Production Team - File Management

Hi all,

I'd like to round up topics from our last meeting since there are many things to remember, and also some additional details.

1. Submit files to team leader for backing up by 5.00pm everyday. Keep the back up files with you too.

2. A model need to have 1 version of seperate objects and 1 version of combined objects (if it has more than 1 object) Please read the note about how to prepare your Maya model to Unreal at the end of this mail.

3. After a model is finished (combined), it will be save in 2 versions:
1) Triangulated for testing in UT (TT_PModel_buildingOrangeTri_v001_TT.ma)
2) 4 sides polygon for unwrap UV (TT_PModel_buildingOrange_v010_TT.ma because it's not final yet ).
When it's in the unwrap process by texturer, the file will be save as: TT_PTexture_buildingOrange_v001_AS.ma
After finishing unwrap UV, the model will be sent back to modeler again to triangulate, save as final version and put into final folder .

Note:The file name of a uv snapshot(unwrapped uv) will be: TT_PTexture_buildingOrange_UV_v001_TT.jpg save it in working files>>UV folder


4. Modeller has to make a dummy targa file(image map of a material) to apply to the model and name it according to the model file name. Save it in the final folder of its catagory on Terra server. Here is the example:

TT_PModel_buildingOrange_v001_TT.ma ---> model file name
TT_PTexture_buildingOrange_vFinal_AS.tga ---> dummy targa file name (mean that it's known who will do this texture)

In case of 1 model has more than 1 material on it, different materials (and mostly different textures) have to be applied on the model. For example, a building with brick(wall), glass(roof) and wood(floor) needs 3 materials. To make it easier for texture team to know which faces are which material, the dummy targa files should be solid color images. This is how the dummy targa names will be:

TT_PModel_buildingOrange_v001_TT.ma ---> model file name
TT_PTexture_buildingOrange_wall_vFinal_AS.tga ---> dummy targa file name
TT_PTexture_buildingOrange_roof_vFinal_AS.tga ---> dummy targa file name
TT_PTexture_buildingOrange_floor_vFinal_AS.tga ---> dummy targa file name

or it'd be defined by level so the file name'd be: TT_PTexture_buildingOrange_level1_vFinal_AS.tga ---> dummy targa file name

Texturer will name a texture file by following the dummy targa file name, but change from "vFinal" to "v001". Once the final texture is done, just replace the dummy file . This way the model will not have missing image file problem.

5. Final folder is only for final files. If you have the new final file, you have to put the old final file to the working files folder and rename it to a version.

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how to prepare your Maya model to Unreal

In Maya, go to Display>>Grid>>option box and change to this settings

Length and width : 1024
Grid line every: 16
Subdivisions: 1

also go to every camera attribute and change Far Clip Plane:4000

The following is from unreal wiki.


Your Model

1. Should be "facing positive X". Meaning, in Maya, the model's front side should be toward the positive end of the X-axis. This will ensure a proper orientation in Ued.
2. Should be near the origin. Meaning, in Maya, the model's center should be on or near Maya's world origin, where all axis converge at zero.
3. Should have its Center pivot placed in a reasonable place. For example, a wheel would likely need the center pivot in the middle, while an hammer may need the center to be along the handle somewhere. It depends on if this is meant to be used as a mover, how it should move, or how it should be normally placed as a static mesh object in UnrealEd.
4. Should be one single object, not multiple objects placed together (unless you want them to be separate in UnrealEd). Use Polygon → Combine. Merge any extraneous faces, edges and vertices.
5. Should have the normals facing the correct direction. Use Display → PolygonComponents → Normals to see which direction your polygonal faces are "facing".
6. Should have different materials (shaders) applied to the polygonal faces that are meant to have different materials textures applied in UnrealEd. For example, you are making a car. You chassis has a texture all its own, but you want to use a simple glass material for the windshield. In this case, in Maya, you'd apply one color (material, shader) to the chassis and another color for the windshield. It doesn't matter what color, it's just an indicator to UnrealEd that these are separate materials that you'll apply in UnrealEd.
7. Should have its polygon texture alignment ready to go. Use the tools found in EditPolygons → Texture → ... to apply various projection schemes (like cylindrical, planar or automatic) and adjust the scale and orientation of those projections, if applicable.

Thx for reading,
Cherry ^_^

More updates!

