Studio Facilities

As spring approaches, I expect that I will be working outside more. I am in charge of building maintenance for the building that we own, so I divide my time between caring for the building and building my studio, which uses half of the building. The front half of the building is used for a 10K sq ft CNC Machine shop, while I am working toward setting up a wood-working shop in 5k of my space and a sound stage in the other 5k of space.  That is only a sketch of what is really part of the goals, because my facilities and equipment span quite a bit farther than that.

But in terms of the most recent activities which pertain to IMS Equipment and Facilities, a big part of my focus is on rebuilding some of my machinery. Right now that means engines for a few vehicles. I have used a 1961 Corvair Rampside for many years as my work truck, but this truck has been in mothballs for eight years. I am feeling the urge to get this going again, as I had put the kabosh on grease monkey work, in deference to finishing up The Gnomes project. Well, stopping everything for the Gnomes has started to catch up to me. I have a great deal of other work that NEEDS to be done and so I am beginning to address that work.

One thing in particular, that this means is that I am now into engine building. For those of you who are Corvair enthusiasts, that means I will take on engine jobs. I used to have a business called Just Vairs where I was building engines, including race engines, but I dropped that to work on music and writing for the Gnomes, but also for my other theatre work.  Well right now theatre is not paying me what I need, so I'm shifting for awhile back to the mechanical work. I only plan on doing that long enough to get a few of my machines back together (which includes a 1931 Model A Roadster) so if anybody wants me to do any of that for them speak up now, because once I'm done with this splurge of mechanical work, I'll probably quit doing it.

Here's a shot of my truck before if got ratty;

Some day it will be Seafoam Green with dark stripes

 (basically the opposite to the way it is painted here)

The other aspect of what I expect to be doing is to establish the recycling yard again. This will involve membership and access to materials for theatre production work. I am currently rebuilding the stage which was used at The Meadow Amphitheatre and I am building a rental Choir Stage and a few other items. If you are interested in these projects, let me know.

That's all for now. AG

IMS Producing Parners

This site was designed to be a Subscription Site which is only accessible to our investing partners. I am continuing to post relevant items on this site and if you would like to be privy to that information the fee is $125. In the case of an investor, that is part of your investment. In the case of a member who is not an investor, there is a tiered structure within that site, the inner working thereof are only for vested partners who have more than 10K invested. If you have any questions email me.

Executive Producers

   In the course of discussions here, on IMS Producing Partners, and elsewhere, it has become clear that the Joint Venture which I am seeking to implement is an agreement which pertains to the Executive Producers of the project.

   So with that in mind, I am moving forward to implement the management design and the Joint Venture Agreement (pertaining specifically to The Gnomes of New Hope as a project) so that the highest tier of the management structure is under the guidance and authority of the Executive Producers, who are the parties to the JV Agreement. All other agreements will be supervised and dictated by the team of Executive Producers who are party to that Joint Venture.

Thus, I am moving to design (or revise) those agreements on the assumption that we will have that team assembled in the near future and therefore I am open to discussion with those of you who can be considered to fulfill a place in that agreement. Further details in that regard will be discussed privately. Arthur Greisiger

Investment Capital

On the subject of Investments.

For some time I had been advancing the cause of The Gnomes of New Hope using front money for preproduction expenses and that worked fine for a while. But I came to conclude that that money was too costly for the results it was producing. If you look at blog on The Gnomes linked above, you will see some samples of the art work, for which this front money was used. However, the volume of artwork that is required for completion cannot be paid for with front money. My front money agreement pays out a 300% return on the back end. I have put a cap of 250K on the front money, so as to avoid running my preproduction expenses beyond 1M, even thought relatively speaking that is a drop in the bucket.

The real issue with front money at this stage of the game, is that I can no longer take small increments which do not move the production forward in leaps as opposed to the steps which have previously been occurring. Steps are simply not enough at this point, because it is not advantageous to have the momentum interrupted by a depletion of the funding resources.  Thus far, we have moved forward in spurts, based both on our resources and what the creative material has allowed for, but it has become disruptive to the process to start and stop in this fashion. This kind of advancement is fine for development, to a point, but it is difficult to retain personnel and the external circumstance of the working environment looses it's stability due to alterations which result in loss of control within that environment. To the effect of not being able to implement the objectives in an orderly fashion. This has a domino effect in, not only changing the working parameters, but also the modus to initiate and fulfill the goals that have been set.

I can safely say that our creative materials are sufficiently prepared, that we will be able to advance on a consistent and productive basis, given that we are capitalized sufficiently to do so. From my point of view (as the goals have been outlined elsewhere) we can move forward without fear that production activities will catch up to the pre-production work which still needs to be done and thus cause a stall in activities.

Having at one time believed that we would move for a Limited Partnership, I started to take Front Money, with the expectation that the management structure would be formed on that basis.  I delayed action on that front because the regulations with the SEC for a public offering puts certain restrictions on soliciting for such funds. Those restrictions essentially are too damaging to the development process, as it is uncertain about what kind of time frame can actually happen vs. the time frame that is specified in those regulations. Therefore, I advanced on the basis of using Front Money without preparing for solicitation. Rather, I  applied that Front Money to preproduction development, which is one of the options open to me in the agreement.  I could still continue to do that, but the increments need to be significantly larger than what I was working with in the past few years.  At this point, I need at least 50k to make a significant dent in preproduction packaging (most likely more than that would be advisable) and that does not include the 150k required for the legal paperwork and such to set up for production. But my minimum Front Money investment needs to be at least 10K, anything smaller than that is (yes, helpful, but more so) distractive, because it simply does not go far enough.

Joint Venture

I am at the point where; I prefer a Joint Venture as the means to finance this production. That's not to say that an LP could not also be part of that plan, but the LP would need to be managed by a team that is put in place as a result of the Joint Venture. The essential elements of the Joint Venture certainly need to include a degree of capitalization (directly to IMS to recoup development costs, in addition to contributions to future  production costs and investment in equipment & facilities), but also needs to be founded in provision of external resources as well. Critical to this is both production and distribution. These two elements need not be resident in one partner to the JV, but I do believe they need to be in place (at least) simultaneous to the initiation of the JV Agreement (depending of course upon what the parties to the agreement are bringing to the table). So the Joint Venture Agreement will then be comprised of three essential elements - Development (the purview of IMS), Production (divided by categories), and Distribution (accommodating certain rights to all parties).  Production could take place at IMS, but it does not need to, depending on what the production is. A certain level of production remains at IMS, but that is relatively inconsequential in the context of the larger cinematic endeavor.

These statements are presuming that structure of the JV is addressing the three primary markets, theatre, film, & television, each managed under their own budgetary and contractual limitations and isolated from one another in that sense, yet linked in terms of the Executive production team.

Leaving all other ancillary markets to stand on their own or become part of the JV only in the degree that direct investment in those markets allows for. It is not to be presumed that any other rights are automatically attached to the film, television, or theatre rights, because they are not.

Ancillary Markets

In all ancillary markets, production and distribution mostly operate under different parameters (because of the MFG/PKG/INV specifications of each product line)  and therefore, although the core structure is essentially the same, the personnel, resources and operating methods are different. Thereby making those markets their own operation not bound to the JV for film & television. The same can be said of the theatre, for there are no ancillary rights attached to that arena, unless there is direct investment in those markets from the theatrical production group, in like manner. This is the case with all markets - ancillary participation is entirely based on investment in that market, no unidentified rights exist in any agreement and there is no implied participation in any market not specifically defined.

