Flesh Eating Ghouls From Outer Space - 20 Year Anniversary

It was during the early years as an animation student that I learned the significant value of a frame of animation or film. Each and every frame matters and the contents of those frames are what determine your budget and timeframe for completing a film. Finding shortcuts becomes a savings to the production budget.

As of this writing, it is now 20 years ago that the cult classic puppet musical, Flesh Eating Ghouls From Outer Space was originally performed live. This musical puppet show was being toured around Phoenix, Tempe and Mesa to audiences delight and rave reviews. Originally created and performed by Skeleton Puppet Theater for an annual Halloween party, hosted in Sunnyslope, Phoenix Arizona.

Flesh Eating Ghouls From Outer Space - 20 Year Anniversary

The annual Sunnyslope halloween party always included a high level of creative application. Blacklights, illusions and original paintings and sculptures were all included each year. Not to mention, a fun themed dance floor and excellent food, often catered by the Greer's et al. Zelda would reign as the queen of Halloween as a zombified corpse, propped up in her rocking chair in the graveyard. Headstones and cemetery scenes created a deeper sense of connection to the celebration of life that those parties were.

Each year demanded an element of entertainment as musicians, poets and radio DJ's were a small sampling of the talented collective that later became Skeleton Puppet Theater. An annual puppet show was born. With performances of Night of the Living Dead - The Musical, Circus of Death and Louie's Love Zone to name a few.

There was an immediate connection to puppetry for me. As an animation student, I was attempting to pull off stop motion, puppet animation during a time in which animation was taking a more computerized approach. Sitting at a desktop while developing carpal tunnel in order to achieve animation seemed more laborious than posing stop motion puppet armatures frame by frame. When I saw how effective a simple hand puppet could be at telling a story, I was hooked. Especially since it seemed less time was required to get frames to completion. This of course requires advance design and production work regardless. Puppetry presented an opportunity for me to advance my interest in puppet animated forms, by using a real-time animation, now known to me as puppetry.

Originally, I offered to join Skeleton Puppet Theater as a Technical Director to ensure music and technical cues would be prepared and ready for each show. We would practice over each summer to prepare for Halloween. During Circus of Death, there was a disagreement between puppeteers and a fight broke out. Dave Knight was no longer to perform as the beligerent but jovial skeleton with a top hat, Bony Tony. Bony Tony was then offered to me. I recall performing Bony while Dave listened and bantered from the audience. My hopes to do the character justice were confirmed when Dave gave me the "good job". He did say that he thought his was better and I do not disagree. Dave Knight performed Bony Tony like a savage beast with zero shits to give and he was still very funny and relatable!

The stage was enormous. We required several vehicles to transport the stage Pete built. It was unsustainable but we didn't care at the time, we were just excited to be asked to perform at various odd venues in and around the valley. The stage had a lighting console built in and had many components including "wings" to help mask any behind the scenes action.

Skeleton Puppet Theater was a fully functioning, live theater troupe. Imaginology was a full fledged multimedia production company and the timing was perfect for the two to work together to then produce the short film, Flesh Eating Ghouls From Outer Space.

Collaborating with Pete, I designed and fabricated the foam latex and paper mache composite puppets. Although I had the head and the bodies, it wasn't until Pete added glove fingers for dreadlocks and socks for the neck and mouth, that the characters came to life. It should be noted that my aunt Deborah created the capes for the ghouls. Pete later painted some glitter bikini bottoms to finish off the details of the aesthetic.

I was working in the Arizona Heart Institute media production facility VAS at the time. I had made some connections in the industry and befriended Steve Wargo who had a studio in his oversized garage space of his home. We filmed and photographed Flesh Eating Ghouls in his studio over the course of a long weekend.

