Stunt Island Game Manual

Stunt Island Game Manual (plain text)

STUNT ISLAND

THE STUNT FLYING AND FILMING SIMULATION

HANDBOOK

Introduction

Stunt Island — The Place

In the spring of 1986, one of the movie industry's most
important deals was being struck. Butthisdeal included no
actors, no screenplay, and no director. Just an island.

Stunt Island was purchased in a joint venture of the major
movie studios, Located off the coast of Southern California,
the island would provide a private place specializing in the
filming of high-risk stunts.

During the past decade, obtaining permits to perform stunts
in public areas became an increasingly difficult task for the
film studios, Because stunts had evolved into sophisticated,
extravagant, and incendiary productions entire housing
tracks blowing up, airplanes crash-landing in congested areas,
multiplecar crashes in crowded streets — the pre-filming
logistics of acquiring a location and acceptablefilm time were
becoming just as difficult as filming the stunt itself.

Having a private place tailored to handle high-risk activities
would allow the movie studios the opportunity to invest valu-
able time — otherwise spent on pre-production administrative
work — into more critical stunt production issues.

Stuntlsland istheworldsfirstand only stunt haven. If astunt
needs to be done, the only limitations are talent, imagination,
and physics.

Stunt Island — The Program

Stunt Island, the program, is entertainment software that
recreates the activities of Stunt Island, the place.

You'll have the opportunity to enter the world of film
production as a stunt pilot, editor, director, and / or set designer
(you can parti d pate in as few or as many of these activities as
you want). No other program has this range of activities set
behind the scenes of Hollywood.

Introduction

Table of Contents

Chapter 1: About Stunt Island 7

Your Career Opportunities

on Stunt Island 7

About This Handbook 7

About Your Mouse, Joystick,

or Keyboard 8

The Movie Production Process

Chapter 2: Setting up the Program H.

Equipment You'll Need 11

I nstal I i ng Stu nt I si and 12

Changing the Setup 14

Starting Stunt Island 14

Exiting Stunt Island 17

The Places on Stunt Island 18

Input Devices Used in Stunt Island 2 0

Selecting an Onscreen Option 20

Changing Numbers .21

Selecting an Item From a List 22

Joystick Users.. 22

Joystick Calibration Screen 22

Save and Load File Requesters 24

Chapter 3: Aircraft

Checkout Procedures 27

Aircraft vs. Airplane 27

Aircraft Availability 28

Onscreen Gauges 28

Flying Stunt Island Aircraft 3 0

Flight Controls 30

Neutral Position of Control Stick....30

Pitch 31

Roll 32

Yaw 32

Using the Rudder 32

Using the Ailerons 32

Engine Power Controls 34

Taking Off and Landing 34

Taking Off 34

Using Flaps for Takeoff 34

Landing 35

Landing on a Runway 36

Ending Flight Without Landing 3 6

Autopilot 36

Crashing or Ejecting 36

Weapons Use 36

Dropping Bombs 37

Aircraft Views 38

Keyboard Keys Available

During Flight 38

Tips on Successful Flying 39

Recording During Flying 39

Preferences Window 40

Chapter 4: Stunt Pilot of the

Year Contest 43

The Contest 43

Getting Stunt Assignments 44

Payoffs and Penalties

on Stunt Performance 45

Camera Crew 45

Stunt Island Hall of Fame 46

Competitors Leaving Stunt Island 46

The Stunt Assignments 47

Stunt Assignment Clues 57

Chapter 5: Production: Set Creation
and Filming 59

Creating Sets 60

Island View Window

and It's Options 61

Prop Window and Its Options 62

How to Select Your Stunt Aircraft 6 6

How to Place a Prop 67

How to Move a Prop 68

How to Delete a Prop 68

Special Prop Controls -

The Adjust Window 6 8

How to FineTunea Prop 73

How to Animate a Prop 75

Animating a Still Prop 75

Animating a Dynamic Prop 76

Having More Than One

Stunt Aircraft 78

How to Set Up Cameras 78

The Watch (WTCH) Option 79

Adjust Screen

"Programming" Options 8 0

Saving and Loading Sets 82

Creating New Sets 82

How to Film a Stunt 83

Leaving the Production Building 84

Questions and Answers 85

Table of Contents

Chapter 6: Setting Up

Special Events 87

I F Option 89

AND Qualifier 90

THEN Option 92

Setting and Using Flags 95

Collision Windows., 9 6

Setting the Recording Features 9 7

Auto-Edited Films 99

Dissecting Stunt Sets for Success 100

Chapter 7: Tutorial: Creating Sets
and Events 103

Contest Scene ,103

Designing the Set 103

Setting Up the Cameras ,104

Parked Vehicles 107

Collision Windows., ,112

Animating the Police Car ,118

Chapter 8: Post-Production:

Editing and Special Effects 123

Editing Film Footage 124
Source Deck vs.

Destination Deck 126

Marking Footage: The

Cornerstone to Editing 128

Editing "On The Fly" 12 9

Recording From the Source Deck to

Destination Deck 130

Marking and Copying a

Single Frame 130

Inserting Footage on the

Destination Deck 131

Deleting Footage from the

Destination Deck 132

Incorporating Visual Effects 132

Incorporating Music and

Sound Effects 134

Saving Edited Footage 136
Leaving the Editing Room ... 136

Maximum Film Values 136

Incorporating Your

Own Sound Files 137

Previewing Films to

Other PC Owners 138

Chapter 9: Tutorial: Editing a Film 141

Loading the Highway Take ,141

Editing the Footage 142

Inserting Audio and Visual Effects ... ,144

Chapter 10: Industry

History and Insight 147

Stunt Flying History 147

The Film Industry 1 4 8

A Conversation with

Chris FHowell, Stunt Coordinator 154

Appendices

Appendix A: Aerodynamic Forces 157

Appendix B: Stunt Island

Permanent Locations 159

Appendix C: Helpful Information and

Troubleshooting Guide 160

Appendix D: Disney Software

C u stomer Serv ice 167

Appendix E: List of Files Installed

by Stunt Island 172

Appendix F: Keyboard Keys 176

Index 178

Table of Contents

CHAPTER 1

About Stunt Island

Your Career Opportunities on Stunt Island

You can do as much or as little as you want on Stunt Island:

+ Be an apprentice stunt pilot. Fly stunts without entering the contest or
doing film work.

+ Prove yourself the hottest stunt pilot by winning the Stunt Pilot of the Year
contest and have the newly finished airfield named after you.

+ Create films without having to fly. Take pre-shot footage and edit it any way
you like.

+ Design your own sets. You have dozens of locations and hundreds of props
to choose from.

+ Become a stunt coordinator. Plan your own stunts from start to finish.

+ Do it all — design, fly, and film your own stunts.

About This Handbook

Although reading this handbook will give you a clearer understanding of Stunt
Island, you can also learn how to use the program through the time-honored
method of trial and error. Almost all the options are available by moving the pointer
on them and then selecting them. If you want to get into the program and sample it
on your own, read Chapter 2 for details on how to install the program and controls
you can use; then check out the island. If you get stuck, just refer to the index or
the table of contents to look up answers.

Chapter 1 About Stunt Island

If you prefer a more organized approach, read through this
handbook. You'll get the complete details on Stunt Island.

This Can Be a Complicated Program.. .

If you try to set up, film, and edit a stunt right after you've
loaded this program for the first time, you can make this one
of the hardest programs in the world to understand. The more
advanced stunts just aren't easy to create. But the more compli-
cated aspects of Stunt Island also provide its depth, making this
program one that's endlessly playable.

. . .When It Happens to Be a Simple One

If you approach Stunt Island one segment at a time, it's simple
to learn and master. The outline below is the way we recom-
mend you familiarize yourself with Stunt Island. It will keep you
from being overwhelmed by the many features of the program.

Step 1. When you start the game, you're asked, "Are you going
to be in the competition?" Select No. Enter the competition
later, after you've put in some flying time You'll take away a lot
of the frustration if you can fly without contest pressures and
penalties.

Practice flying. Check out each of the planes and get a feel for
their individual flight characteristics. Learn to read the gauges
and control the points-of-view.

When you're asked, “Do you want to do your own editing?"
select No. When you select No, your films will be automatically
edited for you.

Step 2. When you're ready to enter the competition for the first
time, go ahead. But we still recommend answering No to doing
your own editing. As a pilot, focus on the competition and leave
the technicalities of editing to the post-production staff.

Step 3. If you've done the competition, or have no plans to
enter it, go on to set designing and editing (answer Yes to, "Do
you want to do your own editing?"). Learn to place props and
animate them. Then try flying and filming with the sets that
you've made. When that's done, practice editing the film.

Step 4. The most complicated thing you can do is create your own
stunts. Stunt Island gives you the tools to become a stunt coordi-
nator, letting you build stunts just like those used in the Stunt
Pilot of the Year contest. These stunts have specific goals that
you outline as "must-do" in order for this stunt to be a success.
Chapters 5 and 6 explain how you can create your own stunts.

About Your Mouse, Joystick, or Keyboard

You can use your mouse, joystick or keyboard to control the
program. Because there are three devices to input information
with, they're often referred to under the generic term of "input
device" or "control stick." Wherever you see "input device" or
"control stick" in the handbook, we're referring to your mouse,
joystick or keyboard — whichever you're using.

For added reading ease, we use "select ‘ when you need to
click a mouse or joystick button, or press Enter on the keyboard
to choose an option. Your onscreen pointer^ turns into cross

Chapter 1 About Stunt Island

hairs -i-when it's positioned on something that can be
selected. If the pointer doesn't turn into cross hairs, the
onscreen item can't be selected.

Check the section called "Input Devices Used in Stunt Island"
in Chapter 2 to learn more about how each input device works

The Movie Production Process

The movie making process has three important development
phases: 1) pre-production, 2) production, and 3) post-production.

Pre-production involves such aspects as scriptwriting, casting,
director selection, etc.

Pre-production elements and issues need to be determined
before filming can begin.

Production covers the actual movie making process. You select
the plane, props, and camera angles that will be used, and then
you film the stunt sequence.

Post-production includes the work that needs to be done once
all the film has been shot: editing the film, adding special effects,
sound and credits, viewing the edited film in the theatre, etc.

In the Stunt Island program, you'll mainly focus on production
and post-production work. The only pre-production decision
you'll need to make is deciding whether you'll fly, set design,
stunt coordinate, edit, or do any combination of these jobs.

Chapter 1 About Stunt Island

CHAPTER 2

Setting Up The Program

Equipment You'll Need

To use the Stunt Island software, you must have:

+ IBM or 100% compatible; 386SX with 16 MHz processor or better required;

386DX with 33 MHz processor or faster strongly recommended

+ 640K of total RAM (random access memory); need 570K of free RAM;
additional RAM memory strongly recommended

+ VGA 256-color and color monitor

+ PC-DOS/ MS-DOS; supports 3.3 to 5.0

+ 3.5" high density (1.44 MB) or 5.25" high density (1.2 MB) disk drive

+ Hard disk drive (requires 13 MB of free disk space)

The following equipment is optional:

►f Joystick

Mouse with 100% Microsoft compatible driver

►)- The Sound Source, Sound Blaster, Thunder Board, Tandy Sound (DAC) or

PS1 Audio Card

* AdLib or Roland MT32/LAPC-1

>> Expanded or extended memory (for ddtails on expanded or extended

memory, see Appendix C)

Chapter 2 Setting Up The Program

Installing Stunt Island

Stunt Island comes with an Install program that guides you
through the install process.

Stunt Island must be installed onto a hard diskdrive. It cannot
be played from floppy disks.

In the following instructions we refer to your computer's
floppy disk drive as the A: drive and the hard disk drive as the C:
drive. If your floppy or hard disk drive is something other than
drive A: or C:, substitute A: or C: with the correct drive letter(s).

1. Insert Stunt Island Disk 1 in drive A:. Change to the A:
drive by typing A: and pressing Enter. Type INSTALL and
press Enter.

2. A screen stating "This Program installs files onto your hard
disk and lets our program know about your equipment
configuration" should appear. Press Enter to continue.

Note: During the install process, you can press Esc to back up
a step or to abort the Install program.

3. The Setup screen appears. You will see that an input device,
a sound device, and a music device have been selected —
this is what the Install program automatically detected.

If you want to change an option, press the up or down
arrow keys to highlight the option and press Enter. Use the
up and down arrow keys to select an input, sound, or

Chapter 2 Setting Up The Program

music device and then press Enter to accept. Press Esc to
cancel. (If you're using a 10-key pad, make sure the Num
Lock key is off.)

Note: To use a Thunder Board or other Sound Blaster
compatible card, choose the Sound Blaster option.

If the Install program cannot detect the option you select-
ed, you will see a warning message. If you select the option
anyway, the Stunt Island program may "freeze" when you
start it, requiring you to restart your computer and go
through the setup process explained in the next section.

Once you've selected the appropriate options for your
computer's current configuration, select Install with the
above configuration and press Enter.

4. The Drive Letter screen appears. If there are any partitions on
your hard drive, or if you have more than one hard drive,
the Install program will identify them and ask you to select
the drive on which you want to install Stunt Island. If there
are no partitions on your hard drive the program will choose
drive C and go directly to the Destination Path screen.

Note: The Install program notifies you if your computer does
not have enough hard disk space and/ or memory to install or
run Stunt Island. At this point you may want to exit the Install
program and make any changes to free up memory or hard
disk drive space. If this screen appears dueto lack of hard disk
space, you can go back to the Drive Letter screen and select

another driver if you have other partitions. (See Appendix C
for tips on handling memory problems.)

5 The Destination Path screen appears. The default subdirec-
tory selected for Stunt Island is \ STUNTISL. To change
the subdirectory name, press the Delete key to delete
STUNTISL; then type the new subdirectory name you
want to use (up to 8 characters). Be sure to include the
\ (backslash) at the beginning of the subdirectory name.

The other box on the screen, System Information, shows
hard disk space and memory usage. You're shown the
amount currently used, the amount used by the Stunt
Island program, and what is left of both after installation.
The amount of conventional memory used is only during
the use of Stunt Island.

Press Enter to accept the subdirectory name and begin the
copying process. You will see a Copy Status screen which
visually tracks the copying progress. You will be prompted
to insert new disks when necessary.

6, The Installation Complete screen appears when the instal-
lation process is finished. Press Enter at this screen and
you'll go to the directory where you installed the
program; you can then type STUNT to start the program.
(See the section "Starting Stunt Island for complete details.)

Put your original disks in a safe, dean place in case you a/er
need to reinstall the program.

A- 1 0 Thunderbolt

Manufacturer:

Take-off speed:

Stall speed:

Maximum speed:

Maximum altitude:

Flaps:

Retractable landing gear:

.Grumman Corporation
B8 m.p.h.

,115 m.p.h.

.439 m.p.h.

,45,000 feet

Yes

Chapter 2 Setting Up The Program

Changing The Setup

Once you’ve performed the initial installation, you can change
the setup at any time. Maybe you’ve just purchased The Sound
Source to use with your computer, or maybe you just want to
make sure the PC speaker sounds are off.

To change the setup, follow these steps:

1. Go to the Stunt Island subdirectory. For instance, if you

accepted the default \STUNTISL subdirectory when you
installed the program, you would type CD \STUNTISL
and press Enter. Then type STUNT ? and press Enter.

You must type the question mark (preceded by a space)
after STUNT or you will not get the screen that lets you
make changes.

2. The Setup screen appears. To change the input, sound, or

music option, press the up or down arrow keys to high-
light the option you want and press Enter. Using the up
and down arrow keys, select a different input, sound, or
music option and then press Enter to accept. Press Esc to
cancel. (If you’re using a 10-key pad, make sure the Num
Lock key is off.)

3. Once you’ve made the changes you want, select Install

with the above configuration and press Enter. The Setup
program will save the new configuration. The Setup
process is complete and the game will start with the new
options.

Chapter 2 Setting Up The Program

Starting Stunt Island

1. To start the program, go to the Stunt Island subdirectory.

For instance, if you used the default STUNTISL subdirectory
in the Install program, you would type CD\ STUNTISL and
press Enter.

2. Type STUNT and press Enter.

If your screen goes blank, reboot the computer and run
the Setup program as explained in the previous section,
making sure to select the correct input, sound, and music
options for your computer setup. If you still have problems
with loading the program, please see Appendix C.

3. As the program loads you may see “Caching data xxxKin

extended [or expanded] memory.’’ The program is setting
up available extended or expanded memory for use with
Stunt Island. You will only see this screen if you have
extended or expanded memory. Stunt Island works equally
well with both — it will use whichever you have the most
of (but not both).

4. The Introduction film appears. If you want to bypass this

film, click the mouse or joystick button or press any key.

Welcome to Stunt Island!

When you first arrive at Stunt Island, you're dropped off in front
of the production building.

Joystick users: If this is the first time you've loaded Stunt
Island and you're using a joystick, the first thing you see is the
Joystick Calibration screen. Follow the onscreen instructions.

If you need details on this screen, see page 22.

Next, you may be asked to answer a question about a particu-
lar aircraft. Locate the aircraft in this handbook by using the
index. Go to the page indicated to find the answer. Type in the
answer and press Enter. If you answer the question correctly,
the game will begin. If you answer it incorrectly, you're
returned to the DOS prompt. Type STUNT and press Enter to
try again.

You're asked, "Do you want to be in the competition?"

NO: If you select N o, a pilot will not be set up for you. Also,

Chapter 2 Setting Up The

Program

A- E Intruder

Manufacturer* Grumman Corporation

Take-off speed: 13S m.p.h.

Stall speed: 113 m.p.h.

Maximum speed: 644 m.p.h.

Maximum altitude: 41,4JJfeet

Flaps: Yes

Retractable landing gear: Yes

the competition standing screens will not appear in the game.

YES: Selecting Yes lets you see the competition standings in
the game. All stunts you fly (those offered by the stunt
coordinator) count towards your total pilot score.

When you select Yes, you're asked, "Is this your first time here
or are you an old timer?"

+ If you're new, use your input device and select "I'm new to
the island." Type in your name and press Enter. Then
choose a nickname by positioning the cursor on the down
arrow next to Nickname and then clicking the mouse or
joystick button or pressing the Enter key. Highlight a
nickname and then click a button or press the Enter key
to select it.

If the nickname is currently being used, you're asked if you
want to replace the current pilot, Up to 17 separate characters
can be tracked by the program (one for each nickname).

Chapter 2 Setting Up The Program

+ If you're an old timer, use your input device to select "I've
been here before." Then select your name from the list and
then select OK. You're then asked to confirm your nickname.
If your name isn't on the list, select "I'm Not Listed" so you
can enter your name.

NO: If you select No, after you complete a stunt you'll goto
the theatre to view the automatically edited film. If you're new
to Stunt Island, we recommend you select No so the films will

be edited for you.

Selecting No does not mean you will be barred from the
editing room. The program will just bypass the editing room
after you've flown your stunt since the program assumes you
won't want to edit. You can still go to the editing room if you
want. (You can change this option at any time by bringing up
the Preferences window. See page 40 for details,)

YES: If you sel ect Yes, the fi I ms you create w i 1 1 not be auto-
matically edited for you. You can go to the editing room at any
time to put your own films together.

Exiting Stunt Island

To exit the program, select the signs that say Ferry or Leave
On Ferry.

If you're not in the Stunt Pilot of the Year contest, you can press
Ctrl-Esc at any time to go immediately to DOS. Make sure you
don't press Ctrl-Esc before you've had a chance to save the files
you're working on (like sets, takes, or films), otherwise you will
lose your current work.

Competitors who entered the Stunt Pilot of the Year contest
should leave on the ferry or else their accomplishments will not
be saved. When you're leaving on the ferry, you're asked, "Do
you want to end this game?" Select Yes or No. If you choose
Yes, you're then asked, “Do you want to save your Pilot?" Be
sure to select Yes so your achievements are recorded. If you

B-2 Stealth Bomber

Manufacturer: Nataf

Take-off speed: 11m, p.h.

Stall speed: ...11 7 m.p.h.

Maximum speed: 627 m.p.h.

Maximum altitude: 50,290 feet

Flaps: Yes

Retractable landing gear: Yes

Chapter 2 Setting Up The Program

select No, everything you’ve done in this last session of play will
not be recorded. Finally, you’re asked, "Do you want to start a
new game?” Select Yes to start a new game or No to see the Exit
screens and return to DOS.

If you want to start a new game with a new character, answer Yes
to "Do you want to start a new game?” You'll go to the start of the
program where you can enter a new name and choose a new
nickname.

The Places on Stunt Island

Stunt Island has five important places:

+ Housing or Cabin 273 This is the place you’ll call home
during your stay. The housing sign takes you to the outside
of your cabin, while the Cabin 273 sign takes you inside.

C hapter 2 Setting Up The Program

+ Airfield — All the planes are kept here. You can select the
plane in the hangar to get a list of planes to scout locations
with.

+ Production Building — This is where you’ll go to get stunt
assignments, or design sets and create stunts of your own.

+ Post-Production Building — This houses all the equipment
needed to edit a film.

+ Ferry Harbor — This is the departure point for all Stunt
Island guests and employees.

All the Stunt Island locations are clearly marked with the
following signs. Select the sign to go to that location.

Housing or Cabin 273 — Come here to check your ledger,
phone messages, and the daily standings. Select Housing to get
to the outside of your cabin and select Cabin 273 to go inside.

Chapter 2 Setting Up The Program

Beechcraft Bonanza V-35

Manufacturer Beech Aircraft Corp,

Take-off speed: 9,0 m.p.h.

Stall speed: rfS.p.h.

Maximum speed 209 nr.p.h.

Maximum altitude llJSIfest

Flaps: Is

Retractable landing gear: Is

The Ledger and Daily Standings only open if you've entered the
Stunt Pilot of the Year contest. The Ledger shows the money you
received for the stunts you've done, and how many takes it took
to complete each stunt. The Daily Standing showsthethe point
standings of the pilots in the contest. There will also bephone
messages on your answering machine to listen to.

To exitthe cabin, select the keys on thedesk.

AIRFIELD — Takes you to the airfield where you can fly a
variety of aircraft.

PRODUCTION or PROD — Takes you to the production
building where you can get assignments from the stunt
coordinator or go to Set Design where you can select a film
location and set up props and cameras.

When outside the production building, you have immediate
access to these offices:

SET DESIGN — Takes you directly to the set design room in
the production building.

Chapter 2 Setting Up The Program

STUNT COORD — Takes you directly to the stunt
coordinator's office in the production building.

POST-PROD — Takes you to the post-production building
where you can edit and view film footage.

When outsidethe post-production building, you have
immediate access to these areas:

EDITING — Takes you directly to the editing room in the
post production building.

THEATRE — Takes you directly to the theatre in post
production so you can view film footage.

FERRY — Takes you back to the ferry so you can leave
Stunt Island. Select LeaveOn Ferry to exit. If you entered
the Pilot of the Year competition, you must exit on the
ferry or all that you've done in this game play session
will not be saved.

EXIT — Select Exit anytime you want to exit a screen,
room, building, etc.

Input Devices Used in Stunt Island

You can use a mouse, joystick, or the keyboard to control the
game.

Selecting an Onscreen Option

Your onscreen pointer ^ turns into cross hairs H-when
it's positioned on something that can be selected. If the pointer
doesn't turn into cross hairs, the onscreen item cannot be selected.

To select an option:

Mouse users — Roll the mouse until the pointer is on the option
you want and then click either mouse button to select it.

Joystick users — Move the joystick until the pointer is on the
option you want and then click either joystick button to select it.

Keyboard users — Press the up, down, left or right arrow keys
until the pointer is on the option you want and then press Enter
to select it.

As you're reading the instructions throughout the handbook, you'll
notice that there are many references to button 1 and button 2.

Mouse users — Button 1 is the left button. Button 2 is the right
button.

Keyboard users — Button listheEnter key. Button 2isthe/

(forward slash) key.

Joystick users — Because joystick designs vary greatly, we can't
tell you exactly which button is button 1 and which is button 2.

Some joysticks even have three or four buttons. If you're a
joystick user, you'll have to do some testing to determine which
buttons act as button 1 and 2.

Changing Numbers

In options that have values that can be changed, there are two
ways to change the values:

+ You can select the- (minus) or +(plus) button next to
the number to decrease or increase the value. Each
selection with button 1 changes the value by one, whileeach

Chapter 2 Setting Up The Program

Boeing 727

Manufacturer Boeing Commercial

Airplane Group

Take-off speed: 150 m.p.h.

Stall speed: 125 m.p.h.

Maximum speed: 599 m.p.li.

Maximum altitude: 4S ( !feet

Flaps: les

Retractable landing gear: les

selection with button 2 changes the value in larger incre-
ments of 5 or 30.

You can select the value itself and then enter a new num-
ber. Use the Backspace or Delete key to delete the current
value. Mouse users can highlight the entire field and then
type a number to replace the highlighted number.

Selecting an Item From a List

A requester (a window you can interact with) appears when
you need to select an item from a list. To choose an item from
a requester:

Mouse users — Roll the mouse up or down to position the
cross hair on an item, click either mouse button to highlight it,
and then click on OK. You can also double-click on an option
to select it.

Joystick users Push the joystick forward or pull the joystick
back to position the cross hair on an item and then dick either
joystick button to highlight it. Click on OK to select the high-
lighted option. You can also doubleclick on an option to select it.

Keyboard users — Press the up or down arrow keys to high-
light the option you want and then press Enter to highlight it.
Move the cursor to OK and then press Enter to accept the
option. Or you can position the cursor on an option and then
quickly press Enter twice to select it.

Shortcuts for Selecting Items

The Pg Up and Pg Dn keys move up and down a list one
screenful at a time.

You can also press any letter to jump to that letter in the list. If
nothing in the list starts with that letter, nothing will happen.

Joystick Users

Your joystick will be active if it was detected and selected in
the Install or Setup program. (Simulated flight yokes like the
Flight Yoke 2000 will be treated I i ke a joystick.) If a joystick is
detected by the program, you must use it as the flight input
device — you will not be able to use the keyboard to control
flight. To use an input device other than ajoystick, be sure to
select a different input device option through the Install or
Setup program.

Joystick Calibration Screen

The Joystick Calibration screen automatically appears the first
time you load the program if a joystick is detected.

When you seethe black dot in the upper left corner of the
Joystick Calibration screen, hold the joystick in the upper left

Chapter 2 Selling Up The Program

position and then click a button. When the dot is in the center,
leave your joystick in neutral position (by not touching it) and
then click a button. Finally, when thedot is in the lower right
corner, hold the joystick in the lower right position and click a
button. The joystick should now be calibrated.

The dead zone is an area in the center of the joystick that
indicates your joystick's sensitivity. The lower the number, the

more sensitive the joystick control will be. For instance, at the

default value of 20%, the cursor will move pretty much in direct

— response to your joystick movement. If you changed the value
to 75%, your joystick will probably have the room to move

— quite a bit before the onscreen cursor moves in response. You
can change the number by clicking on the up or down arrow.
After the joystick is calibrated, move the joystick around to
see if the cursor on the screen responds to the joystick's
movement. If it doesn't, press C to recalibrate the joystick.

You can press Alt-J to open the Joystick Calibration screen at
any time to recalibrate your joystick.

Keyboard Users

If you need to regain control of your cursor (e.g., the cursor is

— "trapped" in a text field) press the Tab key.

Boeing 737

Manufacturer Boeing Commercial Airplane

Group

Take-off speed: 145 rnp.h.

Stall speed 125 m.p.h.

Maximum speed: 532 m.p.h.

Maximum altitude: 45,000 feet

Flaps: *5

Retractable landing gear: yes

Chapter 2 Setting Up The Program

Save and load File Requesters

You'll see Save and Load requesters throughout your work.

Save File Requesters

Save requesters lets you enter names for your work to be saved
under and determine where you want to save them.

The default locations for saving files are in the \ STUNTISL
subdirectories. You can select [ ..] to "back out" of the current
subdirectory. Subdirectories have brackets 1 1 around them.
The name of the current directory is shown after DIR (e.g.,

Dir£:\STUNTISL\ SETS).

The program uses the drive that you loaded Stunt Island onto
as the default drive, although it is capable of recognizing drives
A: through F:. If you want to load from or save to a different
drive, select that drive letter. Drives that you can't select are
"ghosted" (in a lighter color). You can also type in the drive
letter before the filename to access the fi le (e.g., BiFLYING).

To access drives greater than F:, type that driver letter in the
Filename field and then press Enter. The subdirectories and
files in that drive should appear. For example, if you want to
access thej: drive, type J: and press Enter.

To save a file, select the field after Filename. Use the Backspace
or Delete key to erase any characters in the field and then type
in a name. You have a limit of 8 characters in a name (not
including the file extension). Invalid characters such as
hyphens or slashes will not be accepted in the Filename field.

All Stunt Island files have file extensions that help identify the
type of file. For instance, all files that are sets have the file
extension of .SET. All films have the file extension of .FLM .
Here's a list of all the file extensions you'll want to know:

.FLM

Films

.SET

Sets

.TKE

Takes

. voc

Sound Files (only applicableto Sound
Blaster and Thunder Board owners)

You're not required to enter a file extension when you save a
file the program automatically does it for you. For example,
when you select Save to save a set, you'll see the default name
of TEMP. SET (which represents "Temporary Set"). You could
delete TEMP.SET and entera new namelikeGUNBOAT.The
filewill be saved asGUNBOAT.SET.

Chapter 2 Setting Up The Program

Load File Requesters

The Load requesters basically have the same options as the
Save requesters.

Notice that when you load a file, you always see an asterisk fol-
lowed by a file extension name in the field after Filename. The
asterisk is a "wild card" that represents everything, while the file
extension is specific to the type of file. This tells the program to
show all filenames that end with that specific extension.

For example, if you were loading takes in the editing room,
you'd see*.TKE after Filename.Thistellstheprogramtoshow
all files that end with .TKE. If you want to load atakethatyou
didn't save with the .TKE extension, you won't see it in this
list. You'd haveto enter*.* or*, [and the extension you used]
after Filename to tell the program to show you other files.

You'll find using extensions is a good way to keep common
files grouped together, making them easy to locate.

To open a file or subdirectory, highlight the name and then
selectOK. You can also double-click on a filename to open it.

Boeing 747

Manufacturer: Boeing Commercial

Airplane Group

Take-off speed: 160 m.p.h.

Stall speed: 145 m.p.h.

Maximum speed: 602 m.p.h.

Maximum altitude: 50,000 feet

Flaps: Yes

Retractable landing gear: Yes

Note: The space shuttle on the 747 uses the same values
as those of the Boeing 747.

Chapter 2 Setting Up The Program

CHAP'

Aircra

'ER 3

t Checkout Procedures

Most stunt production veterans know how hard it is to get planes for high risk
stunt scenes — "borrowing" a B-2 Stealth Bomber from the government would
probably be easier. But because you come to Stunt Island with high recom-
mendations from others in the industry, and because your flight experience
has been exceptional, we wanted to create an atmosphere where your hard
work is rewarded. Specifically, we want to make it easy for you to fly whenever
you get the urge to practice your talent.

Aircraft vs. Airplane

Aircraft is the term for a structure or machine that travels through the air,
regardless of whether the object is lighter or heavier than air and regardless of
whether it's propelled by an engine or not. A balloon is just as much an aircraft
as a Boeing 747.

An airplane is more specific in definition. Airplanes are fixed-wing aircrafts
that are heavier than air. Airplanes are held aloft by the aerodynamic forces of
air as it is driven forward by propel ler(s) or jet propulsion.

Because the things you can fly in Stunt Island are not necessarily airplanes —
like the duck, pterodactyl, hang glider, and paraglider — the term aircraft is
used in this handbook.

Chapter 3 Aircraft Checkout Procedures

Aircraft Availability

All of the aircraft are available for use by Stunt Island pilots.
You are not required to be working on a film project to check
out an aircraft. To check out an aircraft for flight
practice, follow these procedures:

+ Go to the airfield by selecting Airfield.

+ Select the hangar (building) to view the inventory of
available aircraft.

+ You'll see a list of the aircraft you can fly:

Select an aircraft and then select OK. The names of all the air-
craft available will not be visible in the window at the same
time. You can scroll through the aircraft inventory by selecting
the down arrow to the right of the window, by selecting an area
on the scroll bar (vertical bar), or by selecting the button in the
scroll bar and dragging it down until the name of the desired
aircraft appears.

When you select an aircraft, you start in the forward view
through the cockpit. You can press the FI through F7 keys to
change the pilot's view. When you're in the forward view (FI),
you can press the F9 key to toggle the cockpit on or off.

Onscreen Gauges

When Forward view is selected (press FI), you see your air-
craft's gauges laid out in the cockpit (if you don't seethe cock-
pit, press F9 after pressing FI). There are five different types of
cockpits. Below is one example with the gauges highlighted.

BCD EF G

C hapter 3 Aircraft Checkout Procedures

A — Engine power: The position of the throttle lever corre-
sponds to the engine power you selected by pressing keys 1
through 0 on the main keyboard. If your joystick has a throt-
tle, use that to control engine power.

B — Horizon gauge: Shows the artificial horizon. Notice that
when you bank or pitch, the artificial horizon line changes to
represent that movement.

C — Speed indicator: This indicates the speed atwhichyou
are traveling.

