PROGRAMMING INTERMEDIATORS, or phase transition features, not rules.
There is a way of cutting on an Ozu “vase”. A “vase”, as the word is a proxy for perhaps a dead butterfly, a still life with plums, wind outside window blowing snow, etc.
Anything quotidian, in the scene
This is, to naturally imitate, in the motion of the animated camera, a look away, which both begins…as in a glancing up from looking down, or, cutting into the moment the look is in moving at the least speed to settle eye to eye…then the whole of the stream stays here, another stream the other eyes viewing the character, wherien, the scene ends, the other character looks away, and cutting back to the perspective of the motion of looking up, that POV, then looks down.
These pause, both by plan, on a object. The pause can be a range of speeds…compensating for jumps from stream to stream wherein, alignment is idealized by some higher order edit rule.
This is similar to the program automatically increasing or decreasing the frames per second to also align the cut between streams to accord with the edit rule.
As do fades and other transitions.
These self insert, default, but also according to a design.
It is possible the Editor, or interactive designer go through each stream and where the scene cut, or when the shot reverse shot occur, insert these devices to creating transitions.
Installing the look before and look away technique is also after a review of the scripts, wherein, scenes whose alignment are merely approximate…that is, the ambiguity in the production of either, which is to be consciously reduced by methods, nontheless results in the timing between the alignment to have a measurable chaos.
And this can be left to itself, for the programming can insert particular pre programmed transitions…wherein, the scrips, having consciously lined up, are also specifically enhancing the effect of double or triple streaming…perhaps three out of the five streams are streaming from different perspectives into the same location and time…a single scene wherein the streamee can, if they want, switch around inside of.
Kinda of a game. It would have an automatic cut sequence…or, it would be slightly faulty, and in that the viewer could set it free of being its own pre-grammed cut sequence, and toggle around the camera views.
To jump to another stream for awhile.
Following one character in, toggling around three characters points of view, and then setting the toggle to another character, and following them out.
The idea is the action of each scene is expanded, to have handles in effect, wherein the actor or animated figure has this moment before hand and moment afterwards, not scripted, but that are, I dunno, from the infinite I’d pull, smoking a cigarette before the scene, then putting it out, entering the scene…
Then when leaving, traveling down an elevator, and stepping out of the elevator into a lobby.
The fun thing is that the lobby can be randomized!
SCRIPT EXAMPLE OF PARALLEL REALITY
Lets just put human eyeballs behind the holes in the skull of a real TRO-ODON, as seen in the Wikipedia article. It is as if the eyeballs were armored, so instead, they might pop out or have a less facing forward than apes, but closer to humans than Tyrosaurs.
Make it lean back and upright, and walk, swishing it tail expertly across the floor.
TR steps out of a TYRANNOSAURUS suit. TR is the human ODIN.
I was just trying to escape from people hunting after me, but where they would be least likely to follow me.
So, I went jumping through parallel reality settings, escaping in those worst realities I would have to face. Being hunted, I drag them with me to hell.
Then I thought what would it be like to make a single one, you know, influence it, and not use parallel reality to jump through? That might throw off the hunters.
How, how did you get by the other dinos?
Maybe their all, other aliens in other dino suits? A gas and oil smellorator?
Well, this is a revelation not without consequences.
That sound ominous.
Indeed, I was looking over yet a further worst world, of these I am inventing…for research into escape from hunters…and so it is here that I am following the brain of myself as it was decaying inside an robot whose technological limitations were nearly a century too old. I guess I could go back to then….
SCENE ROBOTS IN APOCALYPSE INC,.
ODIN/TR SUIT VO
Not that one. I know, I never seem to hit the button just right.
You should use a map and ask for directions.
TR zooms by another robot,
No, not that one…
TR zooms by another robot,
What for? Directions? To what?
This special experimental reality.
…dont want it stored into your ORACLE DEVICE. So…
No, not THAT one..