As a whole however, a Joint Venture Agreement might encompass these other markets as to the equity in the agreement, only to the degree of vested interest in those markets, in which event these markets would operate internally under subdivisions. In any event, these other markets do need to be isolated from each other and self-contained in their operational methodology. Obviously, this could become complex if it is not approached correctly.

But the essential markets need to be isolated from one another and funded separately, as stated, looking toward the film market as a primary source of income, because the expenditures (in the film arena) are fixed to produce the final product, while the exhibition and distribution costs do not involve ongoing production expenses, other than certain post-production MFG items and marketing. Whereas, in a theatre production there are continuous production expenses in order to present the product, being that it is live and requires ongoing employment of personnel.

Certainly all the ancillary markets contribute to a holding fund to support the theatre production, not wholly, but only in part and sufficiently to ensure that the management operation remains self-contained and is not overly obliged to investment funding (funding outside the JV). Although some degree of this type of funding will likely be required. The historical expectation that ancillary markets are part of the theatrical rights is not the case here. Support from these markets will be part of the management structure, in the sense of a foundation, which is under no obligation to , or control by, the theatrical management organization. In this way the theatrical endeavor will be encouraged to maintain a healthful balance sheet. Essentially the funding provided by the foundation will be an internal investment group, returning the profit to the JV Group and therefore not obliged to investors in a LP or to the SEC regulations in that regard.

A Limited Partnership

In the event of an LP - the specifications will isolate that portion of the income which is assigned to the LP, relative to the percentage of capital provided by such, by specifying the percentage going to the LP and it is not to be presumed that the LP is participant to all of the net income, or the Gross income for that matter, but rather only participant to the degree specified, because full capitalization is not derived from the LP, only supplemental provisions which will be clearly defined.

A Summary

So in brief, the product line (s) are well established and in place sufficiently for a, well capitalized, production management team to more fully implement and exploit in an array of markets.

As you will see from discussions elsewhere, the timing of this implementation is such that deep saturation into the markets is the most viable approach, but such saturation can only be effected by a management operation that has already established a firm modus operandi in practicality and has the resources to support such full implementation.

This kind of implementation is contingent upon an established order that has stability, long term stability.  Bringing that kind of power into the process would be my goal and I see that as being achieved on the basis of the Executive Producing team that we need to build.

Being specific, I invite competent individuals to engage in dialogue on this matter.

Those are some thoughts for today, AG

Operational Changes

For some time it has been my goal with Image of the Mind Studios to build a studio compound. At one point I had a full set of plans that were very well worked out, outlining a community intended to serve the creative impulse. These plans were mostly laid out in a pocket sized book that I carried with me. I would to add to that book whenever the urge came over me. Imagine how distressed I was when I washed a shirt with that book in the pocket!  Well, needless to say, that book full of designs & specifications disintegrated in the wash.  So I advise you not to use a pocket sized book for important thoughts or designs.

Then later on in this thinking process, along with an associate, we were looking around the Poconos of Pennsylvania for some property, when we came across an abandoned resort. It seemed like the perfect opportunity to develop an artist's community, but of course the cost of acquisition and renovation was not in the immediate future (although the possibility of those funds did and still does linger on the horizon).

Well, I am posting this as a proclamation that I have decided to move out of Southampton. The circumstances of the studio space I have been working to build have become untenable. I do not see an immediate solution to certain forces which are working against me in this regard.

Now the space I have been working to build was - an adaptation of the vision that I had for a studio space. Because of circumstances which were thrust upon me, I concluded that adaptation of my plans was appropriate.   However, I no longer see adaptation as the most desirable solution to implementing a larger operation.  If I were to proceed under the present circumstances, even if I could manage to do so, it would come back to bite me later. I see the situation clear enough now to know - I cannot remain in this environment.

Construction of a facility from scratch I no small endeavor and not something i relish attempting to do, but it almost seems like this is the best approach to establishing the long term survival of Image of the Mind Studios.  I have had ten studios set up over the years and it is time to have the proper and final studio compound. I thought this would be it, but apparently not.  So I am rethinking what the facility I need to have must be and what the circumstances are that must exist for an unencumbered growth potential.

Clearly this effects the production line I have been working to establish. Whether or not this production line can be easily set up in another facility is yet to be seen. But I will be looking to build something in the Poconos. I believe the proximity to other major cities, New York in particular is reasonable, being that we are engaged in theatre and film.

The studio compound, as an artist colony environment, is in my greatest fantasies, something that I would love to see happen. I know the amount of work involved in doing something like that. I also know that the resources to do that are well beyond my immediate means. However, I would proclaim my interest in partnering with financial individuals/organizations who are capable of joining together to achieve this goal.

My long term goal with Image of the Mind Studios has always been to restructure the operation into a well planned corporate structure with the appropriate departmentalization to support such a studio operation. I had begun to do this at my present location and have identified numerous departmental components. At one time, in the past, I had this departmentalization defined in the context of a studio compound, which I wanted to see implemented in New Hope, Pennsylvania. I have actually designed at least a half a dozen layouts for a studio compounds as well as performing arts centers and amphitheaters.  Those designs still exist, although the most developed concept was destroyed.  I enjoy designing these layouts.  Many aspects of these designs can be adapted for a new location. The most recent of these designs is squeezed onto a seven acre parcel and aspects of that could be easily adapted.  But I certainly think that - for a really viable compound, there needs to be enough land to allow for growth into numerous arenas with an appropriate degree of spacial isolation.

It seems to me that, even though "The Gnomes of New Hope: Zach & Zebby's Grand Adventure" has not been released to the public, much less produced, I need to shift my thinking and planning over to moving out of the present facility and establishing another final resting place.  I really thought this would be it, because a number of most advantageous circumstances exist in this locale. I would say that those circumstance seem advantageous, because I adapted my thinking to accommodate the existing environment.

But that accommodation is no longer appropriate for the long term health of the operation. Clearly there are factors which are untenable and insurmountable. I have made every effort to keep things copasetic, but I am afraid it takes too much energy on my part to do that, because of forces that are beyond my control and have been completely unpredictable. These forces have become increasingly destructive & distracting, forcing me to exert undue effort to focus in that direction, thus taking away from my ability to maintain forward momentum and growth, for the studio as a whole and The Gnomes of New Hope in particular.

The only solution is to relocate and separate myself from these (predictably) destructive forces, which I am unable to change.

So I am now working on the relocation efforts and welcome any assistance, financial or otherwise. If you are a friend, feel free to talk to me about that. If you feel yourself to be a potential partner in some larger aspect of this, do contact me to discuss matters. This puts me in a position where I might be moving to sell some aspects "The Gnomes of New Hope",  although that would not be my first choice.

AG

Gnomes, business, publishing, production

This is more along on the subject of business rather than creative advancement or activity. So I am posting it here on this blog.