D — Vertical climb indicator: This gauge shows the change in
feet per minute. Each number represents 100 feet. When the
needle is in the upper half of the gauge, the aircraft is climb-
ing. When the needle is in the lower half of the gauge, the
aircraft is descending.

E — Altimeter: The altimeter shows the aircraft's altitude.

Each revolution of the small hand represents one thousand
feet. Each revolution of the large hand represents one
hundred feet.

F — Clock: This is the time elapsed sinceyou got into your
aircraft.

G — Compass: This shows your north, south, east, and west
direction heading.

If the cockpit view is off, or if you are in any other view, you'll

Bristol Bulldog (Mk IIA)

Manufacturer:

Take-off speed:

Stall speed:

Maximum speed:

Maximum altitude:

Flaps:

Retractable landing gear:

Bristol Aeroplane Co.
.65 m.p.h.

.55 m.p.h.

B5 m.p.h.

.25,000 feet

Chapter 3 Aircraft Checkout Procedures

see the necessary in-flight readouts along the bottom of the
screen.

ALTITUDE: The altitude of the aircraft above sea level,
expressed in feet.

SPEED: The speed of the aircraft expressed in miles per hour.

DIR: The direction the aircraft is flying measured in degrees.
Due north is 0 degrees, due east 90, due south 180, and due
west 270.

The red dot on the stick schematic indicates the position of
your flight control stick. (See "Flight Controls" fordetailson
how the stick schematic feature works.)

The white dot along the right side of the stick schematic
indicates engine power setting.

Flying Stunt Island Aircraft

Some of you more advanced pilots may get into our aircraft and
get fidgety not enough controls for you to manipulate. We've
automated many of the controls that the pilot normally would
adjust because as a stunt pilot, your primary concern isto suc-
cessfully executea high risk stunt.

Although not necessary, pilots who really want to can work on
their aileron and rudder skills. The use of independent rudder
control is explained in "Using the Rudder."

This section does not go into the aerodynamic forces
that affect flying, nor does it cover the dynamics of
stalling, which is referred to. If you know little about
flying and would like to learn more about the technical
details, please see Appendix A.

Flight Controls

Stunt Island planes can be controlled using a keyboard, a
mouse, or a joystick. As the pilot, you control the aircraft's
pitch, roll, and yaw.

A control stick schematic is always displayed on the lower right
corner of the information display bar, except in the cockpit
view (FI). When the dot is in the center of the schematic, your
control stick is in the "neutral position."

Chapter 3 Aircraft Checkout Procedures

Neutral Position of Control Stick

If you were in the real cockpit of an aircraft, you would be con-

trolling the aircraft by using a "yoke" or a "flight stick." The
yoke (shaped somew hat I i ke a bu 1 1 's horns) and the f I i ght sti ck
move three dimensionally. Both controls have a ‘neutral posi-
tion," which isa point of rest the control will return towhen
you let go of it.

Joysticks also have neutral positions. If you're using a joystick,
notice how it always returns to the upright position when you
let go of it. The dot in the stick schematic represents the posi-
tion of your stick. When you release your joystick, the dot
always returns to the center of the schematic.

Although there's no "stick" on a mouse or keyboard, you can
treat it as if it had one because of the Control Centering option.
When Control Centering is on, the mouse or keyboard behaves
like a yoke or flight stick and automatically returns to the
neutral position when you stop moving it. This allows you to
make subtle adjustments during flight.

Control Centering's default setting is On. To turn it off, press
Alt-P to open the Preferences window and select Off.

Pitch

Moving the aircraft along its lateral axis results in a change in
pitch. When pitch changes, the nose of the aircraft rises or
falls. To change the pitch of an aircraft, move your control
device forward or backward.

Cessna Model 172 (Skyhawk)

Manufacturer:

Take-off speed:

Stall speed:

Maximum speed:

Maximum altitude:

Flaps:

Retractable landing gear:

Cessna Aircraft Co.
.55 m.p.h.

.45 m.p.h.

,138 m.p.h.

.12,000 feet

Yes

Chapter 3 Aircraft Checkout Procedures

Roll

Moving the aircraft along its longitudinal axis results in roll.
To roll an aircraft, move the control device left or right.

Yaw

Moving the aircraft along its vertical axis results in yaw.
Imagine putting your foot on the ground and grinding it.

The toe of your shoe, as it moves left and right, illustrates
the movement of yaw.

Yaw occurs in two ways: 1) It's a natural by-product of
working the pitch and roll, or 2) You can induce yaw by
specifically using the rudder.

Yaw will be at its greatest influence when the control device is
moved diagonally. (Keyboard users need to alternate up or
down arrow keys with left or right arrow keys to achieve yaw.)

Chapter 3 Aircraft C hec kout Procedures

Using the Rudder

You can use button 2 to actuate the rudder. When button 2 is
pressed and the control device is moved to either the left or
right, the aircraft will yaw in that direction without rolling.

The rudder, located on the back edge of the aircraft's vertical
tail, controls the aircraft's yaw. When the rudder is to the right,
airflow will react against it and push the tail of the aircraft to the
left causing the nose to yaw to the right, When the rudder is to
the left, the opposite will occur, and the nose will yaw to the left.

Rudder

area

The Independent Rudder option is available in the Preferences
window by pressing Alt-P. The default option is On.

Using the Ailerons

The Independent Aileron control option is available in the
Preferences window by pressing Alt-P and selecting Off next to
Independent Rudder control, when you have independent aileron
control, you do not have independent rudder control; you must
choose one or the other.

You can use button 2 to actuate the ailerons. When button 2 is
pressed and the control device is moved to either the left or

right, the aircraft will roll in that direction without yawing.

The ailerons, located on the back edge of the aircraft's wings,
help control the aircraft's roll. When the right aileron is up and

the left is down (button 2 is pressed and the control stick is

moved to the right), airflow will react against the ailerons
causing the aircraft to roll to the right. When the left aileron is

up and the right is down (button 2 is pressed and the control
stick is moved to the left), the aircraft will roll to the left.

Using the ailerons lets you keep yaw to a minimum as you roll
the aircraft. This is particularly useful if you need to fly side-
ways through a narrow corridor like a canyon or between
buildings.

Curtiss JN “Jenny"

Manufacturer Curtiss Aeroplane and

Motors Corp.

Take-off speed: ifm.pl.

Stall speed: 3 0 m . p . h .

Maximum speed: 1 5 m.p.h.

Maximum altitude: 14,000 feet

Flaps: No

Retractable landing gear: . . No

Note: The other jenny airplanes are simply color

variations of this one.

Chapter 3 Aircraft Checkout Procedures

Engine Power Controls

The keyboard controls the power settings for the aircraft's
engine(s). Press a key from 1 to 0 on the main keyboard (not
the keypad) to select a power setting. The (+) and (-) keys
allow you to gradually adjust the power.

Ke/

8
9
0

Backspace

Function

10% of available engine power
20% of available engine power
30% of available engine power
40% of available engine power
50% of available engine power
60% of available engine power
70% of available engine power
80% of available engine power
90% of available engine power
100% of available engine power
Increase engine power by 2%
Decrease engine power by 2%
Cut engine power to 0%

If you are flying with the cockpit view on, the aircraft's power
setting will bedisplayed on the cockpit panel by the position
of the throttle lever. The higher up the throttle lever, the more
engine power you have.

For those of you flying with the cockpit view off, the white
dot along the right side of the stick schematic will indicate
the aircraft's power setting. When the dot is at the top of the
cross hair, the aircraft is at full throttle. The lower the white
dot is on the stick schematic, the lower the engine power.

Taking Off and landing

Taking Off

Press 0 to open the engine to full throttle and start the aircraft
rolling down the runway. The miles per hour will increase on
the airspeed indicator. When the aircraft reaches its takeoff
speed, pull back on the control stick to lift the aircraft into the
air. Remember the type of aircraft you are flying; modern jet
aircrafts can take off and climb at greater angles, while older
aircrafts and propeller aircraft will stall if you pull back too far
on the stick.

If you're flying with Control Centering on, you need to keep
rolling the mouse back or keep pressing the down arrow key
on the keyboard to simulate pulling back on the flight stick;
otherwise, the stick moves back to the neutral position when
you stop rolling the mouse.

Once you are established in astabilized climb (not descending
or turning) press G to raise your landing gear (if applicable).
Flying with your landing gear down increases drag, which
slows the aircraft.

After you level off at the desired altitude, be sure to reduce
engine power to somewhere between 60% and 70% for jets
and 80% to 90% for propeller aircrafts. Flying at full throttle
makes the aircraft much more responsive to the slightest stick
movement, which may make it seem harder to control.

Using Flaps for Takeoff

If you want to get your aircraft airborne quickly or if you need

Chapter 3 Aircraft Checkout Procedures

to take off in a very short distance, you can do so by using
flaps if your aircraft has them.

Press F to lower the flaps before take off. Press 0 to open the
engine to full throttle, The miles per hourwill increase on the
airspeed indicator. Instead of waiting for take off speed to pull
back on the control stick, hold the control stick back during
the entire take off process.

Once the aircraft lifts off, allow the airspeed to build well
beyond the take-off speed (about 20% above it) before pressing
F to retract the flaps and G to retract the landing gear.

Please note that not all planes have flaps.

Landing

To land, reduce power to about 30% in the jets and about 50%
in propeller aircrafts. Asthe aircraft slowsdown, it comes clos-
er to stalling so you must remember to pitch the nose down to
maintain flying speed as well as to keep the aircraft descending.

Press F to lower the flaps (if available). Flaps lower the stall
speed and help slow the aircraft. Press G to lower the landing
gear (if applicable) before touching down.

When you're about 75 feet above the ground, reduce the
power again to about 10%, pitch the aircraft to a level flight
attitudeand let it continue to descend ("attitude" is the
positioning of the aircraft).

Chapter 3 Aircraft Checkout Procedures

At about 15 feet above the ground, gently pull back on the
control stick to bleed off any excess airspeed.

Once the aircraft has touched down, press the Backspace key
to cut the throttleto 0% thrust and then press B to actuate the
brakes.

Landing on a Runway

The altitudes and speeds suggested previously are for landings
in general. To land on a runway requires a touch more skill.

You need to learn to judge the distance to the runway and how
fast this particular aircraft will cover that distance. A good rule
of thumb is to descend to approximately 1,000 to 1,500 feet
above the ground at a distance of one to one and one-half
miles from the end of the runway.

Ending Flight Without Landing

If you don't need or want to land the aircraft, press Esc at any
time to end the flight.

Autopilot

Press the A key to fly in autopilot mode. The autopilot is a
two-axis gyroscopic type that only maintains altitude and
heading. The autopilot is not computerized, and will not
automatically fly the aircraft during stunt assignments —
that's your job!

Crashing or Ejecting

During flight practice at the airfield, you can crash an aircraft
without penalty (for those of you entered in the Stunt Pilot of
the Year competition). Only when you accept assignments
through the stunt coordinator during competition will you be
penalized for crashing. In the more spectacular crashes, you
will awaken in the hospital and find yourself groggily peering
up the nostrils of the island surgeon. Note: If you don't want
to go to the hospital after a crash, select Alt-P to open the
Preferences window; then select Off for the Hospital option.

Press E to eject. When you eject, you change to the para-
chutist's point of view (you no longer have a view from the
aircraft you were flying).

Thereisno problem with ejecting unless you're in the Stunt
Pi lot of the Year contest. If you're in the contest, itwill cost
you a "take" to eject. The goal in the contest isto successfully
complete stunts in as few takes as possible. Too many unsuc-
cessful takes can get you fired. If this is your first take in a
stunt, ejecting guarantees that you'll miss out on the bonus for
completing a stunt in the first take.

Weapons Use

In order to fire a weapon, you must first select that weapon.
Press W to toggle through the available weapons (guns,
missiles, or bombs). To fire the selected weapon, click button
1 or press the Enter key.

Chapter 3 Aircraft Checkout Procedures

Not all aircrafts are originally equipped with guns, missiles,
and/or bombs. The available weapon(s) will appear on the
aircraft's cockpit, You can "cheat" and have an aircraft fire a
weapon by selecting it through the Global option on the Set
Design screen in production.

Dropping Bombs

If you are dropping a bomb, you can press the F7 key to get
the bomb target view. The cross hairs in this view help you
line up with your target on the ground. Once the cross hair is
over the ground target, press a button or the spacebar and the
bomb will fall on the target. The bomb target view is automati-
cally recalculated based on speed and altitude so that the cross
hair will be accurate.

To drop a bomb, you must select Bomb as the weapon.
However, use of the Bomb view is not required. In some cases
where you're flying in a tight area, like through a canyon, you
may not want to risk shifting from your forward view to the
bomb view. Bombing is a bit more tricky this way, but if you
stay low and perform a shallow dive toward your target, the
bomb should hit.

Chapter 3 Aircraft Checkout Procedures

Aircraft Views

The following are keyboard keys for all the possible vantage
points during flight:

Key view

FI Pilot's cockpit view, looking out the front window

F2 Pilot's view, looking out the left window

F3 Pilot's view, looking out the right window

F4 View looking out the rear of the aircraft

F5 Spotter plane view

F6 Adjust spotter plane view. By pressing the arrow

keys, moving the joystick, or rolling the mouse,
you can adjust the view used in F5 (the spotter
plane's perspective on the stunt aircraft). Mouse
or joystick users: Button 1 changes the distance
from the aircraft while button 2 changes the
camera zoom level. You can also press both
buttons simultaneously.

F7 Bomb target view

F9 Toggle cockpit display on/ off; this key is only

applicable when used with the FI key (forward
view).

Chapter 3 Aircraft Checkout Procedures

Keyboard Keys Available During Flight

In addition to the FI through F9 aircraft views listed
previously, the following keyboard keys are available to you
when you take off from the airfield:

Key Function

A Toggles the Autopilot on and off

B Toggles the Brakes on and off

E Ejects the pi lot from the aircraft

F Raises and lowers the Flaps

G Raises and lowers the landing Gear

P Pauses the game; select OK to continue

R Starts and stops Recording

T Calls up option to change the Time of day

w Toggles through the available Weapons (Guns,

Bombs, or Missiles)

X Sets off an explosion special effect

Tab Centers the control device(useful iftheControl

Centering option is turned off)

These keys are always available:

ALT-D Opens the Delete file screen

ALT-J Opens the Joystick calibration screen

ALT-P Opens the Preferences window

CTRL-Esc Exits the program (Quick Exit in the Preferences
window must be on)

Tips on Successful Flying

+ If you're trying to fly Is/el with the cockpit view off, keep
the red dot toward the center of the cross hair. (If you have
Control Centering on, this should automatically occur.)

+ If you're trying to fly level in the cockpit view, keep the
middle of the cross hair (near the center of the screen)
just below the horizon.

+ Use slow movements with your controls, especially at high
speeds. Jerky movements with the input device translates
into jerky movements of the aircraft, and a tendency to
over-control the aircraft.

+ After take off, reduce power to avoid flying at abnormally
high speeds. Higher speeds make the aircraft more sensi-
tive to the input device.

+ Use flaps in conjunction with power when trying to slow
the aircraft in shorter distances.

Recording During Flight

The R key lets you record your flight at the airfield. While
flying, press the R key and an "R" will appear in theupper left
corner of the screen to indicate that the program is recording.
The "R" will remain on the screen until you press the R key
again or end the flight and return to the airfield.

When you return to the airfield, a Save Take requester appears.
Name your file and select OK. The file is automatically saved
with the .TKE extension to the \SfUNTISL\ VAULT

Curtiss June Bug

Manufacturer: .... Curtiss Aeroplane and
Motors Corp.

Take-off speed: 4 8 m . p . h .

Stall speed: 25 m.p.h.

Maximum speed: 6 5 m.p.h.

Maximum altitude: 14,000 feet

Flaps: I)

Retractable landing gear: No

Chapter 3 Aircraft Checkout Procedures

subdirectory. After you've saved the file you return to the
hangar. If you choose to go to the editing room in post-produc-
tion, the file will automatically be loaded into the Source deck.

If you record more than one flight at the airfield, the last take
saved will be the one loaded into the Source deck. When you
go to the editing room, decks 1 and 2 will be loaded. Deck 1
will show the pilot's viav and deck 2 will show the spotter
plane view; these are the two views that are always recorded.
(For complete details on editing, see Chapters 8 and 9.)

say you were buzzing a field of corn. You would see fewer
stalks of corn in the horizon if the detai I setting were 50%
instead of 100%. The detai I of the corn would still be the same,
but when they would appear would be different.

GOURAUD SHADING — Gouraud Shading is the shading that
appears on the aircraft (not the shadow below the aircraft). You
can choose to turn it off, turn it on, or select dithered (DITH)
for the most detailed effect. Gouraud Shading involves a lot of
computing; having it on or dithered will slow down most
machines, some with little effect, others more radically.

Preferences Window

The Preferences window can be opened at almost any time by
pressing Alt-P. The Preferences window contains game
options that you might want to adjust during play.

[ ssErESENCES

Detoil ” iWa fit Ifflii

311

!•

17%

Gouraud shading

OFF

Dith 1

Between screen Fading

OFF

Quick exit

OFF

Film editing

OFF

Hospital

OFF

Independent rudder

OFF

Automatic theatre zoom

OFF

Sound effects

OFF

Control centering

OFF

i ~ i r

Cone

DETAIL — The more detail you haveon the screen, the slow-
er it may make your machine run. The Detail option does not
affect the rendering of any actual objects on the screen, but
how much of the art appears on the screen. For example, let's

BETWEEN SCREEN FADING -When you move from one
screen to another, the screen fades to create a smooth visual
transition. If you want to jump from screen to screen more
quickly, turn this off.

QUICK EXIT — This disables the option that allows you to
press Ctrl-Esc to exit the program and return to DOS. If you're
in the Stunt Pilot of the Year contest and you press Ctrl-Esc to
exit, the results from the stunts you've done in this session of
play will not be i ncorporated into your standings. With Quick
Exit off, you must exit the program by leaving on the ferry,
which saves your standing in the contests.

FILM EDITING — When you loaded the program, you were
asked if you wanted to do your own editing. If you selected
Yes, this option will be on. When it's on, after you film a stunt
and save it you automatically go to the editing room. When it's
off, you automatically go to the theatre. (Chapter 6 contains a

Chapter 3 Aircraft Checkout Procedures

section on how the Film Editing option affects recording.)

HOSPITAL -When you have especially bad crashes, you're sent
to the hospital. To expedite play you can turn this option off so
you don't have to visit the hospital screen. Turning off this option
does not prevent you from getting penalized for excessive crashes.

INDEPENDENT RUDDER-When this is on, you have the
option of independently controlling the aircraft's rudder.

When it's off, you can independently control the aircraft's
aileron. (For details on controlling the rudder or aileron, see
page 32.) You cannot have independent control over the rudder
and aileron simultaneously.

AUTOMATIC THEATRE ZOOM When you're at the theatre
viewing a film, the theatre screen eventually fills the full frame
of the monitor. If you want to keep the theatre at its original
size with the viewers in the foreground, turn this off. Having
this option off is good for slower machines.

SOU N D EFFECTS Select off to turn off sound effects that are DO U Q I a S DC ■ 1 0

sent to the internal PC speaker. „ , t „ .

Manufacturer Douglas Aircraft

CONTROL CENTERING Although there's no "stick" on a Take ' off s P eed: 155 m, P' h '

mouse or keyboard, you can treat it as if it had one by using ^ ak s P eed

the Control Centering option. When Control Centering is on, Maximum speed: ,564 m.p.h.

the mouse or keyboard behaves like a "flight stick" and Maximum altitude: 50,000 feet

automatically returns to the neutral position when you stop Flaps: Yes

moving the mouse or pressing an arrow key. This allows you to Retractable landing gear: Yes

make subtle adjustments during flight.

Chapter 3 Aircraft Checkout Procedures

- CHAPTER 4

Stunt Pilot of the Year Contest

The Stunt Pilot of the Year competition is open to those who answered Yes to “Do you
want to be in the competition?” (asked right after the program loads).

Y ou will find a complete description of each stunt assignment at the end of
this chapter.

The Contest

The Stunt Pilot of the Year contest offers 32 different stunts that you can fly.

These are the stunts assigned to you by the stunt coordinator from his office in the
production building. You must complete at least 26 stunts successfully — without
excessive takes — to be able to win the contest.

Your performance in these assignments will affect your standing in the Stunt Pilot
of the Year contest. The winner of this contest will have the new airfield named
after him or her at Stunt Island’s first anniversary party.

Chapter 4 Stunt Pilot of the Year Contest

Because you're paid for each successful execution of a stunt, with
bonuses for completing the stunt on the first take, your success
is measured by how much money you're earning. Each dollar
you earn equals one point in the standings. You will need to
earn an average of $2,300 per stunt to win the contest.

You can check the standings of the contest at any time by select-
ing Contest Standings in your cabin, or by selecting
Competition Standings in the production building.

To check the amount of money you've earned from your
completed stunt assignments and the number of takes you've
attempted, select the Ledger on the table in your cabin.

Getting Stunt Assignments

All stunts are overseen by the stunt coordinator.

You do not have to be entered in the contest to fly these stunts.
If you're not in the contest, no scores will be kept for you.

Scene L Take oFF and shoot a Zero,

The Pinal scene in the World War II
epic. Taking o FF Prom the runway in your
P-38 Lightning, you need to pull up
bePore you hit the burning Zero on the
runway. Then, without going over 20©
Peet, you need to shoot down another
Zero that’s bombing the Allies’ hangars.
You have a shot limit oP 40.

Prey | Next | \ Risk 1 | Accept 1 Decline

it STUNT COORDINATORS

SCENE #. Select (-) to seethe previous job or (4) to seethe next
job. (You only get this option if you're not entered in the compe-
tition.)

You only get the following three options (Previous, Next, and
Risk) if you're entered in the competition.

PREVIOUS — Select this to see the previous assignment.

NEXT — Select this to see the next assignment.

RISK — CAUTION: Don’t select this unless you want a
mandatory assignment! Select this if you're behind in the
standings and want to try to catch up quickly. When you select
Risk, you're automatically assigned a high-risk assignment that
you must accept.

ACCEPT — Select this to accept the assignment. When you
choose this option, you'll go to the Camera Crew screen. Select
Action-Take to fly the stunt.

DECLINE — Selectthisto decline the assignment and dosethe
stunt assignment box.

The difference between being in the contest and not being in the
contest is the assignments you're allowed to see. If you're not in
the contest, the Job option lets you scroll through all the assign-
ments that are available. If you're in the contest, you're only
allowed to see certain assignments. As your skills improve,
you're offered more difficult assignments.

Chapter 4 Stunt Pilot of the Year Contest

You can get updates of the standings in the contest in your
cabin or in the production building.

Payoffs and Penalties on Stunt Performance

Each stunt has a base pay that you can earn. You can also get
a bonus by successfully completing the stunt on the first take.
Each additional take will incur a cash penalty that's deducted
from your pay after you successfully perform the stunt. The
bonus pay, crash penalty, and take penalty for each stunt are
listed with each assignment at the end of this chapter.

If you crash when you're not supposed to, you will awaken at
the Island hospital under the care of the eccentric physician.

1 1 w i 1 1 al so cost you poi nts i n you r contest stand i ngs. The
Hospital option can be turned off to expedite play. To do this,
pressAlt-P to open the Preferences window; then turn the
Hospital option off.Turning off the Hospital option will not
cause you to be exempt from any hospital penalties; you will
still incur hospital costs.

If you exceed the number of takes allowed on a filming, you're
fired from that particular stunt. Choose another stunt to fly.

Camera Crew

After you accept a stunt assignment by selecting Accept from
the stunt assignment window in the stunt coordinator's office,
you meet the camera crew on location.

Duck

Take-off speed: Low

Stall speed: Low

Maximum speed: Low

Maximum altitude: Low

Flaps: No

Retractable landing gear: Yes

Chapter 4 Stunt Pilot of the Year Contest

Select Action-Take to start filming. If you fail to execute the
stunt, press Esc to return to the Camera Crew screen. Select
Action-Take again; notice that instead of Take 1, this time it's
Take 2. The number of takes are tracked on the Camera Crew
screen. Before you go to the next take, you're asked if you
want to print the last take. If you select Yes to save it, you'll
see the Save Take requester. If you select No, you'll begin
shooting.

Not saving a take won't fool the program into thinking that
you haven't tried a stunt. The program notes each time you've
done a take. Whether or not you save the footage from a take
is entirely unrelated to the outcome of the contest.

Keep selecting the Action-Take option until you get it right.

If you crash, you may wake up in the hospital. If you crash too
many times or exceed the allowed number of takes, you may
be fired. If you're fired, you cannot retry that stunt — go to
another one.

When you successfully complete a stunt, select That's A Wrap
to save the footage. You can then select Stunt Coord to return
to the stunt coordinator's office for a new stunt assignment, or
select any of the other options if you want to take a break from
filming.

Stunt Island Hall of Fame

Just outsidethe hangar at the airport isthe Stunt Island Hall
of Fame board. It contains the names of the all-time highest
scoring pilots (pilots created by the program are not recorded
here; only you and your friends are tracked). Select the board
to see the names close-up.

Competitors leaving Stunt Island

Competitors who entered the contest must leave on the Ferry
(by selecting Ferry and then Leave On Ferry) or else their
accomplishments will not be saved. When you're leaving on
the ferry, you're asked, "Do you want to save your pilot?" Be
sure to select Yes so your achievements are recorded.

If you've had an especially bad day on the set, you may not
want to save your day's worth of piloting work; in this case
you can select No when you see "Do you want to save your
pilot?" The next time you return to Stunt Island, your disas-
trous day on the set will be only a memory. Then again, victory
is only sweeter if you can overcome a bad day in the cockpit to
steal the whole show.

Chapter 4 Stunt Pilot of the Year Contest

The Stunt Assignments

These stunts are available through the stunt coordinator. You
do not have to be in the contest to fly them. If you are regis-
tered to be i n the contest, each attempt at a stunt will count
towards your standing. The figures for bonus pay, crash
penalty, take penalty and maximum takes allowed only apply
to those in the contest.

The set's filename is also listed so you can load the set at the
Set Design screen to study or modify it. The sets you can load
are duplicates of the sets used in the contest. Modifying these
sets will not affect the ones used in the contest.

If you're stuck on an assignment, see the section called
"Dissecting Stunt Sets for Success" in Chapter 6. Once you
understand how sets and events are created, you'll be able to
figure out what it takes to successfully complete each stunt.

Scene 1. Take off and shoot a Zero.

This is the final scene in the World War II epic. Taking off
from the runway in your P-38 Lightning, you need to pull up
before you hit the burning Zero on the runway. Then, without
going over 200 feet, you need to shoot down another Zero
that's bombing the Allies' hangars. You have a shot limit of 40.

Set filename: TAKEOFF.SET
First take bonus: 220
Crash penalty: 180
Take penalty: 90
Maxi mum takes allowed: 10

Chapter 4 Stunt Pilot of the Year Contest

E3 AWAC5

Manufacturer:

Take-off speed:

Stall speed:

Maximum speed:

Maximum altitude:

Flaps:

Retractable landing gear:

Boeing Aerospace and
Electronics
. 168 m.p.h.

. 140 m.p.h.

530 m.p.h.

30,000 feet
Yes
Yes

Scene 2. Land on the Golden Gate.

This stunt's for a drama that takes place in the "City by the
Bay." In a tense moment, you're forced to land your Cessna
172 on the Golden Gate Bridge without hitting any cars. You
should be heading north when you perform this stunt.

Set filename: LNDBRDGE.SET
First take bonus: 150
Crash penalty: 270
Take penalty: 150
Maximumtakes allowed: 4

Scene 3. Barnstorm.

This is a classic barnstormer. You have to guide your Fokker
Triplane through the open doors of a barn. The added challenge
is dodging the three combines passing in front of the barn as
you make your entrance. Touching the ground is out, so don't
think about landing and then driving through.

Set filename: BARNSTRM.SET
First take bonus: 600
Crash penalty: 390
Take penalty: 240
Maximum takes allowed: 8

Scene 4. Pick up a convict on Alcatraz.

This assignment takes you to The Rock. You need to pluck a
convict who's trying to escape off a tower. The convict is
holding a hook that will latch onto the wheels of your Sopwith
Camel. Fly too high and you'll miss him; fly too low and he'll
be forced to duck, Your "package" is about 180 feet off the

ground. You must execute the pickup at a minimum of
110 m.p.h.

Set fi lename: ALCATRAZ..SET
First take bonus: 150
Crash penalty: 360
Take penalty: 210
Maximum takes allowed: 6

Scene 5. Catch a balloon.

There's political trouble afloat in the hot air balloon festival.
The red and white balloon is carrying an explosive cargo that
is slated to be dropped when it drifts over the governor's man-
sion. A group of hot air balloons loosely dot the sky. Your job
isto snag the red and white balloon with your P-38 Lightning
while avoiding all other balloons. Flave any part of your air-
craft touch the hot air balloon by the basket only; if you hit the
balloon, it will cause an explosion and end the stunt.

Once you've safely secured the hot air balloon, you need to tow
it over the abandoned castle, at which point it will become
detached from your aircraft and slowly start to rise You need to
come back around and shoot the balloon down before it rises
above 3.250 feet.

Set filename: BLNCTCH.SET
First take bonus: 150
Crash penalty: 210
Take penalty: 150
Maximum takes allowed: 6

Chapter 4 Stunt Pilot of the Year Contest

Scene 6. Castlestonn.

— In this medieval farce, you'll start the scene positioned at the
backside of a castle in your hang glider. You need to glide
around to the front of the castle and go in through the castle's
entrance. Onceinside, land with yourfeeton the catapult.
You're catapulted back out so be sure to hang on tight.

— Set filename: CASTLE.SET
First take bonus: 150

“ Crash penalty: 300

Take penalty: 90
Maximum takes allowed: 6

Scene 7. Park at the hamburger stand.

_ In an incredible lapse of vegetarianism, the lead character gets
a pathological desire for a grilled cheeseburger. As the vexed

_ pilot, you're going to land your Piper Cherokee on a quiet

country road, taxiing it on the road until you hit a roadblock of

— two police cars. Just before you hit the roadblock, you're going
to make a hard left turn down another road, where you'll soon

— see a parking lot to your left. Pull into the first series of parking
spaces and put the nose of your aircraft in the second row, stall
3 (it doesn't matter how the aircraft is positioned as long as the
noseis in the right stall). When you park, be sure to put on
your brakes or cut your engine so you're stopped. Bon appetit.

Set filename: BURGER.SET
First take bonus: 150

— Crash penalty: 420
Take penalty: 270
Maximum takes allowed: 6

F4E Phantom

Manufacturer:

Take-off speed:

Stall speed:

Maximum speed:

Maximum altitude:

Flaps:

Retractable landing gear:

McDonnell Douglas Corp.
,168 m.p.h.

,140 m.p.h.

.1,484 m.p.h.

.62,250 feet

Yes

Chapter 4 Stunt Pilot of the Year Contest

Scene 8. Shoot planes in formation.

This director loves a tense chase scene. Your allies are being
pursued by the enemy. You need to hit the five enemy planes
without striking your two allies who are in the lead. You'll be
positioned behind all the planes in your P-51D Mustang when
the action starts. There's a timelimit of 3 minutes or a shot
limit of 100. whichever occurs first.

Set filename: FORMATN .SET
First take bonus: 600
Crash penalty: 390
Take penalty: 180
Maximum takes allowed: 7

Scene 9. Crash into a 747's engine.

In this mid-air collision footage, your troubled F4U Corsair is
making an emergency landing at the airport. As you're coming
in, a Boeing 747 is just taking off. You need to strike the right
outermost engine of the 747, avoiding the rest of the 747. The
right wing and engine are specially reinforced for this stunt, so
it's imperativeyou hitthe747 in that spot.

Set filename: MIDAIRSET
First take bonus: 450
Crash penalty: 480
Take penalty: 150
Maximum takes allowed: 9

Scene 10. Crash into a hotel.

H ere's your first science fiction assignment. You're going to

crash this specially-made meteor into the hotel that sits at the
confluencefor "Y") of the river. Because these meteors were
expensive and time-consuming to make, only a few were
created. The director and stunt coordinator are counting on
first-take success. If you don't succeed, you might consider
finding a real meteor to crawl under.

Set filename: METEOR.SET
First take bonus: 600
Crash penalty: 1,260
Take penalty: 600
Maximum takes allowed: 3

Scene 11. Blast a jeep.

This is the scene where the lead character finally tracks down
— and finishes off — hisnemesis. In this one-pass stunt,
you'll chase down and shoot the escaping jeep in your Zero.

Set filename: STOPJEEP.SET
First take bonus: 600
Crash penalty: 330
Take penalty: 240
Maximum takes allowed: 6

Scene 12. Bomber duck.

In this documentary based on the shocking 1992 research
revealing the criminal proclivity of birds, you reenact the
events of the famous "Egg Blotter" incident. As a duck, you'll
fly over the town in search of the police car containing the
officers who supposedly chased off your flock from the town
square's water fountain. You'll bomb the police car with your

Chapter 4 StuntPilot of the Year Contest

Grade A Jumbos. The eggs must hit right in front of or directly

— on the pol i ce car for success.

