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Donny's Klingon Stuff

Yes, this seems to be the intent for this pad, as it appears to be attached to the recessed "tracks" on the wall behind it, and there is an opening in the ceiling above it. We see it in the Photorp Bay in TWOK, and although we don't get a glimpse of it in the K't'inga bridge scenes, we do see it on the schematics (bottom left plan view, each flanking the words "ELEV A")
Wow, the date on that blueprint... 5/7/79. I didn't realize they were still filming stuff with actors that late.
 
A few more details done in the aft compartment: the deck bracing coming down from the ceiling and the railing.



Before I do the heavy lifting on the gunnery station and navigation console, I'm going to go ahead and start working on the architecture of the forward compartment next!
 
Wow, the date on that blueprint... 5/7/79. I didn't realize they were still filming stuff with actors that late.
Many incidental scenes are put off well into post production, often scheduled to coincide with pick-up shots they decide they need after the first assembly or rough cut. IIRC correctly the Epsilon Nine stuff was shot around the same time, and maybe even SFHQ and the Vulcan tank, but I'd have to dig to find out.
 
A few more details done in the aft compartment: the deck bracing coming down from the ceiling and the railing.



Before I do the heavy lifting on the gunnery station and navigation console, I'm going to go ahead and start working on the architecture of the forward compartment next!

With your lighting and color choices, I never realized how later Trek productions really captured this look we don't get a very good look at in the film.
 
Good heavens you're fast. You should record a modeling session for YouTube sometime.
Well, it helps that I have modeled many of these structures already for my old TWOK torpedo bay. Although I'm not using the old models outright (as I was slightly incorrect with the height of the chamber back then, so I've had to re-scale them a bit), I can use them as reference, or pull bits and pieces off and give them a refining. For example, the ball mount and socket of the deck bracing was lifted from my old model, and I just made some minor refinements to it. I then rebuilt the telescoping arm so that it was the correct length and made a few accuracy adjustments.

Everything is getting a new paint job, obviously, but I've built a set of procedural textures for things like edge wear, grunge, paint chips, and oil leaks so that painting them is a breeze, but still makes each model look as if it was painted uniquely.

Donny, when you're finished, can we get a look at it with "last call" full lights on?
Yeah, I can most likely do that. I also want to do a "Probert Concept" lighting scheme, as I've always loved the lighting in that painting:
4X5CRX6.jpg
 
Many incidental scenes are put off well into post production, often scheduled to coincide with pick-up shots they decide they need after the first assembly or rough cut. IIRC correctly the Epsilon Nine stuff was shot around the same time, and maybe even SFHQ and the Vulcan tank, but I'd have to dig to find out.
Klingons and E9 were around the same time in June-79. Starfleet was just after the end of principal photography in Feb-79. Vulcan was around mid-October 78. The revised Spock walk was August-79.
 
Klingons and E9 were around the same time in June-79. Starfleet was just after the end of principal photography in Feb-79. Vulcan was around mid-October 78. The revised Spock walk was August-79.
Thanks! I was pretty sure about Epsilon Nine but not the others.
 
IIRC, they were so behind schedule, the final prints were still wet from the post-process washing baths when they arrived at theaters.

If I recall correctly, this is why so many audiences thought the overture was accompanying a blank, black screen instead of an evolving starfield. The wet film wouldn't let light through the tiny holes (that is, clear emulsion, not actual holes) of the stars.
 
If I recall correctly, this is why so many audiences thought the overture was accompanying a blank, black screen instead of an evolving starfield. The wet film wouldn't let light through the tiny holes (that is, clear emulsion, not actual holes) of the stars.
I thought that the description "wet" was just a figure of speech in the industry to describe a print that was barely completed in time for presentation (i.e. fresh from the duplication lab) not that it was still literally wet. I'm sure I read that somewhere (maybe in Return To Tomorrow) but I could be mistaken
 
If I recall correctly, this is why so many audiences thought the overture was accompanying a blank, black screen instead of an evolving starfield. The wet film wouldn't let light through the tiny holes (that is, clear emulsion, not actual holes) of the stars.
I don't think that's correct. The starfield was added to the Director's Edition. It was originally black just like on the blu-ray.
 
I swear the fog gives the fringes of the image the sort of vignetting that Roger Deakins used for the cinematography in The Assassination of Jesse James. Such a nice touch!
 
I swear the fog gives the fringes of the image the sort of vignetting that Roger Deakins used for the cinematography in The Assassination of Jesse James. Such a nice touch!
Ah, that’s a touch of the chromatic aberration post process effect I’ve added to the scene. I’ve been playing around with that to give it sort of a retro look. Combined with the fog, it’s a nice touch.
 
Chromatic aberration is great for adding a small touch of realism. I use it in all my renders. :)

That blue looks great there, but it also looks very "non-Klingon" to me. It's weird thinking how small choices 40 years ago completely changed the whole aesthetic, we could've easily ended up with something very different!
 
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