that if I were to shift my goal to that of producing an e-Storybook, then I would not have to contend with the expense of wasted printing supplies, but then also - the alignment and page set-up issues would be eliminated for the time being.
So the idea of a hard copy book was put aside in lieu of the e-Storybook. This greatly simplified things (not to say that made it simple). So as the e-storybook began to grow, mostly by the inclusion of artwork on every page, the project took on the form of a three volume edition.
An earlier concept which was developed were the "Gnome-Sized Editions" and the prototypes for these editions were produced and abandoned (for the time being). The larger issue with this format was and is the reality that the artwork is not displayed to it's best advantage when the editions are too small. We have over five years and a lot of money tied up in this artwork and we need to present it in it's best light. So the Gnome-Sized Editions will have to wait until we finish with the larger Hard Copy Versions under consideration.
Published Editions
Numerous published products are in development. An additional item which is expected to advance into production is a coloring book. This is a relatively simple item which will support the marketplace for the younger children.
In one way it would be most advantageous for these assorted editions to be released simultaneously, not only for the distribution aspect but also for the shared marketing costs. Whether or not this can happen depends largely upon the investment funds available.
In that regard, the budget materials, production line, personnel, supply & service vendors, and distribution outlets are all under development. I am not taking the position that, as a writer, I am sitting on the sideline waiting for some other organization to come in and fulfill these needs. As the proprietor and Artistic Director of IMS, I am obliged to develop this business and pursue these other arenas. Should other organizations wish to be involved it is on them to step up and make their voice known, otherwise I am continuing on my path to building the studio and access this project as a primary asset (although numerous other of this nature exist). Once these elements are in place and fully functional, these other products can be installed into that system.
I am going to stop here in order to avoid a dissertation. AG
Tuesday, December 30, 2014
Product Manufacturing/Distribution (updated)
Attention was focused on bringing the manufacturing aspects of "Gnomes in a Gnutshell" into alignment with the practical realities of assembly, production and inventory. This involved production line methodology, which for the most part has been refined down to the point where assembly procedures have proven to be workable and efficient enough that the product can fall within the anticipated price schedule and still allow for a reasonable margin with some latitude.
This assumes the price point is at the maximum* amount the market will allow for a product of this nature and not discounted for the sake of expediency, or some presumed competitive pricing sought by wholesalers who strive to turn more quantity at lower cost.
*Note to suppliers: this maximum pricing cannot be the basis for manufacturing and supply costs because the window for this pricing structure is too small for a sustained position. This introductory price structure provides a surge of influx to open the markets and accommodate for tooling production. The price structure will inevitably settle down to a lower margin as production/distribution increases and demands for discount markets come into play. Further discussion on this subject will take place.
Clearly more quantity will aid in gaining a stronger presence in the marketplace, by the visual impact and presentation of the product, but devaluing the product will not serve the greater need to recoup the very large investment in the core product or generate the capital required for implementation in the costly production arenas of the theatre and cinema. So discounting the product will be avoided as long as possible.
Discussions of Film & Theatre Production Management will continue take place on the IMS Virtual Studio rather than here.
Details of Production Line Logistics
Details of Production Line Logistics
These thoughts (when written) referred to e-Storybook, but may also be applied to the hard copy book as well. Releasing the product, involves meeting the inventory needs of both raw materials and finished product - before promoting the ability delivery the product to meet demand. I am seeking a minimum of 1k units in stock (ready to deliver) with a production line growing toward the capability of producing 5k units per month. Greater quantities may require subcontracting, but thus far I seek to keep assembly, inspection and packaging in-house, unless another advantageous arrangement can be made. These are issues under consideration.
So "in a Gnutshell" the actual release of the product and promotion of such, is still under the restrictions of financing, the development of suppliers, production line logistics and inventory requirements. Facilities are becoming an issue as well, as the dynamics of the studio space are changing, in large part due to cash flow and the large expenditure require for development of this product. I discuss this subject on the IMS Virtual Studio blog.
Other factors effecting the release of the product are; the simultaneous implementation of the hard copy volumes, assorted registrations with professional organizations, and more importantly - improvement and supplementation of the artwork for Volume Three.
In addition to Volume Three, there have been appendixes added which refer to The Gnomic Tales, which would be most advantageous to illustrate, but at this point the time and cost of implementing those illustrations are both prohibiting factors.
In addition to Volume Three, there have been appendixes added which refer to The Gnomic Tales, which would be most advantageous to illustrate, but at this point the time and cost of implementing those illustrations are both prohibiting factors.
It would be safe to say that available resources as well as other logistics are slowing the forward momentum of this project. So one solution to this; is to accept pending orders, which helps to identify the outlets which seek to distribute this product, as well as the quantities which might be expected for production. I have outlined certain parameters in that regard below and am continuing to develop the components required, not only for our production line, but for the distributors specifications and I am striving to strike a balance in that regard.
If you are a partner in this project; I recommend backing up any e-mail communications with a hard copy sent to Image of the Mind Studios, 1325 Industrial Boulevard, Southampton, Pennsylvania 18966. I say this because of changing circumstances and possible relocation of the studio. I do not expect this occur with immediacy, but options in this regard are under serious consideration and may have a bearing on production activities. This is relative to the facilities conversations mentioned above.
