Eyecandy – 29

First Rendered Sketch – Surak Class

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Eyecandy – 28

“Defiant Found”

A companion image for last weeks “Mirror” set pictorial.

Click for a better look.

A study in how things evolve once they leave the art department. Above is the original dock concept that we sent to Eden Effects. This weeks “Eyecandy” uses final dock as seen in the episode. It was built by Mike Stetson.

Lego J

The Enterprise J from “Azati Prime”.

When Chris Gay sent me these images of his Enterprise J, I just about fell off my chair. I have to admit an oddball feeling of having “arrived”, after all, this honor is usually reserved for the Capitol Building, Statue of Liberty and the Loch Ness Monster. Chris admits to being obsessed by the design, “You did a wonderful job with the Enterprise J. It’s beautiful to look at. It’s like a Starfleet take on Noah’s ark.” Chris! Not only is your Leggo sculpture of the J amazingly cool, I bet it hurts like hell to step on in your bare feet!

For more of the Lego J – http://www.brickshelf.com/cgi-bin/gallery.cgi?f=377756

For more on the Enterprise J – http://drexfiles.wordpress.com/category/ent/enterprise-j/

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I guess I can pretty much retire now, ’cause I’ve seen it all: an Enterprise J made of Lego blocks!

Xantoran Patrol Ship

The Vantoran Patrol ship did not start life that way, it was merely a link in a chain that spanned the Galaxy. No matter where you go… there it is.

The ship is based on the Bajoran sub-impulse raider from “The siege”. The physical model of this ship was slightly modified (different cockpit windows) for an appearance as a Maquis ship in “Preemptive strike”. For “Shadows and symbols”, most of the Bajoran starship designs were turned into CG models for the scene where Kira is facing off the Romulans with a fleet of the Bajoran impulse ships (http://drexfiles.wordpress.com/2009/03/08/bajoran-fighter-pictorial/). The sub-impulse raider was also turned into a CG model, explaining, why the ship exists in that form. The CG model (unmodified) was also seen in “Drive” as one of the ships taking part in the race. (can you find it on the screenshot? ) For “The Breach”, the CG model was modified (nacelles added to the wing tips, downward-bending tips of the wings removed) and appeared as the Xantoran patrol ship. This modified model was used twice more, both as background ships in a huge fleet. The ship first re-appeared in “Twilight” as part of the human survivor fleet approaching Ceti Alpha V (bottom on both screenshots) and again in “Storm front II” as part of the welcoming fleet in orbit of Earth.

3/4

Reflections From The Mirror Universe.

Lightening captured in a bottle.

When we finished DS9’s  “Trial and Tribble-ations”, we figured that was it. There is no chance that we will ever get to play in that universe again! Well, when you live in a sci-fi world like we do, you eventually know better! When Manny Coto and Mike Sussman got their hands on the NX wheel, Enterprise made an abrupt course change, and we returned home yet again.

Since this was the USS Defiant, and the footage we shot did not need to intercut with an original series episode as was the case with Tribble-ations, our beloved production designer Herman Zimmerman decided it would be fair to sleek the classic designs up a bit, as if Matt Jefferies had some money back in the day. The vertical access tube pictured above is a fine example of that. Updated, but not likely to raise the ire of the most hardened purist.

(Below) I recall that when I first saw Marvin Rush’s lighting design for “Through a Mirror Darkly”, I was a little disappointed. Where were the colors and the wild lighting cookies? But looking back at these images now, I am just wowed by the beautiful lighting design.

A Boy and his Starship

Me and my NX model built especially for me by The FX Company in Ocala, Florida. Pic snapped last night by Mike Okuda.

Dorth and I were lucky enough to partake in our favorite pizza last night with our favorite peeps, Mike and Denise, at Little Tony’s Bella Vista in beautiful downtown Burbank. Some of you know that Little Tony’s was Matt Jefferies favorite Italian joint in the Valley (Didja’ know that whenever you saw the crew on “Enterprise” having pizza, it was always from Little Tony’s?). Afterwards Mike and Nezee dropped over for desert, say hi to Beaky Boy, and to snap this photic sonar reflection of me and the FX Company’s NX model (http://thefxcompany.com/index.html). They did a stunningly great job. The paint is spectacular. I’ll be sure to run some shots of it in the near future.

