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Hey there. I really appreciate you taking the time and looking into this for me-- and all the geo comments were very helpful. I will look into this a little further and will post any resolution that may be applied. I agree and hope that a rigging expert can take a peek at this. I am more of a modeler of static scenes and this is a bit out of my wheelhouse, too. But you stepped up to try to help and gave me some valuable input to consider. Thanks Cerbera!

Just wanted to draw your attention to Matthew Winchell. So here is what impressed me: He loves the old practical way of doing visual effects. That is why I referred to him as an up and coming "VFX" supervisor and not a VFX or CGI artist. He does know both, but I feel he is better suited to be a successful VFX supervisor because he has a much broader base of knowledge to draw from as he knows both the practical and CG way to solve problems. He is only 20 years old. I always thought you needed to be an old fart to appreciate the non-CGI ways of doing things...so his willingness to think beyond a CGI solution is a breath of fresh air. He is a "maker" of the highest order and has been that way for most of his life. Pretty fearless in the projects he takes on as they would be daunting to most other people. Just check out the link above to understand what I am talking about. He saw the ILM presentation on the motion control camera system designed and built by John Knoll for the Mandalorian and decided to build his own. He did such a good job that it captured the attention of the people at ILM. So, he is what I would call a "full stack maker" as he can both design and build the mechanical and electronic components of whatever he sets his mind to. I see many parallels between him and John Knoll in how they started their career path. John Knoll got noticed at ILM for designing and building his own slit-scan system (think of the stargate scene in 2001) while in college. I identify with him because I had that same level of interest in VFX at his age and therefore went to mechanical engineering school at Worcester Polytechnical Institute (WPI) simply because at that time, VFX was all about motion control camera systems and optical printing. So that led me to mechanical engineering. Well....he is ALSO a sophomore now at WPI. If only I was 40 years younger. So, keep an eye out for his name in the VFX trades in the coming years. Hopefully, he will be the SECOND VFX professional to graduate from WPI. The first was Pete Travers (VFX Supervisor at Sony Pictures Imageworks) who graduated back in 1993. For an engineering school (and NOT a film school in any way) there must be something about WPI which attracts people interested in visual effects. You can find an interview with Matthew Winchell here at InCamera about his early start with that motion control camera system. Dave

Boop: edit: lol, beaten to it

try this;