Here is the cover to Volume One. The book is about to be released to the public. I'm working on planning a book tour and expect to release a Signed Limited Edition. The signed editions will only be available to persons who attend the signing sessions or who become investors in the production. There will also be a silent auction with bidding on the signed Limited Editions of the Constable Warren Garden Gnomes. More on this later. Check the Facebook page and IMS Producing Partners. AG
Here's a shot of a test chassis. You can see the relationship between the head and the body. This head is one of the modified "Gnome-skulls". On this one the neck has not been properly sized for length. This chassis has specially designed joints, which are not going to be used on the Marionettes, but rather on the articulating figurines and the animatronic puppets. The animatronic puppets will be used on the parade float, in the stage sets, and in the cyclorama presentation. I expect to be using mirco-neumatics or hydraulics. More on this later. AG
After watching The Rose Parade and The Mummers yesterday (New Year's Day) I've been thinking about the parade presentation for The Gnomes of New Hope.
Initially, I was thinking about strictly a puppetry presentation on the float, but now I'm thinking of something more.
When we did the parade in Southampton with The Shakespeareans of Tamenend Park, we had different themes each year. Basically, the Shakespeareans worked the crowd, rather than perform a specific show. I thought that would also be the case with The Gnomes. But now I'm thinking that we should make a presentation taken from the Libretto.
So with that in mind, I'm inclined to take a few pages out of Gnome Fest, which rather leads into the festival theatre presentation as well. I was not planning on producing Gnome Fest before we mount the stage musical, but I suppose it might be possible as a precursor to the Grand Openning/Premeire of the musical.
This would required a massive effort, but it might be advantageous to design those elements to integrate as a conjoined effort, yet still maintain the ability to function fully as separate events.
In any event, the first venue/platform is the parade. I have been tossing around the float platform, having designed numerous staging scenarios under which this format might take place. I keep returning to a self propelled parade float. There seems to be a certain size which has a nice presence in a parade.
In my initial effort I had acquired a haywagon that I intended on building into a float. Along with that haywagon, there was a medium-sized truck which I redesigned as a mobile stage. I actually had more than one customer lined up to by the stage if I built it, but it became clear that if I were to sell the modified trucks as a four-unit stage, I would need to use new chassis. So far I have not looked into acquiring new chassis and making the units available for resale. That would have been too distracting from completing the Core Creative Materials of The Gnomes of New Hope.
Unfortunately I lost that haywagon and the flatbed truck when the farm got sold and a lot of my other equipment in storage there got scrapped. I was busy writing the music for The Gnomes and was not informed about the sale in the clean-out. Writing the music was so all encompassing, that I failed to check in for almost a year, during which time the farm got sold and cleaned out. I knew I ran the risk of something happening, but finishing the music was too important to let that stuff get in the way. I tried to locate the equipment, but the farmer departed the area and we could not locate the equipment. Oh well.
So now I have a four-wheel drive Dodge truck I'm considering using as a donor for the parade float. The size of the wheel-base may be an issue. I'm also considering using a Corvair truck as the foundation, but the issue there is the gross vehicle weight. But the beauty of using Corvair is the flexibility of the drivetrain. I might be able to adjust the wheelbase without much difficulty using Corvair. The other alternative to use an International Loadstar. They are plentifully and my big truck is a cab over Loadstar, so I could use the extra parts.
Well, so much to consider.
That's all for now. AG
Notwithstanding what I said in my last post and the work that is proceeding with the Industry Review Package, I've decided to move forward to publish Book Two of the set.
As you may have read elsewhere, there are Three Volumes consisting of Seven Books in the hard copy edition of Zach & Zebby's Grand Adventure.
The Digital Edition is finished (sans missing illustration panels), so I can publish at least two more books before I run into missing artwork. So, while I am waiting to aquire capital influx sufficient for completion of the artwork, I might as well publish whatever is finished. That does not mean I will release the books, that means we will be set-up for production and capable of delivering the goods.
In regard to the artwork; I simply do not want to advance without enough funding in place to assure completion of the work - before enter into the process again. Part of that is because my time and attention is required to such a degree that resources must be in place. That became clear the last time we were working on that end of things.