Set filename: DUCK.SET
First take bonus: 300

Crash penalty: 270

Take penalty: 330
Maximum takes allowed: 6

— Scene 13. Land on the blue building.

You'll wish you had a helicopter for this one. Land your Pitt

— Special on the roof of the blue building. You must come to a
complete stop without any part of the plane hanging over the
edge of the building.

— Setfilename: LANDBLD.SET
First take bonus: 300

— Crash penalty: 390
Take penalty: 180
Maximum takes allowed: 8

Scene 14. Save the U .N .

The international establishment known for its attempts to
make world peace is about to have its own shattered unless

you succeed in your role. From your F4U Corsair, you must

shoot at and hit the two leading Humvees in the convoy headed

. , toward the United Nations building. After you've struck your

targets, you need to shake off the Zeros by cutting a hard right

— around the United Nations building.

Setfilename: SAVEUN.SET
First take bonus: 450

Chapter 4 Stunt Pilot of the Year Contest

Crash penalty: 300
Take penalty: 210
Maximum takes allowed: 10

Scene 15. H it the renegade caterer.

The catering truck, having just stripped the gas station of all
its lottery tickets, is racing to get out of town. The hero, who
looks forward to his weekly stab at being a millionaire, grows
incensed when he picks up the crime on his shortwave radio.
He heads for the catering truck in his Sopwith Camel and
intends to clip thefleeing truck with hisplane(you must hit
the right side of the catering truck). You've got to pull off this
stunt before the catering truck passes the Stop 'N ' Rob and
goes out of view.

Set filename: HIGHWAY.SET
First take bonus: 300
Crash penalty: 390
Take penalty: 180
Maximum takes allowed: 6

Scene 16. Fly over a train in a tunnel.

Here's one that'll test your nerves. You need to fly your
Sopwith Camel through a tunnel as a train passes through in
the opposite direction. You've got a very narrow flight corridor,
but you wouldn't be assigned this stunt if it couldn't be done.
Don't drop below 4 feet, and watch your speed or you may
find yourself exiting the tunnel before the train even gets there
— that's a "no go"!

Set fi I ename: TRA I NTN L.SET

First take bonus: 410
Crash penalty: 360
Take penalty: 180
Maximum takes allowed: 6

Scene 17. Land before the armored truck.

This stunt opens the upcoming film on the autobiography of
Tex S. Cooper, theWorld War II veteran pilot and volunteer
sheriff who would chasedown criminalsin his plane. Inthis
re-creation, you're going to stop the hijacked armored truck by
landing your Pitts Special in front of it without hitting any
other vehicles. You must intercept the armored truck between
the two freeway overpasses.

Set filename: STOPARMR.SET
First take bonus: 270
Crash penalty: 360
Take penalty: 270
Maxi mum takes all owed: 10

Scene 18. Fly down an aqueduct.

An aqueduct that runs between the ocean and a dam is flanked
intermittently by towers. The towers will be to the left, to the
right, or on both sides of the aqueduct near overcrossings. Your
goal is to fly your Pitts Special beneath any overcrossings that
are flanked by a tower. Here's the catch: The crossroads that
traverse the aqueduct are each held up by two supports, divid-
ing the flight space beneath the overcrossing into three parts.
You must fly through the section that the tower is next to. If
two towers flank an overcrossing, you must fly between both
supports (basically, through the center of the aqueduct).

Chapter 4 Stunt Pilot of the Year Contest

Set filename: AQUEDUCTSET

— First take bonus: 750
Crash penalty: 450
Take penalty: 270

_ Maximum takes allowed: 6

Scene 19. Crash through a billboard.

Zig zag your way through six big rigs and then crash through

— a billboard that's beyond the line of big rigs. You must keep
your Piper Cherokee within 20 feet of each truck and fly no

higher than 50 feet. Start the stunt by flying to the right of the

trailing truck in the convoy.

Set filename: BILLBRD.SET

First take bonus: 370

Crash penalty: 240

— Take penalty: 90
Maximum takes allowed: 7

Scene 20. Fly inverted past a Jenny.

" This movie involves two old fighter pilots with something to
prove. In this particular scene, two Jennys will fly inverted to
one another. You'll approach the other Jenny from the opposite
_ direction and as you pass each other, you must be inverted and
above the other Jenny at no greater than the distance of 10 feet.

— Set filename: JENNYFB.SET
First take bonus: 750
Crash penalty: 480

Take penalty: 360
Maximum takes allowed: 7

Chapter 4 Stunt Pilot of the Year Contest

F4U Corsair

Manufacturer: The United Aircraft Cor p„

Chance Vought Aircraft Div.

Take-off speed: SS m.p.h.

Stall speed: 11 m.p.h.

Maximum speed: 550 m.p.h.

Maximum altitude 40,000 feet

Flaps: les

Retractable landing gear: ....Yes

Scene 21. Land on the goalpost.

The San Jose Silverbacks have just won the Superbowl and in
the most flamboyant exhibition of football fanaticism, the lead
character — a diehard fan with a flair for the outrageous —
lands his paraglider right on the goalpost. Your job is to land
right in the center of the goalpost nearest to you at less than 8
miles per hour. Don't hit those uprights!

Set filename: GOALPOSTSET
First take bonus: 750
Crash penalty: 180
Take penalty: 120
Maximum takes allowed: 8

Scene 22. Hit the bullseye with your wing.

In this small town scene, you're going to approach a tower
with a bullseye at the top. Fly your Jenny inverted and then hit
the bullseye with your reinforced right wing. Your target is
about 350 feet off the ground.

Set filename: TOWERBLL.SET
First take bonus: 750
Crash penalty: 420
Take penalty: 300
Maximum takes allowed: 5

Scene 23. Land on a moving train.

The spy, casually clipping into caviar and enjoying the
company of a lovely frauline, thinks he's safely on his way
out of the country. You're the only thing that stands between
him and even more caviar. In your last chance to capture him,

you must land the Sopwith Triplaneon the moving train —
particularly, on the train car that immediately precedes the
caboose. The train will be traveling at 64m.p.h. and you can't
be traveling at more than 70 m.p.h. when you land on the
train car.

Set filename: TRAIN. SET
First take bonus: 900
Crash penalty: 450
Take penalty: 270
Maximum takes allowed: 8

Scene 24. Escape from the U.N.

In this role, you're a terrorist positioned on the roof of the
United Nations building. You need to make a bold escape in a
parachute. Jump from the top of the building and drift down
to a boat that awaits you on the river. Don't land around the
edge of the boat — nail it dead center — and don't hit it at
more than 16 m.p.h. unless you have a lot of free time to
rehabilitate two broken legs.

Set filename: UN. SET
First take bonus: 750
Crash penalty: 150
Take penalty: 270
Maximum takes allowed: 6

Scene 25. Bomb the SAM site.

In this war scene, you're going to fly over a large "X" on the
ground which will signal the ground-to-air missiles to be
launched. You need to dodge these missiles and head for the

Chapter 4 Stunt Pilot of the Year Contest

SAM radar station. When you're in position, you must drop a
bomb and take out the radar station. This is a one-pass stunt.

— Set filename: JUNGLE. SET
First take bonus: 750

— Crash penalty: 210
Take penalty: 70

“ Maximum takesallowed: 10

Scene 26. Land on the top of a balloon.

_ A wedding is taking place in a hot air balloon that the bride's
father is paying your character to stop. You must land a
_ paraglider on the top of a hot air balloon, touching down at a
maximum of 13m.p.h. If you touch the hot air balloon at any

— poi nt other than atthetop, itwill cost you atake.

Set filename: BALLOON. SET
F i rst take bon u s: 600
_ Crash penalty: 150

Take penalty: 300
Maximum takes allowed: 6

— Scene 27. Recover from a stall.

The pilot starts out the day eating drug-laced pancakes made
by a vengeful roommate. After breakfast, the pilot is out enjoy-
ing a leisurely flight when suddenly the drug takes effect and
“ the pilot becomes severely disoriented. In this particular scene,
the Spitfire will be flying straight up — you'll have to recover
from the inevitable stall. Flitting the ground is obviously out,
but so is any type of contact with the trees in the forest.

Set filename: STALL. SET

F-l 5C Eagle

Manufacturer:

Take-off speed:

Stall speed:

Maximum speed:

Maximum altitude:

Flaps:

Retractable landing gear:

McDonnell Douglas Corp,
,168 m.p.h.

,130 m.p.h.

.1868 m.p.h.

.60,000 feet
Yes
Yes

Chapter 4 Stunt Pilot of the Year Contest

First take bonus: 1,050
Crash penalty: 450
Take penalty: 300
Maximum takes allowed: 4

Scene 28. Slalom through the towers.

Here's a chance to show your touch in a Bristol Bulldog. You're
going to slalom between six towers, staying as close as possible
to each. Enter the slalom to the right of the first tower.

Set filename: OBSTACLE.SET
First take bonus: 900
Crash penalty: 1,050
Take penalty: 1,200
Maximumtakes allowed: 10

Scene 29. Fly under two bridges.

No twists or turns to this one. Fly your F16-C Falcon beneath
the two bridges at a speed of no less than 1,000 miles per
hour. Hint: Don't blink.

Set filename: FASTBRDG.SET
First take bonus: 1,500
Crash penalty: 2,400
Take penalty: 1,500
Maximumtakes allowed: 4

Scene 30. Bomb the three radar sites.

This assignment takes place in the recreation of a busy Middle
Eastern city. Your job is to bomb three rotating enemy radars
without hitting any surrounding civilian structures. You get

one pass in your A-6E Intruder

Set filename: CITYRDAR.SET
First take bonus: 900
Crash penalty: 1,050
Take penalty: 1,200
Maximumtakes allowed: 6

Scene31. Pull out of a dive.

You start this stunt in a Pitts Special that's pointed straight
towards the earth. You must begin to pull out of the dive at
no greater than 400 feet, yet you cannot rise above the
altitude of 50 feet once you begin to pull out. When you've
pulled out of the dive, head straight and then make a hard
right bank around the United Nations building. Remember,
stay bel ow that 50-foot cei I i ng at al I ti mes.

Set filename: PULLOUT.SET
First take bonus: 1,130
Crash penalty: 450
Take penalty: 360
Maximum takes allowed: 8

Scene 32. Fly between sky scrapers.

This one-plane Russian parade is about to take downtown
Duluth by surprise. RacetheMiG-29 Fulcrum down the street
that splits the highrises at a minimum of 1,000 miles per hour.
The trick isthatyou'll be starting perpendicular to the "urban
canyon" so you'll have to cut hard to get into position.

Set filename: FASTTURN.SET
First take bonus: 1,500

Chapter 4 Stunt Pilot of the Year Contest

Crash penalty: 2,400
Take penalty: 1,500
Maximum takes allowed: 8

Stunt Assignment "Clues"

If you can't seem to succeed on a stunt, you can get details on
that stunt by loading a copy of it in the Set Design room and
studying it. Take a look at where the collision windows are
positioned and check the events list to see what exactly the
pilot is allowed to do.

Chapters5and 6 go into detail about collision windows, the
Events option, and all the other components that go into
making a stunt. After you read those chapters, you should be
able to dissect each of the stunts in the contest. You'll know
what triggers success and what triggers failure.

F-I6C Falcon

Manufacturer: Genera! Dynamics Corp.

Take-off speed: 168 m.p.h.

Stall speed: BO m.p.h.

Maximum speed: 1,500 m.p.h.

Maximum altitude: 60,000 feet

Flaps: Yes

Retractable landing gear: les

Note: The Silver Falcon is a color variation of the
F-l 6C Falcon.

Chapter 4 Stunt Pilot of the Year Contest

CHAPTER 5

Production: Set Creation
and Filming

The set is every bit as important as the actor when it comes to setting the proper
mood for the movie. A good set will aid the viewers’ ability to “suspend their
disbelief'; that is, make the viewers forget they’re watching a movie and draw them
into the onscreen world, accepting it as a real time in a real place.

Shattering the movie illusion is simple. You could easily destroy period authenticity
in an outdoor 1940s period piece by having a mercury street light with a square
head in the background — something not invented until much later. You could
wind up with a doubtful location by putting a telephone booth on the outskirts of
a jungle. Or maybe you’ll go all out and absolutely tax the viewer’s ability to
suspend disbelief by putting a pen of horses in the shadow of the Eiffel tower.

Unless the director is shooting a scene that represents someone’s imagination,
rewrites history, or presents a visionary slice of the future, creating a believable
set is important, that is, except in Stunt Island. You can create your sets however
you like. Your audience will be you and your friends. If you want the Golden Gate
Bridge to span the Washington Monument and a hay bam, you’re the director!

Select the Production sign to enter the production budding. You can also select the
Set Design or Stunt Coord(inator) signs to go straight to those offices.

Chapters Production Set Creation and Filming

The production building is where you can go to:

+ Choose the film location
+ Place props in the location
+ Select the aircraft used for the stunt
+ Position the aircraft for the stunt
+ Fly an assignment from the stunt coordinator
+ Check the competition standings

Inside the building you'll see these signs:

STUNT COORDINATOR — Select thisto receivefilm flying
assignments from the stunt coordinator. You must complete
26 of the 32 assignments within a certain number of attempts
to qualify for Stunt Pilot of the Year. (Complete details on the
Stunt Pi lot of the Year contest are in Chapter 4.)

SET DESIGN — Click on thisto goto the Set Design screen,
where sets are created and film is shot.

STUNT PILOT COMPETITION STANDINGS - Click on
th i s to f i nd out the stand i ngs i n the Stunt Pi I ot of the Year
contest. This option is only available if you've entered the
contest; otherwise, nothing will happen when you select this
option.

EXIT — Click on thisto leave the production building.

Creating Sets

To create sets, select the Set Design option. You'll see the
following screen:

Chapter 5 Production Set Creation and Miming-

Island View Window and Its Options

On the left side of the screen is an overhead view of Stunt
Island. The position of the Sth/ Nrth-WstY East axis determines
those values in the lower left corner; whatever point on the
island is directly beneath the intersection of the Sth/ N rth-
Wst/East axis (the center of the crosshairs) isthedefault
location where set work will take place.

To move the islands position on the screen, move the cursor
onto the Island View window, hold down a button and then roll
the mouse or move the joystick. Keyboard users can move the
cursor into the island window, hold down the Enter key and
then press any of the arrow keys to move the island. Joystick
and mouse users can hold down the left and right buttons to
simultaneously change the orientation and tilt of the island.

The horizontal bar directly under the Island View window lets
you zoom in and out on theisland. Select the- (minus) button
to zoom in or select the + (plus) button to zoom out. You can
also slide the box along the scroll bar to zoom in or out.

F / A- 18AHor net

Manufacturer:

Take-off speed:

Stall speed:

Maximum speed:

Maximum altitude:

Flaps:

Retractable landing gear:

McDonnell Douglas Corp.
,168 m.p.h.

,130 m.p.h.

.1,345 m.p.h.

50,000 feet

Yes

Chapter 5 Production Set Creation and Filming

The Sth/ Nrth and Wst/ East axis values go from 0 to 200,000 and
represent distance in feet. The Sth/ Nrth-Wst/ East value of 0-0 is
in the lower left comer of the screen. The center of the screen
has the Sth/ Nrth-Wst/ East value of 100,000-100,000. The upper
right comer of the screen has the value of 200,000-200,000.

STH/NRTH — This represents the south/ north axis. To
change this, select the- (minus) or -T (plus) buttons. Because
the southernmost value is 0 and the northernmost value is
200,000, you will always select - (minus) to decrease the
number, or move south. You will always select + (plus) to
increase the value, or move north. You can also highlight the
Sth/ Nrth field and enter a new number.

WST/ EAST — This is the west / east axis. To change this, select
the - (minus) or + (plus) buttons. Because the westernmost
value is 0 and the easternmost value is 200,000, you will always
select (minus) to decrease the number, or move west. You will
always select + (plus) to increase the value or move east. You
can also highlight the Wst/ East field and enter a new number.

An editing tip..

In options that have values that can be changed, there are

two ways to change the values:

+ You can click on the - (minus) or +(plus) button to
decrease or increase the value. Each click with the left
mouse button changes the value by one, while each
click with the right mouse button changes the value by 30.

+ You can click on the value itself and then enter a new
number. Use the Backspace key or Delete key to delete
the current value.

ORIENT (Orientation) — This changes the orientation of the
map. Select the - (minus) button to rotate the overhead view
of the island clockwise. Select the + (plus) button to rotate the
island counterclockwise. Changing the orientation will not
affect the Sth/ Nrth and Wst/ East values. The range of values
isOto 359.

TILT — This adjusts the view of the island from an overhead
view to a side-on view, and vice versa. The range of value is 1
to 90.

STUNT This is a descriptive name for the loaded set.
Because the filenames can only be eight characters long, the
Stunt field gives you the chance to give the stunt a longer,
more descriptive name. This description also appears when
you highlight the filename on the Load screen.

USER — Thedefault stunt name is "User." To change this,
select the User field and enter a new stunt description of up to
approximately 25 characters. Press Enter to accept the
description.

Prop Windows and Its Options

The top right object window shows the currently selected prop.
A prop can be the aircraft you're flying, the cameras used to
record the action, or any number of moving or stationary
objects.

Chapter 5 Production Set Creation and Filming

*|t|l. -Free-

Place | Go to | Rdi

ftdd 1 Del 1 Hide

Global 1 Events

[Loodl Save | Hew |

1 Hy Exit ®

The bar beneath the window shows the name of the aircraft
or prop in the window. Select the up or down arrows to scroll
through the objects. You have up to 40 slots for props,
aircrafts, and cameras:

+ Slot 1 is always reserved for the object that you control

+ Slot 2 is always reserved for the spotter plane.

+ Slots 3through 8 arefor any objects. These objects will be
given recording capabilities, no matter what they are.

+ Slots 9 through 40 are for any props.

PLACE — (Before you can use Place, you need to use the Add
option to select an object.) Select this to place the selected
object at the location where the crosshair is positioned in the
Island View window. Select Place again if you want to "pick
up" the object to place elsewhere. When the object is picked
up, you can make adjustments to the Sth/ N rth-WstV East set-
tings and then select Place again to place the object.

F-88 Sabre

Manufacturer: North American Aviation, Inc,

Take-off speed: 122 m.p.h.

Stall speed: 110 m.p.h.

Maximum speed: 617 m.p.h.

Maximum altitude: 50,800 feet

Flaps: Yes

Retractable landing gear: Yes

Chapter 5 Production. Set Creation and Filming

CAUTION: If you’ve entered any roll, pitch, or yaw
values for the object, they will be reset to 0 when you
“unplace” and repitaeetUac object. Be sure to wntetMnwn
am valuK9> yoa wantt to use a^gain.

GO TO — This takes you to the location of the currently
selected prop (the one displayed in the upper right window).
For props 3 through 8, you can also click in the actual object
window to see that prop’s point-of-view.

ADJ (Adjust) — This option lets you adjust the location of any
plane or prop. Complete details on the ADJ option buttons are
under “Special Prop Controls — The Adjust Window,” on
page 68.

ADD — Select this to add a prop. The props are organized by
type. Select a prop category and a list of objects appears.
Highlight an object from the list. Use the scroll bar to the right
of the object window to scroll the list up or down. Select OK
to select the highlighted prop.

you from accidentally deleting or modifying a prop.

HIDE Hides all the objects whose visibility (VIS) is not on
(the VIS button is not pressed in). The exception is the object
you’re adjusting it’s always available.

GLOBAL — Global contains a variety of settings, as follows:

To change any of the numbers in the fields on the screen,
select the number, press Delete or Backspace to delete the
number, type in a new number, and then press Enter.

Ret (Record) -With REC on (the default setting), the pro-
gram will start recording when the stunt begins (when you
select Action-Take from the Camera Crew screen). If you turn
REC off, you will need to use the Events option to tell
the program exactly when to start filming (complete details
on the Events option are in Chapter 6). If REC is set to Auto,
it only begins recording when you select Action -Take if Film
Editing on the Preferences screen is off.

DEL (Delete) — Select this to remove the object listed in the
slot and shown in the window. “Free” appears in the name slot
to indicate that the item has been deleted and that the slot is
now unoccupied. Deleting an object from a slot does not affect
the numbering of any subsequent props.

You cannot delete an object that has been locked by the Lock
button on the ADJ screen. You must select ADJ and then select
Lock to unlock it; then you can delete it. Lock is used to keep

In the more advanced stunts that you create, you won’t always
want to immediately start filming when you select Action-
Take. Some stunts require time to get into position — time
that you will not need to capture on film. For example, you
might be filming a scene where you want to land on the top of
a highrise. You could set it up so that the program only starts
to record when the plane is within 20 feet of the rooftop of the
highrise.

Chapter 5 Production. Set Creation and Filming

Time — You can create a set that represents any hour of the day.
Stunt Island operates on a 24 hour clock. 0:00 represents mid-
night, 1:00 to 11:00 are the morning (a.m.) hours, 12:00 is
noon, and 13:00 to 23:00 represent the afternoon/ evening (p.m.)
hours. To change the time of day, click on the arrows above the
hours or minutes.

View View lets you select the pilot's initial view during
flight. Theforward view during flight is the default camera shot.

PilotCP

Looking out front of aircraft with cockpit;
this is the default option

Pilot no CP

Looking out front of aircraft without the
cockpit

Left side

Looking out left side of aircraft

Right side

Looking out right side of aircraft

Rear

Looking out rear of aircraft

Bomb

Looking through bottom of aircraft

Spotter

Looking through spotter plane's point-of-view

IstTake — Dollar bonus for successful first take
Crash — Dollar penalty for crash

Take Penalty — Dollar penalty for each take you require after
the first one

M ax Takes — The maximum number of takes allowed to perform
the stunt successfully. Exceeding this value will get you fired.

F-l 17A Stealth (Fighter)

Manufacturer,: Lockheed Cor p.

Take-off speed: 190 m.p.h.

Stall speed: 151m, p, I,

Maximum speed: 673 m.p.h.

Maximum altitude: 60,000 feet

Flaps: les

Retractable landing gear: les

Chapter 5 Production Set Creation and Filming

Camera — This isthe initial camera for auto-edited films. It's
the camera that you would like to use to establish your initial
shot. Prop slots lthrough 8 are slots that record film. You can
set up a camera in any of these slots and have the initial cam-
era be one of them. For those editing their own films, the ini-
tial camera is irrelevant since you will be determining exactly
what segments of film get edited into the final order.

Gear — Determines initial position for landing gear (up or
down) on the aircraft in prop slot 1. Some aircraft do not have
retractable landing gear.

Flaps — Determines initial position for flaps (up or down) on
the aircraft in prop slot 1. Some aircraft do not have moveable
flaps.

Brakes Determines initial setting for brakes on the aircraft
in prop slot!

How to Select Your Stunt Aircraft

+Go to slot 1 in the prop field below the Prop window.

+ Select ADD.

+A window opens which shows all the prop categories.
Highlight Planes (at the bottom of the list) and select Open.
A list of aircraft appear.

Highlight the one you want to fly and then select OK.

Weapon — Lets you choose the initial weapon — gun, missile,
bomb, or no weapon (None) — for the aircraft in prop slot 1.
During flight, you can press the W key to toggle through the
weapons. Some aircrafts do not have weapons; however, you can
"cheat" and use this Weapon option to engage a weapon that
this aircraft would not have under normal conditions. The air-
craft will have the weapon engaged when you go to fly the stunt.

EVENTS — The EVENTS option isan option that lets
you create stunt assignments for you or others to do.
Because this is an option that teaches you advanced tech-
niques, its covered in a separate chapter (Chapter 6).

+ Choose the location where you want the aircraft placed by
positioning the intersection of the Sth/ Nrth-WsV East cross
hair in the Island View window over that location.

+ Select Place. The aircraft is placed wherever the Sth/ N rth-
Wsl/ East is located on the map, facing due north. Be sure to
select Place to place the aircraft; otherwise when you select
Fly Stunt, you'll be told, “Prop 1 needs to be placed before
the stunt can be flown." If you want to see your aircraft,
select (-) below the Island View window to zoom in on the
island, or slide the button on the bar to the left.

Chapter 5 Production Set Creation and Filming

To move the aircraft's starting location at any time, see "How
to Move a Prop."

You can only select one aircraft to directly control with your
mouse, joystick, or keyboard. This aircraft must be placed in
slot 1 in order foryou to be able to control it. If you put your
aircraft in slot 3, you will not beabletofly it.

Any object placed in prop 1 can be flown. However, unless it's
an object that comes from the Planes category, the object will
be flown with generic flight characteristics. The aircraft in the
Planes category have specific flight characteristics.

How to Place A Prop

+ Select a prop slot number. Slots 3 through 8 give the object
recording capabilities. Objects in slots9through 40do not
record.

+ Select ADD.

+ Highlight a prop category artd select Opeo. FokkerDr.l (THplane)

+ A list of objects in that category appears. Highlight an Manufacturer: Fokker Flugzeugwerke

object and then select OK to accept it. To switch to another Take-off speed: 60 m.p.h.

category, select Close. To exit the window, select Cancel. S p ge( j, 50mph

+ SelectPlace. The prop is placed wherever the Sth/Nrth - Maximum speed: ,103 m.p.h.

Wstf East crosshair is located on the map. If a prop has not Maximum altitude: 20,000 feet

been placed when the set is saved, the prop will be placed Flaps: No

atthelocation of thecurrent crosshair. Retractable landing gear: No

Chapter 5 Production Set Creation and Filming

How to Move a Prop

+ Go to the slot number that the prop is in. This prop should
appear in the upper right window.

+ Select Place to “pick up" the prop. This removes the prop
from the Island View window. Be careful when you
“unplace” an option because it will zero out all yaw, pitch,
and roll values that you may have entered.

+ Change the position of the Sth/Nrth-Wst/East crosshair in
the island window; move the intersection of the crosshair
to the prop’s new location.

+ Select Place again to place the prop in its new location.

Another way to move a prop is to select that prop and then

select ADJ to open the Adjust window.

On the right side of the screen you’ll see the Position options.

Select the - (minus) or + (plus) button to increase or decrease

the Sth/Nrth or Wst/East values. You can also highlight either

field, enter a new number, and then press Enter.

How To Delete A Prop

To delete a prop, select it (it should appear in the Prop
window in the upper right corner of the screen). Select the
DEL option to remove it.

If the DEL option does not work, the Lock feature is on. To
turn off the Lock feature, select ADJ to open the Adjust win-
dow. Select Lock to turn it off and then select OK to close this

Chapter 5 Production Set Creation

window. Now you can select DEL to delete the prop.

Special Prop Controls — The Adjust Window

The most important thing to determine is what type of prop
you want this to be (in the Adjust window). Knowing what
type of prop this is establishes which of the other settings in

the Adjust window you’ll be able to use. Props must be
categorized as one of the following:

FACE FREE

SEEK SPOT

FOLLOW ATTACH

All props have the default setting of Free. The two exceptions

are the props in slot 1 and 2. Slot 1, reserved for the aircraft
you fly, has the Face setting. Slot 2, reserved for the spotter

plane, has the Spot setting.

The other options and values that you see in the Adjust window

(Position, Facing, Heading, Anim, Wtch, etc.) relate to a prop’s

position and animation values (optional). These options are
covered in “How to Fine Tune Props” and “How To Animate
Props,” later in this chapter.

Face Props

This causes an object to move in the direction it’s facing.

Prop 1, reserved for the aircraft you control, has a permanent
setting of Face. Whatever direction your aircraft’s facing, it will

fly in that direction. This restricts you from being able to fly
your aircraft sideways or backwards

If you turn WTCH (Watch) on for any of the camera slots
(1-8), the Watch feature will override the Face feature. This
object will watch whatever object you assign to it. Complete
details on Watch are on page 79.

You can adjust any of the following options when you select Face:

|1. ft!0 Thunderbolt

iEKH=ai

Free Props

FREE props are those that do not respond to other props. You
place the prop where you want, how you want. If you want to
animate this prop, you can. Free is the default setting for all
props, except props 1 (the aircraft you control) and 2 (the
spotter plane).

The Free and Face categories work exactly the same for
inanimate objects. If you're placing a building or a boulder or
something else that won't be moving, it really doesn't matter

Chapter 5 Production Set Creation and Filming

Hang Glider

Take-off speed: Low

Stall speed: Low

Maximum speed: Medium

Maximum altitude: Low

Flaps: No

Retractable landing gear: No

whether you select Free or Face (although Free will be the
default setting in props 3 and up).

The crucial difference between Free and Face arises if the object
must move. Face objects can only move in the direction they're
facing. Free objects, on the other hand, can be facing in one
direction and move in another. Let's say you have a house
perched on a hill and you want it to slide down the hill Free

allows you to send the house off the hill in any direction.

If the house had the setting of Face, it could only slide down the
hill in the direction it's facing (in this case, it's in the direction of
the front door).

You can adjust any of the following options when you select
Free:

Seek Props

Select Seek if you want this prop to seek out another prop at
the speed you set. The object that this prop will seek out must
be entered in the slot after Seek.

Chapter 5 Production Set Creation and Filming

For example, you could have a car positioned at one end of the
island and you could have it seek a building at the other end of
the island. You set the speed and the car will travel towards the
building until it reaches it. Once the prop reaches the designat-
ed object, it will continueto revolvearound the object in a
tight circle.

In order to avoid having this object keep revolving around the
other object once it has reached its target, you need to either
have it explode so it disappears, or use the Events option to
remove the object or change its heading once it reaches its
destination.

When you have an object seek another object, the H eadi ng
values of Pitch and Yaw become unavailable. An object always
seeks another object in a straight line, so that imaginary
straight line between the two objects determines the values
for Pleading Pitch and Yaw.

You can adjust any of the following options when you select
Seek:

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Spot Props

Spot is best suited for use in any of the camera slots (3 through
8). Spot lets the camera follow the prop you define, auto-adjust-
ing for the best viewing angle. Spot is best utilized for a camera
that's "tracking" a moving object because of its auto-adjusting
capabilities.

The slot number of the prop that's being spotted must be
entered in the box next to Spot.

You can havea non-camera prop (in slots 9 or higher) use the
Spot setting, but keep in mind that an object without record-
ing capabilities will not be able to take advantage of the Spot's
key feature — the auto-adjusting capability.

You can adjust any of the following options when you select
spot:

Follow Props

This option forces this prop to match another's roll, pitch, yaw,

Hawk

Manufacturer: British Aerospace Ltd.,

Military Aircraft Div.

Take-off speed: 145 m.p.h.

Stall speed: 12 2 m.p.h.

Maximum speed: 621 m.p. h.

Maximum altitude: 5 0,0 0 0 feet

Flaps: Yes

Retractable landing gear: Yes

Note: The Red Hawk is a color variation of the Hawk.

Chapter 5 Production Set Creation and Filming

altitude, and speed values. The slot number of the prop that is
being followed must be entered in the box next to Follow.

Although the Follow option is most appropriate for aircrafts
flying in formation, you can use it for a flock of birds, fleet of
vehicles, group of missiles, and so on. For example, you could
animate one UFO to slowly ascend, spinning as it rises. Then

you could add four more UFOs to the set, having all of them
follow — in essence, mimic — the first UFO's actions.

The Offset Position screen lets you establish where this prop is
in relation to the prop it's following. If you leave the values at
zero, this prop will be placed directly on top of the other prop.

The following options are available when you select Follow:

Attach Props

This causes an object to remain attached to another object.
The number of the prop that this prop is being attached to
must be entered after Attach. Props that are attached to each

Chapter 5 Production Set Crealion and Filming

other must face in the same direction

Here's an example of a use for Attach: You could attach a
camera below an aircraft and catch the action of bombs being
dropped. No matter how the aircraft moves, the camera will
always capture the view from directly below the aircraft. You
could also do “non-camera” things like attaching a wing
walker to an aircraft's wing or attaching a covered wagon to
the back of a moving horse.

Although they sound alike in function, Follow and Attach
behave very differently. Follow causes one prop to mimic
another's values, while Attach causes one prop to stay in a
fixed position in relation to another prop.

In the example below, notice how the aircrafts start out in the
same positions. But when the initial prop banks, the Follow
and Attach props behave differently.

Original starting position

Rolling left; what happens
when Follow is selected and
plane A rolls left

Rolling left; what happens
when Attach is selected
and plane A rolls left

As with the Follow option, the Attach option requires you to
enter Offset Position values to determine where it should be in
relation to the main prop. If you don't enter offset positions,
this prop will be placed right on top of the other prop.

The following Adjust options are available when you select
Attach:

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Pitch
Yaw
Dist

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Before you begin working in depth with these prop types,
select each of them to become acquainted with their possible
settings. Notice how the options in the Adjust window change
depending on which one you selected.

How to Fine Tune a Prop

Whether stationary or animated, your prop is positioned a
certain way when the cameras start rolling. If you’re content
with how the prop looks when you placed it, you don’t need
to make any of the following adjustments. But if you want to
do something like tilt a prop, elevate it, turn it sideways, etc.,
do the following:

Chapter 5 Production: Set Creation and Filming

+ Go to the prop slot for that object. The prop should appear
in the upper right window.

+ Select ADJ to open the Adjust window.