 One of the aspects of the Gnomes is the film-making which has been a subject of interest. As it is the Christmas season, we are able to see the stop action films which are currently being shown. It has always been an interest of mine to produce a stop action film of The Gnomes of New Hope.  It is interesting to see the methods used back in the late 60's and 70's when these other films were made. I made one stop action (16mm) film when I was in college and I've always had it in mind to do another one... and to do it right this time.   I have been engaged in constructing puppets for the Gnomes, but my puppets are designed for the stage, little theatre really, and they are about three feet tall, rather than the smaller puppets which were used in these films. Of course the smaller puppets used for stop action are more appropriate when considering the sets which need to be constructed if the entire piece were to be produced using the techniques employed with those films. The sets alone would take up considerable space in the studio if the puppets remained three feet tall. I was considering using a Green screen with the artwork we have used in the Illustrated Storybook, but I have to say the idea of building the illustrations into three dimensional sets is appealing. I would like to avoid the appearance that we took the short way out by throwing our puppets up against two dimensional drawings. But of course building the sets is costly.

As I have said in other postings, I am seeking a guarantee of 100 thousand units (of the e-Storybook titled "Gnomes in a Gnutshell) in sales before I release the story to the public. What that means is that we need to have sufficient market saturation to encourage the process to continue rapidly and not fizzle out.  Part of my reasoning in this is that I want to have sufficient funds available to continue developing other markets and to enter into production with the theatrical and/or cinema activities.

This is all assuming that I need to implement production from the resources which are gathered by sales and to do so without incurring to much debt.  Well, at this point I have to admit that I am tired of the work which is required for all of this. That is not to say that I will not continue as required to implement the overall game plan, but it is to say that I am open to other opportunities to see this advance without the energy to do so being extracted from me, but rather being infused in me.

So with that thought in mind, I would like to say that I am seeking opportunities that will allow the cinematic aspects of this to advance. Right now I am engaged in the publishing aspects of the project and as I investigate the industry, I realize that I could easily be drawn into business activity that pulls me further and further away from the theatrical and cinematic aspect, which I most of all want to be engaged in.

I've also come to the realization that we need to have hard-copy product available simultaneous to the release of the e-Storybook, which of course involves a great deal of inventory and distribution costs as well. So with that in mind, I am looking for another publishing house to pick up on the hard-copy. And I must mention that the puppetry is expected to provide support for all book distribution and the point of sales. So some sort of puppet show/storytelling will accompany the book signings.

I am setting up a manufacturing operation, which will allow us to meet demand for (e-book) product, but certainly I can state that this is both out of necessity and for the security of the product. My thinking is that nobody else will be doing this for me, or if they will, I can't assume they are waiting around the next corner. I have done that in the past to my detriment. But I also believe that I need to do what I can to avert theft of the product.

So as it stands now I am moving forward with IMS Publishing as the organization under which this product (as a book) will be produced. Of couse IMS Publishing will also be the organization producing the score and lead sheets, as well as other products which fall into the arena of publishing. For now we are focusing on the e-Storybook and if no other publisher steps up to the plate we will move into the hard-copy arena. There are already a few hard-copy layouts which are almost complete enough to publish. These include the "Three Volume Illustrated Storybook in a coffee table edition, The Gnome-sized collection in Twenty Volumes" and a selection of proposed coloring and comic books. These volumes are all designed to accompany the stage and film versions and in most cases provide expanded views of the story, characters and history of Gnomanity.

All that being said, I am pursuing investigation into distribution of these products. I am finding that I am wishing I didn't need to do that, but alas, one must do what one must do.

The e-Storybook is almost ready for distribution. I am finishing up the technical elements of the product design & packaging and the production line to implement that. But the one thing that needs to be done before the product can be released is to finish illustrating Volume three. There have been discussions in this regard within the last week, but the issue for me is securing greater funds for facilities, as I have committed myself to a greater degree and that effect my ability to sit down and direct the activities of illustrating and inserting those illustrations into the layout. So I have not come to a conclusion in that regard.

The other very urgent issue is bringing myself up to date with numerous suppliers of goods and services. I think I have pushed this as far as I possibly can and this is not working in our favor any longer.  Not because of direct perturbation on their end, but rather than a very uncomfortable and distracting imposition on my end.  Being out of balance in this way is adversely effecting my own productivity and disturbing my mind. The fact of the matter is that I have gone WAY out on a limb with this and even though the demands are profoundly real and unrelenting, in terms of pre-production (ie: preparation of materials, etc), I am seriously concerned about asking anyone else to do the same, especially if it becomes against one's will.  So in essence, I need to bring myself up-to-date on numerous fronts ASAP.  In this way we can refresh our goals and our approach to how we will succeed at those goals.

We are certianly at the brink of moving into a new level of this project and I feel like we cannot justifiably do that without starting fresh by concluding the pre-production stage of things. A certain amount of development can remain within production and it is possible to define that activity under the aegis of the development office, but the bulk of the project needs to move out of pre-production and into production. To do this will require partners who can introduce an influx of capital. I have to say that I am not interested in Venture Capitalist money. I am only interested in industry partners who can bring more than just money to the table.

Bringing more to the table, to me, means expertise in any number of arenas which are required for our advancement. One area in particular is  distribution and certainly marketing as well. We can handle a certain level of production, but of course, as I said, I am admittedly weary with the work at hand, so that means I am open to other options for production, in all arenas really.

But I do have a few critereas which I must adhere to.

Firstly, this is to be produced exclusively in this country and produce work for Americans first and foremost.  Certainly if another activity, such as theatre were to take place in say, London, then that would provide work for those folks over there, but management, including manufacturing, in all instances will remain withing America. Using publishing as an example (and this applies to other ancillary markets, such as toys), I do not want the products to be produced overseas. I know this is a tall order and will make the product more expensive, but it is very important because I feel as though it is incumbent upon us to create work for our own people, meaning Americans. 

Secondly, in all instances this is an Image of the Mind Studios production, which of course can be presented by someone else, but the name Image of the Mind Studios is to be attached to all aspects of this project, including ancillary markets forever and foremost, although not exclusively. Certainly if another organization is involved and investing their resources into the project then they share the credit for producing results. But the core material, even if it sold outright, is to be forever attributed to Image of the Mind Studios as top billing.

I expect to be spending some more time in the future working on IMS Producing Partners, so some of this dialogue is drawn from that thinking and will be reiterated there.  As I have said before, I am looking for representation, although my philosophy is that if someone is engaged in that business then it is they who need to propose something to me. I have had some experience with this in the past and I have come to the conclusion that if this has value, the person I am looking for to represent our interests needs to show enough initiative to prove their worth. My position, in that regard is that  representation is for the purpose of making me money, not costing me money or time begging someone to represent the obviously phenomenal potential in this project. If someone cannot see the opportunity in front of them, then they are not the one to do the job.

Well those are my thoughts on this for today.

AG

Merry Christmas

Gnomes Update

Well for those of you who have been checking this blog, I am sure you noticed that I have not been posting very much lately.   I have been busy preparing the e-Storybook of The Gnomes of New Hope: Zach & Zebby's Grand Adventure" for release.  The packaging design is looking great and now I am setting up a production line, making sure that I can easily produce 10,000 units with a goal of distributing 100,000 units as part of the release of the product to the public.  At first this sounds like a lot, but it really is not in the bigger scheme of things.  We need a strong introduction to gain a good foothold for the other theatrical activities we are striving for.

The music is on hold for the time being, as I need to completely upgrade the studio systems, so as to avoid the laborious grievances we have had using older systems.

I am engaged in building the molds for the sculpture work on this project. We have a Garden Gnome which was sculpted by Elsa Action and that mold is nearing completion. That will allow us to make hollow resin copies of the sculpture of Constable Warren.

