Most screenplays are written, filmed, and then edited for a final release.  First the director, then an editor, literally sits behind a film projector making notes, then cuts and splices all the film reels and assembles a finished product.  The original film has to be trimmed to fit an established time limit.  For example, a finished film may be 49 minutes in length before edits, and the producers have to trim some 6-7 minutes of it to fit their running time.  They can pick and choose what works in the episode after they see it on screen.

We don’t have that luxury.  Every piece of animation we do is something that has to wind up in the final product.  We’re a fan production, so we can’t very well bring someone in, tell him to animate a 3 minute scene with a lot of facial expressions (which any CGI artist will tell you are a pain to do), then say “Oh, sorry, we can’t fit that into our episode,” and then drop the whole bit.  It becomes wasted effort, and we can’t afford any of that.

So we do most of our editing at the script stage.  How do we account for time?  By using an age-old Hollywood estimate that 1 script page is about 1 minute of screen time.  Is this exact?  No.  But it’s the standard we’re using for the length of each episode: 30 pages for 30 minutes.  Now we don’t actually have a “30 minute run time” for each episode as a hard limit.  It’s not like we’ll be broadcasting these episodes on TV, we’ll be releasing them via Vimeo.  So, some episodes will certainly be longer than 30 minutes, some will be shorter.

We cut all our scripts down to 30-32 pages in length just to get them around the 30 minute time frame for each episode.   This is another reason why it takes so long for us to complete scripts, as we have to get the cuts right.  One of the episodes I wrote, episode 6, actually had a long scene explaining Cpl. Thomsen, his backstory, how he got there, all in a bonding moment with John.  We had to cut it to get under the page limit, even though all the writers thought it was a very, very good scene (myself included, and I was the first to propose cutting it).

And now, on to the Monthly Update!

First, our John Connor model is completed.  Here’s a sample image:

John Connor model by OpalEyes-Angel

Second, we have added several new members to our voice cast list.  John Green Sr. is voicing Mr. Ellison now.  Darius Green (no relation) is voicing Danny Dyson.  And, finally, Roxy Bisquaint, of SavetheScc fame, is joining us as the voice of Tarissa Dyson.  Personally, I can’t wait for our next rehearsal now.  Ellison and Tarissa were among the last 2 major roles still uncast, so most of our voice roles are taken.  We only have minor ones available now.

Third, we’ve received official recognition from the IRS that No Fate Productions Inc., is a tax-exempt organization under Section 501c(3) of the US Internal Revenue Code.  We’ll have the approval letter up on the website for everyone to view publicly.  What that means in English is that you can donate to us and  it would be considered officially tax deductible.

Next month, we should have at least one audio advertisement finished for you to hear.  We’ll also be starting a marketing campaign to raise awareness in June.  We still need a dedicated rigger for our models, as now we’ve got 4 finished characters with another in the works, and an animator who specializes in Blender.  We’re also looking for another concept artist.

Stay tuned!

An obvious question hanging over our series is how different The Resistance is in the Future War without John Connor to lead it.  I’ve written a couple of posts previously about Skynet’s tools and world building, but I’ve never dealt with who and what the Resistance is in our story.

First, the Resistance is  a guerrilla force.  Skynet has massive air power with its HK’s, tons of tanks, and hordes of endoskeletons at its command.  The Resistance has, at best, light vehicles and trucks and a bunch of die hard soldiers.  The classic David and Goliath matchup, and things  aren’t going well for Humanity now.  You’ll see how and why as our season unfolds.

This means that the Human military cannot afford to go toe-to-toe in pitch battles with Skynet, like the one which opens Terminator 2.  So you won’t see massive pitched battles with hundreds of men and machines fighting over a ruined city scape, the Resistance doesn’t have the capability to win a battle like that.  You will see them attack Skynet, but it will be through ambushes, hit and run attacks, base assaults when they actually have numbers on their side, etc.  And when the fight’s over, win or lose the Humans have to retreat to their bunkers.

That’s not the only thing that’s different.  You may remember a Future War sequence in The Terminator, where Kyle Reese enters a bunker filed with refugees.  But as you’ll see very quickly in the first episode, there are no refugees in Colonel Derek Reese’s bunker, it’s just Resistance fighters.  Why?  Because he doesn’t have the resources to take care of them, and any food he gets goes towards his soldiers, no one else.  If you’re a human, and you’re not in The Resistance, you are on your own, because the Resistance can’t spare anyone to help you.