Now, however, the process of illustrating the story must take a new turn. As I have said before, the next approach to illustrating will involve animation. Not animation as in producing an animated film, for that is a separate effort, but animation in that the artwork will not be static individual illustration panels. Rather, the characters will be designed as composite elements, giving the flexibility to alter the positions as needed while assembling the illustrations in the context of the book layout.
This will result in giving us the resources to create active animations for numerous uses, including assisting in developing 3D renderings.
Now in that regard; I am exploring 3D printing and striving to set-up a 3D work-station. This will be applied to puppetry, figurines, and animatronics. So these elements are a prime concern and a portion of existing resources need to be so applied, rather than being used for the labor expenses of the art department.
So "in a Gnutshell" my primary concern is the studio equipment and facilities and assuring that we are postured for advancing with production in numerous arenas that are critical for expanding on parallel fronts simultaneously, without getting drawn into one market prematurely. It is a question of amortizing the risk and taking a broad sweep across the available markets to create the most effective active public awareness, one that engages the audience to a degree that gives the project sustainability.
The direction of this posting is moving in toward the interests of our Producing Partners, so I will shift to that blog.
That's all for now. AG
You may have read elsewhere that the Industry Review Package is being constructed as a digital document. It contains what I call "The Core Creative Materials". At this point, it only contains enough of those materials as may be required to raise working-capital. There are discussions on that subject on IMS Producing Partners.
In brief, the package currently consists of the e-Storybook, Libretto, portions of the Business Plan and a Biographical Essay pertaining to myself as the creator of this project.
Engagement of other personnel is wholely contingent upon fully capitalizing the project, based on the Core Creative Materials.
("fully capitalizing" means; capitalizing stages of operations based on a budget that consists of sub-categories that function as self-contained "ancillaries" within the overall production management scheme. Full Capitalization of the entire project cannot occur until the assorted budgets are crafted and refined for each of the sub-categories and achieving that is contingent upon sufficient capital, Front Money or other means ie: Options, not bank loans.)
The portions of The Business Plan which are not included in the package are those elements which are of such a nature as to constitute the Operations Manual and the in-depth contract materials. I expect that I may include enough of the organizational structure to provide an overview, but that will have to be an abridged version, as the terms connecting operations and the hierarchical production management structure becomes rather complex. So those aspects are, by necessity, reserved for internal operations, leaving refinement and implementation for the functions of The Board of Directors.
Well, these discussions are really for IMS Producing Partners, but I wanted to post something on The Gnomes of New Hope.
So in terms of Creative Activity; I'm very interested in acquiring the capabilities for 3D printing. I think that would be most advantageous in a number of ways. Principly, I feel that the work of puppetry, figurines and animation will benefit most. But also production capabilities will gain advantage as well. In particular, I am thinking about "Gnomes in a Gnutshell". Producing the Acorn for that product line may be one use. Another valuable use for that capability is tool & die.
I have machinery in the studio's shop which would benefit from that capability. It is exciting to realize how 3D rendering will also advance our cause in Animation & Puppetry.
That's all for now. AG
With the Storybook and Libretto now integrated as a companion set, so a comparison can be made as to how the story interprets on the stage, certain contracts are under review and refinement. Most specifically, the Front Money Agreement. My immediate goal with Front Money is to raise 150k. We need to finish the artwork for illustration and I want to upgrade some equipment.
Although these producing activities are critical to advancement, I have concluded that my focus of attention needs to be on refining the studio environment. The Studio is the foundation of our producing activities and the assorted work areas and resource management elements need to be as refined and functional as possible to meet any demand that we generate. So rather than push for external production activities, I am focusing on internal activities. I expect to employ, or partner with, other producers who will supervise the assorted external production in accordance with the range of venues that we will be approaching.
From my point of view, there are a few primary areas of attention in regard to internal activities; 1) product development/prototyping of animatronics 2) little theatre production, which may utilize puppetry and animatronics 3) preparations for a parade presentation, also utilizing puppetry & animatronics 4) animation/claymation and puppetry for cinema. 5) redesign of the larger show for smaller venues and a Premiere at the Bucks County Playhouse leading into a tryout tour.
