Cyclorama and other related thoughts

I've been planning the components required for the parade float, but I've realized that; sized properly, the cycs can also serve as a presentation in both the parades and in Gnomefest (which is subject for other posts), but for some time I have had it in mind to open a storefront in New Hope that serves as a walkthrough display of both Volume One, an introduction to The Gnomes of New Hope and scenes from "Zach and Zebby's Grand Adventure".

Today, I had a discussion about this with a friend and the idea seems even more viable. Partly because, in addition to the cyclorama aspect, I have been building a traveling exhibition containing art panels, samples of the production & publishing materials and displays showing what is involved in producing a project like this. So a storefront gallery presenting The Gnomes of New Hope, seems like a good idea. Of course, the cost of set & operation hadn't been determined yet, although I am certain it will not be inexpensive. The potential return seems to imply that it could be viable, but there is also the publicity value for a number of markets. But add to that the range of product, which are already developed or are in process. So a gift shop would certainly be added to the walk through cyclorama. Now, animatronics are part of our puppetry work, so that may be included. As it stands now, we can build those cycs in the existing studio. So the plan is to make the cycs multi-purpose, in other words, parades, museum displays, walk-through scenario (as described) and other possibilities not yet considered.

One other application of the cycs is for claymation. I have spent a fair amount of time considering this aspect of the project. A 100% claymation effort, including both the characters and the setting is very interesting to imagine, but it is a massive amount of work. I did a stop action film in college, but nothing that even comes close to attempting the entire "Gnomes of New Hope; Zach and Zebby's Grand Adventure". That would take years to accomplish and only if I can find enough talented sculptors. My plan has been to create articulating figurines instead of using clay. One reason for that is the fact that the surface of clay changes when you attempt to articulate the figures. Things like fingerprints and such show up, whereas with costumed articulating figurines, the variables in positioning the characters no longer pose difficulty, or rather the difficulties are reduced. The other advantage of using articulating figurines, is that another ancillary market will be developed.

So, there are some thoughts on that subject. I'd post an image but attempts to do so always seem to cause problem from my phone.

AG

Link to Facebook posts

Since I post in a number of places...

Here is a link to a post on the Image of the Mind Studio page. Here I talk (somewhat) about how the first book will be released. Some of the details are important.

AG

https://m.facebook.com/story.php?story_fbid=10156715620640337&id=322835550336

Industry Activity

It's not an easy haul to be advancing a project like The Gnomes of New Hope. My philosophy has been to hold my cards close to my chest. As you may have been able to conclude if you've read any of these posts, this project has been developed to consider the markets across the board.

It's clear to me that, given the right circumstances and in the hands of an organization with a far reaching ability to saturate the markets in a timely manner, this project could fly very high indeed. It was designed to be so, yet there is much more that needs to be done to make that happen. Frankly, it is a phenominal and increasing burden to advance this project on the limited resources I am working with.

When one arena begins to demand a greater degree influx, it becomes very important indeed to correctly evaluate the consumption of resources in the context of the broader advancement of other critical arenas. This can lead to a greater challenge across the board, for the clarity and justification of actions are brought into a position of being required to maintain and support the value of those actions in the overall context.

Now I know that sounds obscure, but it is all a question of balancing the resources with the most viable means to advance the overall cause.

From my perspective, working from very limited resources, it is critical that providing a sound foundation for the full scope of the project be maintained. Entering into the assorted arenas needs to be done in such a way as to lead one into the other, in a specific order that is based on the resources developed. If it were the case that, any number of arenas, were already broached, then applying a greater degree of resources would result in rapid success. As it is, those markets are not established with the IMS  organizational structure, so  resources are required for both internal and external operations. "Therein lies the rub". But that's just the way it is, unless a partnership arises.