Filming Flesh Eating Ghouls From Outer Space in Steve Wargo's Studio

While at VAS, I had become the in house author of DVD video titles on the Scanarist DVD authoring system. This is how I was able to create a DVD that would play worldwide on almost any DVD player (a big deal at that time). I authored and funded the 1,000 copies of the Flesh Eating Ghouls From Outer Space DVD's that are now in circulation worldwide.

The team was often testy. Creative differences would present themselves. Opinions about what was good vs. KRAP were often times debated. We were a team of laughing, drunk and stoned idiots who had an idea and some songs to record to make the original concept work. We religiously met on Sunday's. The closer to Halloween it was, the more frequent the Sunday visits. Almost always in Georganne's back yard, although we moved around and often hosted at Captain Mike's.

Our audio visual team was me. Randy would help with sound if he could and Scott Pfister would pitch in for the big shows. I rarely had the equipment needed to properly facilitate a 5 person creative puppetry team. We needed wireless lavalier microphones for each of us, but often shared one or simply used an open mic behind the stage. The stage itself was wooden and did not allow any sound through. We learned this requirement after some early rehearsals. I would beg and borrow from anyone willing to allow us to use their gear. We are appreciative of all our supporters, fans and family over the years...thank you!

At a certain stage however, you must pay people to show up and work for you. Skeleton Puppet Theater rarely ever got paid. Imaginology was spending money on studio time and phtotographers/videographers to bring their eye and equipment to the studio. When you incur financial commitment to a film or media project, you are usually deemed Executive Producer credit. Renting studio space and paying the crew became an Imaginology job and we are proud to do so. 

Live recordings of our early shows exist and are included on the Flesh Eating Ghouls From Outer Space DVD. There are hidden easter eggs on the DVD menu. If you point the cursor at the sun, you will be taken to a submenu of Circus of Death and Louie's Love Zone episodes. These are early efforts we made at capturing the brilliant comedy we had been performing for years on film.

All Skeleton Puppet Theater artists are performers, puppeteers, voice over actors and more. An extremely talented crew, which includes:

Pete DesRosiers - creator, writer, puppeteer, designer and musician. Pete is arguably the most credited for creating and inspiring the puppet shows that became synonymous with Skeleton Puppet Theater. His creative vision and boundless imagination has inspired me for decades and I am a fan and proud friend.

Georgann Prince - Sculpture artist with an eye for fine detail. Georganne creates and paints the many faces, hands and details that are such an enormous appeal and an original vision for puppet design and fabrication. Georganne also paints backdrops creates props and other additional items and details.

Ruth Anne Greer - Costume designer of Skeleton Puppet Theater. Ruth Anne knows her materials and designs her own costumes accordingly. Creating cute designs or solving technical challenges, Ruthy has designed, sewn and fitted all the costumes for Skeleton Puppet Theater and Imaginology productions, including oversized dragon puppets.

Randy Greer - Musician, voice over actor and master puppeteer of all Brock Buttman performances. Randy was also instrumental(pun intended) in composing, recording and producing the musical segments for Flesh Eating Ghouls From Outer Space.

Nathaniel Jack Greene - Animator, Puppeteer, Film Maker, Producer of the short film, Flesh Eating Ghouls From Outer Space and author of this article.

Our production crew was small. Erik Weiland was Director and his brother Max was assistant. Brian Thorsen and I were working together at VAS and Brian had his own Canon camera at the time. I had found Noiko Arai online as a recently experienced Production Assistant. She and Max worked closely to identify production needs as we all stood in to assist wherever needed.

Directing Flesh Eating Ghouls From Outer Space

Not long after the filming, I had injured my back severely and was ordered by the doctor to stay in bed. I had a Dell XPS laptop that I used to maintain websites over the summer. I edited FEGFOS on this laptop all summer long. I created graphics, lower thirds, tickers and other animated segments included in the story.

Upon completion of the film, I submitted it to numerous film festivals around the United States. The film won several awards, including Audience Favorite at the Cincinnatti International Film Festival and Best Short Film at the First Annual Phoenix Fear Film Festival. This award also generated an agreement with Brain Damage Films for Flesh Eating Ghouls From Outer Space to be included on a Best Buy distribution of "Tomb of Terrors" a horror compilation DVD set.