Allo!
Sorry, we meant Monday, the 30th of April =) not May. Typing error. Sorry!
We had a great day today. The Production team have kicked off work and are enthusiastic about every single thing.. they're building models. making textures, loads of graphiti.. a great group that seems to be lovin' it! Good job guys.. The Concept team has finally gone their own ways to rest for a bit.. after an exhausting week of squeezing all their creative juices out! The Engine team, mindless of things going around are working full paced on things and have given us great feedback on the EPOCs..
The Sound guys met up with us as well today and discussed the engine with Sam as well. They're planning to start off work on Monday.. and seem keen to get their hands on the game as well =) a great trio!
We've decided not to rely on the computers at Uni anymore.. so please ensure you take back-ups even when you go out for an hour! You may back-up on the Terra which is accessible on the Macs and before you leave for the day, please ensure you ask Aarthi to back up your files on her HardDrive, And please fill in the timesheets in the black file thats on the table outside the Dub room.
Thats pretty much it for now.. So laters!
Have a great weekend!
The Producers!

All set to get your hands dirty?!

Hey all!
How're you guys doing? Hope all is well =) and the production team is an excited bunch today.

The Concept team have their document almost ready now and its all set to go! It looks amazing and trust us, they've done a great job, working around the clock, managing their time time well with classes and stuff! Its looking really good... You should take a look at it when you come in tomorrow.

Paul, James and I are looking at the document and trying to make it very clear and concise so that you guys don't have any issues during production.

We're also meeting the Sound guys today to find out their ideas =) they're really keen to get going as well. Seem to be a very professional and fun bunch!

Kate is going to take a break for a while and get things rolling next week with the marketing of Terra Transeo! We're kinda thinking of taking to a bigger level this level. Fingers crossed =)

The Engine team have gotten most of the stuff together but are still working out a few issues! But they're pretty much sailing through things now.. Sam's a master trooper we think.. He's been looking at so many things at the same time.. and trying to get it all work! Way to go all of you!

We're sorry we have so many issues with the computers out here! And the network.. its a pain isn't it?! Really sorry about it, but we have to stick it out and get it done by the 14th of May.. so hope you guys are ok with that. We don't have much of a choice do we?!

We would like the entire class to come in at 9 AM on Monday, the 30th of May. Just for an hour!

We're also going to have a photo shoot and a small get-together =) to get us all in the spirit! So don't forget to bring in a light plain-coloured collared shirt in on Monday (and a tie if you have one!) Also, please do come in at 9 AM sharp!

Kepp a lookout on the blog tonight or tomorrow morning to see some of the work that the production crew have done for the day!

Cheers guys.. We think you're all champions to keep things going on.. and be bright and cheerful even when we have these computer issues going on.
Rock on,
The Producers!

Importing Static Meshes from Maya 8.5

Hello All,

Seeing that the production team is going to get their hands dirty soon, i wanted to send this link to an online tutorial on exporting static meshes(Models made in Maya 8.5) for Cherry's 3d team in the production side and importing for us engine dudes. The rest of you can use it to jazz up you Room Assignments if u wish. Enjoy!


http://abunchofshortguys.org/tiki-read_article.php?articleId=45&PHPSESSID=c0628a242786df318909aef4ed2a67b4


Take it easy.
Amy

Engine news from Amy

Wow, since i found my way into a place where i can write things i thought i'd leave some interesting stuff happening on the engine side. First of all Sam is doing a great job as a leader, he knows his stuff!

As for idiots like me catching up on technology, i am more confident now.

Ask me,
Can i build a whole level from scratch? Yes
Can i create a jumpad ? yes
Can i force a bot to move around in a fixed path like its life depended on it? No sweat!
Can i make a bot harmless?..hmmm..YES!! but its a bit sad really.

I broke a bot.:(
His name was Jakob, now i just call him Janice.
Well i think when he was an Unreal bot he was more proud and independant, always scurrying along his pathnodes blasting the brains of anything that moved. Now he almost seems to need someone to be there for him, he's a bit errr clingy!! He comes running to you and stops for a moment exhibiting the emptiness of his arms that once held ammunition, and just waits there for you to maybe shoot him??
If you do he runs off into the distance and comes back for more, i managed to get rid of that part of the code it was beginning to stab my conscience.