(Below) Gooch just sent me this shot he took yesterday. That’s mi maestro, makeup master Dick Smith who stopped by for a visit. Since Dick Smith gave me my start in the business, he’s a sort of grandfather to the NX. What a thrill. If you aren’t familiar with Dick Smith, discover what you have been missing here -  http://drexfiles.wordpress.com/2009/06/21/dick-smith-retrospect/

Vissian Warp Core

It’s a CG sketch of alien warp core I designed for Enterprise. Thanks to you, the old man now remembers which episode it was created for!

Screen caps coutesy Jörg

Yo Ho! Enterprise’s Pirated Pirate Ship.

It seems fair that this design ended it’s run as a pirate ship on Enterprise, having been pirated numerous itself for a variety of races on Star Trek.

Appearing  no less than seven times on Voyager, and twice on Enterprise this dartish, gingerbread festooned design served Trek well. One can assume that there is a profitable used spaceship blackmarket out there. The recycling of starship designs brings to mind a whimsical scene in “Firefly” where Mal first finds Serenity parked in a used spaceship lot. A very Bradbury notion that I had lampooned in a DS9 episode while poking fun at our prop master, Joe Longo (http://drexfiles.wordpress.com/2009/02/26/tales-of-suspense-the-approval-process/). Budget-wise it just made good sense to recycle and save your quatloos for when they could be put to the best use. A CG design like this could cost the production in the neighborhood of between 2-5 grand to build. Relatively cheap compared to building a a physical model that can hold up to scrutiny.

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Mazarite Attack Ship

Sure it’s cool… but howzacome?

The Mazarite Attack Ship was always a puzzler. Why? How? It’s immediately recognizable as derived from Probert’s iconic Romulan Warbird. Not that Trek isn’t known for getting multiple uses from it’s motorpool. What makes it so noteworthy that this one of the only times a highly recognizable  hero ship was recycled in such a manner. A hall of fame head scratcher for sure. I finally asked Rob Bonchune what that was all about, and he shrank in his chair. Was it a money saving deal? I asked. No, answered Rob. If we had chopped the Romulan Warbird model that would have been true. I screwed up my face. You mean this ship was built from scratch.. from the ground up? I kid you not, said Rob. Dan Curry brought in a section of the Warbird he’d liberated from an AMT model with instructions to custom build a new ship from it. It was plain that Rob was just as befuddled by the choice as I was.

That being said, the Mazarite Attack Ship is a dandy modeling  job, and beautifully textured to boot. This chopped incarnation of the Romulan Warbird is a testament to Probert’s original design. Even in this denuded state, it’s lines and dynamics are sleek and strong.

3/4

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Ferengi\Dekendi Spacecraft

Star Trek Enterprise’s Ferengi shuttle.  Nearly a space-going turtle, and somewhat reminiscent of the hardy USS Defiant from Deep Space Nine. I remember my disappointment when I read a Ferengi script so early in the life of the show.

If I had my druthers. most of the first season would have gone by before meeting any alien races. I’m intrigued by the idea that the Vulcan’s tell us nothing at all, and we are left to discover it on our own. I think Gene would have preferred that.

The Ferengi shuttle originally appeared in the  Enterprise episode “Acquisition”. It was re-used once in a major role, as a Dekendi transport seen in “Stigma”. Phlox’ wife Feezal takes the ship to get from the surface of Dekendi III to the Enterprise to deliver a new neutron microscope.

Vulcan Vahklas Class Transport

Today we look at the Vulcan Vahklas class transport. The “Ring” concept had been losing ground for some time. This edition featured an interrupted ring, a fun idea which also suggested the Vulcan’s most endearing physical characteristic.

Happy Sunday! It’s good to be back and spend a little time in the catacombs of the drex files! Just like I left it. Uh oh… Max Rem left a dangerous anomaly in the annular confinement unit. Tsk, tsk. We have to keep those things properly incarcerated.

Been a busy week with the CG gang in the Hitchcock Building, prepping the first episodes of Caprica. Gary has been back and forth between here and Vancouver many times already, and the team… Kyle, Pierre, Sean, the Daves, Jesse, Farrah, Mike, Heather, Derek, Jeremy, Greg, and  Manny are creating something where there was nothing before. Every day is a challenge. Speaking of the team, ours went to the Emmys last night, but the Gold Lady went to “Heroes”. Missed it by that much! Kudos to our friends on the “Heroes” VFX team. Job well done! Which reminds me, Dorth and I have been watching the HBO series “Rome”. Finished it last night. What an amazing show. You just can’t believe it’s television. Characters, scope, intrigue, action, friendship, love , hate… an awesome achievement.

