I don't want people to think about one common thing. Coda is non-discursive, just like choreography for the stage. So each audience member's thoughts about it, or better yet, their feelings, will be different. Moreover, images contain so much information that one can see things that the next person won't notice. As a result, people will surely think about Coda in dissimilar ways.

Even so, the major feeling and thought that I'd like them to keep in mind is the aesthetic ability of such a film to express the need for everyone to take part in the protection and preservation of humankind and the Earth.

Even if you have money, access to MoCap technology, and strong choreographic and computer-animation abilities, don't try to make a film like this if you don't have a lot of patience, perseverance and a deep affinity for risk-taking.

I don't want people to think about one common thing. Coda is non-discursive, just like choreography for the stage. So each audience member's thoughts about it, or better yet, their feelings, will be different. Moreover, images contain so much information that one can see things that the next person won't notice. As a result, people will surely think about Coda in dissimilar ways.

And as particles are living digital elements, moving on their own according to the various attributes (such as weight, speed, shape) given to them by the animator, we don't know what the visual result will be until everything is completed. This result can often be unsatisfying, obliging us to repeat the process all over again, with new features.

First, creating moving-image particles using MoCap technology requires a very complex and long production pipeline. Moreover, rendering these particles takes a lengthy amount of time.