I was wanting to post a few images for you here, but it seems that the computer I am using is no longer up to the task. Probably not enough memory and an operating system that is too old. So until I upgrade we will be limited. Sorry.

Keep an eye on the Gnomes blog.  I expect I may discontinue the service which is posting the music from the Gnomes, as I don't think it is serving the need well enough and I don't use the site too much lately.  So presentation of the music is an issue under consideration. I was going to release "Completely" via CD Baby, but I could not gain assurance that the files would be embedded with the proper copyright information and until I can achieve those guarantees, the music will not go out to the public. I suppose I will get back to Sonicbids on that issue.

I am currently looking for sales representation so we can get down to distributing the products, most particularly the e-storybook, but also the other products that are in development. If you are a local hit -the-bricks type, let me know.

That's all for now from Gnomeville.

I'll be trying to go through these posting and purge out the older material and maybe revitalize this blog, after I finish with the urgent Gnomes issues.  Since I am working to set up the shop and tending to other facilities matters, I may be addressing those issues here. Look for Gnome stuff on the Gnome blog.

AG

The Big Woody

I've been posting more on The Gnomes of New Hope blog, as that is the focus of attention.
But I needed a break from writing and working on Illustrations, so I thought I'd sample out the new paint job I am planning for my mobile office.  Here's a look at it. This copy looks dark on my internet machine I hope it alright on yours. I call it
The Big Woody" and I plan on making it into a monster towing vehicle for my 1944 Star Mobile Home.

Regarding production activity

IMS has been something that I have been building since 1977.  As a photographer, filmmaker and theatre artist this has been the forum for my work and an environment designed to encourage others who are also engaged in these activities. So the goal for all these years has been to create the resources to produce these kinds of works.

We are moving into another stage of operations as I am working to set up a 20K sq ft production facility and scene shop. I have begun setting up a stage area with a green screen which I anticipate using for our work with puppetry for The Gnomes of New Hope.

As with all of the technology required, upgrading is necessary, however, the equipment that I have gathered over the years is sufficient to create a reasonable product that can advance the cause.  I do not yet have the HD camera equipment which is really necessary to create a product usable in todays market place, but the truth of the matter is that before the camera records the final product, there are many construction and operating details that need to be worked out, so HD is not necessary at this stage of operations. However, I am setting up the editing suite and the art department to handle the application of HD to our work in animation.

As I have been preparing the publishing layout for the illustrated story-book, I find that the illustrations that we have, and those we will need, are directly applicable to the animated film. So at this point I am preparing, not only, the storybook, but in that format, the story-boards as well.

What this means is that our advancement in the cinematic arena with this project will be (and is) taking place  in conjunction with the illustration of the storybook. In fact, even though this project is designed as a musical theatre piece (and you can read about that elsewhere)  the advancement in the studio is largely taking place in the direction of animation.

Now, other arenas which are being developed are both puppetry and cycloramas. Puppetry is self explanatory and I've discussed that elsewhere. This would be the purpose of constructing the green screen. (advancement with that is halted due to roofing repairs that are required over the stage area, which cannot occur until spring)

But the application of cycloramas is a most interesting arena.  I anticipate using the illustrations to create cutouts of the two dimensional settings and move from those two dimensional setting into three dimensional cyclorama displays. These cycloramas will be part of the Gallery Exhibition, but more than that, they will be the foundation of a stop action claymation film. This is also tied to the puppetry and the animatronics, which I have to say is part of the Legit stage show as well.

On the puppetry front - the stage space is currently quite cold, as I am not heating a large empty stage space for no good reason. That means that the sculpting studio is in stasis. It is rather difficult to sculpt clay when it is cold and to work on molds. Since this area is pure speculation and experimental outlay at this stage, I am focusing on work in the inner offices with design, management and preparing a  few of the most viable products for the marketplace and distribution.

As I always mention, I am open to discussing partnering with people and businesses which can advance this cause, so discussion is welcomed.

So, there a bit of an update in that regard. AG

IMS Music Studio

I fixed the link above. This music is posted on SonicBids and they just changed their layout. Personally, I liked the old layout, but...   So I need to figure out this new page set-up and try to configure it to look right. In the meanwhile you can get there to listen to the music. "Completely" is posted at the bottom. I will be changing it around when I have more time.

Another Note: I am busy scoring the music. I've got about 60% of it scored with piano reductions for a number of the songs. There is still much to do in that regard and this is the primary factor in releasing the story-line.  I am fairly certain that the story will be released in the form of songs, more so than the published book, but I am still looking for a major publisher to step up to the plate.  We are beginning to work on a coloring/comic book, as this will be a very cost effective way to release the story-book.

I'm also beginning to work on the cycloramas for various purposes. More on that later.  AG

Thoughts on Producing

I have a discussion on Linked-in on the subject of Ancillary Rights. Well, I posted there this morning, only to have what I was writing disappear when Linked-in logged me out in the middle of what I was writing. So I will not be doing that again. Rather I am going to try to recover that train of thought here.

The issue was wether or not an investor or a producer should expect the Ancillary Rights to be attached to a property that is being produced on Broadway.  My argument is that all the Ancillary Markets are separate from, not only each other, but also from the theatrical runs.  Each marketplace is unique to itself and has specific finance and management concerns. Because of this I feel it is inadvisable to commingle the operations of  the core production with that of the ancillary markets.  From my standpoint, the ancillary markets provide income to the studio via a license to manufacture and distribute in which partners buy a license to a market, either exclusive or non-exclusive.  In that license certain terms and conditions are specified, one of which is that there will be a return to the studio which is represents as a certain percentage of the gross sales. Other terms will come into play that pertain to manufacturing, inventory, distribution and marketing, but the essential point is that the ancillary market will provide a return to the studio. It is the combination of licensing fees, deposits against sales, and actual percentage of the product shipped for resale that make up the income from any given ancillary market.  That income belongs to the studio alone, not any other investor or producer. It is with that income that the expenditures of the production are met, including the return to the investor, which is fixed under certain terms contained in the investment agreement(s).

The agreement structure for a production extends beyond the simple investment agreements, of which there are numerous types which may come into play. Each agreement which is involved in a production effects the other agreements, but there is a tiered structure in which the core product is placed at the top, for it is the source of the production.  All of the contracts represent the roles of the participants and the investors are but one group of people needed to implement a production.

This does not discount the importance of investment and the role of the investor, for surely financing is an essential part of a production and the agreement under which a person becomes an investor, is such that- the investor is rewarded for their essential contribution to the project as a whole.  But there are many other obligations that need to be met besides those of the investor who provides working capital. There are those investors who have contributed to the advancement of the production with resources and services other than working capital, by means of in-kind contributions of resources, supplies and facilities as well. Accommodation must be met in the production to compensate these people for their faith in the work which has or is being done.

And so, in addition to the simple fact that finance and management of the ancillary markets must remain separated for matters of practicality and good policy, the income derived from the ancillary markets needs to be provided to the studio/producer to manage as needed to meet obligations that are unseen by the investors who are not engaged in the daily operations, nor have been involved in the development process.

In the instance of The Gnomes of New Hope - this show has been in development since 1990, gradually progressing, as the resources allowed, to the point of fullness which it has reached. A great deal of time and money has already been invested in, not only the production, but the studio facilities with which this production can be implemented.

