Interview Questions for Puppetry for Film and Television

Puppet articulation is the key to bringing a puppet to life. My experience spans several methods, each with its strengths and weaknesses. Rod puppets, for instance, are controlled by rods inserted into the body, offering precise control of limbs, but limiting the range of motion and sometimes visible to the camera. String puppets, often seen in traditional shadow puppetry or Bunraku, employ strings attached to various control points, allowing complex movements but demanding skillful manipulation and potentially intricate rigging. Finally, hand puppets rely directly on the puppeteer’s hands and arms, offering intimacy and expressiveness but being restricted by the puppeteer’s own movements. In one project, we used a combination of rod and string for a large dragon puppet. The strings provided fluidity in the tail, while rods controlled the head and forelegs for precise movements during a fire-breathing scene. For a smaller character, a hand puppet was perfect for close-up emotional scenes.

• Rod Puppets: Precise limb control, potential for visibility.
• String Puppets: Complex movements, intricate rigging required.
• Hand Puppets: Intimate, expressive, limited by puppeteer movement.
• Combination Puppets: Often the most effective for large-scale projects.

Creating a puppet is a multifaceted process, beginning with the concept. First, a detailed design is developed, considering the character’s personality, size, and functionality. Then, I choose appropriate materials based on factors like durability, texture, and desired aesthetic. For example, foam latex might be perfect for a realistic creature, while wood and fabric could be ideal for a whimsical character. The next stage involves sculpting, molding, and casting. This step often requires multiple iterations and refinement. Painting and finishing follow, adding texture, details, and color that bring the design to life. Finally, I build the articulation mechanism (rods, strings, etc.) and integrate it seamlessly into the puppet’s design. Rigging is a crucial step; careful consideration must be given to balance, weight distribution, and overall maneuverability. The entire process is iterative, with many adjustments along the way. For instance, in one project, we had to adjust the weight distribution of a large bird puppet several times to ensure the wings moved smoothly and realistically.

My digital puppet animation experience includes proficiency in industry-standard software such as Autodesk Maya and ZBrush. Maya is my go-to for rigging, animation, and rendering of digital puppets. Its robust toolset facilitates the creation of complex rigs and intricate movements. ZBrush is invaluable for sculpting high-resolution digital models before bringing them into Maya for animation. The combination of ZBrush’s organic modeling capabilities and Maya’s animation power enables me to seamlessly transition from digital sculpting to nuanced digital puppet performances. I also have experience with Adobe After Effects, primarily for compositing and final polish on the animation.

Puppet movement and performance challenges are often overcome through a combination of careful planning and skillful execution. Issues with jerky movements are usually addressed by adjusting the puppet’s weight distribution, tweaking the rigging, and meticulously planning each pose. Poor performance can often stem from inadequate articulation or poor puppeteering. To overcome such challenges, I work closely with the puppeteers, offering guidance on movement and performance techniques through rehearsal and experimentation. In one case, we solved a problem of stiff arm movement by adding an extra control rod to the puppet’s arm mechanism, allowing for more natural rotation.

• Adjust Rigging: Improve weight balance, add controls for smoother motion.
• Rehearse extensively: Refine puppeteer performance.
• Iterative design process: Address issues discovered during rehearsal.

My experience includes using a broad range of puppet materials, each suited to specific needs. Wood offers durability and character, but requires careful carving and finishing. Foam latex provides flexibility and realism, excellent for creating lifelike creatures. Fabric allows for expressive textures and colors, offering a unique visual appeal. In one project, we used a combination of wood for the core structure of a character, overlaid with foam latex for a soft, lifelike skin texture. The choice of materials heavily influences a puppet’s weight, flexibility, and overall look. Understanding these properties is critical for both design and articulation. For instance, a heavier material may require a stronger articulation mechanism, while a more flexible material allows for greater expressiveness.

• Wood: Durable, requires careful carving.
• Foam Latex: Flexible, lifelike.
• Fabric: Expressive, varied textures and colors.
• Silicone: Durable, lifelike skin texture.

Maintaining and repairing puppets during production is crucial for ensuring a consistent performance. We implement a rigorous maintenance schedule that includes regular inspections, cleaning, and minor repairs. A dedicated puppet technician is often on set to address any issues immediately. We keep a detailed inventory of materials and components, such as replacement parts, adhesives, and paints. Repairs range from simple fixes, such as replacing a broken string or repainting a chipped area, to more extensive work, like rebuilding a damaged limb or mechanism. A well-maintained puppet can endure the rigors of filming, minimizing downtime and ensuring consistent quality.