Tomb of Terrors DVD Horror Film Compilation

A new fanbase has been recently developing. YouTube comments are plentiful and review of the film are on-line as a result of FEGFOS being on a DVD compilation. An original production has been developed by Vomit Inducing Media, titled "TOMB OF TERRORS PAID OFF!!! | FLESH EATING GHOULS FROM OUTER SPACE REACTION!!!". An independent production of creative application with unique and disturbing looking characters of their own, this review is put together as a collaborative and fun perspective shift on how to watch a cult classic with friends on-line. We appreciate the effort put into producing this video, Vomit Inducing Media.

Vomit Inducing Media

We have recently created a short concept teaser of what a Return of Flesh Eating Ghouls From Outer Space sequel might look like. We welcome your comments and appreciate your support and involvement. Please reach out to us on social media @imaginology and @ogbonytony.

Return of Flesh Eating Ghouls From Outer Space

The original, live recording of Flesh Eating Ghouls From Outer Space is now available on YouTube and was filmed at Captain Mike's backyard halloween party in 2003.

Please support independent cinema. Thank you for your support!

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Production Culture - Cult of the Black Shirts

(OPEN CURTAINS)

At a very young age in elementary school, I was in the Christmas pageant. I was 5 or 6 years old in first grade maybe. I do not remember too many aspects of the performance. I sang with the rest of the class. But somehow, I had managed to wiggle my way into the coveted position of opening and closing the theater curtains at the beginning and end of the program. It seemed the most important of jobs. I recall the grand scale of the drapes lofted from upon the highest railing you could imagine at that age of epic giants and little people. The ropes seemed large and ascended into the sky into the void at the top of the curtain.

The vast mass of the material was enough to completely annihilate a 6 year old, yet, I was allowed to hold the rope until it was time to pull. The teacher was producer and stage manager of the show and ensured complete discipline in handling the unique opportunity to present a show to the public. The teacher would tell me when to open and close the curtain. I recall the energy and anticipation of the audience as they gazed upon their own shining stars of the show, as I continued to pull the ropes and reveal the magic that awaited all. The awes and laughter then wafted throughout the cafeteria hall where the stage consumed the far end were loud and full of joy.

This continued through middle school with leading roles and in high school, as I continued to work in theater. If you spend over 100 hours in the high school theater department, you are considered a thespian. I double lettered in theater and technical theater production in high school. During this critical time of teenage angst and confusion, I began to identify with the odd culture and characters that haunted the halls and green room's of an ancient tradition. They were unusual thinkers, and actors in the play of high school life. They rarely conformed and the most bold players on the stage were some of the smartest people I had ever met at that time (and maybe since).

It was in high school theater that technical production began to take a firm hold as the lighting consoles, sound mixers and cues were important aspects of the overall production. I was hooked. I worked the art and set construction departments, but found the technical aspects to be of most interest as the Channel 1 network cable TV channel was installed as a pilot program at Apollo High School as part of a national high school news network. I then started editing video on a VHS digital mixing board and would bring the VHS camera recorder we had to our stage rehearsals for behind the scenes journalism and promotion of the current high school stage play. This was my first mashup of theater and video production that would later become my career.

Now, as a Graduate of Animation, Multimedia and Digital Culture studies, Professor of Animation and an independent production technician, I continue to be fascinated by the range of characters, skillsets and aptitudes that make up the production field and profession. I have recently decided to share these insights and aspects.

Creating corporate media productions, means installing and/or operating audio visual production equipment to enable individuals and teams to communicate their message to as many people as they wish to design for. Often times in an entertaining stage production, using powerpoint presentations, stage cues and accompanying audio and video playback cues.