Therefore, the ancillary markets and all rights thereto are reserved and are not attached to a theatrical license to produce this show.  In fact, the theatrical production, meaning a first class, second class or regional, and even community theatre run can be viewed as an ancillary markets in themselves, since the composite of this show, although designed to be a theatrical presentation, is much larger that that and does not depend wholly on the theatre as an outlet. Rather it is the conjunctive effort of numerous marketplaces in a carefully timed implementation that brings about the success of this project.

 So in response to the line of conversation being conducted in the Theatre Producers forum on Linked-In, the ancillary rights to a project would very likely be attached to the core product if there are no other obligations or the ability to implement or pursue other markets, but in the instance where, as in this case, development has taken place over a period of years and the numerous markets are already identified and under pursuit via a clearly defined organizational structure, then those ancillary markets must remain separated from the core production, for the reasons sited.  Remembering that the ancillaries do contribute to recoupment, but that no rights to those markets exist with the anyone but the licensee to the market, under the terms of the license and that direct participation, gaining greater advantage  in any market, requires investment in that specific market.

There certainly is more to be said on the subject.  AG

SortaGnomic Crafts

One aspect of our marketing for

 The Gnomes of New Hope is 

The Gnomeville Art & Craft Guild

We have been developing a catalogue of products, 

putting together a showroom and an exhibition area at the studio  

and building the prototypes for a number of our products. 

Here is one of them.

I like to think the flyer is self explanatory and there is an order form below. 

At some point I hope to inventory 25 -50 of these chairs, so they will be ready for shipment at any time.  So far I am still in the prototype stage with this and I am trying to work out the shipping box as well as some other hardware components. This chair will be sold as a kit.

 If you would like to purchase any number of these kits, do let me know.  

I would like to have a distributor buy a couple of hundred

 so I can get the production up to speed. 

I will take order for any quantity. 

Delivery is not fixed as yet

but the manufacturing process is almost refined.

there  is a price listed  on this copy of the order form

but that price will need to be confirmed.

I will proceed with that if you contact me.

AG

"Completely" a duet between Zach & Ferny

Well, we've posted the first lyrical song from 

The Gnomes of New Hope:Zach & Zebby's Grand Adventure. 

 If you use the IMS Music Studio Link above it will take you to 

the Sonicbids EPK (electronic press kit).

Zach

Completely is listed in the audio section. Some folks have said they have had trouble getting it to play.  I have not found that to be the case though. The song is posted as an MP3, but it was made using iTunes and the artwork is also attached to the file, 
making it a larger file, so that might be why.

The album for The Gnomes of New Hope is titled "Gnomespheres"
and our initial plan was to release it as an instrumental album which only contained selections. I'm beginning to think that we will be producing the music for  entire show under that title.

Ferny

As it stands now, Gnomespheres consists of eight listed songs and two bonus tracks. The selections are the instrumentals which are easier to listen to, being that the majority of the music in this show is choral and as many as 12 parts at times.  What that means is that the instrumentation is structured to represent the voices, in addition to the accompaniments.  Although the music is clear to us (meaning those of us who either wrote it or understand what is going on in the song) to the uninitiated listener the music can sound a bit complex and confusing.

So... that means that in those instances where the music has a complex structure and depends upon the vocal expression for clarity, it is inadvisable for us to reveal the music without the vocals. I know that I am personally very weary of listening to the instrumental music a thousand times (at least!) without the lyrics being sung, so moving forward into recording the lyrics is very important right now. I am proceeding with the piano reductions and arranging the orchestral music for piano and other instruments to represent the voices. I will post a discussion on the recording process and what we are doing with the studio facility on The Gnomes of New Hope and the IMS Producing Partners pages, respectively.

 I think you will enjoy "Completely". We are very happy with the way it turned out and amazed at what a difference it makes to the music to finally hear it sung the way it was intended by two wonderful singers - Nathan Odhner & Justine Buss. I will post their bios on the Gnomes of New Hope page when they give them to me.

We are now working on the Overture which is being composed in three movements. Essentially a Prelude (the Overture, a synopsis of Act I), Interlude (Entr'acte, a synopsis of Act II), and Postlude ( a lead-in to, and synopsis of, the Finale).

There are a few other pieces which need to be completed as well as a number of songs which still need to be arranged, one of which is a flute composition titled the Starlight Concerto, which I am working on as a larger piece for myself and expect to have an abbreviated version for use in the show.  Oh and by-the-way, it turns out that there are a total of 65 musical numbers in the show, some of which are short bridges and background music. I will get into the specifics of the music another time.

So there's a bit of an update. I will be trying to update the other blogs whi other pertinent information. AG

Recording the Lyrics to The Gnomes of New Hope

We started to record the lyrics with a song titled "Completely".  It is a love song duet and it is incredible to hear the music come alive with the words it was intended to have. We have some technical issues we need to address, but overall the results have been amazing.

All discussions and samples of these materials will be on
  The Gnomes of New Hope

So please visit that site if you have further interest in this subject.

AG

Modus Operandi

This document has been reviewed on 10/18/13

The specifications & references posted here shall constitute public notice 
and publication of the foundational Terms & Conditions 
of any and all dealings with
 Image of the Mind Studios, The Alpha & Omega Society 
and any other organizational or personal projects 
conceived by Arthur Greisiger

and shall dictate all legally binding activities.

The statements provided herein shall not constitute 
the whole of the foundational concepts 
but shall provide an understanding of what those concepts consist of.

In General- The information provided in this section of The Virtual Studio is for general knowledge and covers a number of subjects under each heading.  It is provided for the purpose of establishing the foundational understandings required for participation in any IMS project. You will find that there are different aspects of the method of operation discussed under the different headings or projects. You should assume that all these subjects carry over to each other and that there is consistency in the Modus Operandi of both Image of the Mind Studios and The Alpha & Omega Society and any other organizational structures managed by such. If you find inconsistencies, I certianly would appreciate your saying so, but understand that any terms or conditions are binding only within the language of a specific contract and until such a contract is negoitiated and signed, inconsistencies are irrelevant and only a result of refining complicated methodolgy. I appreciate your understanding in this regard. AG

Personnel- In terms of projects, all work initially performed is considered to be Developmental.  Work within a specific project transcends Developmental when budget funds are collected from sources other than the General Partners or Collaborators and those funds are no longer considered to be Front Money.  Work outside of Creative Projects is predominately commissioned as an Independent Contractor, although with a shift to a Corporate Operating System the Personnel Structure is beginning to change and any changes to that policy will be specified in the Production Contract.  An apprenticeship program is being developed through which all personnel must pass prior to being placed into a staff position. Persons wishing to be involved are welcome to contribute to this process only on the understanding that there are no implied or verbal contracts and the only binding contracts are written, witnessed, and duely initiated.

Binding activity- The only final authority on any binding activity is Arthur Greisiger and no other person is authorized to bind Image of the Mind Studios, The Alpha & Omega Society, or The Shakespeareans of Tamanend Park to any agreement. All projects defined herein (being defined as eminating from these web pages) are the property of such and none may be contractually bound without such written authority.

