Oh looky there. Batman is getting blown at a rave by a stewardess. More on that later…

We transition via a color plane effect from Vonky’s cocaine-covered table into a full blown rave taking place in the Mona Lisa hall of the Louvre.

This is a bobbing and weaving MOCO shot down a steep rail on my slider. It’s also the first shot in which you get a behind-the-scenes look at one of my sets. The silhouette of those theater lights are actually my Chauvet GigBar Move DJ light bar in full DMX blaze. DMX means the lighting is being controlled in stop-motion time by Dragonframe while I animated this most complex scene. Complex, because as you can see, there are ten puppets in this shot — all with their own back stories.

Most of Act 3 was done months ago, but I went back and incorporated an exciting new Star Trek subplot now that I own all of the available QMx 1:6 scale figures from The Original Series. Those aftermarket puppets cost me a whopping $2,269 for Kirk, Spock, McCoy, Scotty, and Sulu — plus their 1:6 Captain’s Chair for $109. QMx was supposed to produce Chekhov but they never released it. No Uhura either, but I did find a special edition Barbie version of her that works for $135.

I say Uhura “works” because in the POSERS universe, it becomes apparent that there are different species of POSERS. The Phicens, the Hot Toys, the Barbies, and a few other brands — all in various stages of evolution. Look for that to become part of the story eventually.

On September 23, 2021 I received three 3D printed 1:6 scale Star Trek chairs from a fellow Trekkie in Glasgow, Scotland. They’ll look fantastic in my USS Enterprise bridge scene. They shipped via Royal Mail and arrived here in Portland faster than the USPS can get something here from San Diego. Dunno how that’s possible, given Customs and all.

This is a long, continuously zig-zaggy MOCO shot following Amanda past several works of art and into the Mona Lisa hall. She pauses to savor the marble statue of naked Greek wrestlers, reflecting on her own sexual preferences to the Mona Lisa herself. She finally spins through the stanchions and lands atop an empty pedestal in the opposite corner, suspended from above by fishing line.

For this final move I actually studied illustrations of a skating move call the Waltz Jump. Which is fitting because the music for all of Act 2 is a French waltz, and therefore all of Amanda’s animation takes place in 3/4 time.

And that also means my cuts and camera moves through Act 2 take place precisely “on the bars” in the music.

Amanda skates through a closed Louvre, under the glass pyramid. Another simple green screen shot.

In this hall she approaches a revolving exhibit full of retro collectibles: Batman & Robin, King King vs. Godzilla, and Kirk & Spock from Star Trek.

Might any of them come to life later? Stay tuned…

While Amanda mocks the display of boy toys and spins the turntable around faster and faster with each swipe, we get to ogle her thong and those sexy clefts that form a V above her butt — which I’ve since learned are called the Dimples of Venus.

Amanda skates her way through the vacant Louvre, muttering in her Flemish accent.

Amanda’s entry catches the attention of someone hiding in the adjacent workshop. Why is he wearing a Chinese peasant hat, and covered in a plastic tarp?

Technically this is another green screen shot, using Chris Pratt’s head on a Phicen M31 body. He’s hiding behind a clay figure that my wife made in a sculpture class decades ago. The plastic is simple a large Zip-Lock bag, cut open and secured with rubber bands off camera. The background is just a nice photo I found somewhere.

It’s our mystery man Rick O’Shaw again, still spying from under his hat and a plastic tarp.

Amanda sticks the landing after what feels like a 15-foot drop through some unseen portal. The first time my wife saw this, she gasped. So I know it’s literally a breathtaking shot.

Technically, I achieved this by removing Amanda’s head and laying her on her back so that the camera lens represented her POV. Then I slide her body along a ruler toward a concrete planter, one frame at a time. A timely flex of her knees, the proper shadows leading up to contact with the floor, and the roller skate sound effects really sell the shot.

This is also the first scene where we start to suspect POSERS aren’t really bound by the same physical laws we humans are. Because we were just outside, and now we’re inside.