As a production professional, I am given many different assignments to operate a production environment or specific piece/line of equipment to satisfy the client needs and the role of the "technician" for that particular production event or "gig" as we refer.

With a background and degree in animation, I tend to lean towards loading and creating graphics, presentations and keynotes over the years. However, adaptability is key in production technician work and you can easily find yourself in another role as the production demands.

That said however, as a stage performer I understand the significant importance of a script on set. Writing an outline, script or establishing a "show flow" are extremely helpful tools to have guiding the production. Some of the worst experiences as a technician are with productions that do not have a script or a sequence of events written or rehearsed.

All success that comes from a production is most certainly a team effort and helps define a culture of trust and mutual respect for the circumstances of a production. This can have transformative effects for those involved and often builds camaraderie and repore with one's peers.

Over the years, I have taken notes and conducted interviews with production crew members and recorded their thoughts about the nature of "production culture", aka, the "cult of the black shirts".

In addition, and with great generalization, I have recorded the following characteristics as being common amoungst this group of professionals:

Production people often:

- Technically inclined but knowledge is often hyper specialized in a specific area

- Have a rigorous work ethic 

- Can be lazy too - I have literally seen techs fall asleep at the sound board

- Skips lunch/breaks/sacrifices for the show

- Have specific overtime and break schedules 

- Take 15minute breaks at 2.5hours, 1hour meal break @5hours 

- Lunch walk away is different from working lunch/provided meal

- Work 10-12 hour days often

- Team oriented and depend on peer professionalism and cooperation/Culture of community

- Independent by nature of definition “freelancer”

- Non conformist

- Sometimes non-hirable elsewhere either due to attitude, aptitude or specialization

- Wear black behind the stage head to toe so as to not be seen by audience

- Eccentric music and film tastes

- Some can be arrogant or challenging about their technical acumen 

- Don’t conform to 9-5 working hours and repetitive office tasks

- Range from young kids (greens) to senior producers

- Have an identifiable language and terms specific to functions of job: ie. Stingers, Edison, Tritap, Barrels, doghouse, Gaff, DA, cage, wedges, fold back, teaser, dress, sticks, tops, DI, etc.

- Have many acronyms, including DMX, XLR, BNC, SDI, NDI, DI, DSM, DSUB, DUC etc.

- Carry large cases, specialized tools and/or wear large backpacks full of adapters, cables and tools

- Live by the clock - timers and runtime

- Spend money on new technology often

- Some are heavy smokers and/or vape

- Full of disaster story's and/or highlights

- Most are self employed entrepreneurs with little to no health benefits

- Might be on the spectrum or might have OCD, Autism, Aspbergers etc.

Productions often require numerous technicians to setup, install, operate and strike (remove). The positions can be varied and often have overlap with other similar positions that might not be hired for the "gig".

Some of the positions of the individuals might include:

Rigging

Stage

- hands

- scenic

Video

- projectionist 

- V1

- V2

- camera operator

- playback

- led walls

- robocam (PTZ) operator

- records

Audio

- A1

- A2

Lighting

- L1

- L2

Graphics (GFX)

Teleprompter

Translation

Transcription

Zoom/Streaming Engineer

Photographer

Videographer

Room technicians 

Field technicians

Breakout techs

IT/Networking

Director

Art director

PM project manager

Stage manager

(TD) Technical Director

Producer

Executive Producer 

and more....

As freelance artists, many production people are also involved in music production and recording as well as video and film projects. It is not uncommon for your audio engineer (A1) to also be a musician, current or former for example. It is also quite common for production technicians to work on series development. A series of event productions, seminars or summits are examples of corporate series development. In some cases a show or production is so successful, it inspires additional programs to be developed and the team to be reassembled for additional future dates. This is often considered a good thing for independent producers, as it establishes a consistent event schedule and repeat business.

Some individuals are comfortable working with clients and interacting with other people. Some technicians however, are most comfortable behind the scenes and not interacting as much with the clients. This distinction is important to know as either corporate presentable vs behind the scenes stage hands are hired. General session (GS) technicians are considered specialists at working directly with the show and often times have more client interactions as a result.