There are casting issues with the show as a whole. I have always been concerned with how to convey the Gnomes using live actors. Besides a very delicate casting in terms of size and shape, it is difficult to add the performance abilities required in terms of musical theatre. So that being the case, I believe that a film production should be mounted simultaneous with the stage presentation. In this way we will be able to capture the performances for film, when we do find a suitable cast, before the ultimate and inevitable decay of the production activities will occur.
In this way we can capture the freshness and enthusiasim of the first (fully balanced) production company. It is possible that waiting on the film might produce better results, but I am leery about that. I'd like to avoid having it become stale or loosing momentum.
In my mind, the full range of production activities benefits from interacting on a synchronious basis, if for no other reason than that the risk is amortized, but also because the marketing elements are not only shared, but also retain their effectiveness and support multiple markets.
So to address the Business Plan; the plan calls for four organizations. Presuming this project isn't sold outright, the organizations are as follows; 1) Image of the Mind Studios; development/manufacturing 2) The Elder Gnomes Joint Venture; finance/management supervision/implementation 3) IMS Management, Incorporated; logistical support across the board 4) The Gnomes of New Hope Productions; theatrical/cinema/television/media production implementation.
The details of all these activities and review of the Core Creative Materials requires a signed Restrictive Covenant Agreement, which I believe is posted on IMS Producing Partners blog. I always invite serious investors or producers to visit the studio to discuss this, as I expect this will be the only way to engage, since I am up to my ears in work to do there and I am not planning on doing much road work for the foreseeable future.
I'll try to post more definitive information on IMS Producing Partners, but for now I am building an internal server which is required for improved management of that blog site as a tool for communicating with our investors and principle personnel. So more detailed information will most likely, if not certainly, wait until that server is up and running.
AG
Well, as you can see from recent postings, I've been concentrating on the functionality of the e-Storybook. There are issues of DRM and file size, which have frustrated me, even as I have been advancing toward completion.
Today I had an epiphany. Rather than concerning myself with the Retail aspect of the e-Storybook, I now believe that integrating the e-Storybook with the Libretto and the Score as an overall production tool is the best approach.
In order for the e-Storybook to be ready for public release, there is a significant amount of artwork that needs to be finished, anyway. Although relatively speaking; there is much less than has already been done.
So, in this context, I will be shifting the e-Storybook into a reference document for the stage and film productions. This seems most appropriate, since the timing of the release of all product lines needs to be intricately linked. My intention is for Licensing and Options to pay for the support of facilities and the production costs (of both the published products and further advancement the media products).
I do intend on putting a printing press in the studio, since that seems to me to be advisable for on-demand printing and control over the design elements. This will also allow us to maintain (at least) minimual capabilities to meet demand, while retaining control over inventory and distribution. For the most part, that will keep billing and such idiosyncracies down to a minimum, and also simplify contracts in terms of outside vendors.
Of course, for the right price & terms, I would be willing to sell the publishing rights, but nonetheless I am putting a press in the shop, since there are another five stories attached to The Gnomes of New Hope as The Gnomic Tales, in addition to at least a half a dozen other scripts/projects which would avail themselves of that capability, not to mention other publishing product lines, which exist in the files of Image of the Mind Studios.
So the composite of the Industry Review Package will be more specifically oriented toward funding the overall project without the presumption that income from retail will be directed towards production.
It is true that the e-Storybook is designed to support the other products at a foundational level and I have designed the book products (both digital and hard copy) to be fully refined for the marketplace, but there is an issue with file size of the digital product. It is heavily laden with artwork and that increases the file size, even after compression. So until I can figure out how to surmount that problem, for the sake of efficiency and expediency, I need to focus the energy to the most productive use of resources.
I am pleased with this (somewhat) new perspective, so long as it produces the desired results. Even if it does not produce the immediate result of funding operations, it is required to bring to production activities the most efficient tools for advancement.
That all folks! AG
Work this month has been entirely focused on two primary aspects of the e-Storybook.