For objects assigned FACE, FREE, and SEEK:

+ Under the Position section, select an altitude at
which this prop will start and a speed at which
thisprop will travel. The Sth/Nrth and Wst/East
settings don't need to be adjusted unless you want
this prop moved to a new location.

+ Under the Facing section you can adjust the Roll,
Pitch, or Yaw, if desired. These properties are the
same as those of an aircraft.

For objects assigned SPOT. FOLLOW, or ATTACH:

+ Select the Offset Positions for Pitch, Yaw, and
Dist(ance). This positions this object in a specific
spot from the defined object.

When you're adjusting props 2 through 8, you'll see a view that
has brackets around the corners and a cross hair in the center.

This is your prop's point-of-view, which is what it will see
when recording starts. As you make adjustments to the
previous settings, the prop's point-of-view should change
accordingly. For example, if you change yaw, the point-of-
view should move sideways. If you change pitch, the point-of-
view should move up or down.

You can get the point-of-view for props in slot 2 through 8
simply by clicking on it when it's in the Prop window. This
saves you from having to open the Adjust window just to
check the prop's point-of-view.

Spotter plane note: You can change the spotter plane's prop
type to something other than Spot, but this may cause erratic
results. You should leave the spotter plane setting on Spot
since the spotter plane was designed to be used with this setting.

Starting Altitude and Speed

A starting altitude and speed can be given to Face and Free
objects through the Adjust window.

ALTITUDE — An object's altitude is measured from the center
of the object to the ground. Even if an object is resting on the
ground, unless it's perfectly flat, it will have an altitude. The
object will maintain this altitude unless you change it.

SPEED -This lets you establish a starting speed for this object.
The object will maintain this speed unless you change it.

How to Animate a Prop

Except for your aircraft in prop slot 1, every object in the Stunt
Island inventory can be animated. It doesn't matter what it is

— automobile, building, cactus, billboard, etc.

There are two types of animated props: still and dynamic. A
still prop that's animated simply goes from one point to anoth-
er, I ike a missile. The missile itself does not have animated
characteristics like spinning.

A dynamic prop is one that not only travels from point A to
point B, but also moves along its vertical, lateral, and/or longi-
tudinal axis (its yaw, roll, and/or pitch is changing). For
example, let's study a car that's spinning out of control down a
stretch of road. As the car spins, it moves along its vertical axis

— its yaw is constantly changing as the car spins. It's also
traveling down the road — going from point A to point B —
as it's spinning. This is a dynamic prop. If the car wasn't
spinning, but pointing in one fixed direction whilegoing
from A to B, it would be a still prop instead of a dynamic one.
Please keep in mind that this program doesn't animate in the
classic sense: legs don't move, wheels don't spin, wings don't
flap. Animate is about moving objects from A to B, and
whether those objects as a whole pitch, roll, or yaw.

Animating a Still Prop

+ Placea prop, as outlined in "How to Placea Prop."

-i-Go to the slot the prop occupies
+ Select the A DJ option.

J unkers J u 87D Stuka

Manufacturer: J unkers Flugzeug Und

Motorenwerke

Take-off speed: 90 m.p.h.

Stall speed: ISm, p.h.

Maximum speed: 255 m.p.h.

Maximum altitude: 24,000 feet

Flaps: Yes

Retractable landing gear: les

Chapter 5 Production, Set Creation and Filming

+ Under the Position section, select an altitude at which this
prop will start and a speed at which this prop will travel.
The Sth/Nrth and Wst/East settings don't need to be adjust-
ed unless you want this prop moved to a new location.

Under the Facing section you can adjust the Roll, Pitch, or
Yaw, if desired. You do not need to enter new settings for
this prop unless you want the prop's current roll, pitch or
yaw to be different.

>> Free props: Under the Heading section, select the Pitch and
Yaw. Pitch determines the angle at which the prop will trav-
el while Yaw determines which direction on the compass
the prop will head. A negative pitch value causes the prop
to go down, while a positive pitch value causes it to rise

This is all you need todotoanimateastill prop. You
should not have selected the AN IM (ate) button on the
screen. The Anim button is reserved for dynamic props.

When you film the stunt, the prop will move according to
the Speed, Pitch, and Yaw settings that you entered. The
prop will continueon its path indefinitely. You can stop
an animated prop by having it eventually collide and
explode with something or by having it disappear or
change by using the Events option (details in Chapter 6).

Animating a Dynamic Prop

-i-Placea prop, as outlined in "How to Placea Prop."

-t-Go to the slot the prop occupies.

+ Select the A DJ option.

Chapter 5 Poraduction Set Creation and Filming

-(-Under the Facing section you can adjust the Roll, Pitch, or
Yaw, if desired. You do not need to enter new settings for
this prop unless you want the prop's starting roll, pitch or
yaw to be different.

-(-Under the Heading section, select the Pitch and Yaw. Pitch
determines the angle at which the prop will move while
Yaw determines which direction on the compass the prop
will head. A negative pitch value causes the prop to go
down, while a positive pitch value causes it to rise.

-TNext, click on Anim. Notice how the numbers reset to 0.
That's so you can now enter values for how much the prop
will move for its Roll, Pitch, and / or Yaw. The higher the
value, thefaster it will roll, pitch, or yaw. If the value is 0
for roll, the object will not roll. If the value is 0 for pitch,
the object will not change its pitch. If the value for yaw is
0, the object will not yaw.

For example, if you want to make a car "spin out" you
wou I d enter a val ue I i ke 360 for Yaw . Thi s tel I s the car to
move 360 degrees per second. If you wanted a man to flip
head over heels, you could enter a Pitch value of 180. This
tells the man to pitch forward, 180 degrees per seconds.

-i-The options under theHeading section let you program the
prop to move. The prop can travel along at a certain pitch
and in a certain direction.

Anim Heading Pitch — The object, if given speed, will
move in a North/ South circular pitch. A positive value
will cause the object to move clockwise. A negative
value will cause the object to move counter clockwise.
If you do not enter a speed, the object will not move.

Anim Heading Yaw — The object, if given speed, will
move in an East/ West circular pattern. A positive value
will cause the object to move clockwise. A negative
value will cause the object to move counter clockwise.
If there is no speed, the object will not move.

Note: When using the Anim Heading Yaw or Pitch options,
the prop may drift slightly.

+ When you go to film the stunt, the prop will move accord-
ing to the various settings you established.

The prop will continue moving along its path indefinitely.

If you want to designate a specific stopping point for a prop,
or if you want to "program" specific things to happen with
an animated prop, you'll need to use the Events option.
(Complete details on the Events option are in Chapter 6.)

Note: If you set a speed and/or altitude for a still animated prop
and then set a different speed for a dynamic animated prop, the
larger of the two speed and/or altitude values will be used.

Junkers Ju 88A

Manufacturer:

Take-off speed:

Stall speed:

Maximum speed:

Maximum altitude:

Flaps:

Retractable landing gear:

j unkers Flugzeug Und
Motorenwerke
,114 m.p.h.

.95 m.p.h.

.295 m.p.h.

.25,000 feet

Yes

Chapter 5 Production: Set Creation and Filming

Having More Than One Stunt Aircraft

You can only control one aircraft at a time with your mouse,
joystick, or keyboard. However, you can make other aircraft
fly in formation with the aircraft you're controlling through
the Follow option.

How to Set Up Cameras

The directory of photography (also referred to as the cinema-
tographer) works with the director to translate the screenplay
into moving photographic images. The director of photography
doesn't physically operate the camera and lights; that work is
carried out by the DP's support staff consisting of people like the
camera operator, the gaffer, and the ke/ grip. In your role as DP,
you'll decide where you want the cameras positioned to capture
the action.

Setting up a camera in Stunt Island follows the same proce-
dures as setting up a prop. You choose the camera you want to
use, place it in a specific location, and make fine adjustments
on its positioning.

There is a total of 8 possible camera shots: one from the stunt
aircraft (prop slot I ), one from the spotter plane (prop slot 2),
and six from other positions that you can select (prop slots 3
through 8). The stunt and spotter plane shots are always
automatically shot. The remaining cameras are optional.

The two types of cameras — Camera 1 and Camera 2 — are
located in the Production Tools category (the other props in

this category are "collision windows" and are explained in
Chapter 6). The only difference between these cameras is
cosmetic. They behave the same when it comes to filming.

Cameras don't have to he cameras. It's not necessary to
have Camera 1 or Camera 2 in slots 3 through 8 to
capture action — any prop placed in these slots will
record action. You could put a water fountain in one of
these slots and it will have recording capabilities.

When you select a prop for the camera slots, be sure to choose
a Face, Free, Seek, Spot, Follow, or Attach option to determine
what this camera should do. Except in the case of Face or Free
cameras, be sure to enter a prop's slot number after the prop
type (e.g., Attach 4 tells the camera to stay attached to the
prop in slot 4).

FACE — The camera will face in thedirection you set it; the
camera will not track an object unless you select WTCFH and
turn it on.

FREE — The camera will remain stationary at the location it's
placed; the camera will not track an object unless you select
WTCFH and turn it on.

SEEK Thecamera will seek outa defined object

SPOT — Thecamera will stay with a defined object and keep
the object centered in its frame.

Chapter 5 Production Set Creation and Firing

FOLLOW — The camera will mimic the moves of the defined
object.

ATTACH — The camera will be attached to the defined object,
filming the action fromafixed point in relation to the defined
object.

If you choose the Spot, Follow, or Attach option, use the ADJ
option to set the Offset Positions of pitch, yaw, and distance. This
establishes the position of the camera in relation to the object.

The cameras automatically start rolling when you select Action-
Take as long as REC in the Global option is not turned off. If
you don't want the filming to begin right when you select
Action-Take, turn REC off and then use the Events option to
determinewhen filming should start (the Events option is
covered in Chapter 6)

After you're done filming, you can go to the post-production
building to load and edit any of the footage you've shot.

During filming, you can press Ctrl and any of the FI through
F8 keys to switch among the camera views.

The Watch (WTCH) Option

The Watch (WTCH) option lets you make one prop watch
another prop with a specific zoom (magnification) setting.

No matter where the defined object moves, this object will
change its angle to "watch" thedefined object, Watch has

Chapter 5 Production. Set Creation and Filming

priority over all other settings.

The Watch option is a key feature for those props in slots 1
through 8, since these are the "camera" slots. The camera slots
take advantage of the zoom (magnification) capabilities of the
Watch option si nee these slots can record the action.

If you select the Watch option for prop slots 9 or higher, you
will not have the zoom options; you will only be able to enter a
number for this prop to watch. This is useful for props that you
want to film watching other props. For example, you could
capture ground missiles tracking a plane that's passing over-
head. Or, you could film people watching a drag race, with their
bodies turning to follow the action as it goes down the road.

from 0.2 to 7.99. The higher the value, the more powerful the
zoom. (See the, next option, for “Auto" details on using this
number.)

AUTO — This is associated with the Zoom value. If you select
Auto, the camera will shift the Zoom value in order to keep
the object at a constant size. The size will be determined by
the level of zoom set before Autozoom is activated (the default
Zoom value is 1.0).

If the Auto option is not selected, should the object that the
camera is focused on get closer than the Zoom value, the Zoom
will not pull back to adjust.

When you select WTCH (Watch), the following options are
available:

|3. A6E Intruder
HATCH PARAMETERS^

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ESI

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Sth/Nrth

84661

Orient

Oil

Wst/East

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Uis I Coll | Exp) |Shod

Lock I Cancel

1.0 (Zoom) — The initial zoom valuefor this camera (only
applicableto props 1 through 8). The acceptable values range

Adjust Screen "Programming" Options

The options at the bottom of the Adjust window let you
control certain details on how this prop should be treated by
the program.

1 Arch

PO SITION
Sth/Nrth
Ust^'East
Altitude
Speed

riu-ym

iBEKIgl

Ute 1 C'o : . [Exp? flhad

| Loc k | CuncT

FEEKEEI

VlS(Visible) — Thisoption is always automatically selected.

Chapter 5 Production. Set Creation and Filming

When selected, it keeps this object visible during filming. You

may not want certain objects, like cameras or collision win-
dows, to be visible during filming.

COLL (Collision) — If Collision is selected, then this object is
deemed as one that can be ‘'hit.” If this isn’t selected, then this
object is “transparent” — it won’t register a collision if another
object strikes it. For example, you probably won’t want a cloud

to have the Collision option on since clouds can be flown
through. Or maybe you want to pretend a building is a holo-
gram that can be flown through. Without Collision selected,
the program ignores these as “strikable” objects; you can hit
them without anything occurring. An object that has Collision
on does not mean it will explode whenever something hits it;
in order for an object to explode when it’s struck, you must
also select EXP (Explosion).

All objects used on the permanent Stunt Island locations have
Collision on.

EXP (Explosion) — EXP tells this object to explode (stock
explosion footage is used) whenever any other object hits it.
For example, if the current prop is a car, you can select EXP to
have the car explode whenever anything — be it missile, man,
beachball or cornstalk — strikes it. In order for Explode to
work. Collision must also be on; otherwise, this object will not
be recognized as something that can be hit.

SHD (Shadow) — When the Shadow option is selected, a
shadow will be cast by the prop. If the object is airborne, a

Learjet 60

Manufacturer: Learjet, Inc.

Take-off speed: 146 m.p.h.

Stall speed: 122 m.p.h.

Maximum speed: 548 m.p.h.

Maximum altitude: 51,000 feet

Flaps: Yes

Retractable landing gear: Yes

Chapter 5 Production Set Creation and Filming

shadow will only appear when it's close enough to the ground
to cast a shadow. Objects with shadows take longer to process.
If you're using a slower machine, you should consider leaving
the Shadow option off.

OK — SelectOK to accept the changes made.

LOCK — Selectthisto "lock" thescreen so changes can't
inadvertently be made. You must select Lock again to unlock
the screen before you can make any modifications. Lock also
keeps you from accidentally deleting a prop through the DEL
option. If you've made changes to a prop and then realize it's
locked, you can select Lock twice; this unlocks it, accepts the
changes you've made, and then relocks it.

CANCEL Cancels any changes made.

Saving and loading Sets

There are several dozen pre-built sets. All sets have the file
extension of SET. You can personalizea pre-built set by
adding or removing props. When you save a pre-built set that
you've modified, you can save it under its current name or give
it a new name. We recommend you give it a new name so you
always have the original set intact.

Changing the pre-built sets will not affect the stunts used in
the contest. The contest sets use different files that you do not
have access to. The sets that you do have access to are replicas
of the contest sets.

LOAD SET — Selectthisto load a previously saved set. Select
a name and then select OK to load the set.

SAVE SET — Select this to save this set. Type in a nameand
select OK. You can overwrite any of the original sets, but we
recommend you save any modified sets under a new name.

You can find complete details on Load and Save File requesters
in Chapter 2.

Creating New Sets

You can clear the current set by selecting the New option. If
you haven't saved the current set when you select New, you're
given the chance to save it before it's cleared away. The New
option only clears the set; it doesn't change your location.

Tips on Designing a Set

There are dozens of permanent locations on Stunt Island.
Objects cannot be removed from a permanent set, but they
can be added. (You'll find a complete listing of permanent
locations in Appendix B.)

There are also 32 pre-bui It sets. These sets are exact dupl icates
of the ones used in the Stunt Pilot of the Year competition.
These pre-built sets have the cameras placed, the props set up,
and the aircraft you control ready to go.

You can personalize a pre-built set by loading it and making
any modifications you want. When you save a pre-built set

Chapter 5 Production: Set Creation and Filming

that you've modified, you should save it under a new name so
the original name remains intact for future use. (You'll find a
complete list of set names under the stunt assignment descrip-
tions at the end of Chapter 4.)

If you're building an elaborate set from scratch, you should
group set types together. For instance, let's say you're creating
a set near a shore. Rather than simply adding props consecu-
tively, you could reserve slots 10 through 20 for boats, 20
through 30 for buildings along the shoreline, and slots 30 to
40 for people. It's easier to edit a set when you don't have to
scroll through your entire inventory to find one prop.

How To Film A Stunt

You're ready to film a stunt after you do one of the following:

+ See the stunt coordinator for an assignment. When you
accept an assignment, you'll join the camera crew on
location.

+ Go to the Set Design office and choose a location to fly.
You can create a new set or load an existing set. Select Fly
Stunt at the Set Design screen and you'll join the camera
crew on location. A new set can be as simple as having one
aircraft placed anywhere on the Island View screen.

Lockheed 1R-1

Manufacturer: Lockheed Corp.

Take-off speed: 168 m.p.h.

Stall speed: 140 m.p.h.

Maximum speed: 428 m.p.h.

Maximum altitude: 80,000 feet

Flaps: Yes

Retractable landing gear: Yes

Chapter 5 Production Set Creation and Filming

When you're with the camera crew on location, your options
are:

ACTION-TAKE: Select this to begin filming. Press Esc during
filming when you're done or when you want to cut the action
and return to the camera crew. The number after "Take" keeps
track of what take this is.

Note: If your computer setup has speech capabilities, you will
hear the director say, "Quiet on the set.. Speed. Action!"
("Speed" instructs the camera person to start the film rolling.)

THAT'S A WRAP: If you select That's A Wrap immediately
after you finish a take, you're asked if you want to save the
take. If you select Yes, you're shown the Save Take requester.
After you save the take, you can edit it in the post-production
editing room.

If you chose not to edit, you'll go to the theatre to view the take.

PRINT FILM: This prints (or saves) the film footage. Type in
a name and then select OK to print thefilm or Cancel
to cancel this selection.

STUNT COORD:Takes you to the stunt coordinator's office.

SET DESIGN: This returns you to the Set Design screen. If
you've recorded any footage that you want to save, you need
to save it before returning to the Set Design screen.

“Disk Full" Issues

If you run out of hard disk space, a requester saying "Disk
Full" appears. If this appears, select OK to acknowledge the
message. All data from the current flight will be lost and all
cameraswill shutdown. Atthispoint, you should exitto DOS
and free up some room on your hard disk drive.

If the footage you recorded does not equal the actual time you
invested in flying, that means you passed a one megabyte
record i ng I i mi t for the SPOO L .$$$ fi I e. At the one megabyte
limit, cameras will shut down and stop filming, although you
can keep flying around. There is no way to get around this
since the one megabyte limit is fixed.

leaving the Production Building

Select Exit to exit the production office and/ or the production
building.

Chapter 5 Production: Set Creation and Filming

Questions and Answers

Q. I placed two props but only see one. Why?

A. You may have placed the two props in the same location.
Select DEL to remove the second prop and see if the first
prop appears.

Q. I know I placed a prop, but I can't see it. What happened?

A. Try increasing or decreasing the zoom level. You may be
too far or too close to the object.

Q, All my prop settings of Yaw, Pitch and Roll have 0 as a
value, yet it moves. Why?

A. You have a speed entered. 0 is a valid setting for Yaw, Pitch
and Roll — 0 does not mean nothing is entered. For yaw, 0
is due north. For Pitch and Roll, 0 is level. Be sure to check
that the speed is zero when the ANIM button is pressed
and unpressed (animation on and off).

Q, I made my own set and then chose Fly Stunt. I had been
flying around for a long time when the message DISK
FULL appeared. What happened?

A. You ran out of disk space. When you chose Fly Stunt, the
program started filming (unless you turned REC off). The
longest a flying segment can be is about 20 minutes or 1
megabytein size, whichever occurs first. To delete thisfile,
exit to DOS. Type CD\SFUNTISL\ VAULT. Then type DEL
SPOOL. $$$ to delete the file that caused your disk to
become full. SPOOL.$$$ is a temporary name the file
responsible for filling up the disk will be saved under.

Lockheed U-2 (Spy Plane)

Manufacturer: Lockheed Corp.

Take-off speed: 168 m.p.h.

Stall speed: 140 m.p.h.

Maximum speed: 428 m.p.h.

Maximum altitude: 80,000 feet

Flaps: Yes

Retractable landing gear: Yes

Chapter 5 Production Set Creation and Filming

CHAPTER 6

Setting \Jp Special Events

The Events option, located on the Set Design screen, lets you set up the parameters
for a stunt.

Here are some examples of things that can be done with the Events option:

+ If an aircraft ever gets within a certain radius of the toxic drum, have the drum
explode.

If an aircraft fires a weapon that lands within 5 feet of a car, have that car spin out.

^ Don't start filming unless theaircraft iswithin 50 feet of the barn.

+ If a pilot successfully lands his hang glider in the center of the sports stadium,
havecheering soundsand then award the pilot 100 points.

+ If a bomb hits Alcatraz Island instead of the intended boat target 15 feet offshore,
stop the stunt and report "missed marked."

Chapter 6 Setting Up Special Events

+ If the pilot doesn't snatch the wingwalker off another air-
craft within a certain amount of time, have that wing-
walker disappear and turn the other aircraft into a UFO
that rises off into space.

Events can be simple or involved, but in either case, they're easy
to create with the Events’ menus. You don’t need to do any pro-
gramming. Except for entering an occasional number, there's

nothing to do but select the objects and actions.

All the assignments that are used in the Stunt Pilot of the Year
contest were created through the Events option. You have the
same opportunity to create comparable stunts for your own
contest. The only difference is that you won’t be able to load
your stunts through the stunt coordinator's office. To fly stunts
that you set up, you must load it at the Set Designscreen.

You can modify any of the sets used in the competition.

Actually, you won’t be modifying the original sets, but copies
of them. We recommend that you save any original sets you’ve
modified under a new name so you always have them intact.

With the Events option, you can create your own contest with
up to 64 different assignments. When it comes time to fly, just
load this set at the Set Design screen and then select Fly Stunt.

The Events option functions in an “If - Then” manner. It first
checks to see if certain requirements are met. If they are, then
the command(s) are executed. For example, you could pro-
gram a stunt in which the pilot must crash through a bill-
board. If successfully done, then music plays and the pilot is

rewarded 100 points. If the pilot doesn’t crash through the
billboard, the remaining commands are not executed — no
music and no points.

The Events options are as follows:

EVENT — This is the Event number. Select the - (minus)
button to go to the previous event or the + (plus) button to
go to the next event.

ONE SHOT — Select this if this event can only be done once.
For example, an event that checks for the aircraft to crash is
one that you’ll want as a one shot event.

COPY — Select this to copy all the contents of this screen.

The Copy option is helpful if you have events that are alike.
You can copy one event, move to a blank event slot, and then
select Paste to copy the event into the new slot. You can then
make any necessary modifications to the event.

PASTE — Select this to paste the contents of what was copied
with the Copy button.

Chapter 6 Setting Up Special Events

CLEAR

— Select this to clear all the lines in the current Events list.

You can also use the Del key to delete a line or the Ins key to insert
a line on the Events list. To delete a line, place the cursor over
the line you want deleted and press Del. To insert a line, place
the cursor on the line that you want to insert above and press Ins.

- If Option

The IF statement sets up this stunt. In order for the remaining

— statements to be executed, the IF statement must first be satisfied.

If — Never: This is the default option that acts as a placeholder.
Nothing is executed by this command line if Never is selected.

If — Collision: This checks for a collision between two objects.
When you select this option, you're prompted to select the two
objects that must collide. There are two special options that pre-
cede prop slot I: Any Weapon and Any Object.

For example, you could set it up so that if your plane hits Any

Messerschmitt Bf 109G

Manufacturer Nesseisditt Flugzegba U,

G.m.b.H,

Take-off speed: 96 m.p.h.

Stall speed: 80 m.p.h,

Maximum speed: 428 m.p.h.

Maximum altitude: Jill I feet

Flaps: les

Retractable landing gear: Yes

C hapter 6 Setting U p S pecia I E vents

0 bject, the next statement is executed. Or, you could be much
more specific and require the aircraft to collide into prop slot
15's cactus in order to execute the next statement. Both objects
must have COLL (Collision) on under their Adjust windows in
order for the objects to be able to collide. (For details on the
Collision option, seepage 81.)

If — Crash: This checks to see if something crashes. If it
does, then the next statement is executed. Crashing occurs
when anything with COLL (Collision on the Adjust win-
dow) turned on crashes into any permanent sets like water,
canyon, cities, mountains, the ground — anything that can’t
be removed from the island.

If — Time: This checks to see if a certain amount of time
has passed. If it has, then the next statement is executed.

The maximum valuefor time is 655 seconds.

If-Weapon Count: This checks to see how many times a
weapon has been fired.

And Qualifier

ThetwoAND qualifiers that follow IF letyou build on the
requirements that must be met before the remaining statements
(starting withTHEN) can be executed.

Chapter 6 Setting Up Special Events

And — Nothing: "Nothing" is the default setting which tells
this statement not to do anything.

And — After Time: This checks for a minimum time require-
ment. Enter the time in seconds and then select OK. You can
enter fractions of a second;( eg., 2.3,10.5,438.5, etc.)

And — Before Time: This checks for a maximum timelimit.
Enter the time in seconds and then select OK. You can enter
fractions of a second.

And — Event: This checks to see if an Event has been trig-
gered. Enter the event number and select OK.

And — Flag = : Enter a flag number and then the value that
you want this flag to equal. Flags are useful for keeping
track of whether things have happened or not. See page 95
for an explanation of flags.

And — Flag ?: Enter a flag number and then the value that

this flag should not equal. (See page 95 for an explanation
on flags. )

And — No Event: This checks to make sure that a specific
Event has not been triggered. Enter the event number and
select OK.

And — Speed > : This checks to see if a prop’s speed is
greater than a certain value when this event is triggered.
You're asked to select the prop and the minimum speed

And — Speed < : This checks to see if a prop’s speed drops
below a certain value when this event is triggered. You’re
asked to select the prop and the maximum speed.

Here’s a simple events list that does not use the AND command:

IF [ 500 seconds have elapsed]

THEN [award 500 dollars]

Here’s the same events list using AND. Notice how more
qualifications must be met before the THEN statement can be
executed:

IF [ 500 seconds have elapsed]

AND [the plane's speed does not exceed 500 m.p.h.]
AND [event 4 has not occurred]

THEN [award 500 dollars]

The above example is more specific about what must happen
before the remaining statement can be executed than if only
the IF command were used.

Messerschmitt Bf 110

Manufacturer: Messerschmitt Flugzegbau,

G.m.b.h.

Take-off speed: Him, pi

Stall speed: 88 m.p.h.

Maximum speed, 340 m.p.h.

Maximum altitude: .35,000 feet

Flaps: Yes

Retractable landing gear: Yes

Chapter 6 Setting Up Special Events

The first statement is as simple as: "If you eat your meat, then
you can have your pudding." That's the simple If - Then state-
ment. Compare that to "If you eat your meat and wash behind
your ears and do them both within 50 seconds, then you can
have your pudding." The second statement has a few more
requirements before you get the pudding payoff.

Then Option

THEN provides the details on what happens if the above
requirements are satisfied. THEN has a number of options so
you can tailor your event.

Then — Nothing: Do Nothing. "Nothing" is useful as a
place holder. For instance, maybe you've built a fairly elab-
orate event that you just want to take one "Then..." option
out of. Rather than rewriting the entire event, you can
select Nothing. Or you can use Nothing simply as a spacer
between a couple of executable options.

Then -Auto Stop Ra: This lets you stop the recording if
you've selected auto-editing.

Then — Award $: Enter the number of dollars the pi lot
will be awarded.

Then — Change: Changes an object. When you select
Change, the object window opens so you can choose the
object you want to change. A wide variety of ways to
change this object is presented:

Shape. The Prop window opens. Select the prop you want
this one to change into.

WE position. Changes the west-east position.

Altitude. Changes the altitude.

SN position. Changes the south-north position.

Roll. Assigns a new Roll value. A negative number sets a
new Roll position to the left; a positive number sets the
new Roll position to the right, This sets the object to a new
Roll value; there is no motion involved.

Pitch. Assigns a new Pitch value. A negative number
decreases Pitch; a positive number increases pitch. This sets
the object to a new Pitch value; there is no motion involved.

Yaw. Assigns a new Yaw value. A negative number sets the
object Yaw counterclockwise; a positive number sets it
clockwise. This sets the object to a new Yaw value; there is
no motion involved.

Chapter 6 Setting Up Special Events

Roll Anim. Adjusts the speed of rolling. The higher the
number, the faster the rate of roll. (Does not apply to prop
1.) This actually rolls the object along its longitudinal axis;
motion is involved. A negative number makes the object
roll counterclockwise; a positive number makes it roll
clockwise.

Pitch Anim. Adjusts the speed of change in Pitch. The
higher the number, the faster the change in pitch. (Does
not apply to prop 1.) This actually changes the position of
the object along its lateral axis; motion is involved.

Yaw Anim. Adjusts the speed of change in yaw. The higher
the number, the faster the change in yaw. (Does not apply
to prop 1.) This actually changes the position of the object
along its vertical axis; motion is involved.

Heading Pitch. Adjusts the direction of pitch in which this
object is moving. This prop must already have an initial
speed in order for this function to work.

Heading Yaw. Adjusts the direction of yaw in which this
object is moving. This prop must already have an initial
speed in order for this function to work.

Heading Pitch Anim. Heading Pitch Anim makes the
object travel in a circular pattern. Think of a chair on a
ferris wheel. Heading Pitch Anim lets you set the same
type of motion pattern for an object as the chair on a ferris
wheel. The chair itself will not movealong its lateral,
vertical, or horizontal axis unless you specially use the

Chapters Setting Up Spscel Events

Guryevitch

123 m.p.h.

112 m.p.h.

iti.p.h.

51,000 feet

Yes

Retractable landing gear: Yes

Pitch Anim, Roll Anim, or Yaw Anim options.

Heading Yaw Anim. Heading Yaw Anim makes the object
travel in a circular pattern. Think of a roulette wheel with a
ball in a slot. The object will have the same motion
pattern as the ball that's going around and around. The ball
itself isn't moving unless you specially instruct itto.

Speed. Changes the speed. A negative value causes the object
to go in reverse; a positive value causes it to go forward.

Acceleration. Changes the rate of acceleration. The amount
you enter will be gradually added to the current speed (add a
negative number to reduce speed).

Zoom. Changes the level of zoom. This only applies to
objects in prop slots 2 through 8.

Watch Obj. Changes the object that this object is watching.
You can set this to 0 (zero) to disable the Watch option.

Method. Lets you select a new type of method for this object
(Face, Free, Seek, Spot, Follow, or Attach.)

Method Obj. Lets you choose a new object for the method.

Visibility. You can set this at 0 for off or lfor on. An object
that is on can be seen on the screen.

Collideability. You can set this at 0 for off or 1 for on.

Col I ideabi I ity isexplained on page 81.

Auto zoom. This turns the auto zoom feature under Watch
on or off. 0 equals off while 1 equals on. This feature only
applies to prop slots 3 through 8.

Then — CutTo: Cutto another camera or object. Ifthe
object being cutto is not a camera, nothing will happen.

Then — Explode: Explodes the prop that you choose.

Then — Fade: Lets you fade the screen. The Fade percent
requester appears. Enter the value that you want this screen to
fade by; the higher the number, the darker the screen gets.

Then — Finish: Ends the stunt and shows a message stating
why the stunt is over. A list appears that lets you choose the
appropriate message. In the case of success, choose the Success
option. In the case of failure, choose any of the other options.

Then — Kill: Makes an object disappear. This is useful if you
don't need a certain object anymore If the program does not need
to keep track of it, it can free up room for another object. The
object window opens; select the object that you want "killed."

Then Set Flag: This lets you choose a flag number and set
it to any value ranging from -128 to 127. For an explanation
on setting up and using flags, see page 95.

Then — Set Time: This lets you set the time of day. Click on

Chapter 6 Setting Up Special Events

the up or down arrows to adjust the time.

Then — Start Re: Starts recording. This option is required
when REC on the Global screen is turned off. If REC is turned
off and you don't use Start Ret, recording will ne/er occur. Use
this to tell the program to start recording when the IF - AND
requirements are met. All cameras record at the same time;
cameras cannot be instructed to individually turn on or off.

Then — Start Sound: This lets you select a piece of music or
sound effect. The Select Score window appears; select the
sound you want. (Details on the Select Score window are in
Chapter 8.)

Then Stop Rec: Stops recording. Usethisto end the Start
Rec option, If you don't indudea Stop Rec statement in the
Events list, the recording will stop when the pilot presses Esc
to return to the Camera Crew screen. All cameras record at
the same time; cameras cannot be instructed to individually
turn on or off.

Then -Wait: You're prompted to enter the number of
seconds to wait before the remaining actions on the Events list
are executed. Wait does not affect your flying; you can still fly
even though the Event list is waiting to finish executing.

Setting and Using Flags

Flags take on any value that you assign it. The Flag value can
range from -128 to 127.

Chapter 6 Setting Up Special Events

Let’s say your goal in a stunt is to land on a particular spot on a
bridge. First, you could set up Event 1 to check if you crashed.

If you did, then set flag #1 to 1. Now you can use flag #1 in any
other event as the indicator for whether or not you crashed. You
could set up Event 2 to check if you successfully landed on the
bridge (represented by the collision window 00010x00010) and
to make sure that flag #1 does not equal 1 — which you set up
as representing a crash. The events could look something like:

Event 1

IF Piper Cherokee (1) crashes
THEN set flag #1 to 1

Event 2

IF Piper Cherokee (1) hits 00010x00010
AND flag#l # 1

THEN finish - success

It’s important that you keep in mind that flag values have no
relation to each other, like time or speed or altitude does. You
know that with speed, the higher the number the faster you’re
going. Or with time, the greater the number the more time has
elapsed. Flags don’t have such a relative value. It’s merely a
number. In the above example, you could easily replace flag
#1 with flag #12. Or change the flag value from 1 to 4. The
only thing that matters with flags is what numbers and what
values you assign them — and that you remember what these
values represent when you use them in another event.