But the point is Producers and Director you can make a couple of bots harmless as u wished, however Jakob was a pawn (just an actor), i haven't figured out where the other bots are hiding their AI so that i can throw this code in and have a stab at them. But when i do..hehe

If anyone would throw me a hint or has suggestions, i would be grateful.

Signing off after dumping my guilt and frustration on you.
Amy

Concept Art - Forest Stage

Concept Document

Premise
Chronic consumerism is a powerful, subliminal form of oppression. To overthrow the oppressiveness of lassez-faire capitalism, we must reconnect with nature.

Consumption, capitalism, materialistic lifestyle leads to the destruction of the earth through pollution. It also leads to destruction of the human heart because we lose sight of what is important: community, natural beauty, and freedom.

The Set
This world contains two continents but 4 main spaces:
-The Corporate City
-The Interior of central building
-The Ancient Forest
-The Gates to the forest

The City (Pre-history)
This city is choked with pollution, so much so that your view is very restricted. The sky, the sun and the upper segments of buildings cannot be seen from the ground. You cannot see the ends of streets when walking along. Propaganda and advertising, flashing neon lights and vehicles, sirens and footsteps clutter the atmosphere.

There are no birds, no trees, no clean running water and very little beauty.

The inhabitants of the city have lost their way. They are not aware that their surroundings are bleak because they are so obsessed with earning money and spending money.

They have also lost their sense of human spirit. They no longer know how to work together as a community. They are being controlled through their greed and fear of economic loss, by a regime of capitalist free market economic growth, where individual gain is the sole motivator. But they don’t even realize they are bound by this lonely world, so narrow is their view. These homogenous people march around the streets in monotony

The city was once a beautiful place. There was no pollution, no rubbish, people laughed and chatted in the streets. Where corporations now exist, market stalls once stood. Don’t you wish this beautiful city could once again become what it once was?

If only someone would save this city from being choked by pollution. Could you be the chosen one? The one who can show people the way? Only by reminding them of the beauty of nature, will we succeed. YOU ARE NOT ALONE – You must work you’re your comrades in the regime. And there is evidence all around the streets of a counter revolution. Pay heed to the subversive graffiti around you, it may help you in this quest.

You must find a way to plant a tree in the disused central city square. This will require gathering the four essential elements and bringing them back to the city.
Earth
Seeds
Water
Sun

However there are no trees or seeds left on this continent. You must find a way to escape the city and travel to the ancient forest. Once there you must find your way through the forest to collect the elements. Each time you find one element, make sure you bring it back to the city.

The Ancient Forest
This forest is a spectacular vision of natural beauty. Lush green rainforest with various canopy layers.

When players find the element, they will be rewarded with game points and will get to see a funny little animation involving the Ancient Gods or other beings on the island. If you are in multiplayer mode, only the first player to find the element gets to see this animation reward.

Collection of the element triggers three things:
1) A voice (sound file) that announces you have 20 seconds to leave the island before you will be struck down by the Gods (in a flash of lightning)
2) A timer that begins this countdown
3) It opens a door by remote trigger. This door is in the city and is the portal to the next stage of the forest.

Each element must be placed in a specific spot back in the city.


Forest Access
From the city, you can only access the forest from 4 secret teleports that have been built by the revolutionaries. Each one gives you increased access to the forest, as you get further into the game.

Forest Starting Point
You arrive at the forest at the top of a mountain, overlooking the entire forest. There is an open cloudy sky above. You are presented with four large ancient sculptures. Each sculpture visually represents an element and contains a doorway.

At this starting stage, you can only access one doorway, which leads into the forest. The others are blocked by a stone wall. These doors will open up to you one by one as you pass stages in the game.
Places in the World
Starting Point
Purpose
The starting point is where players are spawned. The purpose of this place is to;
a) Tell players the prehistory of the city
b) Make players aware of their mission
c) Hook players in so that they want to keep playing
d) Give players a chance to practice moving around

Intention / Objective
This should be the only safe-feeling private space in the city. The intention is that this room contains 8 arch windows. 2 of these show a different image, one of the city, 1 of the Element Gods. When walked up to, these windows display still images, played with a voice over, to give the pre-history about the game and imbue motive into the players.

Physical Surroundings
Top floor of central building. Enclosed room with archway windows but no view of city.
Ornate circular fountain at centre of room. Mosaic floor. Ornate mosaic domed roof. Ornate carved marble walls. Doorway leads to spiral staircase leading downstairs.