The initial effort was to assure the technical functioning of the digital book. Since this is an illustrated book, it is very heavily laden with artwork. That fact has made the total size of the digital files quite large, at least that was the initial situation, until I compressed the files. Well, before I discovered that I could reduce the file size, there was a a problem with buffering when the file was loaded into an e-pad or smartphone. So my solution to that problem was to divide the files into smaller segments. This meant that the files needed to be linked so that they function seamlessly. Other than the requirement that one must click on the link to keep moving forward or backward between sections, that works wonderfully.
But this brought another issue to light. The background page design.
(I'm posting from my phone, so graphic examples do not post easily. I will add them when I am at a desktop computer)
Well, I added a design element to the cover pages and it looked so good that I added it to the preface and appendix pages, which amounted to maybe a total of thirty or so pages for the three volumes. But the, unfortunately, the body of the book, nearly eight hundred pages, looked unfinished. So I basically had no choice but to add the new background to the entire e-Storybook. There were alignment issues as well, so I basically had to redo the entire book as it pertains to the background page. There are still some minor alignment issues, because I added the new background to each individual file separately. Now that I think about it, I should merge the book into one file, change the background, and split the file up again, that will eliminate the alignment issues.
So there are also DRM issues. DRM is Digital Rights Management. I have designed the e-Storybook so that any attempts to copy it will destroy the files. I did not spend the last 27 years (and a huge amount of time & money) developing this project to have it given away over the internet or copied by people for free.
I wish I could give it away, but this happens to be an investment in my "retirement" (a concept which, to my mind, occurs when a person becomes old enough that their mind and body begins to want and they need to have sufficient resources to take them to the end of the parade).
So, there are a number of factors contributing to the functionality of the e-Storybook. But as it stands now, it looks and works great. I'm beginning to think that I can merge some of the files back together, since, as an example, when I compressed a file that was close to 500 meg, it dropped to around 10 meg! After I test a few various files for buffering delays I'll know better in that regard.
Another ongoing issue is proof-reading. Even after proofing this thing, literally hundreds of times, I have still found mistakes that need to be corrected. It's crazy! And now that it is in the final stages of assembly, corrections are more difficult and complex, involving multiple applications, versions files, imbedded information and operating protocols. Yikes!
As I said before, we have more artwork to do. But since the layout and technical structure for The Industry Review Edition is essentially finished, other than assembling the package to include the Business Plan, it's time to focus on the art department.
I'll address those activities on the IMS Virtual Studio blog; www.imagemindag.blogspot.com
That's all for now. Still kick'in. AG
The major focus of attention has been on the e-Storybook for some time. Proofreading is driving me crazy! Since the e-book is based on a PDF format, whenever a correction is required, there are a number of other programs within which those corrections must be made. It all becomes rather complex. I've needed to restructure the book numerous times because of page numbering issues or errors. The most recent issue is file size. This e-Storybook is designed to function on your phone or e-pad. That means that I need to keep the file size at a level that will function rapidly when it loads into the memory of the devise. That sounds simple enough, but when the product incorporates artwork, complex artwork on every page, the file sizes increase substantially. So now that the functionality, in general, is working pretty well, I am reviewing the scenes to be certain that they load easily and do not jam up the devise.
Now an ongoing issue, that has delayed the release of the product to the public, has been DRM. Oddly enough, there are digital distribution outlets who have stated specifically that they will remove any DRM or Copyright information from the files they distribute. I find that appalling! I've worked on this project for 27 years! I'll be damned if I'm going to release this under any condition where people can copy it and/or distribute it for free over the internet. So one of the things I am working on is to assure that if any attempt to copy the material is made, the files will be erased. As it stands now, attempts to copy the files will destroy it's functionality and all the links which control the e-book will no longer work. But what I really want is for any attempt to "save as" to result in the complete erasure of all files. Unfortunately, I feel as though these measures are necessary because people do not respect the copyrights of authors and others who need to be paid for their work.
So that's where things stand with the project. As always, I am continuing to seek funding and participation from industry partners and others who are interested in taking advantage of the opportunity. I continue to preserve and protect the product line for the sake of it's overall value, but I do invite inquiries from professionals. As stated elsewhere, the Restrictive Covenant is required and that is posted on IMS Producing Partners blog.
It's tough that this is taking so long, but nothing good is quick and dirty.
AG