As for the soldiers you will encounter, those of you who read our Characters page will notice we’ve given some soldiers the names Miller, Stentz, Graphia, and Thomsen.  These individuals make up the members of Kyle Reese’s unit, alongside Allison Young and John Connor.  The names we’re using aren’t something we picked at random.  They’re the writers of the TV show.  We also named Friedman the Terminator after Josh Friedman, TSCC’s showrunner, and another character, Klein, is named after Hadley Klein.  It’s a tribute to the great work we think these guys did.

And if any of these writers do visit our site, and get hopping mad that we missed somebody, we apologize in advance.  But thanks for visiting!

So, on to the News.  First, since I’ve been talking about the Resistance, I should tell you our character models for John Connor and Kyle Reese are almost finished.  Draft images for both of them have been uploaded for you to view, and they’re also below this paragraph.  The models haven’t been textured yet, that’s later, but you can still see how far both OpalEyes-Angel and Speed87 have progressed, and their work is superlative.  Feel free to post comments about anything you see here, by the way, we do pay attention to you guys.

Speed87's Jonathan Jackson model (draft)

Draft John Connor model by OpalEyes-Angel

Second, you may have noticed a new addition to the home page at the right, under the heading Help Us.  It’s a Donate button.  That’s right, we’ve officially incorporated as a Non Profit Corporation to receive donations (which count as tax deductible).  We’re an official production company now, producing this is a fan project as a labor of love.  We’ve got bylaws, official documents, the whole 9 yards.

So we’re set to receive donations.  The link takes you straight to our Paypal account.  If you’d like to support our work, we’d be very grateful.  We’ll be using the money to hire freelance concept artists, hiring an animator for a scene, anything which will help us complete an episode.  If you want to help us out, just click on the link and donate.  It’s easy!

We’ll be back next month with more.  Peace, love, and No Fate, gang!

First, Happy New Year to everyone.  We’re chugging along at the start of 2012 and making a lot of progress on our character models.

CGI artists know that building a character model is the hardest thing we have to do for our project.  It’s a Herculean task, to put it mildly, especially when you’re copying the face of an actor.  You’ve got to get every detail correct, the shape of the nose, how far apart the eyes are, how wide the lips are, all of it, because viewers will notice if something is a little off.

And that means a lot of polygons go into a character model, even a model’s head.  Just to give you an idea of the amount of work needed, I’ll show the progress Speed87, who’s crafting Kyle Reese, has made on the Jonathan Jackson model.  This is the basic head outline he started with in Blender:

Jonathan Jackson base head by Speed87

Doesn’t look like the actor, but every one of those squares, rectangles, etc. are polygons he used just to make an outline of the head.  I stopped counting after I got over 100.  Any model you’ve seen in a 3D animated film, even the circular ones, all started off like this on some level.  Obviously the next step is filling in the rest of the face:

Jonathan Jackson model second stage

So the head is getting there, but it’s still a bit rough.  And the model isn’t textured at all, so there’s no “skin” or facial images added.  Speed87′s adding that after he finishes the base model.  And before that, he has to actually create a mesh, which he’s finished and now sculpting in a separate program called Zbrush.  Here’s what it looks like so far:

Jonathan Jackson mesh prior to sculpting

That’s just the head.  We’re going to attach this to a full body, which Speed87 also has to craft and modify so it looks like the actor.  And the body doesn’t include any clothing or accessories we’ll have to add for the series.  It’s also not rigged, meaning, it’s not programmed for an animator to manipulate.  So we have to bring in a separate artist just for that.

Fortunately, once the model is completed, that’s it.  Done.  We’ll be using it for the entire series.  We’ve already completed our Summer Glau model, in fact we have 2 versions of it (one of which you can now view in the Media section).

On to the News!

First, I know I promised you something big this month.  We planned to announce our attendance at the No Fate Convention in Pasadena CA this year.  Unfortunately, the convention was cancelled.  Major bummer for us, as we were going to present a lot of our work and include a short video, to say nothing of rubbing elbows with fellows fans or even (gasp) meeting those who made the TV show.  That was the big news item I was mentioning.

But there are some rays of sunshine to report.  We’re currently filing paperwork to open a non-profit organization in the USA.  This will allow anyone to donate money to help us complete our project.  Any funds will be used for purchasing models, textures, or services such as animating a video for us.  We anticipate having the paperwork completed at the end of February, so we’ll have everything set up for a donations then.  Yes, it’s a delay of about a month, apologies, but this will be finished soon.