Camera angles are fundamental to puppet animation, significantly influencing the mood, perspective, and overall impact of a scene. Low angles, for instance, can make a puppet appear powerful or imposing, while high angles can create a sense of vulnerability or insignificance. Close-up shots emphasize emotional detail, while wide shots offer a broader view of the scene and puppet interactions. Understanding camera placement and movement is essential for directing the audience’s attention and controlling the emotional impact of the narrative. For example, a close-up on a puppet’s eyes during a poignant moment can convey a range of emotions that would be lost in a wider shot. Strategic use of camera angles and movement can add depth and dynamism to the animation, enriching the storytelling experience.

Collaboration is paramount in puppetry. It’s not a solo act; it’s a team effort requiring seamless communication across departments. On a typical project, I actively engage with:

• The Director: To ensure the puppets’ movements and expressions perfectly align with the director’s vision for the scene. This includes discussing character arcs, emotional beats, and overall performance goals.
• The Art Department: Close collaboration is crucial for designing and constructing the puppets. We work together to ensure the puppets are structurally sound, aesthetically pleasing, and capable of performing the required actions. I’ll often provide feedback on design feasibility from a puppeteer’s perspective.
• The Animation Department (for stop-motion): This is a constant back-and-forth. We coordinate shot plans, puppet manipulation techniques, and camera angles to ensure smooth animation. The animators rely on my expertise to understand puppet limitations and capabilities.
• The Set Design Team: The puppet’s environment directly influences its performance. We ensure the set allows for smooth operation of the puppet and facilitates the planned movements.
• The Wardrobe/Costume Department: Costume design influences how the puppet moves and interacts with its environment. We discuss materials and designs to ensure compatibility with puppeteering techniques.

For example, on a recent project, I worked with the art department to modify a character’s design to make its mouth easier to manipulate for dialogue. This collaborative approach ensured both aesthetic appeal and functional performance.

My experience with stop-motion animation software is extensive. I’m proficient in industry-standard software such as Dragonframe and Stop Motion Pro. These programs aren’t just for capturing footage; they’re integral to the entire process. They provide tools for:

• Onion Skinning: This allows me to see previous frames, ensuring smooth transitions and precise movements. It’s like having a ghost of the previous pose to guide the next.
• Timelapse Recording: This efficiently captures the subtle movements needed for realistic animation.
• Camera Control: Precise control over camera movements is vital, and these programs offer the tools for seamless integration with the puppeteering process.
• Rotoscoping and Clean-up: After filming, these programs help refine the footage, addressing minor imperfections and ensuring a polished final product.

Beyond the core features, I’m adept at using various plugins and custom scripts to streamline workflows. For instance, I created a custom script in Dragonframe to automate the process of capturing multiple passes for lighting and special effects, significantly reducing post-production time.

I have extensive experience with both rod puppets and hand puppets, each with its own unique challenges and advantages.

• Rod Puppets: These puppets are manipulated using rods attached to their limbs. They offer a wider range of movement and can be used for complex actions. However, the rods can be visible, requiring careful camera angles and techniques to mask their presence. Think of the intricate movements of a character in a fantasy film, often relying on rod puppetry for fluidity.
• Hand Puppets: These are directly manipulated by the puppeteer’s hands, typically from inside a costume or hidden enclosure. They are great for close-up shots and creating intimate character moments, but the puppeteer’s movements directly restrict the puppet’s actions. Consider the nuanced facial expressions of a character in a heartwarming drama, often better achieved with hand puppets.

My experience spans various sizes and types within both categories. I’ve worked with miniature rod puppets for intricate close-ups and large hand puppets for dramatic stage presentations. The choice between rod and hand puppets depends on the specific needs of the project and the desired level of detail and expression.

Handling complex puppet mechanisms and rigging requires a blend of mechanical skill, creative problem-solving, and a deep understanding of puppet anatomy. It starts with meticulous planning. I begin by carefully studying the character design and its required movements.