Development & Profit Sharing- Until contractually altered, all creative relationships are that of a "collaboration" and considered to be "Development" for the defining, structuring & creation of the raw materials. These materials are used to package the product and all ancillary capillaries pertaining to the raw material. All such package materials are gathered on spec by the principles/collaborators in the project. All materials gathered are governed wholey by Image of the Mind Studios and no participant has any rights that are separate from those of IMS and may not negotiate any terms whatsoever. Expenses are shared and accrued on the basis of a Joint Venture and it is the responsibility of the provider of the resources to document such contubutions and provide copy. Any resources not documented are excluded from inclusion in the investment. Percentages may be different depending upon how much of the project is brought to the table. Contributions that are limited in scope and committment, yet qualify for a percentage share (because they were provided in expectation of further involvement), are compensated for (in terms of percentage) at the conclusion of the production, marked by the first premiere after which, and not until such time, re-coupment of principle may occur. Contributions that were only provided as a portfolio sample do not qualify for a percentage share. Work for hire does not qualify for percentage participation. Withdraw from the project and/or failure to communicate with principles in the project disqualifies percentage participation and ownership/possession of raw materials reverts wholely to Image of the Mind Studios without shared participation in any degree. Failure to provide services or material promised (in a timely fashion) disqualifies percentage participation and severs all participation rights.

Contracts- are developed and adapted for each project, according the the specific requirements of that project. Although many of the terms are generally consistent, none-the-less variations may occur and thus any binding terms must be present in the specific documentation for the project. At no time does any implied contract exist. Any terms agreed upon in an implied contract must find it's way to paper before the production stage or it is considered moot. All materials developed prior to production are property of the collaborators and the sole negotiating authority of those materials is Image of the Mind Studios. Image of the Mind Studios retains the sole right to implement production in all ancillary markets or negoiate the sale of all rights exclusively until such rights are changed by written contract.  It is the responsibility of the parties involved to fully communicate with each other in a timely manner and to make sure that they, or their agents, participate in any contract negotiations that are taking place, and that any implied terms are integrated into the contracts or such implied terms are automatically negated by notification of the impending signing of the contract. No contract is valid unless all parties are so notified. Any Party unavailable for notification or not responding within 30 days after notification surrenders all rights unless specified otherwise within the contract.

Links in this blog

After perusing some of the links I have in this blog, I have found that AOL has usurped some of the links. A apologize for this and will work to correct this problem. AG

New Page on The Gnomes of New Hope blog

This link will take you there - The Artwork of Jency Latta

Limited Edition Lithographs

I've brought this post up to the front again.

We are offering a collection of the artwork we have been doing for 

The Illustrated Storybook.

The Lithographs are in the process of prepared for an Exhibition, to be presented in conjunction with a Backer's Audition.

Any series number above 25 is available to be reserved
Make direct inquiry in this regard. Lower numbers are already reserved.

 This was a prototype cover for the book.

It is unlikely that we will use this as the final cover.

The image above is NOT the Lithographic image being offered.

Below you will see a low resolution copy
of the first offering from the collection of Illustrations.

Here are the specifications;

We have altered our approach to this. The notes herein are generally applicable but may be changed in the near future, when I have more time to review them

There will be a total  of 19 Lithographs in the initial offering, representing one for each scene.   We are now adding one Lithograph design for each song in the show as well. As it stands now there are a total of 65 songs in the show, but many of them are instrumentals and bridges, so it is uncertain right now how many Lithographs there will ultimately be.

The purpose of this Limited Edition Lithograph is to raise funds for the continued work of illustrating and publishing the Storybook, but also for our ongoing  pre-production funding needs. Because of this, we are not giving them away , but are offering them to people who want to help fund what we are doing.

The cost is $150 per signed and numbered lithograph, plus $25 shipping and handling  

                                                                                                   

There will be a total of 125 numbered editions in of each of the 19 scene illustrations and the same number for the song illustrations offered in this release.  We may also offer a release of our characters.  For those of you wanting more, we will also sell the original puppets used in the production. Refer to other postings on that subject.

Illustrations are full color, printed on 140 lb archival quality, watercolor stock.

NOTE; the links to PayPal are not functioning correctly just yet. I have not had the time to solve this problem, so if you are interested in securing a number for any current or future edition, please send me an email at imagemindag@verizon.net .

(this button does not seem to work, I am leaving it here and hope to repair it in the future)

A larger size may be offered in the future if it is deemed appropriate, in which event the larger size will be limited to less than fifty units and be priced accordingly.

Persons purchasing the 12" x 18" size will be given the first opportunity to purchase the larger size if such an offering is to be made.

Each Lithograph in this Limited Edition Series is signed by the author (who is also the art director), the illustrator and numbered accordingly.

The Lithograph is shipped in a very basic, protective frame which is suitable for display.

Edition numbers 1-36 are reserved for our investors who contribute more than ten thousand dollars to the stage or film production costs.

Persons wishing to guarantee a specific edition number may do so by paying for their editions in advance of it's release, given that- that number has not already been reserved.

All persons purchasing any edition will be notified via email of the opportunity to purchase the upcoming release with the same number of their previous edition, such notification will have a fourteen-day grace period before that edition is released to another buyer.

More illustrations, representing additional images from a scene, may be offered in the future and persons who have purchased the entire collection of the original 19 scenes, of a specific number, in advance will be assured the opportunity to round out their primary collection with the same numbered editions of any additionally released lithographs. The grace period for this opportunity will be thirty days.

All subsequent releases of Lithographs representing additional scenes or artwork will likewise be a numbered edition limited to 125.

Such releases may include completed, altered or deleted scenes, depictions of characters, or an assortment of components used for the animation or other creation of original artwork.

Original artwork may be offered at some point and persons purchasing the Limited Edition Lithographs will be given the first opportunity to purchase such original artwork on a first come first served basis, not relevant to any edition numbers previously purchased.

An unlimited edition of the artwork may be released at some future point, however these editions will not be printed on archival watercolor stock and they will not be signed and numbered.

Business Plan for The Gnome of New Hope

A business plan has been produced and is available to persons who visit the studio in Southampton or make a specific request for it under the presumption that they may become an investor in the show and conduct dialogue with me in that regard.

I am not arbitrarily handing it out to anyone. It will be posted on the IMS Producing Partners site, which is a membership site. Membership to that site is $125.  I am just now beginning to pay more attention to that site, since we are moving into a higher degree of production activity.

The Business Plan will be included on the CD ROM of the Libretto, along with the collection of illustrations we are using to base our production design upon. 

The CD ROM is available of purchase. Contact me for details, when I finalize the publication details of that I will post it here with a PayPal link.

We are advancing into the puppetry aspect of this and I am looking to discuss this with more puppeteers and television producers for a special and series.

   That's All Folks... oh, that's already been used.. hey Warner you want a shot at this?  By the way, thanks for offering me an office on your lot, I appreciate it.

AG

Gnomes of New Hope: Zach & Zebby's Grand Adventure - Libretto

Finally !    I know I've said this before but the most recent edition, (Rev. 5c) of The Libretto is completed.  I needed to go over the document with a fine-tooth comb to be certain that there were no errors or inconsistencies, so I can definitely say - Revision 5c is complete.

Now, there is one exception. That is the we need to do the melody lines for the two remaining lyrical songs. Historically, the song lyrics are slightly altered when we develop the melody. Minor things like changing - "we have to we've or we" depending on the way the beat ends up going. So those two songs will not essentially change the Libretto in any significant way. There may end up being some alteration of the timing when the Technical Specifications are finished as well.

I have an order form, which I will post here shortly, for anyone wishing to have a copy of the Libretto.

We will be turning our attention to the score, which consists of 64 songs, bridges between scenes, & background instrumentals. There are still six instrumentals and two lyrical songs to be written and at least a dozen which need to be arranged/orchestrated, so there is still a lot of work to do.