Collision Windows

Under the Production Tool category in the props are “collision
windows.”

Chapter 6 Setting Up Special Events

Collision windows are simply outlines of rectangles or solid
spheres. They work as “space indicators” that let you define an
area. Once you place collision windows, you can then use the
Event option and define these collision windows as areas
where something should or should not happen.

For example, let’s say you have a stunt where you have to fly
between two highrises, with the requirement being that the
aircraft pass through the highrises at an altitude no higher
than the fifth floor. You could specify this requirement by set-
ting a collision window that covers the ground up to the fifth
floor. The aircraft must past through this collision window or
the stunt will not be acknowledged as successful.

In another stunt, you might want a parachutist to land in the
center of a stadium. You could lay down a horizontal collision
window that defines the specific area in which the parachutist
must touch down in to call it a successful stunt. You would in
effect be laying down a transparent mat that the parachutist
must land on in the previous two examples, the collision win-

dows are rectangular and two-dimensional. There's another type
of collision window that comes in the shape of a sphere. The
sphere, unlikethe rectangular collision windows, defines a
three-dimensional airspace. A sphere is useful when defining
an airspace that doesn't matter what direction you approach it
from when you "collide." For example, let's say you wanted a car
to start driving off if an aircraft came within 50 feet of it. You
could put a sphere around the car that extends out 50 feet.

When an aircraft hits this collision window, or "collision
sphere," the car will drive off. Keep in mind that in order for
the car to respond like this, you must use the Event option to
"program" this action.

Vertical windows range from 00010 x 00002 to 36000 x 36000.
Horizontal windows range from 0010 x 0002 to 6000 x 6000.

These measurements are in feet. Spheres range from 00001 to
15000; these are radius measurements in feet (radius is the mea-
surement from the center of the sphere to the edge).

After you placea collision window, you should turn Collision
(COLL) on so it registers when hit. You will probably also want
to take Visibility (VIS) off so you can't see the outline of the col-
lision window when you film the stunt.

Chapter 7 contains examples of how collision windows are used.

Setting The Recording Features

There are three different settings that determine whether or
not recording will occur:

1) theGlobal-Ret option on the Set Design screen, 2) the Events

Chapter 6 Setting Up Special Events

MiG-25 Foxbat

Manufacturer: Mikoyan Guryevitch

Take-off speed: 162m.p.h.

Stall speed: BSi.p.l,

Maximum speed: 668 m.p.h.

Maximum altitude: 15,4Sifeet

Flaps Yes

Retractable landing gear: Yes

option on the Set Design screen, and 3) the Film Editing
option on the Preferences screen.

The following chart shows how the above three options in
combination affect recording:

GLOBAL

0 N

AUTO

OFF

FILM EDITING
ON OFF

Recording
Recording*
Not Recording

Recording
Not Recording
Not Recording

Events -Start Rec and Stop Rec override ALL of the above
options.

* Only Auto Stop Rec stops this recording mode

is off, cameras stay off unless triggered by an Event.

The Preferences Screen

On the Preferences screen isthe option Film Editing. This
option is set to on or off depending on how you answered the
question “Do you want to do your own editing?" that appears
when you first start the game.

ON — Film Editing is set to on if you answered Yes to "Are
you going to do your own editing?" When you're done filming,
the program automatically goes to the editing room and loads
the footage from each camera angle used onto the Source
decks. You can either stay in the editing room and work on
your film or exit and do something else. You are not required
to stay here and edit.

The Global Option

The Global -Ret option is available at the Set Design screen.
Select the Global option and the Global Information screen
appears. I n the upper left corner is the Rec option with the
default setting of on. Select the down arrow next to Rec and
the options of Off, Auto, and On appear.

ON — Cameras automatically start recording at the beginning
of a take

OFF — Cameras stay off. They will only start rolling if you
give specific instructions through the events list.

AUTO If Film Editing on the Preferences screen is on, cam-
eras start recording right when the action starts. If Film Editing

OFF Film Editing is set to off if you answered No to "Are you
going to do your own editing?" When you're done filming, you'll
go directly to the theatre to view the footage you've just recorded.

Although the Film Editing option is off, you can still go to the
editing room at any time to edit this footage. You are not
barred from the editing room just because Film Editing is off
— you just won't automatically be taken to the editing room
when you're done.

Recording Through the Events Option

The Events option is "recording king." It doesn't matter what
any other recording setting is — if an Event has the line Start
Rec, recording will always start if that Event is triggered.

Chapter 6 Setting Up Special Events

The Events option isavailableon the Set Design screen. Select
the Events option and the Events list appears. All the following
options are available through the THEN option on the Events list:

AUTO STOP REC - Stopsall recording if Auto was selected
under the Global-Ret option and Film Editing is off. This will
not stop recording if Film Editing is on; you must use Stop Rec
if the Film Editing option is on.

START REC — Starts recording when this event is triggered. It
does not matter what any other setting is.

STOP REC — Stops recording when this event istriggered. It
does not matter what any other setting is.

— Auto-Edited Films

If you go to the Set Design screen, build a set from scratch, and
then fly it — without using the Events option — you can get
an auto-edited film, but the auto-edited film will only be made
up of your pilot's camera view.

True auto-editing, where different footage from different cameras
is spliced together, occurs when camera cuts have been pro-
grammed in through the Events option. All the pre-bui It sets have

— camera cuts built in for auto-editing.

If you load any of the pre-built sets and look through the Events
list, you'll see the option "cut to [prop name]'' on some of the
Events. The "cut to" command tells the program what cameras to

MiG-29 Fulcrum

Manufacturer: Mikoyan Guryevitch

Take-off speed: 168m.p.h.

Stall speed: MOm.p.h.

Maximum speed: 1,530 m.p.h.

Maximum altitude: 60,700 feet

Flaps: Yes

Retractable landing gear: Yes

Chapter 6 Setting Up Special Events

take footage from to create the auto-edited films. If you choose
to do your own editing, the "cut to" command is not impor-
tant to you — you won't be seeing its effects. But even if you're
doing your own editing, auto-editing still occurs — you just
won't be automatically taken to the theatre to view it.

Takea look at the BURGER.SET. Events 22 and 23 have"cut
to" commands in them. Notice that they're used in conjunc-
tion with collision windows. That's the best way to set up cam-
era cuts. Set up collision windows in the area of the camera.
Then when the aircraft hits the collision window, the camera
will know that the aircraft is in view and cut to that camera.

To understand cuts, study the Event lists in the pre-built sets.
See what collision windows are tied to which cameras. See
what order the cuts occur. See how the collision windows and
cameras are placed on the set. If you've successfully flown any
of the stunts, watch the film and see how the cuts relate to
how they were set up on the Events list.

What Editing Options You Should Choose

If you just want to fly and don't want to view any films, make
sure Film Editing (under Alt-P) isoff. Nofootagewill be
recorded, which keeps your computer's memory and hard
drive use to a minimum.

If you're flying a pre-built set and would like to see an edited
film without doing any editing work, make sure Film Editing
(under Alt-P) is off and Global-Ret is on Auto.

Remember that if you're not flying a pre-built set or a set that
has cuts built into the Events, the auto-edited footage will only
consist of the pilot's view.

If you want the editing to be done by the program (you don't
want to do it in the editing room) on a set you created, you
must be sure to program the "cut to" options in the Events list.
Turn Global-Ret off so the cameras don't immediately start
rolling with the action. Then use the Events option to start and
stop recording, and to establish the camera cuts. Keep in mind
that all the pre-built sets have cuts already built into them. It's
the sets that you build and want auto-edited that require you
to use the cut options in the Events list.

If you're heavy into doing your own editing in the editing
room, make sure Film Editing and Global-Ret are on. You'll
capture all footage from beginning to end. You can then go to
the editing room to put it together the way you want.

Dissecting Stunt Sets for Success

Now that you've learned all there is to know about objects,
collision windows, and Events lists, you have the key to inter-
preting all the stunts used in the Stunt Pilot of the Year contest.

If you can't seem to succeed on a stunt, load it in the Set
Design room and study it. (The names of the sets used for
each stunt are listed at the end of Chapter 4.)

Take a look at where the collision windows are positioned and
check the Events lists to see what exactly the pilot is allowed

Chapter 6 Setting Up Special Events

to do. This should help you determine what triggers success
and what triggers failure.

You can also modify a stunt to make it easier to do, giving you
the opportunity to complete it. For example, in BURGERSET,
you'll see in Event 3 that if 100 seconds have elapsed, then
you've failed because you took too long. If you want to extend
the time limit, you could just change the first line in that event
to If - 655 seconds have occurred. This extends the time limit,

Eventlin BURGER.SET checks to see if the Piper Cherokee
crashes. If it crashes, the stunt ends. You could alter this by
changing the first line to If - crate truck (20) crashes. The
program no longer looks for the Piper Cherokee to crash. It
looks for the crate truck to crash, which should never occur.

The sets that you can load at the Set Design screen are copies
of the ones used in the contest. So even if you've successfully
flown all the stunts loaded from the Set Design office, you can't
win the contest because these stunts aren't the ones being
tracked by the contest. You must see the stunt coordinator to
receive assignments that count towards the contest.

There's no way to have the aircraft automatically flown for you
in the contest, so keep up the sharp piloting.

Mirage 2000

Manufacturer;

Take off speed:

Stall speed:

Maximum speed:

Maximum altitude:

Flaps:

Retractable landing gear

Dassault Aviation
138 m.p.h.

.114 m.p.h.

1,645 m.p.h.

59,000 feet

Yes

Chapter 6 Setting Up Special Events

CHAPTER 7

Tutorial: Creating Sets and Events

In this chapter you'll learn how to create a set for a stunt, and then use the Events
option to set up the requirements for that stunt.

Contest Scene 7

The stunt you’ll be setting up is one that's used in the Stunt Pilot of the Year
contest — Scene 7: Park at the hamburger stand. That's the one where you have to
do the following:

1. Land your Piper Cherokee on the country road.

2. Taxi down the road. When you get to the police road block, make a left hand
turn to avoid them.

3. The hamburger joint is to the left. Pull into the parking lot and put the nose of
your plane in the second row, third stall in.

This stunt needs to be performed in less than 100 seconds (a little over one and a
half minutes) and the plane cannot crash or hit any of the vehicles.

Designing The Set

All work takes place at the Set Design screen in the production building.

Chapter 7 Tutorial Creating Sets and Events

Here’s a rough layout of how your set should look when you’re
done:

This stunt takes place in a pre-built set of a small town. The
approximate coordinates of the location is Sth/Nrth 175,963
and Wst/East 60,503. Go to this location on the island view
screen.

Now that the location is established, you’re going to work on
placing the props. Below is a list of all the props you need to
place with their exact locations and Adjust option settings.

Setting Up The Cameras

Props 1 through 8 have filming capabilities. You will only
record with props 1 through 4 in this stunt.

Prop 1. Piper Cherokee

The Piper Cherokee is the stunt plane you'll be flying. The
plane starts out in mid-air with a specific altitude and speed
setting.

PROP TYPE Free

—

ANIM

.. No settings

WTCH

No settings

POSITION

Sth/Nrth

. . . 169000

Wst/East

.. 60970

—

Altitude

430

Speed

120

FACING

.... Roll

Pitch

Yaw

Prop 2. Spotter Plane

The spotter plane is set slightly below (pitch -14), behind (yaw
100), and 70 feet away (dist 70) from the Piper Cherokee.
Because Watch is on and the autozoom is off, the spotter plane
will maintain a fixed zoom power of 1 on the Piper Cherokee.
The Spot option instructs the spotter plane to auto-adjust for
the best camera angles.

Spot

No settings

__ ... Watch ON

Object 1

Zoom 1

Autozoom OFF

Pitch -14

Yaw 100

Dist 70

Prop 3. Camera #1

This camera is filming towards the direction that the plane will
be coming from. It's set to watch the Piper Cherokee with the
automatic zoom on.

PROP TYPE Free

ANIM No settings

WTCH Watch ON

Object 1

Zoom 1.4

Autozoom.. ON

PROP TYPE

ANIM

WTCH

OFFSET

POSITION

Chapter 7 Tutorial Creating Sets and Events

Mitsubishi A6M Zero-Sen

Manufacturer: Mitsubishi Jukogyo

Kabushiki Kaisha

Take-off speed: 90 m.p.h.

Stall speed: 75 m.p.h.

Maximum speed: 340 m.p.h.

Maximum altitude: 24,000 feet

Flaps: fes

Retractable landing gear: Y es

POSITION ..Sth/Nrth 175981

Wst/ East 60720

Altitude 64

Speed 0

HEADING . . . ..Pitc h 0

Yaw 0

Prop 4. Camera #1

Thiscamera issetup in the parking lot to filmthe Piper
Cherokee as it tries to maneuver into the parking space.

PROP TYPE ....

Free

ANIM

No settings

WTCH

Watch

OFF

Object

Zoom

Autozoom

OFF

POSITION

Sth/Nrth

175922

Wst/East

60497

Altitude

Speed

FACING

Roll

Pitch

-10

Yaw

Prop 11.00010x00010

Prop slots 5 through 10 are not used. Because you don't need
to set up any more cameras, we had you jump to prop slot 11
to start the next series of items. This is just a simple way of
keeping track of items.

Chapter 7 Tutorial Creating Sets and Events

Prop 11 contains the 10x10 foot colli si on window that detects
if the nose of the plane is parked properly in the stall.

PROP TYPE

.Free

—

ANIM

. No settings

WTCH

. No settings

POSITION

.Sth/Nrth

176006

Wst/East

. .60539

Altitude

Speed

FACING

.Roll

Pitch

Yaw

—

HEADING

. Pitch

Yaw

—

Prop 12. Sphere

00006r

—

The sphere is attached to the nose of the plane and is used to

determine if the plane is properly parked in the stall at the end

of the stunt. The sphere must touch the 10x10 foot col 1 ision

window (prop 11) placed in the stall.

PROP TYPE

.Attach

ANIM

No settings

WTCH

No settings

OFFSET

—

POSITION

.Pitch

Yaw

180

—

Dist

Parked Vehicles

The next 11 props, starting with the monster truck, are the
vehicles parked outside of the hamburger stand. The Collision
must betoggleon (it will look pushed in when on) in order
for these planes to be "collideable."

You could place all these props and run into them with the
Piper Cherokee without penalty if all their COLL options were
toggled off.

Props 13 through 19 have a FACING yaw of 90 because the
front of these vehicles point due east.

Prop 13. Monster Truck #2

PROP TYPE Free

AN IM No settings

WTCFH No settings

POSITION Sth/Nrth ....

Wst/East ....

Altitude

Speed

FACING Roll

Pitch

Yaw

HEADING Pitch

Yaw

.176018
. .60491

Chapter 7 Tutorial Creating Sets and E

Prop 14. Limousine #2

PROP TYPE....

Free

ANIM

.... No settings

WTCH

No settings

POSITION

Sth/Nrth

175999

Wst/East

6049 1

Altitude

Speed

FACING

Roll

Pitch

Yaw

HEADING

Pitch

Yaw

Prop 15. WWII

Motorcycle

PROP TYPE

. .Free

ANIM

. No settings

WTCH

.. No settings

POSITION

.. Sth/Nrth

175984

Wst/East

60497

Altitude

Speed

FACING

..Roll

Pitch

Yaw

HEADING

..Pitch

Yaw

Prop 16. WWII

Motorcycle

PROP TYPE

. .Free

ANIM

.No settings

WTCH

..No settings

POSITION

..Sth/Nrth

175977

Wst/East

60497

Altitude

Speed

FACING

.. Roll

Pitch

Yaw

HEADING

..Pitch

Yaw

Prop 17. WWII

Motorcycle

PROP TYPE

..Free

ANIM

.No settings

WTCH

.No settings

POSITION

..Sth/Nrth

175969

Wst/East

60498

Altitude

Speed

FACING

..Roll

Pitch

Yaw

.90

HEADING

..Pitch

Yaw

Chapter 7 Tutorial Creating Sets and Events

Prop 18. Bulldozer

PROP TYPE

Free

ANIM

.. No settings

WTCH

No settings

POSITION

.. Sth/Nrth

.. 175958

Wst/East

. 60491

Altitude

Speed

FACING Roll

Pitch

Yaw

HEADING

Pitch

Yaw

Prop 19. Cement Truck

PROP TYPE

... Free

ANIM

No settings

WTCH

.No settings

POSITION

... Sth/Nrth

175936

Wst/East

..60496

Altitude

Speed

FACING . . .

Roll ..

Pitch

Yaw

HEADING ....

.Pitch

. . . 0

Yaw

Chapter 7 Tutorial Creating Sets and Events

Prop 20. Crate Truck

Props 20 through 23 have a FACING yaw of 270 because the
front of these vehicles points due west.

PROP TYPE....

Free

ANIM

....No settings

WTCH

.... No settings

POSITION

Sth/Nrth

175942

Wst/East

60550

Altitude

Speed

FACING

Roll

Pitch

Yaw

270

HEADING

Pitch

Yaw

Prop 2 1. Mail

Truck

PROP TYPE

...Free

ANIM

... N o settings

WTCH

...No settings

POSITION

... Sth/Nrth

175961

Wst/East

60550

Altitude

Speed

FACING

...Roll

Pitch

Yaw

270

HEADING

... Pitch

Yaw

Chapter 7 Tutorial Creating Sets and Events

Prop 22. Taxi

Cab

PROP TYPE .

.Free

—

ANIM N o s

e t t i n g s

WTCH N o s

e t t i n g s

—

POSITION

Sth/Nrth

... 175974

Wst/East

60558

—

Altitude .2

Speed

FACING .Roll

Pitch

Yaw

270

HEADING

.Pitch

Yaw

—

Prop 23. Porsche

—

PROP TYPE

.. ..Free

ANIM

... No settings

—

WTCH

... No settings

POSITION

....Sth/Nrth

175976

Wst/East

6054 3

Altitude

Speed

FACING

. ..Roll

Pitch

Yaw

270

HEADING

..Pitc h

—

Yaw

Prop 24. Police Car

This is the fi rst of two police vehicles that will block the
plane's path from continuing straight down the country road.
Thisvehide faces east.

PROP TYPE,

ANIM

WTCH

POSITION ..

FACING

HEADING

Free

No settings
No settings
.Sth/Nrth ....
Wstf East ....

Altitude

Speed

Roll

Pitch

Yaw.,

.Pitch

Yaw

.176083
. .60770

Prop 25. Police Wagon

This is the second vehidethat will block the plane's path. This
vehicle faces west, in a nose-to-nose position with the other
police car.

PROP TYPE Free

ANIM No settings

WTCH No settings

POSITION Sth/Nrth 176079

Wst/ East 6079 2

Altitude 2

Speed 0

P-51 D Mustang

Manufacturer: North American Aviation, Inc.

Take-off speed: 90 m.p.h.

Stall speed: 75 m.p.h.

Maximum speed: 445 m.p.h.

Maximum altitude: 40,000 feet

Flaps: Yes

Retractable landing gear: Yes

Chapter 7 Tutorial Creating Sets and Events

FACING

Roll 0

Pitch 0

Yaw ,270

HEADING Pitch 0

Y aw 0

Collision Windows

To keep similar props grouped together, skip to slot 31 to start
the section for collision windows.

Prop31 . 00500x00500

This collision window is used to detect when the airplane
reaches that specific area. When the plane hits this collision
window, there’s a cut to the camera in slot 4 (as defined in the
Events option).

PROP TYPE

ANIM

WTCH

POSITION ..

FACING

HEADING

.Free

No settings

Sth/Nrth

176046

Wst/East

60619

Altitude

,250

Speed

Roll

Pitch

Yaw

Pitch

Yaw

Chapter 7 T utorial Creating Sets and Events

Prop32. 00500x00500

When the plane hits this collision window, filming and sound
will start, as defined through the Events option.

PROP TYPE

Free

ANIM

....No settings

WTCH

....No settings

POSITION

Sth/Nrth

175211

Wst/East

60783

Altitude

250

Speed

FACING

....Roll

Pitch

—

Y aw

HEADING

... .Pitch

—

Yaw

Prop33. 00500x00500

When the plane

hits this collision window, the program will cut

to the camera in

prop slot 3, as

defined through the Events

option.

PROP TYPE

... Free

ANIM N o s

e t t i n g s

—

WTCH

. .No settings

POSITION

Sth/Nrth .

175879

—

Wst/East ...

60783

Altitude

250

—

Speed

FACING

..Roll

HEADING

Pitch 0

Y aw 0

Pitch 0

Yaw 0

Now the props are all set. Next you're going to use the Events
option to define what must be accomplished in this stunt.

Event 1.

Event 1 looks for the first thing that'll automatically fail you in
this stunt — a crash.

1 IF Piper Cherokee (1) crashes

2 and flag #0 = 0

3 and flag #15 = 0

4 THEN fade to 0%

5 and set flag #15 to 1

6 and play ‘Crash#2’ on chan 2, vol=4, pilot only

7 and wait 1 .5 seconds

8 and finish — hospital

Line 1. Checks to see if the Piper Cherokee crashes

Line 2. Checks to see if a flag is set to a certain value. In this
case, it wants to know if flag #0 equals 0. Flags are variables that
you set. (There is a complete discussion on flags on page 95.)

Line 3. Checks to see if flag #15 equals 0.

Only if the first three lines are met will lines 4through 8 be
executed.

Chapter 7 Tutorial Creating Sets and Events

P-38 lightning

Manufacturer: Lockheed Corp.

Take-off speed: 90 m.p.h.

Stall speed: 75 m.p.h.

Maximum speed: 350 m.p.h.

Maximum altitude: 40,000 feet

Flaps: Yes

Retractable landing gear: Yes

Line 4. This instructs the screen to fadeto black (0% bright-
ness)

Line 5. This sets flag #15 to the value of 1. In contrast to line 3,
where flag #15 equalled 0, it has now been set to a value of 1.

Line6.Thislinecausesthesound called "Crash®" to play on
channel 2 at volume level 4. "Pi lot only" means only the pilot
flying will hear the sounds; the sounds will not be recorded.

Line 7. Tel Is the program to wait for 1.5 seconds

Line 8. This signals that the stunt is finished and to send the
pilot to the hospital.

Event 2.

Event 2 checks to see if you've successfully pulled the plane
into its parking spot.

IF 00010x00010 (11) hits Sphere 00006r (12)

2 and plane's speed < 2 mph

3 and flag #15=0

4 THEN set flag HO to 1

5 and award $2400

6 and play ‘Great flying, kid!' on than 2, vol=4,

pilot only

7 and wait 3 seconds

8 and fade to 0%

9 and finish - success

Line 1. Checks to see if the collision window in the parking
spot hits the sphere that is attached to the nose of the plane.

Line 2. Checks to make sure the speed of the plane is less than
2 miles per hour. This checks to see that you've basically
parked the plane in the stall, rather than just hitting the colli-
sion window by ramming through the stall.

Line 3. Checks to see if flag #15equals0. Flag #15 equalling 0
means that none of the other events that would disqualify the
pilot have occurred.

only if the first three lines above are met will lines 4
through 9 he executed.

Line 4. Instructs flag # to be set to 1.

Line 5. Instructs the program to award the pilot $2,400.

Line 6. This line causes thedialogue "Great flying, kid!" to
play on channel 2 at volume level 4. "Pilot only" means only
the pilot flying will hear the sounds; thesounds will not be
recorded.

Line 7. Tells the program to wait for 3 seconds.

Line 8. Fades the screen to black (0% brightness).

Line 9. This tells the program that you are finished and were
successful in executing the stunt.

C hapter 7 Tutorial Creating Sets and Events

Event 3.

Event 3 sets up a time limit for this stunt.

1 IF 100 seconds have elapsed

2 and flag* =0

3 and no thing

4 THEN fade to 0%

5 and set flag #15 to -1

6 and finish too late

Line! Checks to see if 100 seconds have elapsed.

Line 2. Checks to see if flag #0 equals 0. In Event 2, if you
succeeded in parking the plane without hitting anything,
flag * was set to 1. This checks to make sure that you haven't
already completed the stunt successfully, which would make
all other actions irrelevant.

Line 3. This line is not used

Line 4. Fades the screen to 0% brightness, or black

Line 5. Sets flag #15 to equal -1

Line 6. This tells the program that you are finished and were
unsuccessful in executing the stunt because you took too long
to perform the stunt.

Paraglider

Takeoff speed: Low

Stall speed: Low

Maximum speed: Low

Maximum altitude: Medium

Flaps: No

Retractable landing gear: No

Chapter 7 Tutorial Creating Sets and Events

Event 4.

Event 4 checks to see if the Pi per Cherokee hits the M onster
Truck that's parked in the parking lot.

1 IF Piper Cherokee (1) hits Monster Truck ffi

(13)

2 and flag 0=0

3 and flag #15 = 0

4 THEN set flag #15 to 1

Line 1. Checks to see if the Piper Cherokee in prop slot 1 hits
the M onster Truck that occupies prop slot 13.

Line 2. Checks to make sure that flag #0 equalsO. In Event 2,
if you succeeded in parking the plane without hitting any-
thing, flag #0 was set to 1. This checks to make sure that you
haven't already completed the stunt successfully, which would
make this event irrelevant.

Line 3. Checks to see if flag #15 equals 0. In Events 1 and 3,
there'sa line that sets flag #15 to 1 if you crashed (Event 1) or
took too long (Event 3). If you've already failed, this event is
irrelevant.

Line 4. If the above three lines are met — which means you hit
the monster truck before you performed the stunt successfully
— flag #15 is set to equal 1. In Event 2's outline for success,
notice how flag #15 must equal 0.

Events 5 through 16 have the exact same formula as Event 4.

The only difference is the object the Pi per Cherokee hits in
Line 1. Events 4 through 16 establish every object that the
Piper Cherokee is not allowed to hit.

Event 17

Event 17 checks to make sure that the plane's weapon is never
fired, since this stunt does not call for the firing of weapons.

1 IF Weapon count = 1

2 and flag 0=0

3 and flag #15 = 0

4 THEN fade to 0%

5 and set flag #15 to -3

6 and finish — general failure

Event 21.

Event 21 checks to see if you hit any of the vehicles on the
ground.

1 IF 1 second has elapsed

2 and flag O = 0

3 and flag #15 = 1

4 THEN fade to 0%

5 and play 'Explosion#7' on chan2, vol=4, pilot

only

6 and wait 1.5 seconds

7 and .... finish hospital

Line 1. Checks to see if 1 second has elapsed yet. Basically, this
means "when the stunt starts."

Chapter 7 Tutorial Creating Sets and Events

Line 2. Checks to see if flag #0 = 0. When the flag equals 1, the
stunt has already been successfully done, making this event
irrelevant.

Line 3. In events 4through 16, ifthePiperCherokeehitany
vehicle, then flag #15 was set to 1. This line checks to see if
flag #15 equals 1, which means a vehicle was hit.

Line 4. Facies the screen to black.

Line 5. This line causes the sound effect called "Explosion #7"
to play on channel 2 at volume level 4. "Pilot only" means
only the pilot flying will hear thesounds; thesounds will not
be recorded.

Line 6. Wait 1.5 seconds.

Line 7. This signals that the stunt is finished and to send the
pilot to the hospital.

Event 22.

Event 22 tel Is the program to cut to the camera in prop slot 4
when the Piper Cherokee hits the collision window in prop
slot 31. This camera captures the Piper Cherokee as it
attempts to park.

1 I F Piper Cherokee (1) hits 00500x00500 (31)

2 and nothing

3 and .nothing

4 THEN cut to Camera #1 (4)

Piper Cherokee

Manufacturer: Piper Aircraft

Take-off speed: 60 m.p.h.

Stall speed: .47 m.p.h.

Maximum speed: 144 m.p.h.

Maximum altitude: 12,000 feet

Flaps: Yes

Retractable landing gear: Yes

Chapter 7 Tutorial Creating Sets and Events

Event 23.

Event 23 tells the program to cut to the camera in prop slot 3
when the Piper Cherokee hits the collision window in prop slot
33. This camera catches a shot of the plane as it approaches the
police cars. This camera angle is important for auto-edited film.

1 IF „„ Piper Cherokee (1) hits 00500x00500 (33)

2 and.. .nothing

3 and nothing

4 THEN cut to Camera#! (3)

Event 24.

This event tells the program to start recording when the Piper
Cherokee hits the collision window in prop slot 32. This way,
the program starts recording when the plane is in a good posi-
tion to execute the stunt the preliminary flying to set up for
position is not filmed since it's footage that won't be used.

1 IF Piper Cherokee (1) hits 00500x00500 (32)

2 and.. . .no thing

3 and.. no thing

4 THEN start recording

5 and wait 0.1 seconds

6 and play '*Prop' on chan 1, vol=4, and loop,

tape only

Line6starts the sounds. When the filming on the plane
begins, the sound of the propeller also starts, "Tape Only"
means the pilot will not hear propeller sounds.

This concludes the stunt. Select Save and then save it under

the name of MYBURGER, Now select Fly Stunt to go get your
burger.

Animating The Police Car

In the previous stunt assignment you created, nothing's mov-
ing except for your airplane. In this section, we'll show you
how to animate the police car so it comes skidding up next to
the police wagon just as the Piper Cherokee needs to go into
the hard left turn.

Start with the set and events you set up above. Two props will
be added and one will be adjusted.

Prop 5. Camera #2

This camera will capture the action of the police car skidding
into position for the road block. It's watching the police wagon
(prop 25), which is positioned in a spot where all the action
will take place.

Note: Rather than having the camera watch prop 25, there's
the alternative of setting the camera up with the FACE setting.
In this case, have it FACE the police wagon and don't worry
about the Watch settings. There are often several ways to
accomplish the same task — which features you use can be a
matter of your directorial choice.

PROP TYPE Free

ANIM No settings

WTCH Watch ON

Object 25

Chapter 7 Tutorial Creating Sets and Events

Zoom

—

Autozoom

.OFF

POSITION

Sth/Nrth

175980

Wst/East

60714

Altitude

Speed

HEADING

... ..Pitch..

Yaw

Prop 34.00060x00060

This collision window is used as a ‘'trigger.” When the airplane
hits this collision window, it’s the police car’s cue to start mov-
ing towards the airplane (as defined in the events).

PROP TYPE.. ..

Fre e

ANIM

.... No settings

WTCH

No settings

POSITION

Sth/Nrth

175908

Wst/East

60780

Altitude.

Speed

FACING

Roll

Pitch

Yaw

HEADING

Pitch.,

Yaw

Pitts Special

Manufacturer: Christen Industries

Take-off speed: 65 m.p.h.

Stall speed: 55m.p.h.

Maximum speed: 160 m.p.h.

Maximum altitude: 14,500 feet

Flaps: Yes

Retractable landing gear: Yes

Chapter 7 Tutorial Creating Sets and Events

Prop 24. Police Car

You need to make some adjustments to this existing prop. The
police car will now have a starting position farther north. The
nose of the car will also start out pointing south.

PROP TYPE

Free

ANIM

No settings

WTCH

. . . No setti ngs

POSITION ...

Sth/Nrth

.... 176290

Wst/ East

60770

Altitude

Speed

. . . . 0

FACING .

Roll

Pitch

Yaw

HEADING

Pitch

Yaw

180

Now that your two new props are in place and the police car has
been adjusted, you need to add the events that will tell the police
car exactly what to do.

Event 25

1 I F Piper Cherokee (1) hits 00060x00060 (34)

2 and nothing

3 and .nothing

4 THEN change Police Car (24)'s speed to 20

5 and wait 4 seconds

6 and change Pol ice Car (24)'syaw anim to -25

7 and wait 3 seconds

8 and stop Police Car (24)

Line 1. This checks to see if the Piper Cherokee hits the col I ision
window just down the road from the police cars.

Line 2. This linedoes nothing.

Line 3. This linedoes nothing.

Line4. Change the police car's speed to 20(from 0).

Line 5. This lets the police car travel down the road for 4 seconds.

Line 6. This establ ishes a change of value for the pol ice car's
yaw . The val ue of -25 tel I s the car to move counter-cl ockw i se
at a yaw value of 25.

Line 7. Lets the pol ice car move at the current speed and new
animated yaw value for 3 seconds.

Line 8. Stops the pol ice car from all motion. When the police
car stops, it should be just about nose-to- nose with the police
wagon.

Event 26

Interested in adding skid sounds to accompany the police car's
sideways halt? This event does that.

1 IF Piper Cherokee (1) hits 00060x00060 (34)

2 and .nothing

3 and. .nothing

4 THEN wait 6 seconds

5 and play 'Car Skid on chan 2, vol=4

Chapter 7 Tutorial. Creating Sets and Events

Line 1. Looks for the plane to meet the collision window.

Line 2. Does nothing.

Line 3. Does nothing.