Mood
Quiet, peaceful, subdued.

Time of Day
It should feel like a dark overcast day at the beginning of the game. As each level is completed, the light should become stronger and the weather should clear until it is full sun on a clear beautiful day.

Colour
Bright colours and ornate textures that will be dull in the darkness but brilliant once lit at the end by sunlight.

Light
The room has poorly lit diffuse lighting. Players cannot actually see the roof and walls from the starting point. These will be revealed at the conclusion of the game when the roof opens to let in a stream of sunlight.

Sound
Mute, muffled city sounds. Some music playing: Fat Freddy’s Drop; “Hope for a generation” and “What’s a world with no soul”

Cues and directions for play
After being spawned into the room, players can walk around the room testing things out. If they walk up to the first window, they will be shown the prehistory of the city through a voiceover with black and white slideshow.

The First slideshow (Sepia)
The following images will flick through without order, as the voiceover tells the prehistory of the city.

1. Images of advertising and consumerist propaganda (4 pictures)
2. Pollution accumulating over a street scene (4 pictures)
3. Tree-lined street to street with empty tree boxes and dead trees (3 pics)
4. Picture similar to John Brack Collins St, 5PM but with our robots instead (1 pic)


View / vantage point
Whilst there is pollution, we cannot see much. However once the pollution leaves, we will be at the fourth floor level of the city.

Important objects or props
Dried up fountain in centre of room
Special spots to place 4 Elements in fountain
Back story buttons
Steep staircase

Obstacles / Game play
Walking up to the screens and observing prehistory

Bots
None


THE IMPERIAL CITY
Purpose
1. To give the players a sense of oppression and toxic pollution.
2. To provide an area in which portals are hidden
3. To show transition from dystopia to utopia through pollution levels

Intention / Objective
The city is the crux of the story line. This place has to be both the dystopia and the Utopia. It has to transform from dystopia to utopia in graduated stages as the players complete each level and bring each natural element back to the city.

This visual transition is intrinsic to the premise. The brief asks for three worlds – Dystopia, Borderland, Utopia. By having dystopia and utopia one in the same, we are stating that dystopia is not a place, it is a frame of mind and a state of control over freedom / nature. You can hide from dystopia by running, however you may even overthrow it by staying to fight.

Physical Surroundings
A street network combined of narrow alleyways and broad dominating thoroughfares. Monumental points of focus (ie Haussman’s Paris or the Shrine in Melbourne). A slightly confusing layout of alleyways will give players a sense of satisfaction once they work it out but wont be off-putting. City is a collection of architectural types: New and old, imaginary and real, decrepit and beautiful, mundane and awe-inspiring.

Think of the city in terms of vertical layers or levels.

City Layer 1
The street level is noisy, ugly, dirty, full of shops, concrete, plastics, neons, advertising, propaganda etc.
The shop windows all display the same products, simply coloured differently. The producst will actually be labeled things such as “Stuff you don’t need” Crap” “More Crap” Even more crap with NEW packaging” etc.

There are empty tree boxes where trees used to be.

The pollution prevents you from seeing above the eves of the ground floor. It also limits the visibility of the focal buildings at the end of each boulevard.

City Layer 2
Architecture becomes more interesting, colour palette becomes a tad less dull and dark. No more advertising at that level.

City Layer 3
Very ornate and imaginative architecture. Buildings increasingly have more interesting and ornate form. More organic shapes, more strange sculptures looming out of walls. Colour palette becomes brighter.

City Layer 4
Beautiful incredible spires, mosaic surfaces, ornate carved marble surfaces. Crazy organic architecture. Awe-inspiring cathedral tops. Colour palette is going nuts – golds and coppers and cobalt blues, greens and reds.

Mood
Street level - Oppressive, dark, smoggy, hectic. Consumers paradise. Lots of shops,
advertising, neon flashing lights noise. Mostly narrow spaces.
Robot shaped bots march around the streets drearily.

Colour
Varies depending on level of city.