The total time is approximate, however it appears that Act One is musically about 69 minutes long and Act Two is currently showing as 59 without the finale and the lead up to it. The Overture is not yet written, but it is essentially a composite of the other songs. Total dialogue should at most be thirty minutes and probably about half of that has music under it. We're shooting to hold the line at two hours and forty-five minutes.

I have separated off the Narrative Story from the Libretto for the sake of shortening the publication. I expect to begin restructuring the Narrative story to fit two basic formats. One is for use with the stage play and the other is the Illustrated Storybook. There are actually four versions of the Illustrated Storybook - the main Storybook publication, which will be a "coffee table" edition, the second is a "Gnome Sized" Edition in three volumes, the third is the insert for the Music CD, and the forth is a black & white coloring book. I suppose a fifth would be the comic book as well. All of these publication editions are available for licensing to a publisher who can guarantee world-wide distribution.

The Story-boards for the film will likely come out of that process as well.

There is also an additional story which is titled; "The Gnomes of New Hope: The Stone of Wisdom" That story tells the history of Gnomanity, Gnomeville and Zachary the Great's quest for Artimus, the Stone of Wisdom and the beginnings of the resistance against the Dark One and his minions.

I've begun to layout the Technical Specifications for the current stage musical and to plan out the set  movements, fly schedules, cue sheets and lighting designs, on the presumption that this will need to be done and in the absence of the resources to pay someone else to do it, having the capability to do it myself I will begin the layouts.  I do not expect to go too deep into the Tech layout just yet, but I want to establish certain parameters, so that I can direct other technicians to perform these tasks. I have much to do in setting up the scene shop and so my attention will be in that direction.

As always, I am seeking to fund this operation.  The pricing for purchase of the Libretto is as follows:

CD or DVD Rom - @$50

Spiral Bound Hard Copy, full color illustrations - @$250

Signed, Limited Edition Portfolio Boxed Set - @$1,500

(Limited to 150 Editions, numbers 1-21 are reserved for investors

 contributing $10, 000 or more to the production costs)

Purchase of any copy of the Libretto includes membership to IMS Producing Partners and access to that Production Management web site. There will be numerous benefits to membership.

As mentioned elsewhere, I am currently seeking Front Money as well as Agency Representation for this project and invite inquiry in that regard.

Further details will be posted as we progress.

AG

IMS Update

There are numerous projects which are taking shape, particularly now that the Libretto of "The Gnomes of New Hope" is completed.

"The Vairod Project" is starting up again: The Vairod is a kit car based on the Chevrolet  Corvair. I have been involved in hot rodding and work on Corvairs since I bought my first car at the age of 15. The Vairod Project is the construction of an open cockpit two-seater hotrod, in much the same style as those which were based on the Ford Model A boat tail speedster. The Vairod will have a similar configuration, only, as you might understand, consist of the rear mounted, aircooled engine of the Corvair.  Intended as a kit car which will utilize all the stock components of the early model Corvair, we may also devise a configuration that will utilize the late model at some point.  This effort will be documented for television. As I have acquired all the necessary supplies over the years to do this, I will be looking for partners who may like to be involved at various levels. There is a surprisingly large amount of interest in this from the Corvair community and other arenas of hot rodding as well. I will be looking for additional producers to take charge of the television aspect of this, as I expect to be coordinating the overall effort. Of course we will need investors and/or sponsors, so I invite inquiry.

IMS Studio Space: we are currently utilizing a 10k sq ft space in Southampton, which we are looking to secure for the long term. This space costs 50k per year to maintain.  There are two 5k building involved. It is anticipated that one space will ultimately contain metal and woodworking shops, as well as welding fabrication, a paint booth, a vehicle service area, properties construction and storage, a textile area for costuming may also be included and of course, production offices. The other space currently has a showroom for the products we are developing, an exhibition/gallery area, lighting fabrication and repair, puppetry and animatronics, a full stage with Borders & legs and a green screen. This stage will be very well suited for the performance of our material and will allow us to insert the artwork (drawn from the illustration for the storybook) via our MAC based editing suite. There will also be a recycling yard containing materials for theatrical production. Our existing offices will be converted to the Art Department and the Editing Suite will be enhanced.

The Theatrical Development Centre: is a concept that is becoming more clear as we have located a 500 acre property which may be available. The property is an abandoned resort in the Poconos and has numerous building in need of restoration, but this would be a very good starting point to build an artists retreat. More details on this will be presented as it is refined further.  As one time, I had the plans for this TDC completely laid out with designs for not only facilities but also the operational systems, but an unfortunate accident happened and years of work on planning this were destroyed when the pocket sized notebooks accidentally ended up in the wash. So I will need to reconstitute these plans when the time comes.

The Creative Archive is something that we have discussed as applying to the IMS Media Centre and the headquarters for The Alpha & Omega Society. These three aspects of the operation are still very much in the forefront of our goals and there is a facility which we have determined would serve well for these purposes, should the resources become available to us to implement the balanced operation of the facility.

The Gnomes of New Hope: we are focusing on publishing the score, now that the Libretto has been bound as a portfolio.  We are also beginning to move forward to record the lyrical performance, with our first step to create the ghost tracks for each song.  We are also starting to address animation samples of one or two songs.  Our focus in terms of mounting a performance is on the smaller presentations that will require less resources to implement.  In that regard, one of the primary presentation formats will be a parade float.  So the existing script will be adapted to create a presentation suited for use in parades. I expect that presenting in a parade will occur before we attempt to mount a full production. This will have a high value for publicity. In that regard also we are looking into creating balloons of our characters to go along with that presentation, in expectation that we will join in numerous parades around the country. Fortunately we can use the Southampton Days Parade as a testing ground as it takes place a 1/2 a mile away from the studio. The net result of the parade version of the show will be suitable for smaller theatres and street fairs, so we are looking to approach the smaller, more manageable markets first.

Animatronics and Puppetry are two arenas which we have been working toward and this  applies directly to the parade float. If you are experienced in these construction techniques or puppetry in general, we seek to grow this area more so than others at this time. In addition some more recent discussions have taken place about our stop action film-making and with the securing of the shop facilities, we will be able to move forward with that as well. We may simply shoot that on 16mm at the same time as we use digital photography to capture the frames.

Animation: is clearly a market which we will be approaching very directly. We will be working to develop our characters in a number of mediums simultaneously. So our product lines need to be synchronized to the development of the animated characters and the publishing efforts. The designs of the characters are complete and will need to be interpreted into computer generated graphics.  I am very happy to license this out to a company with experience in CG, but if I need to, we will develop that department of IMS, as we have numerous other projects to which animation could be applied, in lieu of live performance. Clearly, this can be a cost effective arena and with the other facilities which are in development, we have the resources to integrate live performance with CG GFX.

As always I invite communication, but I have to apologize if I am not entirely on top of the forum environments, as these tend to absorb too much of my time. I expect I can resolve that when I maximize my internet computing power in the future. For now the bulk of my time must be spent on direct planning activities and tangible construction efforts. If you are an individual who can provide direct support for what we are doing, I will  communicate in that regard.  If you are looking for employment, I will certianly communicate with you in that regard, but I need to focus on gathering resources that can make that happen.  I am looking for persons who can engage in sales on a commission basis and the result of those sales will be additional employment for those individuals who express this need.