…it’ll be slightly off of exact for purposes of obfuscation.
This is where I am your prisoner?
Well, thing is, I am your prisoner. Think about that.
Flies past a larger swarming concentration of the various kinds of BOTS over a cratered landscape, slowing still, to tip over and down into a large crater. Breaking through the obscuring mist and seeing the concrete platform below, near this side of the crater.
The small jutting notch on the far side is the concrete shroud of the bunker elevators, otherwise the platform could harbor a large helicopter.
What occupies that space of sixty meters by thirty meters, is a robot larger than a helicopter. BLADER has sliced at the concrete bunker doors to the Cryocenter elevators, but then got stuck.
Out from the slice in the closed overhead door blasts a debilitating laser into BLADER’s face.
About a kilometer away from the fast approaching SCOOTER, flying down the side and low over the weedless, eroded and steep crater side.
Now there is a task of revising the scripts:
Diana Glass: the inclusion of mad visions that are heavily cloaked in the language of hysteria, gaslighting and psychosis are examples of time travelers; the mad, healthy alcoholic is the performer in the radio play: a teen ODIN. The radio show crosses content, or includes a scene or two (this can be expanded in the revision) from the next storyline.
Prisonerman: the wretched vision of a young, healthy alcoholic who was split in half…his other half a biotechnical offspring, that budded out from him, shrinking him even as the new form made a smaller analogue version of each and every organ of ODIN. This became a kind of “superhero”, but the transformation need have a profound, unnatural, Frakenstein like pathology: this analogue copy, was created from alien virus. The Remnant is now ODIN.
So, a time traveling Prisonerman returns to Earth, to lose his head.
Sarah Miles: projections on the wall, and other manipulations by the house, are symbols of the alternate reality. Cheap tricks runs by Mirrors…
Prisonerman loses his head, but this time it is not boiled.
When Sarah removes it from the Freezer, it warms too quickly. She fills the pot with water and starts it, but its eyes move.
The bottom of the severed is no longer, nor ever was, dangly mangled bits. Instead, from whence the wings emerged, anchored at the bottom of a metal band. The band is a platform which the head rests within. The band or bottom has some other form of propulsion, so the wings are used to glide.
So, the wings prevent the head from tipping too far forward, too far back, or, to float on air currents…but never for propulsion.
Even at the moment the head is severed a seal automatically closes over it. Immediately forms ring, with two wings emerging (presently cracking free from being frozen back) with tiny, tiny hard to see vents ringing the seal.
As the eyes move…Sarah slowly moves in to identify these vents, which breath whisper quiet…and therein, ODIN’s head has melted and begins to speak.
The wings change from feathers to bat…but we dont need to see this.
Also, sometimes, where there would be a transition, such as getting to and from one place to another, its just a cut. No, “transport” need be shown.
In two cases, they are outside, which is driving, the beheading accident, and, the other, walking down the street out of the Rooming House and to the Hospital, wherein, young ODIN stops into a bar.
Those scenes need to have some kind of symbol that indicates their controlled plugged in reality, a fake city street and a fake country road.
Sometimes, would it be possible to insert the teenage ODIN clone, enrapped in the VR in the room at the Apocalypse station?
There is a transition to be used once: the wings, as Eagle wings, flap once back to enshadow the Point of view, and when the Wings flap forward they are Bat wing. Scenes continues on…
and from the hospital room guides Diana and Sarah out of the hospital back to the radio studio, wherein, they are shown, beaming from his eyes onto the wall, holes in reality. The eyes turn off, and the head flies up onto the roof. Looks down on them.
Diana and Sarah then go into the Warehouse connected to the radio station, full of costumes.
They try on costumes, the first a gladiator, the second a creature from the black lagoon, a third a clown as Diana but then Sarah appears in Ape suit. Diana changes into Ape suit. They go back out to the Radio Studio,
The head beams emit, casting two holes on the wall again, and Diana and Sarah step through those holes and disappear. The head remains. End of story.