Secondly, of course, are our new hires.  PFElton is joining us as a writer/reviewer who will edit our scripts.  OpalEyes-Angel has joined us as a character modeler and is crafting our John Connor.  She’s made a lot of progress with the model already and it looks great.

We’re still looking for a few voice actor roles, head on over to the Characters page to see what’s available.  Mainly we need someone for the roles of Tarissa Dyson and Agent Ellison.  We also have a few specific CGI needs.  We need a rigger experienced with Blender for our completed T-800 and Summer Glau models.  We also need another texture mapper.

If you think you can help out, feel free to contact us at tcc.no.fate.productions@gmail.com.

Happy Holidays!  I hope all of you are enjoying the holiday season.  Unless, of course, you’re a humbug…

One of the big subjects in the Writers Room, before we even set pen to paper, was how exactly does this new Future, where John Connor does not become General Connor, differ from the previous?  What’s the state of the war?   What’s its history?  And what can John do about it?

In one sentence:  it’s best described as A Wonderful Life: The Terminator Edition.

There’s a lot bound up in that statement.  Because it means throwing out everything we’ve been told about the history of the Future War.  Nothing can be considered exact canon from what we know of the films or TV series: for example, we can no longer take as fact that Kyle Reese broke out of a prison camp in this new future.  Derek may never have met Jesse.  And the list goes on.

So the first order of business for the writers was creating a new history.  What happened prior to John’s arrival?  Why is Derek leading his own band of Resistance Fighters?  How different are the machines and Skynet now?  We had to answer all these, and more, before we even wrote an outline for our first episode.

It’s a common problem for epic storytellers: you can’t actually start writing your story until you create the history of your characters.  J.R.R. Tolkien made copious notes and drafts of the history of Middle Earth before he ever set pen to paper on The Fellowship of the Ring (some of this material was released posthumously as The Silmarillion and Unfinished Tales).  Star Trek had an extensive writer’s bible to introduce anyone to the universe before any episodes were actually written for the TV series.

Extensive background work is required for any good story.  Some elements of are never found in the main story even if a writer spends days crafting it.  It exists mainly for the benefit of the writer(s) to keep their world in order.  We created a history of a military campaign against Skynet years prior to John’s arrival in the Future that will never be directly mentioned in our episodes.  But you’ll see some effects of this campaign in how the Resistance behaves, especially in later episodes.

I’d reveal more, but our head writer would take my head if I give any major spoilers.  Even as a Christmas gift.  Sorry, faithful fans!

A small media update for you this month: an image of a plasma rifle crafted by Jockerman.  We also have the Summer Glau model completed as both Alison Young and Cameron, which we’ll upload for you to view in January.  We’ve also had some voice cast turnover.  Kyle Reese will now be voiced by Andrew Dryden.  An antagonist of Sarah’s in the Present, Myers, will be voiced by Andrew Chung.  Chris Escalante is taking over the role of Fr. Bonilla.  And TwistedPuppet will assume the role of Stentz.

Also, we’re going to opening up a donation account next month for anyone to donate money.  It will be used solely for the purpose of commissioning artwork and purchasing CGI models and scenery for our production.  We’ll still filing all the paperwork to make sure everything’s up to snuff legally.  Have a Happy New Year, and stay tuned for an announcement next month!

Any Terminator fan can easily recall the scenes of the Future War glimpsed through the movies and TV series.  Ranks of endoskeletons advancing.  Monstrous tanks roaming the ruined landscape.  HK aircraft hovering in the sky, raining death on the humans below.  And Skynet, the puppet master, controlling them all.

But these are just some of Skynet’s tools in our story.  That’s because things in this Future War are different: this is the War as it would be if John Connor is killed in the Present.  The Resistance movement in Los Angeles is mostly a guerrilla force, using hit and run attacks, but it doesn’t have the strength to engage in a massive set piece battle.  And it hides whenever and wherever it can.

That means Skynet’s had to adjust its strategy.  A large tank, a loud HK VTOL, a squad of endoskeletons tramping through the streets, these are easy to spot and avoid.  It needs machines to root out humans wherever they hide, in sewers, under buildings, etc.  Yes, it could use a disguised endo for this (and we’ve seen such in the movies).  But that’s for humans in a large base.  Taking out a very small group, lightly armed, just scrabbling amidst the rubble to survive, this would be a waste of resources if you use a disguised endoskeleton.