• Mechanical Design: The internal mechanisms are carefully designed to mimic the range of motion of the character while remaining reliable and durable. This may involve custom-built armatures, linkages, and servo motors.
• Rigging: This involves attaching control mechanisms to the puppet, ensuring smooth and precise movement. It might involve subtle adjustments to achieve life-like gait, fluidity, and believable interactions with the environment.
• Testing and Refinement: Extensive testing is crucial to identify and address any mechanical issues or limitations before filming begins. This iterative process involves multiple revisions and refinements.

For instance, I once built a puppet with a complex facial rigging system using tiny servo motors and custom-designed linkages. This allowed for a wide range of facial expressions, including subtle shifts in emotion. Through meticulous planning and testing, we were able to deliver nuanced and engaging performances.

Creating realistic movement and expressions is a multifaceted process. It involves a combination of:

• Understanding Anatomy: A thorough understanding of human and animal anatomy is crucial to create believable movements and poses.
• Careful Puppeteering: This requires precision and control, often involving subtle movements and adjustments that bring the puppet to life.
• Animation Principles: Applying principles like squash and stretch, anticipation, and follow-through creates dynamism and realism.
• Character Development: Understanding the character’s personality and emotional state informs the puppeteer’s performance, bringing depth and believability to the movements.

For example, to create a believable walk, I use a combination of subtle shifts in weight, hip movements, and arm swings. To depict sadness, I might create slight drooping of the shoulders or a downward tilt of the head. These small details significantly impact the realism of the puppet’s performance.

Creating realistic puppet skin and textures is an art in itself. It’s a multi-stage process that often involves:

• Material Selection: Choosing the right materials is crucial. Options range from silicone and foam latex for soft, realistic skin to fabrics and paints for textured surfaces. The selection depends on the character design and desired level of realism.
• Sculpting and Mold Making: A three-dimensional model is often sculpted, allowing for a custom mold. This ensures precision and consistency when applying the chosen skin material.
• Painting and Texturing: This stage involves meticulously painting and texturing the skin, using various techniques like airbrushing, dry brushing, and sponge painting to achieve realistic details, such as wrinkles, pores, and blemishes.
• Finishing Touches: Final touches might involve applying washes, highlights, and shadows to enhance the depth and realism of the skin.

In a recent project, I used a combination of silicone and foam latex to create a character with incredibly realistic skin. I meticulously sculpted the head, creating fine details like pores and wrinkles. Subtle color variations and careful highlighting were used to achieve a natural look.

I’m familiar with a range of puppetry styles, including Bunraku, shadow puppetry, and many more. Understanding these diverse styles allows me to draw inspiration and adapt techniques to different projects.

• Bunraku (Japanese puppet theatre): Known for its intricate puppet manipulation, three puppeteers control one puppet, creating expressive performances. I have studied Bunraku’s techniques to enhance my own puppeteering skills, particularly in coordinating multiple puppeteers for complex movements.
• Shadow Puppetry: This involves creating puppets from translucent materials and manipulating them behind a screen, using light to create shadows. I appreciate the artistry involved in creating evocative shadow plays and understand how lighting dramatically affects the impact of the performance.
• Rod Puppetry (as discussed previously): My considerable experience includes various forms, from marionettes to more complex rod-controlled characters.
• Hand Puppetry (as discussed previously): From glove puppets to more elaborate designs involving full-body costumes.
• Vaudeville Puppets: Familiar with the history and distinctive styles, enhancing character design considerations for specific projects.

This broad knowledge allows me to adapt my approach depending on the artistic demands of the project, whether it’s a realistic portrayal or a stylized, theatrical effect.

Creating believable puppet performances hinges on understanding and mastering several key elements. It’s not just about manipulating the puppet; it’s about bringing the character to life.

• Character Development: Before a single string is pulled, I delve deep into the character’s backstory, motivations, and personality. This informs every movement and expression. For example, a timid character will have subtle, hesitant movements, whereas a boisterous character will be more expressive and dynamic.
• Performance Capture: I often use reference footage of actors performing the same scene. This allows me to translate human nuances – like a slight head tilt or a subtle shift in weight – into the puppet’s movements. This helps ground the performance in relatable human behavior.
• Puppeteer Skill: Years of practice have honed my dexterity and control. A puppeteer needs to be a master of their craft, able to seamlessly blend the mechanical aspects of puppetry with the emotional demands of the character. The subtle twitch of a finger, the precise tilt of the head, these are critical details. One wrong move can break the illusion.
• Collaboration: Close collaboration with the director and other members of the production team is essential. They may suggest adjustments that enhance the performance and ensure it aligns with the overall story.

