How is it that so many of us missed this? It really is breathtakingly awesome. As is Bruce's build. I'm excited and pleased that the Moebius kit has inspired so much creativity among us modelers. I'm tempted to get one myself now.
Most Dupli-Color paints go on flat and require some gloss clear. I never bother with sanding the color coat with Dupli-Color because the clear always seems to bring out a beautiful and uniform finish. The Dupli-Color clear should do the job but I have no experience with it so no advice to give; same with Pledge with Future Shine. I do have lots of experience using Rust-Oleum lacquer clear over Dupli-Color and highly recommend it if easily available. Most modelers use the BMF after clear. As far as detail painting goes, you'll have to decide whether you want the details to have the same gloss finish as the body color. And, finally, welcome to the wonderful world of scale automobile modeling: the coolest by far segment of the scale-modeling community! These models are painted with Dupli-Color paints and cleared with Rust-Oleum:
Big Tall Dad is usually a great source for helpful hints and advice but this time I'm going to have to disagree strongly with a couple things in his post. NEVER, EVER shake recently decanted paint in a jar. Never. Ever. And I can't see any good reason ever to empty the whole can of spray paint in one go. I only ever decant the amount of paint I think I'll need for the immediate future. I use 3/4 ounce paint jars and never come close to filling one. I use Tamiya TS series paints almost exclusively. My process is to attach a short piece of a drinking straw over the nozzle, affixed with poster putty (roll some putty into a small "worm" and wrap that around one end of the straw and push it into place over the nozzle; check to make sure it is securely attached), then inserted into the jar while spraying the amount of paint I want. You can always add more later if and as needed. I leave it in the jar with the lid not quite tight. If I want to use it right away, then I use a stirrer to release the propellant gas still in the paint by gently inserting it and then repeating that until the paint no longer reacts violently to the stirrer.
I'm really pleased to see this done. I have an interest in getting the model but I'm in no real hurry to do so. And so far your build is really doing it justice. But I don't want this build to interfere with your work on the newly arrived Ebbro DS!
Next time I'm in Quincy, Mark, I'll take that bottle off your hands. I love the stuff and I'm just upriver in Hamilton. Michael, there are lot of variables in play when using Alclad chrome and there are a lot of modelers who will provide you with absolutes that they claim must obtain or the result will be ruined; however, those absolutes may not work for you. In other words, you'll have to play around some to find the right combination to get results you like. That said, there isn't any real trick to using Alclad chrome or polished aluminum. I find that the polished aluminum, which also requires (or really likes) a black basecoat, is more foolproof than the chrome and might give you the finish you are looking for. The chrome paint works, as you mention above, by creating the illusion of a plated surface using the black base and whatever magic substances are in the little bottle from Alclad. And this works best on very smooth surfaces. Alclad's own black base, which you said you are using, is an excellent base coat but I've had just as good results using Tamiya's TS-14 gloss black base. Another thing I and some other modelers do is to spray the chrome shortly after painting the black base, contrary to the Alclad instructions. I never wait more than an hour. Also as already mentioned, spraying at very low pressure is probably a better approach than more pressure. Shooting at an angle, as Cameron said, is a good idea, too. But I cannot see myself EVER using "15-20 passes" of chrome. Probably no more than three or four, really. Another thing you'll have to do on your own is inspect your results in different lighting conditions. Sometimes when I'm painting with Alclad chrome I find that my parts look perfect until I look at them in bright daylight. In any case, keep at it and you'll get the hang of it. It is not a difficult thing to accomplish.
This is a spectacularly elaborate kit and it builds into a phenomenal model; However, of all of those produced by Heller only 31% have ever been started and only 2% of those have been completed*. So let's see some follow through.
* Statistics presented may have been invented by the author.
You'll find a literal ton of information about photoetch parts and how to use them if you try a search of the forum. I'll throw in a couple of cents and then let others chime in. I use photoetch parts on almost every build, at least for the wipers if nothing else, and usually get a photoetch set like what you've referred to. They will do one of two things for a model builder: either 1) make a model look more realistic in miniature because of the use of highly precise and detailed pieces that cannot be realized in injection-molded styrene and that complement the other modeling mastery techniques of the builder, or, 2) make a model look ridiculous because the builder sloppily applied a bunch of poorly trimmed pieces of metal in a vain attempt at quality modeling. Photoetch parts are not difficult to work with but do require some time to develop a familiarity with the materials and the techniques required for their successful application or inclusion on a build. The Model Car Garage produces nothing but beautiful photoetch sets and I would not only recommend them to others but also would buy them for my own use were I to build the subjects you mention. That 1964 Impala set looks comprehensive to me and I'd be all over it if I were you. One word of caution: Don't expect to master photoetch on your first build.
Are you using an airbrush? If not, then you are courting disaster. Anyway, first things first: When removing the window masks try not to touch the adhesive surface any more than is necessary for handling. Visualize where the mask is supposed to go and try to get it started correctly the first time around because even though you can remove the thing and start again several times, it is better to get it right on the first go. So, get it lined up and press it firmly against the window, slowly moving from one side (left or right) to the other or from the center out to the edges. If you've got it applied the way you think it should be, then use something firm yet flexible but not pointed to burnish it to the window surface, especially around the edges. I use a guitar pick for this job (the back edge of a standard teardrop shaped pick). It should go without saying that you should then use whatever is your preferred masking tape to cover the other side of the window. At this point I spray the edges with clear (usually semigloss or flat) to seal things up so the black doesn't seep under the tape. Then spray away with the black of your choice (or some other color if you have to be difficult about this!). The most difficult stage comes next: removal of the mask! Don't use a hobby knife blade for this. I usually put a small piece of Tamiya masking tape in the center of the window to be masked so I can more easily remove the mask after painting by poking a little dental-type pick under the mask where that little piece of tape is and lifting the mask. This procedure reduces the chance of scratching the glass when removing the mask. Finally, when this is all done, stand back and admire the thoroughly satisfying and professional looking results of a job successfully completed due to adequate preparation and meticulous execution.