So onward and upward, as they say. I'm working on a presentation package, because this has reached the stage where aligning multiple major arenas is, if not required, most certainly, is advisable. Thusfar, the entire package is based primarily on content, with some very significant work done on markets. If I had my choice, my work would continue in that vein. But of course, in the context of First-Class/First-Run theatre/film; other elements, such as significant principles, need to be attached. But in terms of the work I need to do, moving to secure those principles is too much of a burden on my resources and abilities. So I leave those details to a future time, either under my own or someone else's purview.

I still need to shift over from book publishing to music scoring/recording, so even contending with distribution of the published product is a strain.

As it stands, IMS is the publisher with direct supervision over manufacturing, so there is a degree of management for distribution which is encroaching upon completion of the Core Creative Materials. This is something that needs serious consideration, because the strain effects the outcome of the process.

So at this stage, I'm inclined to think that introducing the right Literary/Theatrical Agent into the scenario might be advisable.

Anyway you look at it, I intend to pursue the Parade Float, because that is the simplest and most effective form of staging to advance the cause. Other than that, getting the books into wide distribution is the primary goal. Add to that the refinement of the studio space (10k sq ft) for production and you can see, my plate is full.

I welcome participation, particularly from fellow producers and finnanciers.

AG

Various Editions

As I've said, there are a number of editions of The Gnomes of New Hope. Initially, I published the prototype editions of both the Big People's and the Gnome-sized books. These prototypes looked really good at the time, but as I moved closer to spending the big bucks required for a public release, it became clear that - once the layout goes to press (and by that I mean high production) the product is (more or less) "set in stone". Of course, it's paper, but nonetheless, the expenses involved across the board, require that all the elements be as correct as humanly possible. Otherwise it is wasted money and the potential of it's success would be impaired.

Now that the books, as a whole, have been thoroughly reviewed, proofed, and sampled out in all formats, one would think it is time to move into Production and Distribution. That is true. But what is also true is that; other minutiae which was only lightly considered has become increasingly important.

As it turns out, any attempt to initiate the market without deep saturation is inadvisable at this point. This series of stories is founded in the theatre. It was designed as a stage show and that remains at it's core.

The Illustrated Storybook has always been intended to support the stage production, even though the storybooks stand on their own. In fact, the storybooks provide more character information than the stage show does, well different information.

The Digital e-Storybook version will offer the best blending of the two, in fact, three markets; Publishing, Music, and Cinema.

The truth is that - Theatre rather stands independent in terms of the aesthetics of the art. The fact of it's three dimensional and live action nature does make it unique and separates the experience. It is much more transitory... and more difficult to produce. That also means that it is more difficult to sustain because the elements are always in a state of flux.

This would be the reason for approaching Publishing first. As you can imagine, music publication follows the printed books. By that I mean; the refinement of the music into it's final printed form. The music is in fact written, but it needs to be refined so as to be presentable to a Maestro and Orchestra. Once again there are countless minutiae in preparing the Score. Much of that work has been done, but not sufficiently for final publication. That's a discussion for another time.

So I have returned to the Gnome-sized Edition and determined to publish a limited run of that book first. The larger publication of all four basic editions (not to mention the Boxed set or Gnomes in a Gnutshell e-Storybook) involves a substantial outlay of capital. Production quantities need to be in the tens of thousands, at a minimum. Publishing two versions of Volume One in both soft & hard cover editions puts us into the hundreds of thousands of dollars range. Obviously, that outlay cannot happen without distribution channels in place and the support marketing aligned for simultaneous implementation.

So as you see, it is a very complex endeavor, whose success lies in impeccable timing. I do not say that lightly. The timing extends beyond the mere production & distribution of the published goods. The critical factor here is the span of attention of the target audience. Considering the scope of the markets for which this endeavor has been created, it is critical that the potential expansion of each of the markets be carefully considered. The most advantageous timing is to cause the collective markets to reach their Apex within a defined parallel. That means calculating the extent of the work involved in bringing each arena into a fully active state and assuring that by so doing, the resources for each of those arenas, most of which are proceeding simultaneously, be sufficient for continuing advancement. It is critical that the momentum be maintained and controlled in a calculated way. That is the real secret to producing a product that has such a wide latitude as;
The Gnomes of New Hope; Zach and Zebby's Grand Adventure.

