The music is done! Here’s the jump scene from Catching the L Train with the final music in place. I owe a big “thank you” to composer Daniel Beja who is extremely talented and fantastic to work with!
Scoring Progress
It has been a blast working with a composer Daniel Beja located in Paris! As our days and nights are switched, I wake up to find delightful progress on the score to Catching the L Train in my inbox.
![Musical Score](https://i0.wp.com/sprocketlessentertainment.com/wp-content/uploads/beja-1-1.jpg?resize=525%2C314&ssl=1)
The score is nearing completion, which means the film should be ready to hit festivals in March!
Animation Process
Here’s a brief behind-the-scenes look at the animated short Catching the L Train along with a (nearly) finished scene at the end–enjoy!
Nearly There!
A typical shot is rendered in separate layers, such as foreground elements, middle-ground character performances, and an out-of-focus background set. Over the past year, I tracked all of the 160 shots or shot-layers for Catching the L Train on a pipeline spreadsheet, where only final, locked shots were labeled in green.
With only two shots remaining to polish and lock, the board is almost entirely green!
![](https://i0.wp.com/sprocketlessentertainment.com/wp-content/uploads/Pipeline-1-1.jpg?resize=525%2C337&ssl=1)
BY THE NUMBERS
![](https://i0.wp.com/sprocketlessentertainment.com/wp-content/uploads/Farm2-1-1-225x300-1.jpg?resize=225%2C300&ssl=1)
The 160 separate shot layers resulted in more than 24,000 finished frames. Each scene was rendered several times before the lighting, FX, and performances were locked. Rendering was handled by a render farm of 12 dedicated computers running 24/7 for months at a stretch to make this 6.5-minute film possible.