We start the day with another ship from the Vulcan motorpool of Enterprise. The Vulcan fleet is fascinating. A major race in the Star Trek mythos, yet it took over thirty years to explore this design ethic. As we got further and further from the “ring” concept, the less distinctive the V-ships became. It’s like having Vulcan character without ear tips.  I don’t recall what led us away from the ring. The Vahklas class ship features pincers, gills, and that ruddy red motif we have come to expect from Vulcan starships.

Sunday is for visiting! We’ve got BSG design, TNG makeup, Dick Tracy, Steve Canyon and Trek Eyecandy dead ahead!

3/4 – 02

Great Scott!

My buddy, Sean Scott, and his favorite Batmobile.

You know about superheroes… Spiderman, Superman, Batman… I’m here to tell you those guys ain’t nuthin’! I work with superheroes! Let’s face it! I’m a fan! Especially a fan of  the guys who work in television…  no time…  no money, but often equal and sometimes even outdo work done for the big screen. Those are my kind of superheroes! Superman would wet his pants if he had to do what they do! Turn back time? Bah! How about a challenge?

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Not only is Sean Scott one of the best character animators in the business, but he is also one of the nicest men in this or any other quadrant. Sean and I first met at Foundation Image while working on the Voyager VFX team. You’ve seen his work in numerous television shows (and movies) such as, 24, Pushing Daisies, Ghost Whisperer, Hellboy, Surface, and Alias, to name a few. Sean has taken time from his extremely busy schedule, to put together a little pictorial and commentary of some of his work on Trek for us. Sean, thank you so much! The Con is yours, Mr. Scott!

Being able to work on Star Trek Voyager, and Star Trek Enterprise has been one of the highlights of my career.  So when my friend Doug asked for a couple of character animation show and tells, I was happy to oblige...

(Above) This image shows how we see the model in Lightwave as we shape the wireframe mesh, and rig the character with bones – much like our own – for animation.

The Xindi were an exciting addition to ST:E’s second season, in that there were five different races, and they would be recurring characters.  Three of the races were to be prosthetics, and two CG.  Dan Curry, VFX producer, provided sketches for the characters.  The supremely talented John Teska created the insect model, and I, with additional help from the incredibly gifted Dave Morton, modeled the aquatic race.

A CG character has to be able to act just like the human counterparts.  So to bring the sculpted forms to life, we add bones and morph targets to allow us to bend and deform the model.  Then the animation (the best part of the job for me!) begins.  There must be a bit of high school acting still in my veins as I animate because I very much find myself taking on the role of the character while I sit at the computer and work.  Sometimes I’ll record myself acting out a shot and use it as reference to animate with.  I also have a mirror for watching myself for facial cues that can translate into the performance as well.

(Above) This image shows the progression from animation, to lighting and render, to final composite with Capt. Archer.

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(Above) This is a great shot that I wish I could take credit for, but mad props to the incredible John Teska for his modeling and animation.  This shot was created with a method we used in ST:E occassionally called roto-animation.  You can see an on set actor dressed in a body suit covered in grid lines.  The concept is to allow the director to direct the performance to his liking.  That footage is provided to us as the reference of what the animation should look like.  Here John has animated the CG insect over the actor, mimicking his motions and timings.  Of course, John was able to improve upon the performance, and allow the producers to refine the shot as desired.

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(Above) This was a fun shot from the final season of ST:E.  A newsreel clip was needed to show the Nazi’s marching through New York.  So production provided a stock photo from the 40’s, then I went to work altering history.  The first task was to paint out the vehicles and people that would be on the parade route.  Next I used thousands of CG crowd characters to line the streets, and CG soldiers to march and drive the cars and motorcycles.  Once some scratches and flicker were added in post production, the effect was complete, and wonderfully fun to create.

Sean, thanks again for the fun! Hey gang… this is what Sean does at work! Guess what? When this man goes home at night, the fun doesn’t end! While working to sharpen his character animation skills, Sean had himself a good time loosening up this ordnarily evil alien insect bug -

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(Below) With apologies to John Billingsley.