Line 4. In event 25, the police car was triggered to start mov-
ing as soon as the plane hit the collision window. At about 6
seconds, the police car goes into its skid. This is when you
want the skid sound to play. You want the sound to play on
channel 2 because the sound for the plane’s prop is being
played through channel 1. If you send this sound through
channel 1, the prop sound will be cut off until the skid sound
is done playing.

Chapter 7 Tutorial Creating Sets and Events

Pterodactyl

Take-off speed:

Stall speed:

Maximum speed:

Maximum altitude:

Flaps:

Retractable landing gear: No

Low

Low, but more than the duck
Low
No

- CHAPTER 8

- Post-Production:

_ Editing and Special Effects

In post-production, your focus will be on the printed film. Your main responsibility
in post-production will be as editor. You'll use your eye for action to arrange scenes
into a single exciting sequence for viewing.

During real life production, the editor must work closely with the director to carry
out the vision of the story. After each day of filming, a film processing lab develops
the negative; hence the term "dailies." The editor views the dailies with the director
to discuss what combined images will create the desired story impression. The
original negative goes to the vault, a clean fireproof storage room. A print of the
original negative is made this “work print" is the film that's actually edited.

When you enter the post-production building, you see a fellow "tapehead" who has
the necessary ability to sit in a darkened room for 20 hours a day, 7 days a week,

Chapter 8 Post-Production Editing and Special Effects

watching thousands of feet of footage roll before him. From
here you can go to the following areas:

VAULT — This is wherefilm isstored. You will not need to
access this room; vaulted masters are kept under close supervi-
sion by the vault keeper.

EDITING — This is where all editing and post-production
effects are performed.

TFIEATRE — Come here to view your dailies or completed
film on the large screen. Your film doesn't need to be complete-
ly finished to view it at the theatre.

EXIT — Select this to leave the post-production building.

When you enter the editing room, the Load Stock Footage
requester automatically appears. There are two types of
footage you can load from this requester: Takes or Films.
(The exceptions are if you've just been taken to the editing
room from a stunt or if you just come from the airfield by
pressing the R key. In these cases, the auto-edited take is
automatically assigned to a deck.)

TAKES — The normal default loading option is Takes. All the
stunts that you fly are saved as Takes, with a .TKE file extension.

FILMS — Films are created from Takes that have been edited
and saved. If you want to load footage that has the .FLM file
extension, select Films. Films can be used asa source of
footage for other films.

Editing Film Footage

To edit film footage you must first be in the editing room in the
post-production building.

The default drive should be automatically selected. If you want
to load a file from another drive, select that drive letter. Drives
that are unavailable are in a lighter color. If you're using a drive
that's something other than A through F, enter that driver letter

Chapter 8 Post-Production Editing and Special Elects

in the Filename field and press Enter. For example, if you have
a drive labeled J, you'd typej: in the field after Filename and
press Enter.

Flighlight the name of the file you want to load and then select
OK. After you select a file, the Stock Footage Desk Assignment
requester appears:

WITH CUTS — This loads thefootagewith cuts. All Takes
come in a computer edited version (With Cuts) and an unedit-
ed version (Without Cuts). The version of a take With Cuts is
created by the program (as opposed to a film With Cuts — a
person creates this).

If you selected No when you were asked, "Do you want to do
your own editing?" (just after you loaded the program), With
Cuts shows the edited version created by the program. If you
selected Yes when asked if you want to do your own editing,
selecting With Cuts will only give you the pilot's view.

Chapter 8 Post-Production, Editing and Special Effects

SR-71A Blackbird

Manufacturer: Lockheed Corp

Take-off speed: 190 m.p.h.

Stall speed: 160 m.p.h.

Maximum speed: 2,000 m.p.h.

Maximum altitude: 85,000 feet

Flaps: Yes

Retractable landing gear: Yes

WhileTakes havethe option of being loaded With Cuts or
Without Cuts, all Films are loaded With Cuts since all films
are the product of someone's edited work.

WITHOUT CUTS — This loads the footage without cuts. You
can assign a deck to each camera angle used during the filming
process. Select a box below "Load into deck #." press
Backspace or Delete, enter a number from 1 to 8, and then
press Enter to move to the next deck. Select OK when done.

It's not necessary to assign a camera angle to a deck if you
don't plan on using footage taken by that camera. Think of
each deck as a separate VCR player. You can load film in up to
eight different decks for viewing and editing. If film is already
loaded into a deck, any new footage you assign to that deck
will take the place of the footage that's currently in the deck.
But before the footage is loaded over current footage, you're
asked if you're sure you want to overwrite the existing footage.

Source Deck vs. Destination Deck
Next, you go to the editing panel. On theleft isthe Source
deck, which is where you'll manipulate the original footage.
On the right isthe Destination deck, onto which you'll copy
segments of footage to create the final film.

The deck buttons are as follows:

DTI

Jump to start of film footage
Fast reverse

Reverse (left mouse button for normal speed
reverse; right mouse button for half speed reverse)

Stop and single step reverse one frame

Stop and single step forward one frame

Forward (left mouse button for normal speed
forward; right mouse button for half speed forward)

Fast forward

Jump to end of film footage

Chapter 8 Post-Production: Editing and Special Effects

START: 00:00.00 . ..This is the point in the footage that you've

marked off as the start for the edited piece
of footage.

MARK This marks the point to start copying the

footage.

GO TO Jumps to the start of the marked footage

END: 00:00.00 This is the point in the footage that you've

marked off as the start for the edited piece
of footage.

MARK .This marks the point to end (stop) copying

the footage.

GO TO Jumps to the end of the marked footage.

TOTAL: 00:00.00 ..This is the total time of the footage that is
loaded in the active deck.

SYNC ... Select this to have this deck run in sync

with all the other decks that have Sync
selected. For instance, l&'s say decks 1, 3
and 6haveSync selected, whilethe
remaining decks do not have Sync selected.
All decks are currently "rewound" to the
beginning of their takes (the time on each
deck is 00:00.00). Now you view the
footage in deck 1 from 00:00.00 to
00: 12.00 seconds. If you go to decks 3 and
6, the tapeinthosedecks will also show
00: 12.00 seconds, as they ran in sync with
deck 1. If you go to any of the other decks,

Sopwith Camel

Manufacturer:

Take-off speed:

Stall speed:

Maximum speed:

Maximum altitude:

Flaps:

Retractable landing gear:

Sopwith Aviation Company
.60 m.p.h.

.50 m.p.h.

,115 m.p.h.

.19,000 feet

Chapter 8 Post-Production. Editing and Special Effects

the counter should have remained at
00:00.00.

PREVIEW Select this to preview the marked segment.

LOAD Select this to open the Load Footage

requester.

The field above Deck shows the name of the loaded Takes or
Film. In the case of uncut Takes, you also see which camera it
was shot from.

DECK Select numbers 1 through 8 to have that decks

footage appear on the source monitor

FX .The following options are available when you
choose FX:

AUDIO — Lets you add music or sound effects to
the film

SILENCE Lets you erase audio that has been
added

CREDIT — Lets you enter credits for thefilm

COLOR — Lets you shift the color any degree
from full color to black and white

FADE — Lets you fade the film any degree of
brightness, from full brightness to black

SPEED — Lets you control the speed at which that
segment of film runs. The value is entered as a
percentage.

DELETE Delete footage marked on the Destination deck;

you can also press D on the keyboard as a shortcut.

REC .Record marked footage from the Source deck to
Destination deck.

UNDO Undo last command; you can also press U on the

keyboard.

LOAD Load footage onto the Destination deck

PRINT Save the current film on the Destination deck. All

saved films have the file extension of .FLM.

EXIT Exit this screen

Marking Footage — The Cornerstone to Editing

Marking the footage is the most important thing you need to
know when it comes to editing. When you mark footage, two
marks are required: one to mark the start and another to mark
the end.

To mark a segment of footage, you need to first determine
where that segment is in the take or film and advance to it.

Then select Start: Mark to mark the starting point of the
footage. Then go forward to the end of the segment and select
End: Mark to mark the end of the footage. Now that the
footage is marked, you can do whatever you want with it.

If you're at the Source deck, you can record it onto the
Destination deck. If you're working on the Destination deck,
you can delete the footage or apply special effects to it.

Chapter 8 Post-Production,

Editing and Special Effects

Let's say you want to use a stunt segment that begins 25 sec-
onds into thefilm. You'd usetheforward buttons | ll» | or □E
until 00:25.00 appears on the screen, indicating you're 25 sec-
onds into the take or film and at the start of the segment you
want to use. Select Start: Mark to mark the start of the footage.

Next you need to advance to the end of the stunt sequence.

Let's say the stunt sequence lasts one minute. You need to
advance the film until 01:25.00 appears on the screen. Now
you can select End: Mark to mark the end. Your footage is
now marked and ready for use (e.g., copying to the Destination
deck, adding special effects, deleting from thefilm, etc.).

It doesn't matter if you mark the end of the footage or the start
of the footage first. In the above example, you could go to
01:25.00 and select End: Mark. Then you could rewind the
film to 00:25.00 and select Start: Mark. It's the same segment
of footage regardless of whether the Start: Mark or the End:

Mark gets marked first.

Editing "On The Fly"

In the above editing instructions, we had you go to the begin-
ning of the edit segment, mark it as the start, go to the end of
the edit segment, and then mark it as the end. This is a precise
and controlled way of editing.

There's a style of editing called "editing on the fly." That
means as the tape is running, you mark the start and end of
the footage you want edited — you never stop the film to
mark it. You can edit on the fly in the SI editor simply by
clicking on | ) to play the tape. When you seethe begin-

Chapter 8 Post-Production Editing and Special Effects

ning of the segment you want edited, select Start: Mark. The
tape will continue running because you haven't given it a com-
mand to do anything else. When it reaches the end of the
edited segment you want to capture, select End: Mark. That's
editing on the fly — you do it as the tape runs. You never have
to edit on the fly, but some editors like to view this ability as a
sign of proficiency in their craft.

If you select REC while the Source deck isrunning, the Source
deck will stop.

Recording from the Source Deck to the
Destination Deck

Start the editing process by selecting the deck number which
contains the footage you want to edit. Remember that the only
decks that are available are those that you loaded Film or
Takes into; all 8 decks may or may not be used.

+ Use the forward and reverse control buttons on the Source
deck to stop the film on the exact frame you want to start
the edited segment with.

+ Select Start: Mark to mark the beginning of the edit. The
time that appears on the frame should appear next to Start:.

+ Using the forward control button, go to the exact frame
that you want to end the edited segment with.

+ Select End: Mark to mark the end of the edit. The time that
appears on the current frame should appear next to End:.

+ Select Preview if you want to view the marked segment.

+ Copy the edited footage over to the Destination deck by
clicking on the REC button (located on the Destination
deck)

+ If you've clicked on REC and then decideyou don'twant
that segment of footage attached, select Undo to remove it.

Marking and Copying a Single Frame

Sometimes you'll want to show a frame for a couple of sec-
onds, maybe for visual impact or maybe to run credits over.

Let's say you have a shot of a car that you want to freeze for

several seconds so you can flash a credit over it. H ere's how

you would do it:

+On the Source deck, go the exact frame you want to use.

In our example, it would be any frame that shows the car.

+ Select Start: Mark.

# Select End: Mark. Thesingleframe is now marked as the
start and end of the footage. The Start: Mark and End: Mark
will have the identical counter numbers.

+ Select REC on the Destination deck. A requester appears.
Enter how many seconds you want this single frame to
hold on the screen.

Chapter 8 Post-Production

Editing and Special Effects ■gOj

+ Select OK. The frame will appear on the edited footage for
as long as you instructed it to.

Inserting Footage on the Destination Deck

If you edit footage on the Source deck and record it onto the
Destination deck without touching any of the forward or
reverse buttons on the Destination deck, the footage will be
continually attached at the end of the footage on the
Destination deck.

To insert a section of footage on the Destination deck, you
must go to the frame on the Destination deck where the
footage will be inserted. When you select REC to record, the
footage will be inserted in front of the current frame on the
Destination deck.

+On the Source deck, use the Start: Mark and End: Mark
buttons to mark the section of footage you want to insert.

+ On the Destination deck, use the reverse and/or forward

Chapter 8 Post-Production Editing and Special Effects

Sopwith Trip lane

Manufacturer: Sopwith Aviation Company

Take-off speed: 60 m.p.h.

Stall speed: 50 m.p.h.

Maximum speed: IB m.p.h.

Maximum altitude: 20,500 feet

Flaps: No

Retractable landing gear: .. Jo

buttons to go to the frame where you want the footage
inserted.

+ Select REC to insert the footage.

+After you've inserted the footage, be sure to select | W | to
return to the end of the tape. Otherwise, you will continue
to insert footage into the middle of the footage on the
Destination deck.

Before you select a visual effect, you need to mark the footage
that the visual effect will be attached to. Atthis point in edit-
ing, you're only working on the Destination deck; you cannot
attach special effects to footage on the Source deck.

On the Destination deck, use the Start: Mark and End: Mark
buttons to mark the start and end of the segment. Then select
FX and one of the following options:

Deleting Footage from the Destination Deck

Note: All of the buttons used in the following instructions are
those on the Destination deck, NOT the Source deck.

To delete footage from the Destination deck:

►>- Use the reverse and/ or forward buttons to go to the frame
where you want to start the delete. When you're on the
correct frame, select Start: Mark.

►f Advance to the last frame in the segment you want to edit.
Select End: Mark.

Select Delete to delete that section of marked footage. (You
can also press D to delete marked footage.)

Incorporating Visual Effects

The sound and visual effects are available under the FX option
on the Destination deck. The FX options that relate to visual
effects are Credit, Color, Fade, and Speed. (Audioand Silence
are for audio effects and are covered in the next section.)

CREDIT Lets you enter credits for the film. Press Enter to
move between lines. Select OK when done. Keyboard users:
Press theTab key to exit the credit lines.

COLOR — Lets you shift the color any degree from full color
to black and white. Slide the box in the bar to see the color
saturation change. You can also select the (-) or (-t) buttons to
adjust it. The top bar is how the color saturation will be at the
start of the marked segment. The bottom bar is the color satu-
ration at the end of the marked segment.

Chapter 8 Post-Production, Editing and Special Effects

FADE — Lets you adjust the film any degree of brightness,
from full brightness to black. Slide the box in the bar to see
the brightness change. You can also select the (-) or (+) but-
tons to adjust it. The top bar is how the brightness will be at
the start of the marked segment. The bottom bar is the bright-
ness at the end of the marked segment.

SPEED — Lets you control the speed at which that segment of
film runs. The value is entered as a percentage. If you want a
piece to run faster, enter a number greater than 100. For
example, to run a segment of film twice as fast as the normal

Chapter 8 Post-Production Editing and Special Effects

playing speed, you would enter 200. If you wanted to play a
segment of film in slower-than-normal motion, enter a number
less than 100. For example, you would enter 50 to run the
segment at half its normal speed.

The available sounds are broken into categories. The first two
categories, Music # and Music #2, contain music. The
remaining categories contain sound effects like crashing,
exploding, screeching, etc.

Incorporating Music and Sound Effects

The sound and visual effects are available under the FX option
on the Destination deck. The two FX options that relate to
musicand sound effects are Audio and Silence. The other
options under FX (Credit, Color, Fade and Speed) are for
visual effects; these are covered in the preceding section.

AUDIO Lets you add music or sound effects to the film.
When you select this option, you see the first Select Sound
window.

Select the category of sound you want and you'll go to another
Select Score window. Choose the specific music or sound
effect. Then set the following options:

VOL (Volume) — There are four volume levels, listhe lowest
volume level while 4 is the highest.

Chapter 8 Post-Production. Editing and Special Effects

CHAN (Channel) — There are two channels that sound can
be played through. You can play one or two audio segments
(like music and a sound effect) at once on separate channels.

If you're only using one piece of audio, it doesn't matter if you
select channel 1 or 2 to output it to. You cannot have two
pieces of audio sent through the same channel — one must go
through channel 1, while the other goes through channel 2.

LOOP — Selectthisto continually loop themusicor sound
effect until another audio sound is loaded to play through this
channel. If another audio sound is not loaded onto this chan-
nel, theaudiofileyou selected will continue to play.

SILENCE — Lets you erase any sounds you've recorded. Mark
the segment that contains the sound and then select Silence to
erase the sound.

When you use the Audio option to put audio on a segment of
footage, it actually places a single mark at the start of the
marked footage, rather than marking the entire footage with
audio. That's why you can't start the mark at 00:00.00. The pro-
gram needs to encounter the mark as the film runs, so that mark
must occur no sooner that 00:00.00 for it to be recognized.

Also, when you use the Silence option, only audio marks that
occur in the segment that was silenced will be deleted. For
example, let's say a piece of music plays from 00:02.00 through
01:30.00. If you mark the segment from 00:10.00 through
01:30.00 and then select Silence, you will still hear the entire
piece of music. What you need to do is mark 00:00.00 through

Chapter 8 Post-Production: Editing and Special Effects

Spitfire

Manufacturer Supermarine Vickers-

Armstrongs, Ltd.

Take-off speed: 96 m.p.h.

Stall speed: 80 m.p.h.

Maximum speed: 4 16 m.p.h.

Maximum altitude: 44, 000 feet

Flaps: No

Retractable landing gear: No

00:04.00. It doesn't matter if any other frames are included; you
just want to make sure that the 00:02.00 mark will be encoun-
tered by the Silence mark since that's the exact frame where the
audio mark was made. After you've marked the segment, select
Silence to remove the audio mark.

To incorporate a stretch of silence across a specifically marked
segment of footage, you need to select Silence from the
Common Sounds or the Sound Effects 2 category at the Select
Sound window. The file called Silence is treated like a regular
sound file, except that you will hear nothing.

Note: Engine sounds for airplanes always default to channel 1.
Weapon soundsalwaysdefaultto channel 2. If you record
sound over either of these channels, you will record over the
engine or weapon sound.

Saving Edited Footage

Select Print on the Destination deck to save the edited footage.

Chapter 8 Post-Production Editing and Special Effects

Enter a name and then selectOK. Films are automatically
saved in the \STUNTISL\ VAULT subdirectory. If you want
files stored in a different subdirectory, select that subdirectory
from the list or enter a new subdirectory name in the field after
Filename.

Complete details on using Save File requesters are on page 24.

leaving the Editing Room

Select Exit to leave the editing room,

Maximum Film Values

The longest film you can create will last about 20 minutes or
take up one megabyte of RAM one or the other. The more
complicated the stunt you've created (e.g., with lots of props
or animated objects), the shorter the film will be. The most
objects you can have moving at one time in a film is 40.

Firing a weapon also takes up memory. Continuous firing,
especially while recording, causes RAM to be consumed
quickly. Of all the weapons, the gun can consume the most
RAM since it can be fired most rapidly.

Stunt Island requires 70K free on the hard drive in order for
you to be able to fly. The program has a 64K buffer that
accumulates flight data as you fly around; the information
accumulated in the buffer writes to afilecalled SPOOL.$$$
when it becomes full.

Films can be up to 20 minutes in length. If you try to surpass
this length, you'll see the message "The operation would make
the film exceed the maximum time allowed." Select OK to
acknowledge the message. Re-edit the film so it does not
exceed 20 minutes.

Incorporating Your Own Sound Files

Stuntlsland lets you add .VOC files that you've created
through other sound devices likethe Sound Blaster or the
Thunder Board. See your sound device manual for details
on creating .VOC files.

Stunt Island has a special program that lets you add .VOC
sounds files you've created. To add sound files, you should be
at the DOS prompt, not in the Stunt Island program. You must
also be in the Stunt Island subdirectory (which is \ STUNTISL
unless you selected a different one during installation). Atthe
DOS prompt, type AD DSN DS. The Stunt Island Digital Sound
Manager screen appears.

You're asked to select a sound file that you would like to
modify. There are five main files that you can put sounds into
— Usersndl through Usersnd5. Each category can contain up
to 253 individual sound files, Highlight one of thefiveUsersnd
files and press Enter.

If you're selecting a Usersnd category that you've never select-
ed before, you're asked if you want to create the file. Select
"Yes, Create the file" to create the file.

Space Shuttle

Because the Space Shuttle has been specifically tailored
for stunt flying, the speed and altitude capabilities have
been modified from those of an authentic space shuttle.
The Stunt Island space shuttle flight specifications are
comparable to those of a very fast aircraft.

Flaps: les

Retractable landing gear: Yes

Note: The shuttle on the 747 uses the same values as
those of the Boeing 747.

Chapter 8 Post-Production. Editing and Spsil Effects

Next, you're asked to choose the sound you would like to
modify. Choose a slot number and press Enter. You're shown
a File requester and are asked to locate the .VOC file. Select
the subdirectory in which the .VOC is located and then select
the .VOC file.

Once you select the file, you're prompted to enter a short
description for it. You can enter a description that's up to
about 25 characters in length. When you press Enter, the file

is compressed for use in the Stunt Island program. Save the file

once it’s done compressing.

If you need to modify a sound, highlight the filename and
press Enter. You'll see the Modify Entry screen. You have the

option to change the name of the description, remove it from
the list, replace this sound file with another sound file, or
move this sound file to another slot number.

The .VOC files that you select through the ADDSNDS program
can be up to 120K in length, unpacked. If the file is larger than
120K or if the .VOC is packed, the program will be unable to
compress the file tor use with the Stunt Island program.

You can use the .VOC files you’ve created in the post-produc-
tion editing room. When you select the FX option and then

select Audio, you'll see the Select Score window. You should

now see the Usersnd category you added. Use your .VOC files

like any other audio file.

Previewing Films to Other PC Owners

Stunt Island comes with programs called MAKEONE.EXE and
PLAYONE.EXE that lets anybody with an IBM or compatible
machine view film footage without having to own the Stunt
Island program. The MAKEONE.EXE and PLAYONE.EXE
files are located in the STUNTISL subdirectory.

MAKEONE Program

Before you can show films to other PC owners you need to
prepare the file using the MAKEONE program. The
MAKEONE program does special things to the file so it can be
shown without the actual Stunt Island program. To prepare
the film, you must be at the DOS prompt (not in the Stunt
Island program). Type \STUNTISL and press Enter to go to
that subdirectory. Then type MAKEONE and press Enter.

You’ll go to the theatre where you'll see the Load File
requester. Load the file you want to show to other PC owners
and the MAKEONE program will prepare it. You’re returned
to DOS when the MAKEONE program is done.

PLAYONE Program

After you’ve used the MAKEONE program to prepare the film,
you can distribute the film to another PC owner. In order for
the PC owner to be able to view it, the film must be accompa-
nied by these files:

PLAYONE.EXE Runs the film

[FILENAME] .FLM The name of the film you prepared

with the .FLM extension

[filename] .ALL.. The name of the film you prepared

Chapter 8 Post-Production Editing and Special Effects

with the .ALL file extension. (This file
was created by the MAKEONE
program.)

VDATA.BIN ..Incorporates musical instruments

used to create sounds

SETUP.BAT Allows user to access sound options

to configure his or her system
INSTALL.EXE Allows SETUP.BAT to be run

INSTALL. CFG Allows SETUP.BAT and save options

to work

PFONT.BIN Allows Load Film requester and VCR
controls to appear

DRIVER1.BIN .Enables MIDI sounds to play

DRIVER2.BIN Enables MIDI sounds to play

DRIVER3.BIN Enables MIDI sounds to play

The files listed may be copied and distributedfreely, as can the
films you’ve created. However, all otherfiles that make up the
Stunt Island program are copyrighted and it is illegal to distribute
them to others.

To use the PLAYONE program, type PLAYONE and a Load
Film requester appears at the theatre. Select a film and then
use the controls at the bottom of the Theatre screen to view
the film.

Chapter 8 Post-Production, Editing and Special Effects

Tupolev Tu- 142Bear

Manufacturer: Tupolev Design Bureau

Take-off speed: 150 m.p.h.

Stall speed: 12S m.p.h.

Maximum speed: 575 m.p.h.

Maximum altitude: 45, 900 feet

Flaps: les

Retractable landing gear: Y e s

CHAPTER 9

Tutorial: Editing a Film

This chapter teaches you how to use the different footage from the file called
HIGHWAY.TKE and turn it into a finished film I ike the one cal led
HIGHWAY.FLM,

The following step-by-step instructions guide you through the editing process. By the
end of this tutorial, you'll know how to load footage mark the segments you want to
use, edit them together, and then add special sound and visual effects to complete the
presentation.

The final productwill be approximately 21 seconds in length.

loading the Highway Take

Go to the editing room in the post-production building. The Load Stock Footage
requester automatically appears when you first enter the Editing room. First, let's
takea look atthefilm called H IGHWAY.FLM . Select Films and a list of films in the

vault appears. Select HIGHWAY.FLM and then selectOK.

Next, the Stock Footage Desk Assignment screen appears.

Chapter 9 Tutorial Editing a Film

Because this is a film and because all films have been edited,
you must select the With Cuts option (only takes can be
loaded without cuts). Load the film into deck 1.

Select deck 1 on the Source deck if it isn’t already selected. A
black screen with “The Highway” appears on the Source rnoni
tor. View this film to get an idea of what you’ll be creating.

When you’re done looking at the film, select Load on the
Source (left) deck. The Load Stock Footage screen appears
with the takes shown. Select HIGHWAY. TKE and then select
OK.

Select Without Cuts from the Stock Footage Desk Assignment
screen. You’ll see a screen that looks like this:

Chapter 9 Tutorial Editing a Film

Footage from all eight cameras have already been assigned to
each deck. You don't need to keep the camera footage in the
decks they’re assigned: any camera footage can be loaded into
any deck. For the benefit of this tutorial, keep the cameras
assigned to their current decks. Select OK to continue.

Editing the Footage

Select deck 1. The take from deck 1 should appear on the
Source monitor with 00:00.00 in the lower left corner of the
monitor. The film loaded into deck 1 should show a long shot
of the road. Take a look at this footage by selecting the for-
ward or reverse buttons. Then select the other deck numbers
and look at their footage.

The first segmen t of f ootage comes from deck 8. Select deck 8
and then select TO to make sure you're at the start of the
footage. Select Start: Mark to mark the start of this footage.

The counter value of 00:00.00 should remain between START:
and MARK.

Use the forward button to advance to 00:06.32 seconds and
then select End: Mark to mark the end of this footage. The
counter value of 00:06.32 should appear between END: and
MARK.

You've just marked your first piece of footage. To copy it over
to the Destination deck, select REC on the Destination deck.
The Source and Destination monitors should show the identi-
cal frame and time.

The next piece of footage comes from deck 6. Select deck 6,
go to 00:02.86, and then click on Start: Mark. Notice how
00:00.00 changes to 00:02.86 to indicate the new starting
mark. Advance the film to 00:07.32 and select End: Mark.

Copy it over to the Destination deck by selecting REC.

00:10.78 should appear in the corner of the Destination moni-
tor. This is the total time of the footage on this deck so far.

Select deck 7 and go to 00:09.56. Select End: Mark. Noticein
this piece of footage that you're marking the end of it first.
Rewind to 00:07.32 and select Start: Mark. It doesn't matter
whether you mark the start or the end of the segment first.

Select deck 8 and goto 00: 11.62. Select Start: Mark. Advance
thefilmtoOO: 16.80 and select End: Mark. Record this third
segment of footage to the Destination deck by selecting REC.

Take a look at what you've done so far on the Destination deck
by selecting the|« button to go to the start of the fi I m and

Chapter 9 Tutorial Editing a Film

then selecting H to play it. Notice anything unusual?
There's a segment of footage missing near the end of the film.

Return to the Source deck and select deck 5. Go to 00:09.44
and select Start: Mark; then advance to 00:12.30 and select

End: Mark. To insert this footage in the correct place on the
Destination deck, you need to go to the spot where it will be

inserted on the Destination deck. In this case, use the forward

or reverse buttons to have the counter on the Destination
monitor show 00:13.02. Select REC and the footage from the
Source deck will be inserted right before this frame.

Look at the film on the Destination deck. Your film should
look like the Highway film you reviewed at the start of this
exercise. To confirm this, let’s load that film onto the Source
deck and take a look at it.

Select Load on the Source deck. Select HIGffWAY.TKE and

then select OK. Select With Cuts. You can load the film into
any deck since you won’t be needing any of the take footage
anymore. Try entering deck 5. You're shown the requester
‘'Replace Highway — Camera 3.” Select Yes to replace that
take with this film.

Select deck 5 and use the 53 button to go to the start of

the footage. Select E to view the footage. View the footage
on the Destination deck to see how they compare. They
should be nearly identical.

Now that the film segments are recorded in their proper order,

Chapter 9 Tutorial Editing a Film

let’s work on the special effects. (For the remainder of this
tutorial, no work needs to be done on the Source deck.)

Inserting Audio and Visual Effects

Go to the start of the footage on the Destination deck. Select
Start: Mark at 00:00.00 and End: Mark at 00:01.98. Select FX
and then select Credits. The Credit screen appears. Type "The

Highway” on the top line and then select OK.

The fade up from black runs a little shorter than the credits.
Select Start: Mark at 00:02.00 and End: Mark at 00:01.04.

Select FX and then select Fade. The Adjust Brightness screen

appears. Slide the button on the Start bar all the way to the
left, which represents a totally black screen. Make sure the

button on the End bar is all the way to the right, which repre-
sents a totally bright screen. With the Start bar at 0% and the

End bar at 100% the screen will fade up from black. Select OK
to continue.

Let's add the closing credits. Select Start: Mark at 00:20.70 and

End: Mark at 00:21.06. Go to the Credits screen under the FX
options and type "The End” on the top line. Select FX again
and then select Fade. Instead of fading up from black like you

did at the start of the tape, you're going to fade down to black.

Slide the button on the End bar all the way to the left for 0%
brightness and then select OK.

The last bit of editing involves adding a soundtrack to your film.
Go to the start of the film on the Destination deck and select

Start: Mark. The counter should show 00:00.00. Select
to jump to the end of the film and then select End: Mark. This
marks the entire length of the film. Select FX and then select
Audio. At the Select Sound screen, highlight Music #1 and then
select OK. You'll use the music in the file called Action 1, so
highlight that file. If you want to check out the audio, select
Test. Select OK to close the window.

Now take a look at your film on the Destination deck.
Compare it to the one on deck 5 of your Source deck. They
should look comparably edited.

Chapter 9 Tutorial Editing a Film

CHAPTER 10

Industry History and Insight

Stunt Flying History

For years after the Wright Brothers' heralded first flight, exhibition flying for pure
entertainment remained the primary use of the airplane. Military applications, mass
passenger transportation, and expeditious overseas package delivery weren't
obvious heirs to the technology. In what appeared to be a perplexing mock of
physics, flying without feathers or flapping was something for few to master and
most to marvel.

Thefirst motion picture company arrived in Los Angeles in the early 1900s. The
good year-round weather made it possible for the companies to keep production
going no matter what the season. It turned out that Southern California's temperate
weather was favorable not only to the newly developing film community, but to the
equally fledgling field of aviation.

At first, the takeoff, fly-by and landing of airplanes accounted for the live stunt
action in early movies. This live footage was mixed in with cl oseups of the actors
sitting in, dangling from, walking on, and rolling off plane props to create the feel
of high-flying action and peril.

Although many before him flew in high-risk exhibitions, Al Wilson iscommonly
credited as the first man to fill the position of "professional picture stunt pi lot."
Wilson was the first member of an official group (this group later became the
Associated Motion Picture Pilots) to fly for a film company. Learning to fly in a
homemade airplane that had a 50-foot ceiling and a tendency to crash when turned,
Wilson cut histeeth on high-risk flying before receiving formal flight education

Chapter 10 Industry History and Insight

while working a maintenance job at a flying school. Al's broth-
er, Herbert, was intrigued by the technical aspects of flying.
When Herbert built a two-seat monoplane, the two brothers
rented this machine to film companies with Al asthepilot,
thus launching Al Wilson's motion picture stunt flying career.
Cecil B. DeMille owed his own piloting knowledge to personal
instruction from Al Wilson, whom he had hired for a flight
sequence in his film We Can't Have Everything.

World War i put tremendous emphasis into flight technology.
In the beginning, regular "civilian" planes were used to per-
form reconnaissance work. Soon, specialized planes with mili-
tary functions like bombing and fighting were designed and
put into use. The war not only raised the airplane from the sta-
tus of entertaining technology to national necessity, but also
gave rise to the concept of the heroic fighter pilot. A more
appealing romantic character couldn't have been conjured up
by a thousand studio moguls.

With both films and flying growing in sophistication through
the decades, the two today remain popular partners, whether
the airplane is the star of the action, or simply providing the
vantage point for special scenes to be captured. In 1921-22,
Frank Clarke became the first stunt pilot to perform a pre-
planned crash. Any crashes captured before that were uninten-
tional, although most likely written i nto the scri pt to utilize
the sensational footage suddenly on hand. Dick Grace, another
flier of that time, would become Hollywood's premier "crash
engineer, 11 amassing a record 47 air crashes during his lifetime.
In the mid 1930s the Depression brought a moratorium to

most live-action stunts and crashes. Moviestudios could no
longer afford to crash airplanes into the ground. In place of
live action stunts, studios cut to scenes of crashing, break-
away miniatures. The early days of miniatures were more
noted for obvious fakery than ingenious illusion; however, like
the planes themselves, the miniature technology and special
effect dramatically improved through the years. Today, special
effects is a much respected field in itself.