With these script set in the quotidian, or whenever the occasion for the quotidian, there is instead in the revision a insertion of the Symbol of another reality, but not so obscure as “13 monkeys”, more instead, as psychotic hallucinations: the slide show projection, the television distortions. The next door neighbor as a killer.
The Quotidian is also shot as pastel, grey, increasing flat.
Apocalypse Inc. Dr. now Hooded Dr. Inky is collecting his clones…full body ODIN’s. Dr. Inky’s body, covered in those canvas, leather clothes, is a robot frame that the ODIN winged head is operating.
However, he is still a real bodied and brained head, held alive by technology, yet, connected to a robot body, not unlike a cyborg…but also, not a cyborg. INKY is looking for his clones, who watch this show of Prisonerman/Diana/Sarah.
This overall show is presented to the Clones as they grow up. So random ages of the Clones, all of the proper age (INKY cannot fit his brain inside a kids skull) combined with random ages of the plundering of the CryoClone Facility.
These INKY clones become an army of CYBORGS of considerable health. Brains on ice dont always wake up nice. This one we have a chance to witness ODIN, who is in fact the experimental reality that I began from hanging around and interfering in the extreme settings of the ORACLE DEVICE.
Mine does not have the settings of Evil or Torture, but it does have Luck.
Psychs have different programs. Mine is Truth oriented.
So, Dr. Inky goes from Cryofacility to facility, hitting facilities where there are clones from different ages.
*Apocalypse Inc., Season One
*Apocalypse Inc. the Sci Fi Stage Play Animated Puppet Show
**Famous, the Musical
Time Travel School
The Pizza Guy
Time Traveling Insurance Agent: the agents attacking are the alien across the hall in Sarah Miles.
Tyrannosaurs on Trial
First, just let me state the overall idea here is, academically, is to perform a comparison contrast in material culture between the Russian Steppe (and environs), with the Central Plains (and environs…including the Mississippi and Pacific Northwest…but centered on ‘great accelerator’ south.
These project are only 3-d modeling projects.
Mostly simply put, turning photos of Steppe and Plains history into 3-d models…but there are surveys, archeological, also providing modeling information in academia.
List of script titles, or future episodes of the series…(the writing can be uneven).
Tyrannosaurus on Trial
…on Trial 2
…on Trial 3
…on Trial 4
Also, alongside those:
Tyrannosaurus Confesses (which have to be masterpieces of insincerity).
T confesses again (2)
T confesses again (3)
There is a series of Tyrannosaurus Steals from the 16th Century, …17th Century, …18th Century, …19 Century, …20th Century, …21st Century, …22nd Century, etc.
Tyrannosaurus Rides with the Scythians
(part one of the Tyranosaurus Roams the Steppes. with …Huns, Parthians, Khazars, Bactrians, Pechenegs, Sakas, Mongols…)
Tyrannosaurus, Revolt! (which is set in the Cretaceous Era and is like Zardoz).
Tyrannosaurus at Innsmouth, the lovecraft series, which has titles like; T at the Mountains of Madness, and T at The Temple, T calls Cthulhu back. T Whispers along in the Darkness, T haunting the dark along with X. T is Horrified at Dunwich.
These Lovecraft stories actually provide accurate 18th century, colonial era architecture. One just throws in some Giant Floating Jellyfish monster and viola, its Lovecraft.
The portrayal of actual History in 3-d is an extra degree of realism. Trying to cover the realism of it, like “Roots” (you know, the TV Miniseries), hewing close to Historical accuracy. But adding all the messier bits; dubious frontier Justice, racism, criminals.
Staged as satire and or parody.
In these comedies, there is always a tribe of “Amazons”, also riding-around as in suggesting a parallel Time Traveler conspiracy. Pirate women creating mayhem, slavery, slayings, pettiness, narcissism all leading to murder and tyranny…but somehow more Zena.