Monday, December 22, 2014
A Quick Note
I'm archiving the older posts in this blog because with the approaching release of the e-Storybook renders those facts irrelevant.
If for some reason you need to examine some of the history of our process by seeing these posts,
let me know and I can provide those archived items.
AG
Saturday, December 13, 2014
IMS Publishing
I posted some thoughts on the IMS Virtual Studio that concern The Gnomes of New Hope. You might check that out. There is also a Facebook page for Image of the Mind Studios where I discuss some of this
Wednesday, October 22, 2014
iPad Tests
Well, I have to report that the e-Storybook looks SO INCREDIBLY GOOD that I can't believe it! The layout looks better on the pad than it does on my computer. I am amazed! And it works great in Kindle's App as a PDF e-book.
I am currently reconfiguring the file structure and the encryption layout, so it won't be long before the entire three-volume set will be available to the industry. There are more illustrations required before I am willing to release it to the public, because I want every page to be as rich as the first two volumes. As it turned out I have created another volume in the form of an Appendix. The files which are part of the History of Gnomanity, basically the Gnomic Tales, have been separated out of the story which is conveyed in the Libretto to the stage musical. So the number of pages in this three volume set is pretty high. I am up to Scene Eleven out of Nineteen and my page numbers are approaching 400. So I expect this will be an epic tale in terms of an Illustrated Storybook.
I am also busy sculpting the puppet heads, integrating the mechanics of the eye movements with the sub-structure of the skull/chassis. We are getting ready to construct the bodies over the chassis for the puppets, as I have concluded that the mechanical design for the manual puppets will be essentially the same as that of the animatronic chassis. I have discovered an interesting method of creating the epidermis for the faces, so I am moving forward to finish a few prototypes in that regard.
My thinking in terms of the e-storybook is to look more for a partner who has the marketing and distribution channels already open so that we can achieve deep saturation in the market. If this is an arena you are involved in, I am open to discussing this, but in lieu of hearing from anybody in this regard, I do plan on moving forward with a marketing and distribution plan. My focus of attention, however is on other theatrical support activities, such as the parade float and a staged presentation of the puppetry for marketing in small venues (such as bookstores & libraries).
For the time being I am preserving the distribution of the e-book to work in conjunction with the distribution of the hard copy, so whoever jumps in on the hard copy will benefit from that marketing effort, at least until I move forward without the hard-copy.
The formula for Gnome Gnog is finished and I am moving forward to locate a supplier for the powdered mix. The song "Gnome Gnog" has the lead sheets and the piano adaptation finished, so we could move forward to record and create an animation to market that product if I cut a deal for the distribution of that product line.
Also, I am looking at setting up an injection molding operation to support the prototype runs of the toy lines and the marketing plan for "Gnomes in a Gnutshell". So there's a lot going on.
That's all for now. AG
I am currently reconfiguring the file structure and the encryption layout, so it won't be long before the entire three-volume set will be available to the industry. There are more illustrations required before I am willing to release it to the public, because I want every page to be as rich as the first two volumes. As it turned out I have created another volume in the form of an Appendix. The files which are part of the History of Gnomanity, basically the Gnomic Tales, have been separated out of the story which is conveyed in the Libretto to the stage musical. So the number of pages in this three volume set is pretty high. I am up to Scene Eleven out of Nineteen and my page numbers are approaching 400. So I expect this will be an epic tale in terms of an Illustrated Storybook.
I am also busy sculpting the puppet heads, integrating the mechanics of the eye movements with the sub-structure of the skull/chassis. We are getting ready to construct the bodies over the chassis for the puppets, as I have concluded that the mechanical design for the manual puppets will be essentially the same as that of the animatronic chassis. I have discovered an interesting method of creating the epidermis for the faces, so I am moving forward to finish a few prototypes in that regard.
My thinking in terms of the e-storybook is to look more for a partner who has the marketing and distribution channels already open so that we can achieve deep saturation in the market. If this is an arena you are involved in, I am open to discussing this, but in lieu of hearing from anybody in this regard, I do plan on moving forward with a marketing and distribution plan. My focus of attention, however is on other theatrical support activities, such as the parade float and a staged presentation of the puppetry for marketing in small venues (such as bookstores & libraries).
For the time being I am preserving the distribution of the e-book to work in conjunction with the distribution of the hard copy, so whoever jumps in on the hard copy will benefit from that marketing effort, at least until I move forward without the hard-copy.
The formula for Gnome Gnog is finished and I am moving forward to locate a supplier for the powdered mix. The song "Gnome Gnog" has the lead sheets and the piano adaptation finished, so we could move forward to record and create an animation to market that product if I cut a deal for the distribution of that product line.
Also, I am looking at setting up an injection molding operation to support the prototype runs of the toy lines and the marketing plan for "Gnomes in a Gnutshell". So there's a lot going on.
That's all for now. AG
Subscribe to:
Posts (Atom)