Pop-up Book

Within the last day or so, the idea of a pop-up came back into the picture. I was thinking that the hard-cover book might have a single pop-up in the center as a bonus. But doing that will cause further delays in releasing the books. At this point I am convinced we need to release four versions of the book simultaneously; the Gnome-sized and the Big People's, in both soft & hard cover editions. For both of those releases, there will be both unlimited general release and the signed & numbered collectable editions.

Well, now it is clear to me that a pop-up edition is also quite appropriate. After some thought on the subject, I've concluded that the pop-up will be a companion to the full collection of Zach and Zebby's Grand Adventure. That means that the pop-up will essentially be a cyclorama of points in the story. I like that because one aspect of the larger show is to create a cyclorama with animatronic puppets. The pop-up book will be like a mini-version/test run.

Golly, with all this I hope we actually get around to producing the stage musical !

I welcome partnering with anyone interested in being involved, especially financial and production management persons. We do need to fund all this and manage the affairs.

AG

Promotional materials

  I've decided to concentrate on publishing the promotional materials before taking The Big People's Edition of Volume One to press.

  I had an epiphany regarding the presentation of the materials. When I published The Gnome-sized Edition, it was  (essentially) because it was cheaper to do so. But, it was also in order to provide an alternative to the person who wants to buy a book. There is The Big People's Book, with an MSRP of $19.95 and the Gnome-sized Book, with MSRP of $7.95.

  I wish I could sell the books for less, but there is so much artwork on every page, that it is more expensive to produce the books. The only way I can possibly bring the price down is is my initial printing quantities are over 100k units. That means I need to presell those quantities before we go to press. I haven't yet priced those quantities, because at those numbers, the books need to go to a web printer. That also means significant more pre-press layout work. As it stands now, the layout has been set-up for digital printing, but can also be used for off-set.

    I've decided to reserve the digital editions for the Signed & Numbered Limited Editions, while the off-set & web are for the unlimited books. Now there is a difference in the look of the books, between digital and press. The saturation and resolution is crisper with digital, but it is too expensive to produce for general release. I'd have to get fifty bucks per book. So, the Signed & Numbered Editions are priced higher, because they are used to fund the remaining artwork for the rest of the book series.

   So, the promotional materials contain an abrieviated sample of the book, along with other sample materials and pricing for other products that are being manufactured.

    I will be selectively sending those materials out in an attempt to secure pre-press orders. If we can kick the production numbers over 100k we may be able to bring the MSRP down, but that has to happen before printing, otherwise the barcodes will be set.

   If you are a distributor and you'd like to talk, let me know.

You can use my email; image.of.the.mind.studios@gmail.com or send a communique via mail to; Image of the Mind Studios, 1325 Industrial Boulevard, Building #3, Southampton PA 18966

If you're on the road, stop in (m-f 9-5).

Release of Volume One

The book is at the printer's. This First Edition is going to be the digital version and will comprise the Signed & Numbered Limited Edition.

The Limited Editions are intended to fund the remaining artwork and the subsequent publishing costs. Therefore, the pricing for the First Edition is higher than the general release edition.

There are three categories of Limited Edition, priced at $75, $150 and $250. The total number of Limited Editions is 250 units.

A collector or investor may purchase a series number so that their boxed set will have matching numbers.

There are seven books in the set, which comprise three volumes. It is uncertain whether or not the series will be bound into one volume, since there are approximately eight hundred pages in this collection.

In the future, I will post the Preface for your review, but I believe that those pages may have already been posted, both here and on Facebook.

As it stands now, the Release of the mass produced book will be contingent upon IMS Publishing receiving one or more orders equalling no less than five thousand books.

If you are a buyer for books of this nature, do contact me. The digital product is reserved for Limited Editions and a few binding samples. The off-set product will be released to the book stores and online outlets.

