Released about 2 years ago

	Hello hitRECorders! Lawrie Brewster's 'Zeppelin Zoo V1' edit of 'Morgan & Destiny's Eleventeeth Date' is incredible - and as I mentioned Lawrie is in Austin plugging away at making it more refined and finished... I've compiled a list of notes and ideas and finishing touches to drive home Morgan2 for the screening on the 20th. Lawrie's project files are back in Scotland - so he's working with the elements entirely housed on hitRECord.org. Let's all pitch in and have a crack at some of my ideas for putting the finishing touches on Morgan 2! Here are my ideas (in order of priority) ENDING -I'd like the last shot to remain entirely intact and faithful to the white-walls version. can we key Morgan & Destiny in this shot and put them in front of a Zeppelin Zoo background? -The narration does mention the blimp. Is there a way to work in a brief shot of the blimp without disrupting or curtailing Morgan & Destiny's ending? perhaps as some sort of animated transition between the second-to-last shot and the last shot? -Without a graceful way to include both the blimp and Morgan & Destiny's ending, we stay with our characters and leave out the blimp. DANGER DEN CLIMAX -When Morgan is sneaking in to get madame ballofur, add the purrbeast is in the foreground of the shot, on the right side of frame, eating the kebab. -After Lionel whistles, we see the purrbeast look around and discover morgan. -When Morgan summersaults over the barbox, add the purrbeast chasing right behind him, but unable to follow past the bars. MORGAN AND LIONEL FIGHT -the background has so much movement (and very prominent mermen) that it weakens the impact of the fight's movements. The background should bring the audience's focus to the action of the story. -For example, in the shot where the Food Penguin throws the kebab, the background is all in soft focus. Perhaps a similar effect might work for the Morgan/Lionel fight? LIONEL SLIPS ON THE KEBAB -Right after the food penguin throws the kebab, and right before Lionel slips on it, add the kebab flying into frame and landing in front of lionel. -When lionel slips, once he goes into that repeating-few-frames-pattern of flailing in the air, can he fly upwards out of frame? -In that same shot, add the mouse kebab flying out from under Lionel's foot and into the air. -When we see Lionel again, rather than repeating the slipping action, he should be already in mid-air, still flailing like last time we saw him... -As Lionel flails, can the background be moving so he looks like he's flying high upwards, and then falling a long way down? LIONEL DIPS DESTINY -This flashback moment lets our first-time viewers grasp what "pre-now lovebuddy" means. It's important to know that Lionel is Destiny's ex. It also connects to Morgan dipping Destiny towards the end. -I'm not at all attached to how I composited this shot in the white-walls version, but it'd be great to have that dip in there somewhere. MADAME BALLOFUR SNOOGLES WITH THE PURRBEAST -Madame Ballofur is so small in the frame, I'm afraid the audience will miss her. -In addition to that wide shot, we could pop in for a closer shot of the two felines' faces. MORGAN AND THE FOODPENGUIN'S SLOMPED CONVERSATION -The Food Penguin should be looking left-to-right. This way, the Food Penguin is looking at Morgan while he's talking to him, and more importantly, when Morgan looks left-to-right at Madame Ballofur, he's looking where the Food Penguin has told him to look. MADAME BALLOFUR'S FIRST SHOT -At the end of this shot, the cat should go down into the bag and out of sight. MORGAN'S HAT FALLS OFF -Probably a rather difficult thing to do considering the amount of impact it has on the film, which is why I've put it so low on this list. -However, since he's wearing a hat in the whole first part of the movie, and then he's not wearing one, it would be nice to include his hat falling off, as in the white-walls version.