For instance, in one project, I played a grumpy old gnome. To achieve this, I studied old men’s posture and facial expressions. I incorporated the stiffness in their gait, the subtle frowns and eye twitches into the puppet’s performance. The result was a character audiences found genuinely believable and endearing.

Maintaining consistency in puppet animation across long shoots requires meticulous planning and execution.

• Detailed Reference Sheets: Creating detailed reference sheets for each puppet’s pose, movement, and expressions is crucial. These serve as a guide for the entire team, ensuring everyone understands the character’s specific characteristics.
• Shot Breakdown: A shot breakdown meticulously maps out every frame, detailing puppet position, camera angles, and lighting. This detailed preparation prevents inconsistency and keeps the team on the same page.
• Regular Check-ins: Regular check-ins with the director and animation team help catch inconsistencies early on, ensuring the performances remain consistent throughout the project. We constantly review footage to maintain a steady quality.
• Proper Storage and Maintenance: Puppets are delicate. Proper storage and maintenance (including regular cleaning and repairs) are crucial to prevent damage and maintain consistency in their appearance throughout the production.

Imagine animating a character over several months. Even a slight alteration in the puppet’s facial expression could create a jarring discontinuity. Thorough planning and proactive measures prevent this.

My experience encompasses a wide range of puppet materials, each presenting unique challenges and opportunities.

• Foam Latex: This material offers excellent flexibility and detail, ideal for creating expressive characters with intricate facial features. However, it is relatively fragile and requires careful handling.
• Silicone: Silicone is more durable and resilient than foam latex, making it suitable for puppets that undergo rigorous handling. It’s more expensive, but its robustness often outweighs the cost in projects involving intense action sequences.
• Wood and other Hard Materials: These are used for creating the puppet’s armature (internal structure) which provides support and allows for manipulation. Different woods offer various strengths and flexibilities. The choice depends on the character design and the demands of the animation.

I’ve worked on projects using each of these materials, adapting my techniques to best suit the material’s properties. For example, I used silicone for a dynamic superhero puppet in a fight sequence; the durability was critical to maintain consistency across the filming.

Troubleshooting puppet mechanisms often involves a systematic approach combining technical know-how and creative problem-solving.

• Understanding the Mechanism: Knowing the inner workings of the puppet’s mechanism – its rods, cables, and joints – is fundamental. This allows for quick identification of the source of the problem.
• Systematic Inspection: A step-by-step inspection, checking each component of the mechanism, often reveals the issue. Look for loose screws, broken wires, or jammed joints.
• Resourcefulness: On-set fixes often require improvisation. I’ve used everything from superglue to repurposed wires to get a puppet working again. Quick thinking and adaptability are key.
• Prevention: Regular maintenance and careful handling are the best forms of troubleshooting. This minimizes the likelihood of technical issues during filming.

I recall a situation where a puppet’s jaw mechanism jammed mid-scene. By carefully examining the joint, I discovered a small piece of debris causing the obstruction. A quick clean resolved the problem, minimizing downtime.

My experience with miniature sets and environments is extensive. Creating believable miniature worlds is crucial for enhancing the puppet performances and grounding them in a realistic context.

• Scale Consistency: Maintaining consistent scale across all elements of the set (props, buildings, landscapes) is critical. Inconsistent scale can break the illusion of reality.
• Detailing: Adding intricate details to the sets enhances believability. This could include weathering effects, realistic textures, and miniature lighting.
• Forced Perspective: Employing forced perspective techniques, where objects are strategically placed to create an illusion of depth and scale, is often crucial in miniature set design.
• Material Selection: Choosing appropriate materials to reflect the desired environment is important. A forest set might use various shades of green, while a desert set might use sandy tones.

For instance, on a recent project depicting a fantastical city, we meticulously crafted each building, ensuring accurate scale and detailing. This level of detail immersed the puppets in their environment, making their movements and interactions feel natural and believable.

Lighting and shadow are powerful tools for enhancing puppet performances. They can create mood, highlight expressions, and add depth to the scene.

