By using a single clip as the source for two or more clipSprites the performance 
provided by that clip is replicated in the scene, appearing once per clipSprite,
unless obscured by other elements of the scene, is off screen, has been rendered  
transparent or is edge on to the camera. Furthermore, large numbers of clones of
a single clip do not cause the instabilities in the VGHD program that arise when
large numbers of individual clips are used.

This set of scenes examines various ways of organising sets of clones in  order
to evaluate their usefullness as components of more complex scenes.  Each basic
arrangement is tried with a range of numbers of clones.

The effects vary with lengths and number of lines of  clones  and  how  closely
packed they are. Some cases are reminicent of classic chorus lines such as  the
Tiller Girls or Bluebell Girls,  others  remind me of 1930's Hollywood musicals
such as Gold Diggers of 1936, or of a 1930's mass exhibition of women's P.T and
still others look like parades of frighteningly well disciplined cloned troops.

The are several series of Experiments with Clones scenes, these being

  "A" - Lines, no perspective.
  "B" - Lines with perspective.
  "C" - V formations.
  "D" - Inverted V formations.
  "E" - Triangular formations.
  "F" - Rectangular formations.

In each case a number of variations both in the number and the "packing density"
of the clones, which deliberately ranges from sparse to far to tightly packed in
order to evaluate the effect of different spacing, and in the arrangement of the
clones in space.  Other than the basic geometry (lines, vees etc.) these spacial
variations cover

  All girls in the same vertical plane (Z=0)
  All girls in the same horizontal plane (Y=0)
  All girls on a slope (X=Z), (Y=Z) or (X=Y=Z)

Visualy these scenes show that if such formations are used then it is preferable
to choose an arrangement allows any second or third line to be clearly  visible,
either by raking the stage on which they are perfoming or else by staggering the
lines. In the cae of rectangular blocks the addition of a single lead performer,
or "officer", can improve the effect.

When creating these scenes it was found that introducing intermediate nodes,  in
in most cases one for each line, was a useful technique as it simplified the job
of positioning the girls.

One important point is that the order in which the clip sprites are declared  is
significant. In general those at the back have to be declared first and those in
the front declared last. This rule can be relaxed in the case of long lines that
are arranged vertically or diagonally up and down the screen and this simplifies
creating such scenes as the second and subsequent lines can be a simple copy  of
the first requiring only that its overall position is changed.  If this done the
order in which the lines are declared is important, this being especialy so when
"inout" clips are not excluded.  However,  this relaxation is not appropriate if
poledancer clips are allowed as the poles of one line may then wrongly appear to
be in front of girls of another line. This can effect be seen in the scenes with
"(problem)" as part of their name where it shows up during the entrance  of  the
girls  when an "inout" clip is played.

The scenes would, of course, benefit from suitable backgrounds. I have done this
elsewhere - see, for example, in the "TheEmu = Paris Penthouse Club with Clones"
series where various formations of clones have been used.