The Film Industry

Information on the film industry can fill shelf after shelf,
bookcase after bookcase. This chapter doesn't contain a
comprehensivediscussion on the film industry; that would
require a multi-volume encyclopedia with contributing writers
that span the immense industry. Instead, we touch on certain
film topics, explain some common movie-making protocol,
and maybe answer some industry questions you have.

Keep in mind that the approach to making films is as diverse
as the people making them. We may explain it one way, but
it's by no means the definitive way.

Locations

Most people would love to have their beautiful homes and
neighborhoods featured in a movie. They'd love it if it were as
simple as having a film crew sweep in, slap the clapboard,
shoot the footage, and then sweep right back out like a warm
Hollywood breeze. But it's rarely a simple or problem-free
undertaking. Shooting on location is often costly, dangerous,

Chapter 10 Industry Hisotory and Insight

and inconvenient — to either the production company or the
homeowner.

When a production company decides to shoot on location,
they send out a location scout to find an appropriate location
based on a number of factors: cost of use, zoning laws, permit
requirements, length of availability, overall look of the house
or neighborhood, and many other details. All these factors
must be carefully analyzed before the crew ever arrives on
the scene.

The cost of using a particular location depends on the owner
(for private property) or local government (for public proper-
ty). Some property owners rent out their "picture perfect"
houses for top dollar — rates can start from $1,000 a day.

On the other hand, you might be able to convince the owner
of a remote farm house to rent out his place for a few hundred
a day.

The biggest problem facing the crew and the owner is how the
property is taken care of when the shooting is going on. If the
location manager is good at his job, he'll do his best to prevent
damage to the house and help reimburse the owner for any-
thing that gets broken during the shoot. Sheets of cardboard
(called layout board) are put down on the floors to prevent
damage to carpeting and floors. Not all film companies carry
insurance to cover damage, especially if this is a low-budget
film. If there is damage, good luck to the owner when it comes
to collecting the fee.

A major problem with location shooting involves finding
proper electrical outlets to support 10 kilowatt lights (the nor-
mal household outlet is 110 volts, providing about one-tenth
the necessary wattage). If the production is large enough, the
crew will usually bring along a portable generator, which is a
rig roughly the size of a medium sized truck. The generator is
loud while running; this can cause problems for thefilm crew
if the community has strict noise laws.

Scenery sets the flavor of the movie. It can be a real unadulter-
ated location or a fake set wall (known asa"flat”). When
shooti ng on a sound stage or i n a backlot, the facades (build-
ing fronts with no backs to them) may have the proper look;
but if mountains or smog can be seen above them, a flat must
be brought in to give the proper background.

If a film is shot out of sequence — and most of them are —
the light must match from shot to shot to maintain continuity
(proper flow from scene to scene). Shooting one scene at
10:00a.m. in which the bad guy gets killed and then another
scene at 2:00 p.m. where he's robbing a bank will cause conti-
nuity problems — he can't die before he robs the bank. The
light must match from scene to scene. Shooting on location
often means chasing the sun or using controlled light and
bounce boards (4x4 foot reflecting boards mounted on frames).

Safety

If a studio could only makeone public relations move, shield-
ing the public from any possible danger during filming should
be at the top of the list. If an action picture is being shot and

Chapter 10 Industry History and Insight

explosives are involved, that adds a whole new element of
chance to the production. A professional pyrotechnist must be
brought in, a special permit allowing pyro must be purchased,
a licensed fireman and policeman must be present at all times,
and proper safety procedures must be strictly followed. Any
stunt involving aircrafts must have an ambulance and firetruck
present. If safety is not enough of an incentive to perform the
stunt safely and correctly the first time, add cost as a motiva-
tional factor. Seldom is there enough time or money to reshoot
a dangerous stunt.

Types of Props

There are two types of props: breakaway and rentals.

Breakaway — or disposable — props are built from scratch with
materials that break apart easily. Balsa wood is a popular fragile
material used in props from chairs to buildings. Candy glass, a
mixture of sugar, water and food coloring, is used where glass is
required. Plastic, Styrofoam, and foam rubber are also favored
materials for breakaway props.

Rentals are props rented from a prop house. Rentals can range
from reproduced fine art to oversized rocking chairs to unique
autos. What happens if a rental prop is destroyed? Depending
on your relationship with the prop house, it may be over-
looked or it may be moved from the category of “rented” to
“purchased.”

Types of Cameras

Three types of cameras are used in the motion picture indus-
try: Mitchell, Arriflex, and Panavision.

Of these cameras, the Mitchell is best suited for high-speed
photography since it can withstand most of the abuse that can
occur on a film set and when it comes to effects or pyrotech-
nique shooting, it is the most durable. The Mitchell camera is
thick and heavy, making it durable and sturdy. The image
remains steady during traveling shots or pyro shots.

Panavision and Arriflex cameras are expensive to rent and
costly to replace, making them unsuitable to the abuses of a
crew or shooting schedule (although the rest of the film, the
more “sedate” part, will be filmed with either of these two).

The Arriflex was developed by the Germans for combat pho-
tography during World War n. The technology that went into
the unique, aerodynamic design proved this camera to be both

versatile and well-suited to the demands of combat situations.
This camera is sleek in design and very steady during shooting.

The third type of camera is the Panavision. The Panavision
camera has been a standard in the industry for a long time. This

camera, unlike Arriflex and Mitchell cameras, can only be rent-

ed. The Panavision camera is the most popular camera in
motion picture today.

Chapter 10 Industry HistDry and Insight

Lens Length

Ever hear of a movie touting that it was filmed in "70 millime-
ter"? The millimeter (mm) of a film refers to the diagonal
length of one frame of film. The different sizes of films are
8mm, 16mm, 35mm, 65mm, and 70mm. The larger the
negative, the sharper the picture. A 70mm print taken from
70mm film looks very sharp because the image goes through
the least enlargement possible. In contrast, a 35mm film looks
grainy when blown up 70mm.

8mm and 16mm are usually used for private use or by very
low cost productions (never in a feature film). Most feature
film is shot in 35mm. High speed shots, I ike gunshots and
water dropping, are shot in 70mm because it runs at the high-
est speed. Productions that can splurge on 70mm film will.

Most motion pictures are shot in what's called "film style"

That means one camera is used, and it's moved whenever
necessary, unlike in television and sporting events which have
numerous cameras in different locations. Complicated stunts,
however, are treated more like a sporting event than a film.
Because the shots are difficult to get, numerous angles are
covered. But before you think cameras are easy to sprinkle
around as a precautionary measure, they are costly to use
(camera rental cost, film, etc.). Some productions would prefer
to have multiple props on hand, refilming a scene with their
one camera if necessary, rather than trying to capture it in one
shot with several cameras.

Single-Attempt Shots

Some of the most memorable stunts in movies are those that
have to be done right the first time. The film crew has only
one opportunity to perform and record the stunt.

The best way to get props for one-time shots is to find some-
thing that is scheduled for demolition and then pay the city a
small fee to "get rid of it for them." This can include bridges,
buildings, houses or other structures that have been con-
demned.

There's no margin for error nor are there opportunities for
retakes in a single-attempt stunt. Crews will set up around 10
cameras to make sure they get the shot. Cameras are set at
different distances from the stunt; some are close up on the
object being destroyed, some catch the long shot, some follow
the action. The film speeds and types are different to capture
every look possible. When the footage is edited, it's usually
shown from many different angles and distances. On-screen
explosions happen a variety of times at a variety of speeds,
often winding up looking much more elaborate than they
originally were. It's all a part of the film editing magic.

The I ntrepid Life of a C amera

In "normal" filming, like drama scenes that don't require
covering a large area, a camera only needs to be set up on some
sort of stable base. In cases that require greater mobility, the
camera can be set on a platform attached to a crane that allows
the camera and cameraperson to move up and down, and side
to side.

Chapter 10 Industry History and Insight

To follow fast movement, a camera can be set up on dolly
tracks (like railroad tracks) that run parallel to the action.
Action can also be captured from a special truck called a
"Shotmaker." This is the preferred way of catching action on
any type of surface that can accommodate a car, like freeways
or surface streets.

Cameras can be mounted just about anywhere. A small camera
can be mounted on a helmet to catch a pilot's point of view
during a dogfight sequence. Steadicams, a rig that straps onto
the chest of the cameraman, can track first person point-of-
view (POV) without the erratic head movement that can result
from a camera attached to a helmet. Cameras can be half
buried into the ground so when a plane crashes on it, the cam-
era is destroyed, but the film remains intact.

Editing Equipment

Two editing machines dominate the industry: the Moviola
Upright Editor and the Flatbed Editor.

For small budget and college editing, the Moviola Upright
Editor is used. Because it is more difficult to use than a Flatbed
Editor, post production people who can afford to avoid the
Moviola will.

In a Flatbed Editor, film reels lay flat on the bed of the
machine and run through the viewing area for easy marking
and editing. Flatbed Editors are the most widely used in the
film industry.

Both the Moviola and Flatbed are used for creating dailies
from workprint. Workprint is struck from the original nega-
tive; then the original exposed negative is stored in the vault.
The workprint will have lines drawn on it to mark fades,
dissolves, credits, etc. It will also inevitably pick up scratches
from being run through the machine numerous times and
from laying on the floor.

Theworkprint isedited into what's cal led a rough cut and is
shown to the producer and director for comments. The direc-
tor gets his turn with a director's cut, and the studio or pro-
ducer gets yet another chance to edit the film. The ultimate
say, or "final cut," usually belongs to the studio. In a few cases,
a top director or actor can have final cut on their film.

Another way to edit film is on videotape. The film is trans-
ferred to videotape and brought up in editing decks for view-
ing. Each piece of film has been encoded with time codes that
allow an editor to follow the shooting schedule to identify
what was shot when. The editor then uses these numbers to
cut the film. Fie keeps a list of the new numbers used in
editing thefilm in what's called an Edit List.

With the advances in computers and laser disk technology in
the field of editing, there is another form of editing that is
quick, innovative — and expensive. Two of these systems, the
Editflex and Editdroid (developed by George Lucas to edit
Return of thejedi), make the job of the editor both convenient
and challenging. The process involves transferring the raw
film footage to laser disk. This way, an editor can sit in front of

Chapter 10 Industry History and Insight

a bank of monitors and have several pieces of footage running
at the same time. Then, it's simply a matter of calling out to
the assistant, "Takel, Take 3, Take 7..

The Editor's Job

The editor's job doesn't start after the film's been shot. Long
before an image is imprinted on a single frame of celluloid, the
director, director of photography, editor, and other key people
meet to review the script. Each offer their comments based on
their approach to the material.

An editor will most likely tell the director to "get plenty of cov-
erage." By this, the editor is asking the director to shoot in as
many different ways as possible — close up shots, long shots,
etc. — so there is plenty of film to choose from. This is just in
case a scene doesn't work as first intended or if a cutaway is
needed. Not every scene will play through without a cut to a
dock, or a flower, or an airplane flying overhead. This footage
gives the editor the flexibility to intercut a shot that he thinks

might add to the film.

Timing, pacing, and duration of scenes are all determined by
the editor. A scene improperly cut will either drag or be chop-
py and incomprehensible. A good editor is crucial to the suc-
cess or failure of a project.

The film that is shot on a day-to-day basis is usually rushed to
the lab and processed. This footage is almost always viewed on
a daily basis (hence the name "dailies") to determine if scenes
need to be reshot. Timing is crucial; if a set is scheduled to be

Chapter 10 Mushy History and Insight

struck (torn down or modified), then a decision must be made
quickly to determine if the scene "works" or not.

To combat this "fear of the unknown dailies," most produc-
tions have incorporated something called "video assist." A
video camera and tape recorder are hooked directly into the
film camera and the signal is fed to a monitor and tape deck.
This way, the director can watch the scene as it's being filmed
and can play it back to see if it works as he originally intended.
Video assist saves time, money, headaches and potentially
wards off serious setbacks to the filming schedule.

Sound

Sound or rather, the absence of it — on the set is impor-
tant. The more quiet a set, the better. A street adjacent to a
busy mall or freeway is bad for the sound crew. Some home-
owners, like those who live in frequently-filmed neighbor-
hoods and are tired of the repeated "intrusions," have adopted
such protest tactics as turning on leaf blowers when the
director yells "Action!"

In cases where the sound quality of the dialogue recorded on
the set is unacceptable, ADR (automatic dialogue replacement)
occurs. ADR, also known as "looping," is the replacing of dia-
logue in post-production. The actor views the film on a screen
and rereads his or her lines, which is then dubbed onto the film.

Foley is the incorporation of sounds synchronized to match
the onscreen movement of bodies or objects. Foley, like ADR,
occurs in post-production. Some very common components of

the Foley stage are various surfaces like wood, marble, cement,
ceramic, linoleum — all this just so the simplesounds of foot-
steps can be recreated. Foley work spans an incredible range of
sounds, from the commonplace like breaking glass to the
unusual like organs being removed from a body.

Music sets the mood for individual scenes as well as for the
overall feel of the movie. Like sound effects, they are added to
the film in post-production.

Today's Flying Stunts

Flying sequences are still done with real planes, both those
basic and difficult in execution. Extremely dangerous stunts
can be done with models, or miniatures. Some miniatures
achieve the impressive size of six feet from wing tip to wing tip
— hardly what some think of as "miniature." With the
tremendous improvement in model and model filming tech-
nology, it's difficult to tell what's real and what's miniature. As
a film fan, if you don't see a difference, then there isn't one.

Ultimately, as long as there are planes and as long as there are
pilots who aren't afraid to try, live flying action shots will con-
tinue to be a major part of flying films.

Chapter 10 Industry History and Insight

A Conversation With Chris Howell,
Stunt Coordinator

Disney: Flow did you get into the stunt business?

Howell: We (stunt coordinators) are all a bunch of specialists,
some of uswith more specialties than others. I camein to this
business through the rodeo, through riding bulls. That's how I
made my living.

They made a rodeo film with this one particular animal who
was a major character. Fie had been ridden three times in five
years, and I rode him twice. It made a lot more sense to hire
me to ride the bull than it did to do a bunch of takes hoping
they could splice them together. That's how I got in the indus-
try. There weren't a bunch of bull riding jobs, however, so 1
had to diversify and get into car work and other things.

I've done fire gags*. They've gotten so sophisticated, so slick.
We can paint a guy down with this special gel, blend it to the
tone of his skin, put him in jockey shorts, and torch him off. I
can have flames going 15 feet over his head. As long as he keeps
moving, I can give you a 30 to 45 second bum on camera of a
real man without the bulky suit.

* "Gags" is the commonly-used term for stunts. Its origin is
linked to the Keystone Cops, the silent movie characters
whose exaggerated pratfalls were among the first stunts on
film.

Disney: Is it common for a stunt coordinator to be a stuntperson
in the stunts that he or she oversees?

Howell: I usually work a few days in each film. Some guys
work more. On The Fisher King, I was the Red Knight because
it was economically feasible to combine the two jobs. There
was so much preparation time in developing the costume and
making it fit with molds and castings. Nobody wants to get out
their wallet and pay two checks when the job can be combined
into one. I said it could be done my mouth wrote a check
my butt had to cash.

On the show that I’m preparing right now. I’ll be working a
few days on the show. The first gag is a car sequence. I'd like
to be driving and screeching around, but my main position on
the show is going to be by the camera to critique and to help
the director accomplish what he wants. The director might not
be happy with what he’s seen. I can look at it and give two or
three options on different ways to handle the stunt — and
know how to make those options happen immediately.

Sometimes you’ll do a stunt and, boy, it'll feel like crap but
look great on the camera. Other times it feels great when
you’ve done it, but it’s a miss and just doesn’t work on the
screen.

Disney: Do all coordinators “work through the ranks?”

Howell: Basically, yeah.

Disney: Do you survive in the business as a stunt coordinator by
virtue of the fact that you haven' tfailed too much? Thrown away
too much money?

Howell: It ‘ s about personality, it’s about being lucky, it’s about
being a good businessman. I'm given “x” amount of dollars —
I’ve got to put that money on film, which is about what it
amounts to.

The hardest thing about being a stunt coordinator is learning
to say “No.” Somebody will say, “We're gonna do this,” and I'll
have to tell them, “No you can’t do it that way [with stunt peo-
ple] , but you might be able to create that illusion through spe-
cial effects technology.” We’re not into being special pieces of
meat or cannon fodder. The old stunt guys were, back in the
20s and 30s. They’d go have a couple of shots of whiskey and
then go crash-and-burn and hope they lived through it.

My grandfather died in 1929 on the first Stagecoach movie. He
was driving the coach when he had a wreck, ruptured his
spleen, and died two days later -because he was dumb. I’m
older than he was when he died — I’m not quite as dumb.

Disney: Who selects you to become the stunt coordinator? The
director?

Howell: Director, producer, actor — it just depends on who
has the most clout.

Disney: Do you approach stunts with the idea of making the most

Chapter 10 Industry History and Insight

spectacular a/ent possible given the budget?

Howell: My approach to action is through the characters as
opposed to making the stunts the biggest spectacle-1 don't
believe in that. I believe that anytime you go to the movie and
you say, "Damn, the stunts were great!", then they didn't
work. They didn't work whatsoever because they were so
grand and so big that they separated themselves from the
whole film.

I personally would much rather — and did have — my name
on the credits in Grand Canyon as opposed to Terminator 2.
Ten years ago, I'd rather have been a part of Terminator 2.
There's a place in society for both films. But speaking for
myself, I'm tired. I don't want to fistfight with anybody any-
more. That's where my life's coming from.

James Bond films are classic examples [of films with stunts
that do not violate the film's theme]. You can do action that's
bigger than life, and that's ok because of the 007 genre — he's
bigger than life. You're not violating the character. You expect
that from him. It's when you have a little old lady from
Pasadena jumping into a Learjet and taking out six bad guys'
planes, and then parachuting down to fistfight the entire
Iranian army — it doesn't work, no matter how wonderfully
done.

Disney: Do people often get hurt doing stunts?

Howell: There are risks, but you work it out. It's a science

Chapter 10 Industry History and Insight

now. It's not just thrill seekers going out and doing things
What I do is not about taking risks.

On big stunts, you rarely ever get hurt because you're prepped,
your adrenaline's going, and you're thinking to yourself, "Man,
why did I take this job?" But the little ones, the little "no-
brainers," are the risky ones.

One of my biggest injuries was on a little gag. It was a 12 foot
drop to the cement. I got a little bit off and pulled a ligament
in my foot. They needed it again. I was apprehensive about it,
but I went ahead and did it a second time and then blew every
thing out of that foot. They took me to the local hospital to get
some x-rays, and the hospital was all excited because they'd
never seen anything like that and really wanted to operate.

You don't have computers playing this game. You have the ele-
ment of human error, and timing, and hand-eye coordination
working, and that's why this game is going to work for us old
farts who don't want to hit the ground for real anymore.

APPENDIX A:

Aerodynamic Forces

In order to make an airplane fly and keep it in flight, there are two
forces that must be overcome: weight and drag. The forces that
oppose weight and drag are called lift and thrust. Lift overcomes
the weight (and force of gravity) and thrust overcomes drag.

Lift

Lift is produced by fordng air over the aircraft's wing surface.
Astheair hits the front (or leading edge) of the wing, it is
divided-part of the air flows over the wing, while the remain-
ing flows under. The air molecules want to travel so that they
meet again at the back (or trailing edge) of the wing. Airplane
wings are designed so that the upper part is curved while the
lower part is relatively straight. The amount of wing curvature
(called camber) depends on whether the wing was designed for
high speed flight or lower speed flight. Wings designed for gen-
eral aviation aircraft (Cessna 172s, Piper Cherokees, Beechcraft
Bonanzas) have a good deal of curvature because other factors,
such as the shape of the fuselage and the power of the available
engine, limit the speed of the airplane to lower speeds (less
than 300 m.p.h.).

Because the top of the wing iscurved, the air molecules that
travel over the top of the wing will travel a greater distance to
reach the trailing edge than the air traveling along the bottom.

Therefore, to arrive at the trailing edge at the same time, the air
molecules that travel over the top of the wing must travel at a
greater speed than those traveling along the bottom. Bernoulli
proved that if you increase the speed of fluid (air acts like a
fluid), you will raise its temperature and lower its pressure. The
camber causes that increase in speed over the top of the wing,
and this, in turn, causes the air at the top of the wing to be at a
lower pressure than that at the bottom.

If the air pressure can be thought of as a force acting against
the surface of the wing, you can see that there will be a greater
force at the bottom pushing up than at the top pushing down.

This is where an aircraft gets ninety percent of its lift. The down
wash caused by the air as it's pushed off of the trailing edge
provides the remaining ten percent of lift.

Thrust

Thrust is provided by the plane's engine.

Stalls

The word "stall" tends to make people think of an engine that
has failed. In flight dynamic, however, stall is used in reference
to the airplane's wing. A stall can be described as a separation or
disruption of the smooth airflow over the wing's surface. That
disruption will seriously affect the wing's ability to produce lift.
At some point, the amount of lift being produced will no longer
be enough to overcome weight, and stall will result.

What happens when the wing stalls usually depends on its
design. Generally, most wings are designed to stall at the root

Appendix A: Aerodynamic Forces

first (the point nearest the fuselage, or main body of the plane).
This leaves control of the ailerons, which are normally located
near the wing tips, effective. The indication a pilotwill normal-
ly have of a stall is a buffet (shaking of the airplane). The nose
of the airplane will then drop off of the horizon and begin to
fall towards the earth.

A stall can happen at any flight altitude (plane position) and at
any airspeed. Stalls most commonly occur during climbs and
turns because this is when the lifting ability of the wing is most
challenged.

Angle of Attack

The wind caused as a result of pushing the airplane through the
air is called the relative wind. Because this wind is created, it will
always be in front of the wing and at a 90-degree angle relative to
the lift vector. As the pilot pulls back on the stick, he or she cre-
ates an angle between the relative wind and the wing. This angle
is called the angle of attack — the angle at which the wing
attacks the wind. This angle is a finite number, and each wing
has its own maximum angle of attack (called the Critical Angle
of Attack). Once that angle is exceeded, the wing can no longer
produce lift, resulting in a stall.

Stalls During Climbs

Pulling back too far on the stick will cause the wing to exceed
its critical angleof attack. The airspeed will bleed off, and when
the airspeed falls below the stall speed, the airplane stalls
(remember that it's the wing and not the engine that's stalling).
The best way to avoid this type of stall is to reduce the angle of

climb if the airspeed bleeds dangerously low (use a shallower
pitch). Keep in mind that throughout this type of stall, the engine
can be at full power but the airplane will still stall. These stalls are
most dangerous at low altitudes (particularly just after liftoff)
since there's no time — or room — to recover from the stall.

Stalls During Turns

A stall that occurs during a turn is often called an accelerated
stall, because the wing will stall s/en though the airplane's speed
is well above its stall speed. When an aircraft is banked for turn-
ing, some of its lift will act in a horizontal direction to turn the
airplane, and some in a vertical direction. The greater the
amount of bank, the more lift will be lost to centrifugal force.

As the aircraft loses lift, the nose of the airplane will want to fall
below the horizon, The pilot, wanting to maintain a level turn,
will pull back on the stick to keep the airplane's nose on the
horizon. The more the pilot pulls back, the greater the angle of
attack becomes. At some point the pilot, if not careful, will
exceed the critical angle of attack and stall the airplane.

Benefits of Stalling

Stalls are not always bad. The most efficient landing is one in
which the airplane stalls at the moment its main wheels touch
the runway. If the pilot is able to achie/e a stall while touching
down, the airplane will not have any tendencies to balloon (or
float) back up. The stall should come simultaneous to touching
down and not before. A landing stall which occurs while the air-
plane is still twenty or thirty feet in the air can be disastrous. If
this doesn't result in a full-impact crash, it will at least cause a
very painful bone-jarring landing.

Appendix A: Aerodynamic Forces

APPENDIX B:

Stunt Island
Permanent locations

Type of Place or Object

Name S/N-WE Coordinates

Aircraft Carrier

USS Angeles

...180155, 148724

Alcatraz

...90360, 119670

Aqueduct

LA Aqueduct

...46200, 56240

Army Base

Fort Stinson

...28930, 110930

Bridge

Overland Bridge

.172730, 121430

Canyon

.Lynch Canyon

.50 000, 151000

Castle

St. Andrew’s Castle..

...93000, 105800

City

Jackson City

...97000, 139400

Complex

S.I. Headquarters

.69760, 102800

Culvert

A-60 Culvert

...172730, 126870

Dam

Lexingto n Dam

.59600, 58700

Farm

Jerse y Farms

.124680, 68320

Fishing Village....

....Villa Pescado ....

155820, 168180

Forest

Larga Forest

.. 134900, 96800

Freeway

Arrow Freeway

.141840, 33000

Golden Gate Bridge

Golden Gate Bridge..

.91030, 133280

Hydroelectric Power Plant.

..Aqua Falls HPP

57720, 55320

Jungle

Quiaba Jungle

.30290, 96500

Lake

Larga Lake

..140820, 110300

Landing Strip

G- 1 6 Landing Strip..

..65800, 145500

LAX

.. 56750, 34300

Movie Studio

Stephens Studios

.69230, 101020

Oil Rigs

Cutschak Oil Rigs.

181800, 130890

Type of Place or Object

Name

S/N-W/E Coordinates

Power Plant

....Isleno Power Plant

128800, 141450

Railroad

.... Isleno Line

172730, 98000

Reservoir

.. .Wilman Reservoir ..

57 000, 15 1200

Small Airport

...Lone Pine Airport..

168880, 44330

Small Town

...Lone Pine

176000, 60520

Stadium/Baseball

...New Front Stadium

.. ...125710, 28720

Stadium/Football

...Redrock Coliseum..

126800, 30400

Stonehenge

... Stonehenge

136150, 41920

Seaport Town

....Worcester

142000, 25700

Tunnel

....St. Remerston Tunnel .172730, 111530

United Nations Building..

... UN Building

99160, 141100

The following are additional locations not drawn on the Stunt
Island map:

Bridge over deep gorge 52082,154738

Bridge, twin 103045, 135954

Mountain 41156, 153753

Overpass.. 103447, 137681

Underpass 105480, 134434

Appendix B Stunt Island Permanent Locations

APPENDIX C: Helpful
Information and
Troubleshooting Guide

What Is a “C: Prompt"?

The C: prompt is the window into your computer system.

A C : prompt is how DOS tel Is you it is ready to accept com-
mands to start a program. The term “C: prompt" is actually a
bit misleading, since it can also be an "A: prompt" or a "Z:
prompt" depending on how your computer is set up. The C:
prompt refers to the drive that you are currently logged into.

If your computer has a hard drive, you will usually see a C:
prompt that looks like one of the following:

c:>

c\>

Understanding a C: prompt will help you understand the next
section.

Boot Disk — Why You Might Need to Make One

Starting your computer with a specially formatted boot disk
could help solve loading problems involving memory. For
instance, if you don't have enough memory because your hard
drive automatically loads terminate and stay resident programs
fTSRS) or shell programs, you could start the computer from a

Appendix C: Helpful Information and Troubleshooting Guide

boot disk that loads only the essential things needed to run the
computer. Examples of TSRs are Norton Utilities Erase Protect
and Antivirus utilities, Fast Open, Borland's SideKick,
Quarterdeck's QEMM386 memory manager, and calculators.
Examples of shell programs are Microsoft Windows,
DOSSHELL and Tandy's DeskMate. If any programs are being
loaded by your CONFIG.SYS and AUTOEXEC.BAT files, they
are most likely TSRs or shells.

How To Make a Boot Disk

If your disk and floppy disk drive are the same density, here's
how you format a boot disk:

1. Insert a blank disk in drive A:, You must use drive A:
because in most cases IBM and IBM compatible computers
can only boot up from the A: drive or C: drive.

Warning: Because the FORMAT command wipes out
information on the disk that you’re formatting, be sure to
use this command with extreme care. A new, unused disk
is highly recommended.

2. At the C: prompt, type FORMAT A:. IS and press Enter.

3. Follow the instructions that appear on the screen. The disk
in drive A: will be formatted, and the hidden DOS system
files needed to boot your computer will be copied to drive
A:. (For more information on the FORMAT command,
please consult your DOS manual.)

If your disk and floppy disk drive are different densities here's
how you do it. We recommend using the same density, but if
you ABSOLUTELY can't...):

+To format a 5.25" low density disk in a 5.25" high density
drive, replace the FORMAT A: IS command in step 2 with
the command FORMAT A: IS /4.

+To format a 3.5" low density disk in a 3.5" high density
drive, replace the FORMAT A: IS command in step 2 with
the command FORMAT A: IS /T:80 /N:9.

H igh density disks cannot be formatted as high density disks in
low density drives, but they can be formatted as low density
disks using the FORMAT A: IS command and perform with-
out problems, Flowever, we still recommend that you use com-
parable density disks and drives, (For more information on the
FORMAT command, please consult your DOS manual.)

Your boot disk is now ready to use. Insert it into the A: drive,
and restart your computer. When the computer comes back up,
you will be at an A: prompt. From there, change to the hard disk
drive where you have stored Stunt Island and start the game.

Any conflicts that existed when you booted from your normal
setup on your hard drive should now be bypassed.

If the boot disk you just made does not work, you may need to
copy some files onto the boot disk from your hard drive. There
may be certain commands in your CONFIG.SYS and AUTOEX-
EC.BAT files on your hard drive that are required in order for
your computer to boot up properly. To copy these files onto

your boot disk, do the following:

1. Type C: and press Enter to change to drive C:

2. Type COPY C:\CONFIG.SYS A :\ and press Enter.

3. Type COPY Ci AUTO EXEC BAT A:\ and press Enter.

4. Use a text editor to edit out any unnecessary commands
in these two files. Leave only those commands that are
required for your computer to boot up. (For more
information on editing files and the commands that may
appear in theCONFIG.SYSand AUTOEXEC.BAT, please
consult your DOS manuals.)

A Brief Explanation of Memory

Stunt Island can use extended or expanded memory to cache
data used in the program to improve the speed of the game.

This section explains the most basic concepts of memory.

In order to fully use the caching feature in Stunt Island, you
must have 1MB of RAM.

An IBM or compatible computer has three types of RAM
(Random Access Memory) memory available to it when you first
set it up: conventional (or main), high, and extended memory.

+ Conventional (or main) memory is the area of memory
between OK and 640K where DOS runs programs.

t FI igh memory is the memory area between the end of
conventional memory (usually 640K) and 1024K. FI igh
memory is reserved for use by system hardware, such as the

Appendix C: Helpful Information and Troubleshooting Guide

system ROM (Read Only Memory), video adapters, and
other adapters.

>> Extended memory is the memory beyond 1024K used by
DOS-extended programs and programs designed to use the
extended memory specification. Examples of these DOS-
extended programs are DOS 5.0 and Microsoft Windows 3.0.

A fourth type of memory is also available: expanded memory.
On an 80386 or 80486 computer, your extended memory can
be transformed into expanded memory (EMS) through the use
of an expanded memory manager. Examples of expanded
memory managers are EMM386 from Microsoft DOS 5.0,
QEMM 386 from Quarterdeck, and 386MAX from Qualitas.

Examples of applications that use expanded memory are Lotus
1-2-3 Release 2 and WordPerfect. If you're using an 8088, 8086
or 80286 computer, you must have special hardware and soft-
ware to access these memory areas. In addition, the hardware
must support the LI M EMS 3.2 or 4.0 standard. (For more in-
depth information on memory management, consult your DOS
manuals or contact the makers of the memory management
programs mentioned above.)

In order to use expanded memory, you need one of the following:

+ For 8088, 8086 and 80286 systems, you need an expanded
memory board and expanded memory manager program.

+ For 80386 and 80486 systems with extended memory, you
need an EMS memory manager program to make your
extended memory emulate expanded memory.

To set up your system for expanded memory, please refer to
the owner's instruction manuals for your expanded memory
board and/or program. You may also need to consult your DOS
manuals or the manuals for your expanded memory manager.

Sound Blaster and Expanded Memory

You may get inadequate sound quality if you have a 80386 or
80486 system that uses a driver to simulate Expanded Memory
(EMS) and a Sound Blaster (or 100% compatible sound card)
that does not employ a FIFO (First In/ FirstOut) buffer. To
improve the sound from a Sound Blaster with this program,
you must turn off your expanded memory manager software.

This problem is due to the presence of the expanded memory
manager, which conflicts with Stunt Island's access to the
Direct Memory Access (DMA) channel. This portion of the
hardware is simulated by the memory manager; it does not
allow programs direct access to it. Systems with a physical
expanded memory board will not have sound problems since
the hardware handles the expanded memory allocation rather
than having a device driver in your CONFIG.SYS file handle
the expanded memory.

With most memory managers, there are options to turn off EMS
memory. (Please consult the documentation that came with
your memory management software for more information.) You
can also start your system with a separate boot disk (described
in this appendix), which does not run your expanded memory
management software, to bypass this problem.

Appendix C: Helpful Information and Troubleshooting Guide

Questions & Answers

Here are some commonly asked questions and their answers.

Q: How much hard disk space does Stunt Island require, and
how many files are installed?