Many (but not all) technicians are formally trained. Although it is not a requirement, often times technicians were trained in film, theater, sound or recording engineering programs. Skills learned through experience vs formal education are numerous. As a formally trained technician, I can honestly say I have learned as much in the field as I have in the classroom about production technology. The hands-on nature of working a production is an additional enhancement to any formal training program and are often required hours for media programs.

The business of media production is reputation critical. Satisfying your client and demonstrating competency is the standard by which you set for yourself and those around you as you implement the production for your client. If your client is unsatisfied with your performance or the equipment, it is your ass on the line. In addition, those who are working with you are at additional risk for scrutiny as the standard is set by the lowest common denominator of competence. In other words, your reputation and future work depends on your being on-time and on point. That said, production technicians tend to be open and willing to share their experience and knowledge when the time comes for someone to help. This helps create a culture of learning and teaching.

Each production has its own dynamics that are specific to only that show. However, the process of load-in and setup, then testing and rehearsal, followed by showtime and strike is most commonplace.

Operation is conducted after all equipment has been setup, installed and tested as working. It is common however, for equipment to be added or replaced as needed throughout the gig as technology fails, technicians see opportunity for improvement or if glitches occur.

Cut, Strike and reload trucks. Some productions will include a strike crew that comes in at the end of a show and starts to remove or uninstall and box or crate equipment for load out. Equipment is then staged and prepared for loading into trucks. These efforts often require additional stagehands and requires the operators of the gig to contribute to the packing and load out of equipment.

Overall appreciation for the industry seems prevalent. Discontentment comes with overworked or underpaid individuals. Progression through the industry can sometimes be difficult for those behind the scenes or without confidence in their abilities.

Work conditions can be varied and often requires high pressure performance. Clients will sometimes test a technician's abilities or make requests beyond the scope of normal production standards. Last moment requests and changes can create difficult situations wherein changes cannot be made without disrupting the show.

Work is seasonal and has great demand during the first and fourth quarters in Arizona. While other parts of the country might see an increase in business over the summer, production work appears to taper off during the hot summer months in Phoenix. Certain sports seasons not accounted for, however as certain individuals work racetracks or summer concerts, much of the corporate work seems to wane as executives take summer holiday's with the family. This makes the industry highly adaptable for technicians who needs summers off for their own family's or to simply enjoy some holiday time. This seasonality can present challenges to technicians income however and must be properly accounted for in order to survive through the lean times of less work labor and income. In addition, the thirty day receivables means invoices sent after a gig is completed will not be paid for a full month and requires additional planning to properly budget.

In conclusion, the production culture and industry is diverse and professional. It is notable however, the general ratio of men to women in the business of production is heavily skewed towards males by 90%/10% in my experience. This ratio is slowly changing as women enter the field, however there is a long way to go in terms of equal representation of women as professional production personel. Perhaps it's the nerd factor that production technicians exude that is a turn off for some women? I have met numerous highly professional women in a multitude of roles from crew to director and have been nothing but impressed by those currently representing non-males in the professional production field. 

Much of what else can be said about this industry should be reported in a future post or conversation with others from the industry. Please reach out if you feel we missed an area of interest or accuracy.

(CLOSE CURTAINS)

Written by: Nathaniel Jack Greene

Contributing agents:

- Doug Guevara

- Justin Hoernschemeyer

- Kevin Bryles

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Bony Tony Mission

The labor of death. How a skeleton puppet helped me cope with quarantine, isolationism, grief, mourning and the pandemic.   