Our writing braintrust thought this problem over and came up with a couple of new machines you’ll see in our episodes.  First, you have the Scouts.  These are small machines dropped in a pod from an HK VTOL as the aircraft flies over an area.  The pods hatch, revealing a spiderlike creature with a large central eye.  The Scouts crawl into any building, crevice, pipe, and search the area for humans.  What they see, the HK sees, so if a Scout spots you, the HK VTOL is going to turn around and blow up wherever you’re hiding.

Second, we have The Wraith.  This is a smaller endoskeletal creature, about the size of a monkey, which lurks in dark areas, underground, under rubble, it will even dig a burrow into the earth for itself (and can tunnel into anything).  It waits, patiently, until a human or two comes by, then it leaps out and eviscerates its prey with razor sharp claws.  And a Wraith can be anywhere in the hell that is Los Angeles in 2027.

You’ll be seeing concept artwork and models of both these new machines in the coming months.  But we also have another machine from Skynet, the APC.  You’ve seen concept artwork about this, and now we have a CGI model with textures for you to view.  The APC is a supply vehicle and troop transport, about the size of 2.5 ton army truck.  If you look closely at the front, you’ll notice there isn’t a cockpit.  There’s two video cameras instead.  That’s because this is a self piloting machine.  There’s no crew.

And you have the Ogre tank, which you’ve only heard about before but now you’ll get to see this monstronsity in all it’s glory.  Skynet’s a busy AI!

On to the news:  In addition to finishing the APC model, we’ve also received permission from Marek Patercyzk to use his terminator endoskeleton model.  This is a fully textured and rigged model and is the first of our character models to be completed.  You’ll find images of both machines on the Media Page now.  Second, we’ve been joined by Kaustav Sinha, head of MATTE-EFFECT, a digital matte painting company.  Kaustav’s worked on The Hunt For Gollum, a fan production for The Lord Of The Rings, and he’ll be helping with concept artwork and background for our CGI scenes.  Our Summer Glau model is almost finished and hopefully we’ll have a Jonathan Jackson model to show you next month too.

We’re still looking for more CGI help, especially with rigging and animation, and another concept artist.  Also, we’ve had to recast the part of Pvt. Stentz, as DrewDryden is now voicing Kyle Reese.  Again, voice parts are limited as the main characters have been cast, but we still have a few spots open if you look at the Characters page.  We need someone to voice James Ellison and Tarissa Dyson.

Stay tuned!

Hi gang!  Time for another update!

If you’ve scrolled around to the Characters list lately, you’ll see that a lot of our roles have filled up.  That’s primarily due to Mr. Domino, our Sound Manager and Voice Director.  Oh, and he’s voicing John Connor, let’s not forget that.  Mr. Domino has actively recruited most of the people acting as voice actors in our production.

He also runs our bi-weekly rehearsals.  That’s right guys, we’re rehearsing episodes already.  Been doing so since January.  Typically, rehearsals are broken into 2 meetings, one at night for USA cast members and one in the morning for people who are overseas (because of the time difference).  We read our respective parts for an entire episode, then list problems and comments on delivery and parts of a draft that might be changed.  If someone’s absent, another cast member reads for the part, and Mr. Domino directs which is which.

I’m the practical joker of the group.  Although I have one role as Sikes, I’ve also read for Stentz, Thomsen, Derek, and a couple other roles when cast members have been absent.  Sometimes we’ll play some “mood music,” like The Terminator Theme (and the Rocky Theme one time).  And, just to liven things up, I’ll usually throw in a ridiculous accent.  Stentz, on occasion, becomes Mayor Quimby Stentz when DrewDryden can’t make rehearsal (for those of you who don’t know what I’m talking about, look up The Simpsons).  And I can give Thomsen a particularly good Pirate accent when called upon, if I may say so myself.  And then there’s “Captain James T. Kirk” Reese…

Rehearsals usually last 2 hours.  We use a conference call on Skype to do this, but we don’t do any recordings.  That’s done by each cast member.  Each line is recorded individually, then sent to Mr. Domino.  We’ve got most of the dialogue for Episodes 1 and 2 recorded.  At the moment we’re using the voice lines in Animatics.  These are storyboard animations using drawings from our artists where we add the lines in, which will greatly help our CGI animation.

