While this whole residency thing seems like a cool idea , it ' s basically a big fuck you to the fans that don ' t live within driving distance of NYC . I see around 13 shows a year and they are all usually in different destinations . No way I ' m doing 13 shows in NYC this summer . What ? Am I gonna buy like 3 different round trip flights from Denver to see the whole thing ? No way . I ' ll fly out for a 4 night run and that ' s it . We need more shows in Colorado for sure . 3 a year isn ' t enough . I ' d like to see something like red rocks , Pepsi center , coors field or some field in the mountains and then dicks at the end of the summer . <| sep |> Shane Acker director originally did a short which got Tim Burton interested in producing the movie , which Shane directed . I am neither of those people . They first went to a European studio to produce it , but it was a bigger project than they counted on , so they came to us Starz Animation later Arc , later RIP . to finish it . I mostly worked with LightingCompositing and Editorial doing custom tools and support for same . However , I got to work on a shot or two also . Of course , my software handled comp management and frame tracking through to delivery you wouldn ' t have seen anything if I hadn ' t written all that code ! Speaking of seeing things , it was a very dark film and marked our first real foray into serious colour calibration and management . We got some of the very first HP DreamColor monitors for this because they could be properly calibrated . We also had to install blackout curtains around the lighting team with full lights out . I kept running into wastebaskets left out by careless sadistic people when I would go to help someone out with a problem . Even a light coloured GUI could throw the artists ' calibrated eyeballs off , so I had to redo the interface for some of my programs to use dim colours same dark colour scheme as used in Eyeon fusion they were used to it . We used a lot of tricks lots of 2 D camera moves in Fusion , parallax pans with multiple matte paintings , that sort of thing . People really worked hard on that film to faithfully produce the look we found out halfway through production that the one of the supervisors was coming in after hours to work on and touch up frames individually in Photoshop if he felt they could have been better ! It didn ' t have a huge budget and the director always wanted more they always do ! , but I think we did pretty well . We had beautiful style and art books for that project . Lots of detailed colour illos of the characters and mechanisms and sets . I wish I could have nabbed one of those binders for myself ! When the movie was finally released , they made sure everybody who worked on it got a DVD , so there was that . My post when it first came out