Bony Tony is a skeleton and puppet. A dead entity. Bony Tony represents death in visual form. If you could see death, it would look like Bony Tony. Complete with sparkling red hat and bowtie as was part of his original costume. As a representation of death, the performance and embodiment of this character is challenging and rewarding both. Sometimes even cumbersome as I have promoted Bony Tony as a social media influencer and creative force for good for many years now. To have a Bony Tony mission seemed a natural progression of my work with him. If I am to embody death when performing the character, I should have a reason for doing so. Performing in the darkness of life can have consequences and having an intention and purpose helped align the character with my own values. 

Bony's purpose - to help ease the pain and taboo of death as a topic for conversation and well-being. By acknowledging and discussing death, we are able to process and accumulate knowledge of our reaction to the topic as a means for health and healing in a real-time feedback loop. To create engaging and uplifting experiences where people and puppets interact to establish a layer of understanding between the conscious and subconscious mind.

This occurred in a great wave of interest and demand for Bony Tony during the pandemic. While the rest of the world went into lock down mode, I was gifted the opportunity to run a small puppet animation studio and produce Bony Tony segments that were being watched more than ever. Bony Tony's time had seemingly come. It was now the moment for him to produce some of his most effective work. While the world was mourning, Bony Tony was there.

Many partners are still needed. I have reached out to establish partnerships within the industry of palliative and hospice care, including an interview with Stephen Jenkinson on the topic of discussing death with children. I am also now a trained Hospice of the Valley facilitator.

Great care must be given to how the youth perceives a representation of death in a physical form. Bony Tony is a responsibility. I take my work with Bony Tony very seriously as a means of communicating compassion to the world. The youth need to experience radical forms of self expression with positive intentions.

Carrying the character of Bony Tony has been a mission of mine for 23 years now. Meeting the Skeleton Puppet Theater troupe in 1999, led me down a path of creative discovery and collaboration.

Collaborations have included such people as Creator, Writer and Puppeteers Pete DesRosiers, Character Designer - Georgann Prince, Musician - Randy Greer, Costume Designer - Ruth Anne Greer and many others including Cinematographer - Brian Thorsen, Musician - Paul Boruff, Art Director - Todd Shealy, Fabricator and Partner - Ryan Gallagher, Photographer - David Dupree, Jim Burk, Nicole Clemetson, Paul Markow and many other amazing artists in their own right. Also should be mentioned is Animator Daniel Fleck who created the underground tomb scene with ghosts, bats and spirits. All collaborators are owners of copyright as stated in the credits of each program developed and published by Imaginology.

There is an entire town of characters we have brought to life over the years. Brock Buttman (Randy Greer) has perhaps the most public exposure, having been the man on the streets and reporter for KRAPTV13. His personae engaged him with the fascinating characters and TV moments including Comicon and Roller Derby.

We have explored very little of what's possible with these characters and stories and look forward to further development. We need your support now more than ever!
Get to know Bony Tony. Bony Tony wants to be your friend and your favorite social media dead guy @ogbonytony on Instragram, Facebook and TikTok. You can also find videos at https://www.youtube.com/@imaginologyllc.
In memory of David Knight aka the original bone daddy, Bony Tony.

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Adaptability in an Endemic Era

With a couple endemic years in the dust, we must now reflect on the fragile nature of humanity. The explosive nature of humanity and both the humane and inhumane aspects of humanity. 

Yes, it seems we are all learning our lessons. Whether it's in strength and courage, or frailty and the delicate nature of health and wellness. Global financial systems and supply chain disruptions due to an overwhelming over-dependence on globalized business operations and fluid transport of goods. Demonstrating just how dependent we are on allocation and availability of goods and fuels. Globally and locally.

Adaptation may be the next sustainability hot term as we learn to change course and redirect our intentions from inner exploits of passing interest to higher degrees of value. Americans are waking to the inner conflicts with consumption. Consuming fuel to arrive to an unnecessary office of individuals whom also consumed fuel and burned carbons to arrive to the same unnecessary work environment.

After years of stalled activities and uncertainty in employment and health, Americans are now identifying with their core values and acknowledging with the intent to alter the antiquated systems built to support a petroleum based economy. This old model is undergoing a cultural shift. One of lesser consumption and greater contribution. A healthy new America.