Light
Some street lamps but you cannot see the shape of the lamps very well – spotlight style lights (some of them flickering)
Car headlights going past

Sound
Cars
People
Footsteps
Running
Advertising voice-overs
Tires screeching
Sirens
Car alarms


Cues and directions for play
Graffitti – where ever there is a graffiti quote it will contain a hidden message in smaller text so that you only get the hidden message if you stop to read the graffiti. Eg: “It only takes a few good men to stay quite … etc Go Left Next Intersection”

View / vantage point
Changes depending on level, due to pollution

Level 1
Can only see a few metres in front – cannot see to end of a long street. Can only see the street level, not up to the second story of buildings.


Level 2
Beginning to see second story and have more metres of vision in front.

Level 3
Can see basically whole buildings with ornate sculptures etc.

Level 4
Allowed access to the tree top or sky monorail so that you get a sense of the spaciousness and beauty of the city. Can go around in the monorail looking at the ornate upper stories of the city.

Interactive / moveable objects or props
Portal Gates
Pollution

Obstacles / Game play
Players must avoid the bots who can paralyze you.

Bots
Based on Collins St 5:00 – they drudge along to work, marching about, head down. Maybe looking at shop windows as they walk.


Forest
Purpose
The purpose of the forest is to
1. Provide the scenery and atmosphere of a dense rainforest for all stages of game play
2. A forest is the natural place we expect to find the elements
3. Create a sense of being in a natural, awesome and beautiful place in contrast to the city.
4. Be lots of fun and exciting to run around in
5. This stage has varying levels of access. Each time you complete a stage, you must go back to the city. When you come back, you will have increased access to the level.

Intention / Objective
This place must therefore be very exciting, interesting and visually impressive. This will hook players in so that they want to keep playing.

Physical Surroundings
Players are surrounded by tall trees, vines ferns, flowers, rocks, moss, and a ground cover of grasses.
Big spider webs hand between tree branches.

There is access to the upper canopy, here we can walk through the treetops along a swing-bridge made of vines.

Mood
Fast-paced – action game playing in contrast to the mood of exploration in the city.

The forest will have music – La Phat African drumming beats.

Colour
Tree Canopy: A selection of different shades of vibrant lush rainforest green – see design document
Tree Trunks: Multi colour browns red and green (see texture sample)
Earth: Humus brown (see pallet).

Light
Sunlight should be sparse once in the thick of the forest but could shine down in sun rays through canopy gaps in the forest. As each new level of access is allowed, light is used to reveal a previously unseen doors, underground passages, staircases and new avenues of exploration.

Sound
Sound will change depending on which access level you are in. At first, looking for the seed we will hear
• Australian rainforest bird calls
• Insect noises
• Footsteps crushing leaves
• African drumming

Then as we look for different elements, the sound will change to convey a change in mode. For instance while we are searching for water, we should hear waterfall or water dripping, running water etc.

Weather
There should be different whether or climate in some of the areas.

Emitters
Insects such as butterflies, bumblebees, beetles etc

Cues and directions for play
The spirits / gods will give directions for play. Once the element has been collected by a player, a voice over will give the cue to return to the Forest Teleport as soon as possible. A vocal countdown will begin. Fast-paced urgent drumming music will play.

View / vantage point
When on ground level, we won’t be able to see the forest for the trees.
Once in the canopy on the suspension foot bridge, it will feel like this forest goes on for a long time.

Important objects or props
Obstacles / Game play

Bots
None

Game Play
Mazes
Tricks
Swing doors
Doors requiring co-operation to operate
Water volume that leads to new playing area
Jump downs that you cannot jump up
Broken bridges
Swing bridge ?
Moving platforms
Sinking platforms

~The Concept Team~

Feedback and points to be noted!

Hey guys!
Some few points to be noted in terms of how we should be working and how people have coped with things in the previous years and how we should overcome issues that they've had..

On a large scale, we've decided to hold meetings every Monday, Wednesday and Friday at 9:15 AM before we kick off work for the day to discuss issues and be kept in the loop of whats happening, whats happened and whats about to happen. So please make sure you're there =) We start off on the 27th (Friday) with our first meeting!

Apart from that, we've tried breaking down issues related to each team, so here you go!

CONCEPT TEAM:
- Need to communicate clearly to the rest of the group about whats kept in and whats kept out from the project.
- Concept/Design Document should carry enough ‘instructions’.
- The Design Document needs to be bound so that it is not dispersed among everyone. No one should be allowed to take it outside the studio at any point in time.
- Concept art and sketches need to be developed, particularly for 3d models.
- A tight color palette needs to be developed.
- Engine Team needs to see the final Design Document from the Concept Team in the first week.