A: Stunt Island requires 11347849 bytes of disk space, and
119 f i I es w i 1 1 be installed. (The files are listed in Appendix E.)

Q: I only have a low density drive. Are there disks available in
this format?

A : U nfortunately, no. If you have access to a computer that
supports the disk size you purchased, you may want to install
Stunt Island there, use the DOS Backup command (BACKUP)
to copy the files to low density disks, and then use the DOS
Restore command (RESTORE) to put them on your computer.

Q: My disks are defective. What do I do?

A: Read Appendix D: Disney Software Customer Service. You
will find information on our 90 day return policy. You may
also consider returning to the store where you purchased your
disks for an exchange.

Q: I have the HIMEM.SYS driver loaded in my CONFIG.SYS
file, but the game does not use the faster preload option. Why?
A: You must have an expanded memory manager driver
loaded in your CONFIG.SYS file in order to usethepreload
option. (Please see the "A Brief Explanation of Memory" sec-
tion in this appendix for more information.)

Q: If I put an expanded memory manager driver into my

CONFIG.SYS file, why is the sound from my Sound Blaster
distorted?

A: Expanded memory managers take over control of portions
of the hardware in your computer that our sound driver needs
to make direct contact with. The expanded memory manager
stands between our sound driver and the real hardware, by
simulating the connection we need with the hardware. This
causes the interference that you are experiencing. (Please see
the "Sound Blaster and Expanded Memory" section in this
appendix for more information.)

Q: Can I play Stunt Island from floppy disks?

A: Due to the size of the graphics files and the sound options,
it is not possible to offer this game in a form that is playable
from floppy disks.

Things to Check When You Have Problems

Problem: Stunt Island doesn't load or run properly.

+ Do you have the necessary equipment as listed in the
"Equipment You'll Need" section?

+ Is each component of your computer system (computer,
monitor, etc.) turned on?

+ Did you follow the installation instructions step-by-step?
Making even one error in the installation instructions could
cause Stunt Island not to load or "freeze" during play.

+ Do you have any peripheral devices (i.e., modems, scan-
ners, CD-ROM drive, digitizers, bus mouse, etc.) attached

Appendix C: Helpful Information and Troubleshooting Guide

to your system? Some of these devices may be trying to use
the same hardware interrupts, keeping Stunt Island from
loading. Peripheral devices may also have device drivers or
TSRsthat are memory resident and could conflict with the
program when you turn on your system. Try unhooking
any unnecessary peripherals, rebooting the computer, and
reloading Stunt Island. You might also try disabling these
peripheral device drivers in your CONFIG.SYS and
AUTOEXEC.BAT files by placing a REM command in
front of them to "remark out" the line. Then reboot your
computer and restart Stunt Island to see if it runs properly.

+ During installation, did you select any options that are not
supported by the hardware in your computer? Selecting
the Sound Blaster card can cause the computer to "freeze"
if you don't have a Sound Blaster card. Double check these
settings by typing STUNT ? at the DOS prompt in the
subdirectory where the Stunt Island program resides.

(If you are not sure of your computer hardware, refer to
the computer manuals that came with it, or contact the
manufacturer for more information.)

+ Is your hard disk drive full? Switch to the drive where you
installed Stunt Island. At the DOS prompt, type DIR and
press Enter to check available disk space. Stunt Island
requires 11347849 bytes of hard disk space. If you are out
of disk space reinstall Stunt Island to a drive that has suffi-
cient disk space, or delete any files you are POSITIVE you
don't need. As an added precaution, you may want to copy
the files you will delete to a floppy disk; then you can copy
them back to the hard drive if necessary.

Problem: I get a message saying I don't have enough memory

to run this program.

If you got a message similar to this when trying to start Stunt

Island:

"Not enough memory. Stunt Island requires $70,000 bytes free."

Try the following to either lower the necessary memory to run

Stunt Island or to free up more memory:

Run the CHKDSK command at the DOS prompt to deter-
mine how much memory you have available. Users of DOS
4.0 and later can use the MEM command or CHKDSK.

+ Do you have Terminate and Stay Resident (TSR) programs
or shell programs that are being loaded by your
CON FIGSYSorAUTOEXEC.BAT files? TSRscan interfere
with other programs since they are sharing the RAM mem-
ory in your computer. Examples of TSRs and shell pro-
grams are DOSSHELL, Tandy's DeskMate, Norton Utilities
Erase Protect and Antivirus utilities, Fast Open, Borland's
SideKick, Quarterdecks QEM M386 memory manager, and
calculators. If any programs are being loaded by your
CON FIGSYS and AUTOEXEC.BAT files, they are most
likelyTSRs. Using a bootdisk might beyour best solution
to freeing up the RAM memory of these TSRs. (Boot disks
are discussed in this appendix.)

Problem: The sound warbles, breaks up, or is missing.

+ Are you running Stunt Island through a DOSshell or

Appendix C: Helpful InformaSon and Troubleshooting Guide

menu program? This may cause the sound to break up.
Examples of shells or menu programs are Microsoft
Windows, Norton Commander, Xtree, DOSSHELL, and
Direct Access. Try quitting out of the DOS shell and run-
ning Stunt Island from the DOS prompt.

+ Are you using one of the sound devices as listed in the
"Equipment You'll Need"? You must have one of the listed
sound devices to have sound output.

Is your sound device properly installed? (Refer to the
sound device manuals for proper installation instructions.)

Did you select the correct sound and / or music option dur-
ing the install process? Use the "Changing The Setup"
instructions to check and, if necessary, to change your
sound and/ or music option.

>> Are you using a machine that runs slower than 16 MHz?
This may distort sound since it would fall below the mini-
mum requirements for this program.

Sound Source Owners

*>- Did you select The Sound Source option on the Setup
screen of the Install program?

+ IsThe Sound Source properly connected? (Check the
instructions that came with The Sound Source.)

>)- Does The Sound Source have a fresh battery installed? If
you're not sure, test it with a new 9-volt battery.

Is the volume turned up?Turn the volumeknob clockwise
to turn up the volume.

Do you have a headphone set plugged into The Sound
Source? The speaker is shut off when a headphone set is
used, so unplug the headphones to hear sound from the
speaker.

Problem: Colors do not appear as expected.

+ Are your monitor's contrast, color, and tint controls
properly adjusted?

+ Are your monitor cables securely attached?

+ Did you select the correct graphic mode option for your
hardware setup?

If you've tried all our troubleshooting suggestions but still
can't solve the problem, contact our Customer Service depart-
ment. (See Appendix D: Disney Software Customer Service for
details.)

Appendix C: Helpful Information and Troubleshooting Guide

Stunt Island was tested with the following joysticks:
Winner Flight Yoke
Thrustmaster
Gravis

CH Flightstick
Kraft Thunderstick
Kraft DC-3
Kraft Generic
Quickshot
The Mouse Yoke
Tandy Joystick

Stunt Island was tested with the following memory

management software:

Qualitas' 386MAX and BlueMAX
Microsoft DOS 5.0 (HIMEM.SYS and EMM386)
Quarterdecks QEM M 386 v5.0 and v6.0
Helix Software's Netroom

Appendix C: Helpful InfonmaSon and Troubleshooting Guide

APPENDIX D:
Disney Software
Customer Service

Not all issues may have had the chance to be thoroughly
covered in this manual at the time of its printing. Disney
Software's Customer Service department has created a
document to cover late-breaking issues and explain some of
the more advanced features of Stunt Island. This document
will be updated on a regular basis, and can be obtained by
mail or by modem. To have a copy mailed to you, call our
Customer Service department at (818) 841-3326 and ask
for the Stunt Island Updates. To download this information
by modem, call our BBS at (818) 567-4027 and download
the file SIUPDATE.ZIP from the file area.

Prima Publishing (publisher of "how to" books on a variety
of entertainment software) will be putting out an in-depth
book on Stunt Island. This book will contain extensive
details on the things you can do in Stunt Island. If you're
interested in getting the most out of Stunt Island's many
features, and learning a lot more about the history of stunt -
flying, we recommend you get this book. To order this
book, please see the enclosed coupon. If you can't find the
coupon, call our Customer Service department at
(818) 841-3326 for a new one.

Getting Help

Do you have a problem that you can't solve? Want to learn about
future software releases? Then contact our Customer Service
staff. There are four ways to contact us: calling, writing, faxing,
or by modem.

Calling

You can call Disney Software Customer Service at (818) 841-
3326, Monday through Friday from 8:00a.m. to 5:00 p.m.
(Pacific Time). We'll be happy to answer any questions you
have.

If you have a technical problem that you need solved, please
have the following information ready before you call:

+ The name of the program you're using

+ The contents of your CONFIG.SYS and AUTOEXEC.BAT
files in the root directory of your hard drive

+ Information on other peripherals you're using (type of
monitor, video card, printer, modem, mouse, joystick, etc.)

+ DOS version or details on the operating system you are
using

+ A detailed description of the problem you are having. The
more information you can give us on how the problem
occurred, the faster we can solve the problem.

+ The type of computer you're using. Most computers have a
brand name of some sort on the front or back of the hous-
ing. Please look closely at your computer to determine this

Appendix D: Disney Software Customer Service

before calling. Referring to the computer as an "IBM clone"
will not tell us much about your computer. Knowing the
brand and model of your computer can sometimes help to
complete your call faster because we may know of specific
problems with your model of computer.

If possible, please load the product before you call. If we need
to give you step-by-step instructions, you can try them out
immediately.

Writing

We encourage you to write. It gives us a more of an opportuni-
ty to investigate your questions and/ or problems. We also
welcome any comments you might have about our product.

Disney Software
Attn: Customer Service
500 South Buena Vista Street
Burbank, CA 91521-6385

If you're writing to us about a technical problem with the pro-
gram, don't forget to include all the information listed under
"Calling."

Faxing

If you have access to a fax (facsimile machine), you can fax us
messages at (818) 846-0454. If you 're faxing us about a
problem with the program, don't forget to include all the
information listed under "Calling." Be sure to address the fax
to "Customer Service."

By M odem

If you own a modem and communication software, you can
call the Disney Software BBS at (818) 567-4027. To use the
board properly, make sure your communication parameters
are set to 8, N, I (8 for 8 data bits, N for no parity, and 1 for 1
stop bit). The BBS supports modem speeds from 300 to 9600
baud. The Disney Software BBS is a free 24-hour service for
our customers. It provides private electronic mail (e-mail) and
public message areas, files for downloading to your computer,
and other surprises. Demos of our other titles and information
on upcoming releases are also available on the BBS.

Stunt Island is a very complex program; certain details of pro-
gram operation may not have gotten into the manual at the
time of its printing.

Disney Software's Customer Service Department has created a
document to cover late-breaking issues and explain some of
the more advanced features of Stunt Island. This document
will be updated on a regular basis, and can be obtained by mail
or by modem. To have a copy mailed to you, call our
Customer Service department at (818) 841-3326 and ask for
the Stunt Island Updates. To download this information by
modem, call our BBS at (818) 567-4027 and download the file
SIUPDATE.ZIP from the file area.

Disk Replacement

If your disks are defective and you need to return them for
replacement, please mail only the disks (don't mail the packag-
ing or other materials) with your name, return address, and a

Appendix D: Cere/ Software Customer Service

note explaining the problem with the disks to:

Disney Software
3333 N . Pagosa Court
Indianapolis, IN 46226

We'll replace your disks at no charge within ninety (90) days
after purchase, provided you've mailed in your warranty card.
Otherwise, there's a replacement fee of $10.00. Please allow 3
to 4 weeks for delivery. If you have any questions regarding
disk replacement or need to follow up on disks you've already
sent in, please call (818) 841-3326.

When you send in the warranty card, you're entered into our
customer files. This lets us notify you of product upgrades and
future releases. It also helps us learn more about you as a soft-
ware consumer, which helps us develop products you can enjoy.

Complete details on the limited warranty follow:

Limited Warranty

Disney Software warrants to the original purchaser of this
copy of the computer software program entitled STUNT
ISLAND that the disks on which this program is recorded will
be free from defects in materials and workmanship for ninety
days from the date of purchase. This warranty applies only to
the original purchaser who has filed a warranty card with
Disney Software.

The warranty is the only express warranty pertaining to this
software program and no other representations or claims of any

nature shall be binding or obligate Disney Software. Any
implied warranties of merchantability or fitness for a particular
purpose, if applicable, are limited to the ninety day period
described above. Disney Software shall not be liable for special,
incidental, consequential, or other damages resulting from pos-
session, use, or malfunction of this software program. Some
states do not allow limitations on how long an implied warran-
ty lasts and / or the exclusion or limitation of inadental or con-
sequential damages, so the above limitations may not apply to
you. This warranty gives you the specific legal rights, and you
may also have other rights which vary from state to state

HELP US FIGHT SOFTWARE PIRACY!

PLEASE DO NOT MAKE ILLEGAL COPIES OF THIS
SOFTWARE.

This software was produced through the efforts of many peo-
ple: designers, artists, programmers, distributors, retailers, and
other dedicated professionals.

The cost of developing this and other software programs is
recovered through software sales. The unauthorized duplica-
tion of personal computer software raises the cost to all legiti-
mate users.

Disney Software, as a member of the Software Publishers
Association (SPA), supports the industry's effort to fight the
illegal copying of personal computer software. We appreciate
your support. If you are aware of a copyright violation, we urge
you to contact:

Appendix D Disney Software Customer Service

Software Publishers Association
1730 M Street, NW
Suite 700

Washington, DC 20036

WARNING: It is a federal crime to make unauthorized copies of
this software. The enclosed software package is protected by
copyright, All rights are reserved. Lawful users of this program
are permitted to make one backup copy of this software for
archival purposes only. Any other duplication of this software,
including copies offered through sale, loan, rental or gift is a vio-
lation of law and subject to both criminal and civil penalties.

All company and product names are trademarks or registered
trademarks of their respective owners.

"A Brief Explanation of Memory" was based on text in the
manuals of QEM M 386 from Quarterdeck Office Systems.

QEM M 386 is a trademark of Quarterdeck Office Systems,
Santa Monica, California.

Published by Walt Disney Computer Software, Inc.

500 South Buena Vista Street
Burbank. CA 91521

Appendix D: Di sncy Software Customer Servi ce

Stunt Island Credits

Developer: Adrian Stephens
Producer: Ronald J. Fortier
Designed by: Ronald J. Fortier, Adrian Stephens
Polygon artwork: Andrew G. Day, John Fiorito, Fred Weimer
Additional programming by: Martin Day, Gary H ara
M usic and sound effects: Doug Brandon
Bitmap artwork: Jeff H i I bers, John Duggan
Stunts designs: Ronald J. Fortier, Cary FI ara
Assistant producers: Gary Graeper, John Santos
Beta testers: Leonard D'Ambrosio, Amy Steiner, Roger Kung
Game dialogue: Patrick Gilmore, Scott Cuthbertson
Voice actors: Rodger Bumpass, Neil Ross, Mary Kay Bergman
Additional design by: Stephen Butler, Ricardo Pinto
Product marketing manager: Joe Adney
Marketing coordinator: H el en Fillman
Package production manager: Jeff Nuzzi
Packagedesign: McDaniels, Henry & Sproul
Documentation: Zina Powers; Technical flight information by
Leonard D'Ambrosio

Documentation design: Lizardi Communications, Inc.

Quality assurance manager: Jon Doellstedt
Quality assurance lead tester: Dave Arnspiger
Quality assurance testers: Greg Archibeque, Roger Behrend,
Daryl M. David, Charlie Engen, Jeff Martin, Chris McNulty,
Joe Santos, Eric Ventura
Map and aircraft line drawing: John Fiorito
AdLib tones based on The Fat Man's library

Thanks to the foil owing for their contributions: John Balkin,
Scott Duckett, Karl Florine, Mark Harbin, John Harris, Ernest
Koeppen, Will Levesque, Tom Lichtenberger, David Martel I a,
Gavin McCune, Betti na Mylenek, Richard Newman, Michael
Rubin, Ronald Schumacher, Alan Small bone, Don Spector.

Industry Experts

A special thanks to the "insiders" who took time out of their
busy schedules to help in the development of Stunt Island.

Deborah Hill isafilm producer with extensive experience and
film credits. She began her career with a variety of jobs —
script supervisor, film editor, assistant director, and second
unit director -before coming into her current role as film
producer. H er diversity also shows in the projects she selects,
from writing and producing the hit horror classic H al I oween
with John Carpenter, to producing the Academy Award nomi-
nated The Fisher King.

Chris Howell has worked in the stunt industry for nearly three
decades. Fie has taken on the roles of stuntman, stunt coordina-
tor, and second unit director. Included in his extensive list of
credits is the long-running Moonlighting television series, and hit
movies like The Fisher King, Urban Cowboy, and Iron Eagle

Joe Alvez is an experienced stuntman and stunt coordinator
whose background includes professional formula race car dri-
ving. In addition to his stunt work he has directed, assoaate
produced, and production designed. Jaws, Altered States, Close
Encounters of the Third Kind, and Freqack are just a few of the
many projects he has worked on.

Appendix 0: Disney Software Customer Service

APPENDIX t

list of Hies Installed By

Sunt Island

Thefollowing listshowsall of the files thatwereinstalled by
the Stunt Island Install program. The lists show the file names,
the file extensions, and the byte sizes of the files. The amount
of disk space required by the files may vary slightly.

Stu nt I si and i nstal I s a total of 119 f i I es. The total bytes of the
files is approximately 11347849.

Files in the \STUNTISL Directory

ADDSN DS

EXE

36459

DRIVER1

BIN

10625

DRIVER2

BIN

7898

DRIVER3

BIN

14693

GAME

CFG

INSTALL

EXE

46347

INSTALL

CFG

631

MAKEONE

EXE

103247

PFONT

BIN

1152

PILOTS
DIR

PLAYONE

EXE

102703

PRINTSET

BAT

266

RES

DIR

Appendix E List of Files Installed By Stunt Island

SETINFO

... BAT

249

SETS

. .. DIR

—

SETUP

.... BAT

STUNT

EXE

137240

—

TYPESET

EXE

28411

VAULT

DIR

VDATA

BIN

6462

Thefiles with DIR next to them are subdirectories within
the \STUNTISL directory. The files in each subdirectory are
listed below.

Files in the \ STUNTISL\ PILOTS Subdirectory

Once you enter the Stunt Pilot of the Year contest, your
records will be stored in this directory. This directory is empty
when first installed.

Files in the \ STUNTISL\ RES Subdirectory

This subdirectory contains data files for the program. You
should not store any other files in this subdirectory.

ACTORS RES . . .

ANIMS RES .

COMMNSND ZCR . . . .

COMMNSND

DIALOG

FASTSPR RES

GAME RES.

LETTERS RES

MARKERS RES

221893

6776

2953

SMP 309686

RES 888884

286984

13888

166020

193617

MILITARY

.RES

..30708 9

Directory of

\STUNTISL\ VAULT Subdirectoiy

MISCELLA

RES

157114

Films and takes

are stored in

this subdirectory.

MUSIC 1

X M I

' , 518' )

MUSIC1

XMM

255' ) 7

BALLOON

FLM ...

91 12

MUSIC1

XMP

9849

BALLOON

TKE ...

125596

MUSIC1

XMA

'’5843

BOMB

.FLM...

34668

MUSIC 1

ESS

591990

BOMB

TKE ...

67467

MUSIC2

XMI

9 9075

CTRY

FLM ...

5639

MUSIC2

XMM

30254

CTRY

TKE ...

11738

MUSIC2

XMP

,9978

HIGHWAY

TKE ...

24475

MUSIC2

ESS

1016750

HIGHWAY

FLM ...

31969

PLANES

RES

611366

INTRO

FLM ...

.77985

PRODTOOL

RES

22959

LAND

FLM...

16034

SCENERY 1

RES

.266648

LAND..

TKE ...

22356

SCENERY2

RES

239302

LOCATION

FLM ...

43592

SCENERY3

RES

248550

PLANES

FLM ...

6538

SCENERY4

RES

171338

PLANES

TKE.. .

35162

SCENERY5

RES

193762

TOD

FLM.. .

12P0

SCENERY6

RES

168006

TOD

TKE.. .

.21635

SCENES

RES

.99063

TRAINTNL..

FLM.. .

28517

SNDFX1

SMP..

933182

TRAINTNL

TKE ....

45249

SNDFX2

SMP

946478

SPRITES

RES

968055

STRUCTUR

RES

448162

VEHICLES

RES

471546

Appendix E List of Files Installed By Stunt Island

Files in the \STUNTISL\ SETS Subdirectory

This is where your sets are stored. The files with "Scene" in the
description arestuntsused in the Stunt Pilot of the Year contest.

You can find complete descriptions of the 32 contest stunts in Chapter 4.

ALCATRAZ

SET

2113

Scene 4: Pick up a convict on Alcatraz

AQUEDUCT

SET

2753

Scene 18: Fly down an aqueduct,

BALLOON

SET

2177

Scene 26: Land on top of a balloon.

BARN STRM

SET

2698

Scene 3: Barnstorm.

BILLBRD

SET

5461

Scene 19: Crash through a billboard.

BLNCTCH

SET

3161

Scene 5: Catch a balloon.

BURGER

SET

3100

Scene 7: Park at the hamburger stand.

CASTLE

SET

2506

Scene 6: Castlestorm.

CITYRDAR

SET

2561

Scene 30: Bomb the three radar sites.

CTRY

SET

998

Crash into the silo.

DUCK

SET

3889

Scene 12: Bomber duck.

FASTBRDG

SET

1522

Scene 29: Fly under two bridges.

FASTTURN

SET

2125

Scene 32: Fly inbetween sky scrapers.

FORM ATN

SET

2509..

Scene 8: Shoot planes in formation.

GOALPOST

SET

1976

Scene 21: Land on the goal post.

HIGHWAY

SET

2619

Scene 15: Hit the renegade caterer.

JENNYFB

SET

2369

Scene 20: Fly inverted past a Jenny.

JUNGLE

SET

2564

Scene 25: Bomb the SAM site.

LAND

SET

1373

Land at a small airport.

LAN DBLD

SET

2119

Scene 13: Land on the blue building.

LNDBRDGE

SET

2165

Scene 2: Land on the Golden Gate.

METEOR

SET

2427

Scene 10: Crash into a hotel.

MIDAIR

SET

2381

Scene 9: Crash into a 747's engine.

OBSTACLE

SET

2820

Scene 28: Slalom through the towers.

PLANES

SET

3556

Planes on parade.

Appendix E Listof Files Installed By Stunt Island

PULLOUT

SET

2637

SAVEUN

SET

'’771

STALL

SET

934

STOPARMR

SET

2223

STOPJEEP

SET

2101

TAKEOFF

SET

4608

TOD

SET

'’213

TOWERBLL

SET

1717

TRAIN

SET

4861

TRAINTNL

SET

3627

SET

'’375

Scene 31: Pull out of a dive.

Scene 14: Save the U.N.

Scene 27: Recover from a stall.

Scene 17: Land before the armor truck.
Scene 11: Blast a jeep.

Scene 1: Take off and shoot a Zero.
Change the time of day.

Scene 22: Hit the bullseye with your wing.
Scene 23: Land on a moving train.

Scene 16: Fly over a train in a tunnel.
Scene 24: Escape from the U.N.

Appendix E List of Files Installed By Stunt Island

APPENDIX F:

Stunt Island Keyboard Keys

These keys work any time:

I (forward slash). ...Acts as button 2

Enter Acts as button 1

Esc "Back out" from current activity

Tab Regain cursor control (for keyboard users)

Alt-D Delete a file

A It-J J oysti ck cal i brati on ; fol I ow onscreen

instructions

Alt-P Open Preferences window

Ctrl-Esc Exit to DOS

These keys work in the Editing Room:

D Delete marked footage

E Exit the Editing Room

F Opens FX menu

L Load requester opens

P.. Print (save) currently loaded footage

R Record marked footage

U Undo the last thing done

1 - 8 Deck #- selects a deck number

These keys work in the Theatre:

E Exit the theatre

F Switches between Full view (fills the

monitor) and normal view (with crowd in
foreground) of the movie screen
L Open the Load File requester

These keys work while flying:

A Toggles theAutopilot on and off (except

during stunt filming)

B Toggles the Brakes on and off

E Ejects the pilot from the aircraft

F Raises and lowers the Flaps

G Raises and lowers the landing Gear

P . ..Pauses the game; select OK to continue

R Stop flying and go to the editing Room

T Calls up option to change the Time of day

W Toggles through the available Weapons

(Guns, Bombs, or M issiles)

X Sets off an explosion special effect

Tab Center mouse cursor
Enter Fire weapon

Backspace Drops the plane to zero power

Decrease throttle power by 2%

+ Increase throttle power by 2%

1 through 0 Open throttle power to that percent;

i.e, 1 = 10%, 5 = 50%, 0 = 100%

FI Pilot's cockpit view, looking through the front

F2 Pilot's view, looking over left wing

F3 Pilot's view, looking over right wing

Appendix F Stunt Island Keyboard Keys

F4 View behind the plane

F5 Spotter plane view

F6 Adjust spotter plane view

F7 Bomb target view

F9 Toggle cockpit display on/ off (used with FI key)

These keys work while you are flying in a stunt:

Ctrl-FI View from camera 1 (from thestunt airplane)

Ctrl-F2 View from camera 2 (on the spotter plane)

Ctrl -F3 View from camera 3

Ctrl-F4 View from camera 4

Ctrl-F5 View from camera 5

Ctrl-F6 View from camera 6

Ctrl -F7 View from camera 7

Ctrl-F8.. .Viav from camera 8

Note: Ctrl-F3 through Ctrl-F8 only work when you've placed
objects in prop slots 3through 8.

Appendix f Stunt Island Keyboard Keys

INDEX

Entries that are fully capitalized
are options that you will see on
the screen in the Stunt Island
program.

1 .0 (Zoom) 80

1st TAKE 65

A- 10 Thunderbolt 13

A-6E Intruder 15

ABCDEF drives 124

ACCEPT 44

ACTION-TAKE 46, 84

ADD 64

ADJ 64, 68

Adjust window 68

Ailerons 32

Aircraft

Flying at the airfield 28

Selecting for a stunt 78

AIRFIELD 18, 20

Altimeter 29

ALTITUDE

object’s starting 74

readout 30

AND qualifier 90

Animating a prop 75

Arriflex camera 150

ATTACH 72

Attaching a marked segment. ... 1 3 1

AUDIO 128, 134

AUTO

under Watch option 80

under Global option 98

Auto-edited films 99

Auto-recording 98

AUTOMATIC THEATRE

ZOOM 41

Autopilot 36

B-2 Stealth Bomber 17

Beechcraft Bonanza 19

BETWEEN SCREEN

FADING 40

Boeing 727 21

Boeing 737 23

Boeing 747 ..25

Bombs 36

BRAKES 66

Breakaway props 150

Bristol Bulldog 29

Buttons 1 and 2 21

CABIN 273 19

CAMERA ..66

Camera Crew screen 45, 84

Cameras, setting up 78

Cessna Model 172 (Sky hawk). ...3 1

CHAN 134

Changing numbers 21

Channel 134

CLEAR ..89

Clock 29

Cockpit guages 28

COLL

Collision windows 96

COLOR 128, 132

Compass 29

Competition standings
Contest

assignments 47

standings ..44

CONTROL CENTERING 3 1 ,4 1

Control Stick 30

COPY .88

CRASH 65

Crashing aircraft 36

Creating sets 60

CREDIT ,128, 132

Curriss Jenny

(‘JN”, 1, 2, and 3) 33

Curtiss June Bug 39

cuts .99

Daily standings 1 9

DEAD ZONE 23

DECK 128

DECLINE 44

DEL 64

DELETE 128

Deleting

event line .89

marked footage 1 3 1

Destination deck 126

DETAIL .40

DIR readout .30

Disk full message 84

Douglas DC-10 41

Duck 45

E3 Awacs .47

EDITING 20, 124

Editing

film 124

options .100

Effects

sound 134

visual ,132

Ejecting 36

END 127

Ending flight 36

Engine

power 33

power level 29

EVENTS 88

Events, recording through 98

EXIT 20

EXP ,81

Explosions 8 1

F-4E Phantom 49

F4U Corsair 53

F-15C Eagle 55

F-16C Falcon 57

F/A-18A Hornet 61

F-86 Sabre 63

F-l 17A Stealth Fighter 65

FACE 68

FADE 128, 132

FERRY 20

File extensions 24

Files

saving 24

loading .24

FILM EDITING 40, 124

Film

industry 148

maximum length 136

saving 136

showing to other

PC users.. 138

Filming stunts 83

FILMS 124

Fired, getting 45

Flags .95

Flaps, using ..34

FLAPS .66

Flatbed editor 153

Index

Flight

controls 30

ending 36

stick schematic 30

Fokker Dr. 1 (Triplane) 67

Foley 155

FOLLOW.. 71

Footage

attaching 131

deleting 131

inserting 1 3 1

marking ,128

recording 130

FREE 69

FX 128

Gauges, cockpit 28

GEAR 66

GLOBAL 64

GO TO 64

GOURAUD SHADING 40

Guns 36

HALL OF FAME 46

Hang Glider .69

Hawk 7 1

HIDE 64

History of stunt flymg.. 147

Horizon gauge 29

HOSPITAL 41

HOUSING 19

IF option 89

INDEPENDENT RUDDER.. 41

Input devices 20

Inserting

event line .89

footage 131

Installing the program 12

Joystick

calibration .22

detection 22

using a 20

Junkers Ju 87D Stuka.. 75

Junkers Ju 88A 77

Keyboard

keys 38

using the 20

Landing .35

Leaijet 60 8 1

Leaving Stunt Island 46

LEDGER 19, 44

Lens length 1 5 1

LOAD 127

Load file requester 24

LOAD SET 82

Locations 18, 148

LOCK 82

Lockheed TR-1 83

Lockheed U-2 (Spy Plane) 85

LOOP 134

Looping 155

MAKEONE.EXE 138

MARK 127

Marking footage ,128

MAX TAKES ..65

Maximum time

allowed message 84

Messerschmitt Bf 109G 89

Messerschmitt Bf 110 91

MiG-15(UTI) Midget 93

MiG-25 Foxbat 97

MiG-29 Fulcrum 99

Millimeter ,151

Mirage 2000 101

Missiles 36

Mitchell camera ,150

Mitsubishi A6M Zero-Sen ,105

Mouse, using a .20

Moviola Upright editor 15 3

Music, incorporating.. 134

Neutral position .30

New game . 1 8

NEXT .44

Nickname .16

Numbers, changing 2 1

ONE SHOT 88

Onscreen cursor.. 20

Option, selecting an 21

ORIENT 62

Orientation of island.. 62

P-38 Lightning 113

P-5 ID Mustang Ill

Panavision camera ,150

Paraglider 115

PASTE 89

Penalties ..45

Piper Cherokee 117

Pitch 3 1

Pitts Special 119

PLACE 63

PLAYONE.EXE 138

Post-production 123

POST-PROD 20

Power setting indicator 30

Pre-production 8

Preferences window 40

PREVIEW 127

PREVIOUS 44

PRINT 128

PRINT FILM .84

PROD 20

Production 8, 20

Production building 59

Program, starting 1 4

Prop

animating .75

deleting 68

fine tuning 73

moving .68

placing 67

Pterodactyl 121

Question, after program loads 15

QUICK EXIT .40

REC

Global option.. 64

editing option 128

Recording

at the airfield. 39

during stunts 83

footage 130

options 97

Red Hawk 71

Rental props 150

Requester

load file .24

save file .24

selecting from a 22

RISK .44

Roll 32

Rudder 32

SR-71A Blackbird 125

Safety 150

Save file requester 24

SAVE SET 82

SCENE # .44

SEEK 70

SET DESIGN 20, 60, 84

Sets

creating new 82

loading ..82

saving ..82

Setup, changing the 1 4

Shadow from aircraft 81

SHD 8 1

Shuttle on 747 21, 137

SILENCE 128, 134

Single frame 1 30

Silver Falcon 57

Sopwith Camel 127

Sopwith Triplane 1 3 1

SOUND EFFECTS 41, 134

Sound effects, incorporating 13 6

Source deck 126

Space Shuttle 137

Special effects, visual 132

SPEED

object starting 74

film 133

Speed indicator .29

SPEED readout 30

Spitfire 135

SPOT 71

SR-71A Blackbird 125

START 127

Starting the program 14

STH/NRTH 62

Stock Footage Desk Assignment

requester 125

STUNT .62

STUNT COORD 20, 84

Stunt

assignments 47

coordinator 20, 84

dissecting for success ,100

Stunt (cont.)

filming a .83

Subdirectories 24

SYNC ..127

TAKE PENALTY 65

TAKES 124

Taking Off. 34

THAT’S A WRAP 84

THEATRE 20, 124

THEN option 92

TILT 62

TIME 65

TOTAL 127

Tupolev Tu-142 Bear 139

UNDO 128

USER 62

VAULT 124

Vertical climb indicator 29

Views m aircraft .38

VIS 80

Visual Effects 132

VOC files 136

VOL 134

Volume for audio effects 1 34

Watch option 79

WEAPON 66

Weapons 36

WITH CUTS 125

WITHOUT CUTS 126

WST/EAST 62

WTCH 79

Yaw 32