Now, as for the update itself, we’ve got another piece of Concept Artwork for you to look it.  It’s an Ogre Tank, drawn by BlackHive.  He took the image from Goodbye To All That and made a vehicle that is more frightening than the HK tank seen in the movies, if you ask me.  You’ll be seeing this bad boy in Episode 4 for the first time.

We’ve also got many, many voice actors in the group now.  In fact, we officially number over 50 members!  Tatsumi will be our Sarah Connor, Dr. Doozer is voicing Nielson, a terminator hunting Sarah Connor, and another character (TBD), Uncommon is voicing Thomsen and Klein, two Resistance Fighters in Kyle Reese’s squad, Gorteck is voicing Agent Auldridge, Christfig is voicing Fr. Bonilla (the priest who took Sarah’s confession in Born To Run), and Hugabug008 is voicing Middleton, a medic.  Finally NightgamerFX has joined as a dedicated Texture Mapper.

We still need artists willing to draw and CGI staff, especially animators.  Email us at tcc.no.fate.productions@gmail.com if you want to join up!

Most  Collector’s Editions of movies and video games have several sections of concept art for fans to view, which usually amounts to early drawings of finished characters or scenes.  What they don’t tell you is that these sketches are probably image #10 of dozens of drawings.  This is especially true when the writer comes up with a scene, character, or object that is completely new.  The original Starship Enterprise, for example, had over 50 drafts before a final version was settled upon.

We’ve created several new machines and weapons that haven’t been seen anywhere in the entire franchise.  Among these is a new vehicle type which you’ll be seeing in Episode 1.   The writers thought out its uses, when Skynet would employ it, etc, then we gave this description to one of our concept artists to sketch:

“The thing is a very large wheeled vehicle with metal plate, as big as a large supply truck or more. Should be at least 2-3 humans in height, big, bulky. Think a large cargo container on wheels.  Back end should have a loading ramp.”

We also mentioned that it’s an automated vehicle.  There is no pilot.  So Blob, one of our concept artists, came back with this drawing:

Our first APC image by Blob

Now, this isn’t the end product by any means.  It was the very first image and something we posted previously.  And while we all thought it looked good we also spotted a few problems.  The big one here was the wheel size (much too small to be an all terrain vehicle), and there was a visible cockpit area.  We didn’t want that, we wanted this thing to be its own machine, in keeping with the autonomous HK aerial vehicles and tanks.

So it was back to the drawing board for Blob.  And when he finished another sketch, we had a few criticisms for that too.  So he redid it, came back with a third drawing, and the cycle continued.  Until we ended up with a version the writers liked:

Finished concept art by Blob

This drawing is now the basis of our APC model.  One of our CGI staff is already working on it and has already produced a draft version.  So yes, the process is repeating itself a bit, but it’s a lot easier to tell a sketch artist to “make the wheels bigger” than it is to make a CGI modeler  change a lot of details.   The artist can draw whatever he/she wants on paper, but the modeler has to worry about polygon count, shape, texture, etc.   Simply put, the CGI staff’s job is a lot easier from a modeling and animation perspective if they have a visual image to look at instead of the (sometimes wild) ramblings of the writing staff.

Now on to the News:  First, we’re still looking for concept artists.  A few of our members have become swamped with other projects and we need someone who can sketch artwork and also draw storyboard sequences.  Nothing too complicated, we need black and white sketches.  The finished APC sketch has also been added to our Media section, so feel free to drool over it if you want.  We’re still looking for another John Connor, and a few minor roles as well.  And, as always, we need all the CGI help we can get for this project, so if you think you can model or texture, feel free to contact us at tcc.no.fate.productions@gmail.com

Also, we’d like to introduce several new members to our group.  The Sentinel and Speed87 have joined us as full time character modelers.  Adamkhuevrr will be voicing several roles for the production (some of which I can’t reveal because they would be SPOILERY).

3 months since our last update.  No, we didn’t drop off the face of the Earth.  We’ve been really busy WRITING!  And modeling, and rehearsing, and recruiting.

So, first things first, we’ve completed another 2 scripts for the production.  They’ve been picked over, reviewed in 10-12 various drafts (each), picked over some more and now they’re ready! ….to be converted in to shooting scripts.

Right about now most of you are reading that and going “huh?”  Well, this is a perfect excuse to introduce you to another part of filmmaking.  Namely, the difference between a SPEC script and a SHOOTING script.  And it’s not a minor difference, either.