PRODUCTION TEAM:
- Sound should be tested in the space early on. Crucial, as it might pose problems at a later stage.
- Lighting should not be a last minute decision.
- Need to know about “poly count”.
- Assets. It might be a difficult transition between the Production Team and the Engine Team of assets. There could be someone who is in a ‘hybrid’ position that is responsible for textures and models between the two teams. There were some technical problems in the previous years with textures on models and mesh’s that caused delays.
- Don’t give Engine Team anything that is not completed. Engine team should not end up making models etc, production type tasks. Assets should not trickle in late posing problems for the Engine Team who might find difficult to keep track of at the last moment.

ENGINE TEAM:
- Try and finish as much testing as possible at the start.
- You could always approach John, Jeremy, Sam Howie, Christian, Toshi, Gavin McD, etc. for help if they have time and are willing to help. Might prove very useful.
- Engine Team needs to see the final Design Document from the Concept Team in the first week.
- Gathering of resources came very late to the Engine Team, resources not gathered into the one package.
- Breaking up the labour in the Engine Team is good i.e. Someone for emitters, someone for programming, someone for triggers, etc.
- Engine Teams previously have been ‘pressed for time’ and so had little contact with Director. Make sure this is not the case and that the team is in constant touch with the Producers and the Director.
- Should not work until the end. Should test, tweak and edit for a few days at the end.

- Jeremy’s room project might prove helpful for the Engine Team’s knowledge.
- John’s built a level that explains gameplay basics, jump heights, world units, etc. Please ask him for details, so that you can test that out!

More later, seeya guys =)
James and Aarthi

Great job!

Hey guys!
Congrats.. you guys really did an awesome job today! It was really really well thought of.. and EmilyB, hats off to you.. with the presentation! It was a great way to pitch the idea =)

Alrighty, after the meeting with the EPs tonight, we've scaled down the concept, which I'm sure EmilyB and Paul would talk to you about..

Here's a list of things (in a broad scale) for the Concept team to do over the next few days.

1. Refine the ideas with respect to the feedback that you have received.
2. Provide the Producers with the Design and Concept Document by 11:00 AM on Thursday.
3. An Assets List for the city by 2:30 PM Tuesday afternoon. It needs to be broken down into a model-building list, a textures list, sound list, etc.
4. An Assets list for the island of Gondwana by 10:00 AM Thursday morning.

See y'll tomorrow! Keep this going =) you guys are really awesome!
James and Aarthi

The Pitch!

Hello!
As you would all know the pitch today went off really well =) in terms of how it was presented and laid out. Congrats guys! It was really nice to see so much thought put into what you guys have done!

The general consensus was that it was really professional and the effort that the concept team has put in has been awesome. From what we hear, teams from previous years haven't had a chance to present it in this fashion and this is a great start indeed. For us especially. Andy's remark was that we've done a great job to have reached the point we're at now and we're well ahead.

But as all things would have a backside to it, we've got real issues to deal with, things to test out and nutting down to a concise and clearer idea of gameplay and scale. We also need to deal with it in terms of the timeframe we have.

According to Matt, there are some areas that need further consideration:
1. the scale
2. the multi-user aspect (I think Paul and Em B have worked this out now!)
3. the emphasis on goal-oriented gameplay
4. the 'reward' or 'pay-off' at the end

And I think Paul and the Concept team would probably be working on these for the next 3 days.

The meeting with the EPs today lifted so much weight off our shoulders, as we've resolved to break it down into a more concise piece.
1. We've resolved to make it CLEARLY a multi-player game. So it needs atleast two people playing it at any point in time.
2. We've decided to have only two spaces, the city and the island (as one slightly more complex area where all 4 stages of the game would be played.)

The Engine team at the moment is trying to work out whether the concept would work as a whole and if the multi-player nature of it would present problems!

Jo and Cherry, from the Production team, have offered to test out a few things as well tomorrow.

Another reminder: Please do your time-sheets by 4PM tomorrow and load them onto Terra 'cause we are planning to log them in! Please do it, cause we have higher ups that we need to answer to. And remember managing your time is crucial as it would help you in your minor and major project as well =)

Cheers guys!
And thanks for the effort and feedback today!
The Producers