However, the existing infrastructure is still embedded into the environment and businesses systems are stacked to leverage these systems and capitalize on their operations. Removing or even simply altering their course takes time. We are undergoing a global shift in mindset and old wars are old men jokes in todays woke world. But progress is expensive, especially when profits are to be made. 

Perhaps this is why we are seeing new value systems, bit chains and currency's to support a new incoming economy that is ever further embedded in technology. However, we must also acknowledge the failure points of simplifying every concept into mere 0's and 1's. Our value systems must analyze these digits for another third possibility. A middle way.

Free higher education still seems a fantasy world away for North America. Yet this seems the obvious future. Educated and skilled humans engaged in empathic and affective labor. We must prepare for the continued mechanism of previous labor systems. To author, create and engage with a minimal carbon footprint. This will require education to live and thrive. Loneliness is the new illness and community will be required in new and unexpected ways and forms.

Creative community. Creative culture. Creator economy. Whatever you want to call it or formalize it as. The new coming lifestyle will even further expand on the notion of standing on the shoulder's of prior generations. There will be many painful global lessons along the way too. Adaptable we must become.

"Imagination is the ultimate technology."

Nathaniel Jack Greene - Chief Imaginologist and Founder, Imaginology, LLC

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Managing Virtual Festivals and Clients

 Managing clients can be one of the most challenging aspects of running a successful business.

• Expectations
• Budgets
• Deliverables
• Agreements and contracts
• Adaptability/flexibility

Ultimately, the name of the business game for a humanist oriented mission is: to improve the human condition. This can look many ways, but starts with clients as partners aligned with your mission.

Another way is in devoting a year to another organization's non-profit cause and mission. Reducing rates by as much as 65% to ensure that the client has enough room to grow. Advancing their cause and ideally, ensuring they take you with them, as they see the ever increasing value brought to the table in addition to experience and knowledge. Somehow justifying the vast discounts provided for a good client, doing good work for the community.

Show up early. Leave Late. Commit. Grind. Sweat. Produce. Deliver. Confirm.

Unfortunately, ungrateful clients exist, work goes unnoticed, discounts are discounted, demands increase and services and products offered are undervalued.

We work hard to maintain a professional approach to all business handlings, clients, vendors and partners at Imaginology.

Contracts and agreements are how we base all of our business. Imaginology signs the same agreements we request our clients and partners to sign.

All projects are handled with a confirmation of agreement (COA). This is for everyone's protection and ensures that we are all in agreement of what we are delivering etc.

This ensures the client AND Imaginology understands the scope of the project, the timeline for completion and the materials & budget required, with payment details specified in black and white and signed by both parties.

It IS common for the client or Imaginology to need to change the scope of a project when underway. The world is imperfect and we sometimes must adapt to the new circumstances in order to continue to conduct business in a professional manner.

When clients do not acknowledge these changes in contract terms, details or even the concept of "confirmation of agreement", business gets muddy quick.

Communication with the client about these changes and their effects is crucial. Education of these concepts is drastically lacking for leadership in some arts and culture sectors.

Unfortunately, this can lead to underfunded artists and/or business relationships and even exploitation that ends unsuccessfully.

After 25 years of business in multimedia productions, we have seen many client types, productions successes as well as a few failures. 

When Imaginology is doing it's greatest service, it is sometimes simply educating the client, customers and the industry on opportunities for improvement. A good lesson is one that is learned loud and clear.

Given the erratic business climate of a pandemic year, clients appear to be learning the hard way this year.

Imaginology is holding fast to these standards and invites you to reach out to us for consultation on making your live, virtual festival, event or digital culture experience a success worthy of a legacy.

"Imagination is the ultimate technology."

Nathaniel Jack Greene - Chief Imaginologist and Founder, Imaginology, LLC

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