• Highlighting Expressions: Strategic lighting can accentuate the puppet’s facial expressions, making them more visible and impactful. Careful placement of light sources can make even subtle expressions more apparent.
• Creating Mood: Lighting dramatically influences the overall mood of the scene. Harsh lighting can create a sense of unease, while soft lighting can produce a more tranquil atmosphere.
• Depth and Dimension: Shadow play is crucial for creating depth and dimension in the scene. Shadows can add weight and form to the puppets, making them seem more three-dimensional and real.
• Color Temperature: The color temperature of the lighting can also influence the mood and tone. Cool lighting can create a sense of coldness, whereas warm lighting can evoke feelings of comfort.

In one film, we used deep shadows to create a suspenseful atmosphere in a dark forest scene, while highlighting our puppet character’s anxious expression with a precise beam of light. The contrast helped to create a powerful and memorable moment.

While my expertise lies primarily in traditional puppetry, I possess a working familiarity with digital puppet creation for VFX. I understand the basic workflow and the software involved.

• 3D Modeling: I have a basic understanding of 3D modeling software like Maya or Blender, and know how to create digital puppet models.
• Rigging and Animation: I am familiar with the process of rigging digital puppets to allow for movement and animation. I understand the importance of creating realistic and believable movement.
• Texturing and Shading: I have worked with artists who specialize in creating realistic textures and shaders for digital puppets, and have collaborated on several projects that incorporate this aspect.
• Integration with Live Action: I understand the complexities of integrating digital puppets with live-action footage seamlessly.

Although I’m not a specialist in digital puppetry, I understand its process well enough to effectively collaborate with digital artists and ensure the digital aspects align with my vision for the overall performance. For example, I’ve helped provide reference footage and feedback on digital puppet movements to ensure they match the style of my traditional work.

Motion capture (mocap) technology has revolutionized puppet animation, allowing for incredibly realistic and nuanced performances. It works by tracking the movements of a performer (or even a simpler rig) wearing special markers, and then translating those movements onto a digital model of the puppet. This can be done in several ways: optical mocap uses cameras to track reflective markers; inertial mocap uses sensors embedded in a suit to track movement; and even simpler markerless systems exist.

In my experience, I’ve utilized optical mocap extensively for creating fluid, believable puppet animations. For example, on a recent project involving a mischievous goblin character, we used a performer in a mocap suit to capture the goblin’s quick, jerky movements. The resulting animation was far more natural and engaging than traditional frame-by-frame animation could achieve. The system accurately captured subtle nuances like the goblin’s twitching nose and the way its fingers flexed when it stole a pie. We then refined the mocap data in post-production to adjust timing and add detail, ultimately resulting in a character that felt genuinely alive.

The use of mocap isn’t without its challenges. The markers can be visible in the final product if not carefully accounted for in the digital compositing stage. Getting a perfect match between the actor’s performance and the puppet’s design can also require careful planning and collaboration with character designers. However, the benefits of increased realism and efficiency generally outweigh these considerations.

Creating believable interactions between puppets and other elements on set is all about meticulous planning and careful execution. It’s crucial to consider lighting, scale, and the overall environment to make the interaction seem seamlessly integrated.

One key technique is to employ forced perspective. This involves strategically placing props and sets to create the illusion of scale. For instance, we might use a miniature set to create the illusion that our puppet is interacting with a large environment. Careful lighting is crucial; we use strategically placed lights to highlight both the puppet and its surroundings, ensuring consistent shadowing and lighting conditions that enhance the illusion of a unified space.

Another crucial aspect is pre-visualization. Before shooting a scene, we often create a storyboard or even a rough animatic to plan the interactions. This helps us anticipate potential problems and refine the puppet’s movements. For instance, if a puppet is supposed to interact with a flowing stream, we will consider how the water’s movement impacts the puppet’s motion and adjust accordingly.

Post-production also plays a significant role. Techniques like digital compositing and CGI can be used to refine interactions, seamlessly blending the puppet into the environment. This might involve adding subtle reflections on the puppet’s surface to match the environment, or removing distracting elements from the background.

Sound design is absolutely critical to the success of any puppet animation. It’s not just about adding background music; sound design breathes life into the puppets, adding emotional depth and realism.

Consider the texture of the puppet itself – its movement should create sounds which match the character and environment. A soft, plush puppet would have soft, muffled movements, while a wooden puppet will have a noticeably different sound. These subtle sounds can be crucial in establishing the puppet’s weight, material, and texture.