We are prepared to deliver the finished product, both at wholesale and retail pricing.

Individual books may be purchased directly from Image of the Mind Studios, at MSRP using PayPal once our web page is set-up.

Wholesale purchases will use the same method, priced at a full keystone when the price bottoms out. Smaller quantities are available.

All sales are prepaid.

No credit is offered because we are attempting to both fund and engage in our production activities and we do not want to incur the distraction and expense of maintaining billing and collection activities.

I think you will agree that completing the remaining books in the series and producing the support materials for this project is an important activity to focus on.

Exclusive distribution is available given minimum quantity guarantees.

More information to follow.

Contact Arthur Greisiger at image.of.the.mind.studios@gmail.com for detail or to request a sales package.

Release of Volume One

I have, all too often, thought the book was about to be released, but now, after, still another, edit and proof review, it is actually on the brink of publication. The book was, in fact, given to the printer, when I discovered a few errors. Of course, I put a hold on publication until I made those corrections. As it turned out, I made discoveries about the layout and the limitations I was faced with in terms of computer processing. You see, this series of books are heavily laden with artwork (on every page) which requires working with uncompressed files in order to retain high resolution and the most accurate color redition. Well, this has caused extremely frustrating delays, but that all seems to be in the past now. I'm currently rebuilding the covers of the book. All of the work being done on Book One applies directly to the remaining six books and beyond.

There is much more to be done in regard to distribution and sales, but that is another discussion.

So that's it for this report.

AG

Puppetry and the Parade Float

  This time of the year I am engaged in a Pageant for the celebration of New Church Day. The Pageant honors the founding of the church by conveying theatrically portions of the Book of Revelations. In particular we have a 30' seven headed dragon puppet, which I am in charge of and I also perform the role of the disciple John who was exiled to the Isle of Patmos and there had visions which were written down and became the Book of Revelations. It's becoming quite an event and the dragon puppet is awesome.

My point being that puppetry is an ongoing activity. As you may have seen in other posts (that contain photos) I have a puppet shop where I am developing a series of puppets for use with The Gnomes of New Hope.

Although those activities are on again off again because of publishing efforts, the intention is to create a generic chassis for the puppets, which can be used for Marionettes, stick puppets, and animatronic characters.

I am proceeding to set up two staging areas, one for the "little theatre" production work, which includes the parade float scenario, and the other for set construction, configured for an assortment of larger stages, most particularly for the 25' turntable present in the Bucks County Playhouse.

But the work on the parade float will be the first order of business in terms of performance venues.

In terms of the actual puppets, we are developing the first three puppets; Constable Warren (who has become the mascot) Zach, and Zebby. With these three puppets completed, we will be able to film a few scenes up against a green screen and use the artwork from the storybooks as the backdrops.

On another front; I am building a Raid Array so I can finally set up the editing station with Final Cut Pro, but along with that, once the array is functioning and the new (old) storage and processor is up and running, then work will begin on 3D rendering of the characters. The primary purpose of 3D at this point is figurines, for which there are numerous applications, one of which is claymation.

So, even mentioning these few arenas, you can see how extensive this project has become.

It is somewhat unclear how everything will turn out, but my focus of attention is refining the studio to accommodate all the necessary components of various production activities and to continue to produce as much product in-house as possible. It is my estimation that utilizing the facilities and resources to produce the primary support items before attempting to take the show to outside venues is the most practical approach to developing a long term operation and achieving stability in a highly speculative market.

Of course, other options are always on the table, under the right circumstances, but for now, release and distribution of Volume One of the Storybook is the first order of business.

The Tony Awards

It saddens me to see some of the behaviors that are, not only allowed, but encouraged by these theatre professionals.

Our work with the Gnomes will proceed without regard to any recognition such as this being the end objective.

I say this because I want partners who care about the work and not any expectation of  some degree of notariety gained by setting our sights on any Tony or Academy Awards.