NOTE: It goes without saying that an operation such as this requires substantial investment. So we are looking forward toward a stock issue, although that is not in the immediate future, as too many other things need to fall into place for that to happen. We are striving to create the cash flow required from our product lines, but securing the ability to do this will be greatly assisted with direct investment. With that in mind I am currently seeking Front Money. I have capped that investment at 250k, but it is being offered at a 300% rate of return. That is an investment  in The Gnomes of New Hope to advance that project and formulate the necessary contract, budget and financial materials and to aid in securing the facility. It is not an investment in the studio. Investment in the studio will be offered at another time, when the appropriate paperwork can be completed. Reference to this Front Money is not addressed to the general public, rather it is addressed to those who have already provided us with support and are known to us. If you are an individual who may like to consider investment in any of our projects, we will need to develop the appropriate relationship and implement the appropriate contracts in that regard. Hence, this should not be construed to be a public offering.

That's all for now. AG

The Gnomes of New Hope: Libretto, Score, Exhibition & Studio Space

 
   The Libretto for the Gnomes of New Hope is essentially completed. Finally after twenty years of writing... and I have to say, it is GREAT!  (really good)

  Jency Lattta has been doing our illustrations for the Storybook and I have decided to use those illustrations to illustrate the Libretto, before completing the layout for the Storybook. The text for Storybook (or a synopsis of the story elements and backstory) is included in the Libretto at the end of each of the nineteen scenes.

  Work is beginning more determinedly on the score. We have approximately fifty compositions in total, some of which are bridges or background instrumentals. The music is not yet complete, with maybe eight more songs to be composed, but we have in the neighborhood of thirty-five that are completely orchestrated and another six or so that have the melody lines laid down (but not orchestrated yet).

   I say that the Libretto is "essentially" completed because until the melody line is laid down there is the possibility that the lyrics may be adjusted to fit.  Also, I am reviewing the last few scenes to see if I can cull anything out. We are shooting for two hours of music, leaving a half an hour to forty-five minutes for dialogue and other business.

   I am currently building not only the scene-shop and related equipment & facilities, but also an exhibition of the artwork. I have an excellent portable exhibition with thirty-six display panels. This Traveling Exhibition will be part of the marketing plan for the release of the Illustrated Storybook and other products.  I am installing a showroom at the studio where our prototypes of the product lines will be displayed for potential licensees and retail buyers. All of this is intended to be part of the Backers Auditions.

   I am working to produce the Backers Audition as the first step in our production process, but as I would like to keep this a Closely Held operation, I will also be moving forward as much as possible without making a general notice in this regard. Should you be an individual who would like to participate, before it is offered to a greater number of selected people, I advise contacting me in this regard.

   There are other items related to theatre operations that will service both this show and other productions and those items are the first one which are being gathered and/or constructed, as the studio is intended to maintain the capabilities to service more than just this show. Although I would prefer to concentrate solely on this show, practicality tells me to back myself up first with the capability to pursue the most viable scenario and so that is what I am doing in the absence of the resources to move forward more rapidly with the Gnomes, although all intent is focused on the Gnomes as a priority.

   We are intending to produce the show here at the studio for the cameras and are beginning to move forward with this one scene at a time. I do have theatre seats which may come into play for a limited audience.  We are preparing to move into recording the lyrics and intend on doing that in front of a green screen, which will allow us to insert the performers into our artwork as a precursor to our work with animating the story on film/digital video and producing samples of the material.

   I am also intending to construct a Parade Float to include the puppetry we are currently developing. This, of course will precede the opening of the stage show and synchronize with the release of the Illustrated Storybook.

   As I have mentioned elsewhere, I am looking for a Literary Agent for this project and I welcome inquire, most particularly from the big three.

   Although a good portion of my energy is being spent on setting up the (10K sq ft) shop,  I am also beginning to set-up the files for the scoring, which needs to shift into high gear, by focusing on piano reductions. We have scored a number of the compositions, but having run into problems with Digital Performer's transcription engine we are shifting over to Finale for the piano scores.  I am working to do the lead sheets and include them with the Libretto to the Library of Congress.

  I will be offering a Pre-production Limited Edition, Signed (by myself, Shawn, and Jency) and Numbered (150 copies), release of the Illustrated Libretto with the Lead Sheets for $1,500. 

  These funds will be used for the seed money we need to move this production toward Broadway and they will not be repaid. The first twelve numbers of this release are reserved for individuals who invest ten thousand dollars or more in the production.

  Assuming that this show succeeds, even to a small degree, an investment in a signed edition will most certainly increase in value.

   If you would like to receive a copy of this you may reserve your copy and lock in the number by making a deposit of no less than 50% of that amount the balance will be due when you receive notification that the lead sheets have been completed and your numbered copy is ready for delivery. There will be a thirty day grace period on payment of the balance before the reserved number will be given to the next person in line.

  I expect that after I acquire a new computer system, one more capable of working on the internet without difficulties, I will be building the Gnomes of New Hope blog and the IMS Producing Partners site with more details of how the production is proceeding.

  In the meanwhile, contact me via email at imagemindag@verizon.net or com over to the studio. At some point I will be producing a PowerPoint tour of the studio, which I will make available to interested parties (but NOT post on the internet, where persons with ill intend might might be invited to cause problems)

  There are many very good things happening with this project and you are invited to open a dialogue to participate. There are many talents and resources required to succeed with this and we are building the management systems to do it properly. I would suggest that self-starting creative individuals who are motivated would have the best chance of finding a place in what we are doing.

   If you have contacted me via Linked-in or Facebook, I will eventually get back to you, for now I am quite busy and am not spending too much time on the internet, principally (as I have said) because the computer system I have for the internet is beginning to fail and does not operate well enough anymore.  

More later.

IMS Product Gallery

I have set up a new blog page for the product lines we are developing. The link to the IMS Product Gallery is in the header above. Our scene shop & stage operation will include a gallery and exhibition space so I am setting up a virtual gallery to work in tandem with that space.  We will implement purchase of items through PayPal.

At this point IMS Product lines will be for wholesale distribution only. Distributors and retail outlets wishing to carry our products are welcomed to inquire. Until such time as the sales tax registrations are properly set up, there will be no sales of individual items, but inquiries are welcome and you will be directed to a retail outlet who is carrying our goods.

Gnomespheres

"Gnomespheres"

instrumental selections from

The Gnomes of New Hope

We are offering selections from Act One consisting of
 seven titles selected from the twenty-nine
pieces that comprise the first half of the show.

Our recent discussions are inclined to include a few Lyrical numbers as well.

I am now working on a reduced version of
The Illustrated Storybook
to accompany the CD as the liner notes.

(which, by the way, is INCREDIBLE!)

--------------------------------------
The CD and the booklet are intended
as a companion to our investment materials,
therefore, for those who choose to invest in this show...

A special signed and numbered pre-production edition 

 will be released and only be given to the 

Front Money Investors

--------------------------------------

Thirty-five fully mastered pieces have been finished thus far

and we are moving toward recording the vocals as well.
n,

Currently, this album will be made available to potential investors

along with the 

Production Approach Summary

and 

Samples of the printed score.

Contact me if you are interested in seeing this.

A Restrictive Covenant Agreement will be required
to review all the creative materials.

If you are interested in having a copy of this album
where it is released to the General Public
please send me an email
or look for the PayPal button here
when it is ready.

More later...

AG