You see, any screenplay is initially written as a Spec script.  It has 2 main elements: character dialogue and actual action.  Think of a stage play with a lot of descriptive paragraphs for stage action, and how the sets look, and you get the general idea.  When scripts are “pitched” to agents and studios, they’re all Spec scripts.  It’s also the version of a script the actors read.  Why?

Because of the complexity of the Shooting script.  You see a Spec script is primarily for selling an idea or for cast rehearsals.  The Shooting script?  Well, this contains every kind of camera shot the director will use, alongside important visual and sound effects which have to be noted at their proper location.  It’s also, therefore, much more boring to read.  I’ll give you an example from a textbook we use, The Screenwriter’s Bible, to illustrate the difference.

Here’s a sample from a Spec script.  Keep in mind there’s a specific format, the item in CAPITALS is a Character’s name, immediately below it is the spoken line:

Calcutta Cotter takes the phone in hand and turns toward the classroom window and frowns at what she sees — the professor doing cartwheels down the aisle.

CALCUTTA

I’ll make him pay, all right—

She turns to the phone.

CALCUTTA

You’re sure it’ll work?

She nods.

CALCUTTA

Beautiful.

Calcutta smiles, then slams the receiver.

Kinda simple right?  That might seem a bit boring to read, but if you think that’s boring, here’s what’s found in a Shooting Script:

MEDIUM CLOSE UP: CALCUTTA TAKES THE PHONE IN HAND

She turns towards the classroom window.

MEDIUM SHOT: THE PROFESSOR DOES CARTWHEELS DOWN THE AISLE.

CLOSE UP: CALCUTTA FROWNS AT WHAT SHE SEES

CALCUTTA

I’ll make him pay, all right—

MEDIUM CLOSE UP: SHE TURNS TO THE PHONE.

CALCUTTA

You’re sure it’ll work?

She nods.

CALCUTTA

Beautiful.

Calcutta smiles.

EXTREME CLOSEUP: THE PHONE SLAMS ON THE RECEIVER. SFX: PHONE HANGING UP.

Lot more complicated isn’t it?  Those “shots” in the lines?  Well, that’s telling our storyboard staff and our CGI artists where the camera goes.  It tells them how far away the models are, how much of their faces/bodies are in the shot, and other details.  SFX stands for Sound Effects.  Now imagine trying to read a whole script like that and get a semblance of the action as a producer or an actor.  It would be one heckuva chore.

Fortunately the conversion process is pretty fast.  The script is written, it’s just a matter of putting in the right camera angles and effects.

Now, time for the rest of the update.

First you’ll notice another model has made it’s way onto our media page, or should I say 2 of them.  It’s 2 different versions of our Summer Glau model, one representing Allison Young, the other representing Cameron.  This isn’t quite finished but it’s almost there.  There will be one important change though: Cameron’s eye is going to be RED, not Blue.

For the record I’ve strapped myself down in preparation for the massive rush of booing from fans about that.  We debated what color it should be, and in the end we went with what Josh Friedman revealed as the eye color in Born To Run.  He deliberately changed the color to Red to represent that Cameron is, at heart, another terminator, a machine, and we feel it’s our responsibility to stick to as close to his vision as we possibly can.  I know some of you will kick and scream that as a fan production we should do what we want.  Well, we are.  We want to follow Josh Friedman.

Also, we’re now 60% complete for models specific to Episode 1.

Secondly we are announcing that the role of John Connor is once again open to casting.  This is not because Mr. Domino is stepping down, far from it.  Mr. Domino is every bit involved in our production and remains our voice director, and he’s had no issues delivering lines or playing the character.  The problem is Mr. Domino doesn’t actually sound like Thomas Dekker.  And he wants to find someone who sounds like the John Connor on the show.

It’s actually been a deliberate tactic on our part.  We’ve got someone who sounds like Garret Dillahunt to play John Henry, and River2027 sounds so much like Summer Glau it’s scary sometimes.  So, if you think you can do a “Thomas Dekker” voice, feel free to apply for the role of John Connor.  You know how to contact us.

And finally, we have our newest members in the past few months.  Patricia3d, Jockerman, Sruthivathyath, and Mime_King are our latest CGI recruits.  Jockerman in particular has simply been a modeling machine, churning out model after high quality model.  Andrew132 has joined us as a designated full time rigger.  And finally we have another concept artist, Blackhive.  We still have room for someone to storyboard full time, so if you want in, contact us at tcc.no.fate.productions@gmail.com

We’ll have another update in a month, stay tuned!