Furthermore, Foley artists play a vital role in creating realistic sound effects. This might involve recording the sounds of footsteps on different surfaces, the rustle of clothing, or the creaking of a wooden joint to perfectly match the puppet’s movements. Sound effects can add another layer to the storytelling; a squeak from a door can heighten tension, whilst the gentle patter of rain can evoke a calm atmosphere.

Finally, the music contributes significantly to the emotional impact of the scene. The music needs to complement the visual elements of the animation and create a cohesiveness between puppet performance and the story being told. It should enhance the audience’s emotional connection with the characters and the story itself.

Working on film sets demands strict adherence to deadlines and excellent time management. My approach is rooted in proactive planning and collaboration. Before production begins, I meticulously review the schedule, breaking down complex tasks into smaller, manageable units. This includes creating detailed puppet schedules that factor in build times, modifications, and any necessary maintenance.

I use project management tools, such as Gantt charts, to visualize task dependencies and prioritize activities. This ensures we focus on the most time-sensitive aspects of puppet creation first. I maintain open communication with the production team, reporting progress regularly and flagging potential delays early on to allow time for corrective measures.

During filming, I’m meticulous about maintaining a tidy and organized workspace, which minimizes time wasted searching for materials or tools. I also work closely with the puppetry team to anticipate any needs or potential delays, often proactively solving issues to maintain the production schedule. Flexibility is key, though; when unexpected problems arise, I prioritize and reassess tasks to adjust the workflow accordingly.

Puppet malfunctions are an unfortunate but unavoidable reality on set. My problem-solving approach prioritizes quick thinking, adaptability, and a resourceful mindset.

When a malfunction occurs, my first step is to accurately assess the nature of the problem. Is it a mechanical issue, a cosmetic problem, or something else entirely? This initial diagnosis helps to define the scope of the required repair.

Next, I determine the best course of action, choosing between a quick on-set repair (if possible and feasible) or a complete replacement of the puppet (if the damage is extensive). I have a well-stocked toolkit with various tools and materials for common repairs, including glues, threads, replacement parts, and even improvised solutions.

For example, when a puppet’s arm broke during a crucial scene, I quickly assessed the damage and realized I could temporarily repair it using strong adhesive and a lightweight support structure crafted from readily available materials. This allowed us to finish the scene without significant delays and then replaced the arm properly afterward. The key is to not panic and think creatively.

The safety and well-being of the puppets are paramount. This involves implementing careful handling procedures, using appropriate storage methods, and ensuring safe transportation.

Handling procedures start with training the entire team on proper techniques. This includes teaching them to support the puppet’s weight correctly, avoiding sudden movements, and using gentle pressure. Fragile puppets might require special handling gloves or specialized supports.

Storage is equally important. We use custom-made cases or protective containers to safeguard the puppets from damage during downtime. These containers offer protection against impacts, moisture, and dust. For delicate components, we often use individual protective enclosures.

Transportation is carefully planned and executed. Puppets are often transported in secure, padded containers during movement. For long-distance transport, the containers are properly labeled and secured, ensuring proper climate control for delicate materials. We often have specific team members solely responsible for the transportation and handling of the puppets.

My experience spans a range of puppetry genres, each presenting unique challenges and opportunities. For fantasy projects, I often work with elaborate designs featuring intricate details and often magical elements. This necessitates a deep understanding of sculpting techniques, material selection, and often specialized mechanisms to bring these fantastical creations to life. For example, a winged dragon might require a complex armature and lightweight materials for believable flight.

Horror films present a different set of considerations. The aim here is often to create puppets that are both disturbing and believable, using materials and techniques to elicit a specific emotional response. This might involve using unsettling textures, unnatural color palettes, or techniques to create a sense of unease. For example, a grotesque creature might be made using realistic-looking but unsettling materials like silicone and resin.

In contrast, puppets for more light-hearted genres, such as children’s animation, usually require brighter colors, softer materials, and simpler mechanisms focused on expressiveness and cuteness. The construction is usually robust enough for more rigorous handling, emphasizing durability.

Adapting my skills and knowledge to different styles is part of my process; I always start with in-depth research and thorough planning, creating designs and prototypes to meet the specific requirements of the genre before beginning the final build.