I don't believe we will ever be recognized in this way for our work.

I wish it were different, but I am afraid it is not.

AG

Publishing Volume One

I was convinced that by now Volume One would have been released. In fact, I gave it to the printers like two months ago. But the delay is not their doing. I put a hold on printing, when one last look revealed an error. But the real clincher is that 1) my work-station computer began to fail, no longer saving the files properly and also failing to open the work files and 2) I discovered that the material used for the layout could not contain compressed files. I'll explain that later.

Well, I did buy another computer in anticipation of needing more power, but even that did not result in an improvement. The machine I bought was a Mac Pro with plenty of processing power and RAM. Unfortunately, being a used machine, it was sold to me with OSX 10.13 and the proper system, in fact the last system that machine will run properly on is OSX 10.11. So it runs, but not properly and that also interfered with getting the job done. It's very frustrating nudging this through to get the final files. I have done certain operations over again 20 times or more because of this.

I'd like to convey something to those of you doing GFX design for publishing. It took me a long time to discover this. If you have original artwork which you are placing in a document, don't convert it to PDF first. There are inconsistencies that impair the final press layout. One is the likelihood that the PDF will obtain graphic artifacts. When you are trying to merge multiple files with the expectation of consistency, it is impossible to achieve when using compressed files, such as a PDF.

In my instance, I've discovered that I need to use the PSD files in all components where the art was edited in Photoshop. (I use Photoshop instead of Illustrator to edit my artwork, let's just say I prefer it). I can absolutely say that resolution, color balance and other aspects of the files are vastly superior in an uncompressed PSD file. But the truth is - the files are huge. This is in large part the bulk of my problems with accessing the files. The end result is that I have to break the files into multiple smaller files in order to be able to use the uncompressed artwork and that results in alignment issues. But the fact of the matter is that it is impossible to maintain consistency (in many aspects of the layout) with compressed files. They do not all compress the same and the result is a great variation in resolution, color balance, and alignment, not to mention those inevitable artifacts.

It is without a doubt an extremely complex endeavor when you are dealing with, literally, hundreds of layers and multiple settings within an assortment of functions that span the compass of dozens of files. So this is the culprit in terms of the continuing delays with releasing this series of books. This is a situation that one does not run into when printing words, but when you add extensive art into the mix it becomes very complex in many ways.

The Core Creative Materials have been, for the most part, finished for years. Of course, as I have mentioned elsewhere, more artwork needs to be done, but the real focus, as of now, is to assure that the technical structure of the layout (as far as publishing is concerned) is not only fully correct for Volume One, but directly and easily applicable and transferable to all other Volumes in the series.

"Zach and Zebby's Grand Adventure" takes up Volumes Two & Three, but there are other stories as well which may avail themselves (so to speak) of the technical and graphic layout. So perfecting this is the most important goal, but serious delays have been thrust upon the process by computer issues.

I post this explanation so those Partners and others observing, who are waiting for the product to hit the marketplace, might understand the trials and tribulations of making this happen. And this is only the Storybook, can you imagine the complexities of the stage show, the animated film and all the ancillary markets? This project is no small task, anyway you look at it.

The first expenditure from the proceeds of selling Volume One will most certainly be new computers with sufficient capabilities to avoid these maddening issues. It really is driving me insane.

AG

Posts on this blog

Lately, I have been posting from my smartphone and as I have said, posting images seems more often than not to fail. So, I apologize if there are posts where the artwork referred to seems to be missing. Be certain to check for links to the artwork or other sample materials, since "the Cloud" has now come into play. Also search the archive for older posts, because there are samples that were posted before I started to depend on the smartphone, including a video.

I have not had such problems posting to Facebook, so do check there if you like. I have pages there for both "The Gnomes of New Hope" and "Image of the Mind Studios".

When I manage to get my new computer systems up and running at the studio, which involves rewiring the building, I will review the blogs and try to rectify these posting issues.

AG