Article by Mike Okuda for Smithsonian about the Enterprise model
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So now we have some answers about the restoration plan:
Although that word "original" is a bit ambiguous -- original as of 1966 or 1969, say?
Also, this answers a longstanding question:
I figured it was something like that. Anyway, it's surprising the original modelmakers put so much detail on the model that wouldn't show up on TV. Ohh, if only the original film elements of the matte shots had survived so that they could've been digitally restored and recomposited. Then we could see how much detail was really captured on film, before the generation loss of the bluescreen composites.
Although that word "original" is a bit ambiguous -- original as of 1966 or 1969, say?
Also, this answers a longstanding question:
I figured it was something like that. Anyway, it's surprising the original modelmakers put so much detail on the model that wouldn't show up on TV. Ohh, if only the original film elements of the matte shots had survived so that they could've been digitally restored and recomposited. Then we could see how much detail was really captured on film, before the generation loss of the bluescreen composites.
So, yesterday I was at the Bay Area VES (Visual Effects Society) Summer BBQ at 32Ten Studios (the former location of ILM), which featured a panel about modelmakers dealing with the changes in that business due to digital (I sat right behind Lorne Peterson, squee!). Anyway, one of the panelists was John Goodson, who is a member of the advisory panel on the Enterprise restoration.
Photo I snapped of John Goodson at 23Ten Studios
2015-08-22
I chatted with him a bit after the panel, and he related some interesting details about the model, talked about some behind the scenes photos they'd gotten their hands on of the model on stage with some parts detached, etc., and talked about how concerned the Smithsonian is about getting the color and details right. He noted that the Smithsonian people had determined that the weathering on the top of the saucer was not sprayed on, but applied with a brush, and that they're carefully studying photographs to try to determine when various details were added (noting, for instance, that one pencil line on the saucer top is much heavier than the others, and photo study shows it wasn't that way back in the day). He related how he really advocated for leaving the unfinished side of the model unfinished because that's "part of the story" of the model and how it was used.
Anyway, it was a nice confirmation that they're trying really hard to do this right.
P.S. John is also advising on the planned restoration of the recently located Aries 1B moonship model from 2001: A Space Odyssey, and he chatted a bit about that model as well.
Photo I snapped of John Goodson at 23Ten Studios
2015-08-22
I chatted with him a bit after the panel, and he related some interesting details about the model, talked about some behind the scenes photos they'd gotten their hands on of the model on stage with some parts detached, etc., and talked about how concerned the Smithsonian is about getting the color and details right. He noted that the Smithsonian people had determined that the weathering on the top of the saucer was not sprayed on, but applied with a brush, and that they're carefully studying photographs to try to determine when various details were added (noting, for instance, that one pencil line on the saucer top is much heavier than the others, and photo study shows it wasn't that way back in the day). He related how he really advocated for leaving the unfinished side of the model unfinished because that's "part of the story" of the model and how it was used.
Anyway, it was a nice confirmation that they're trying really hard to do this right.
P.S. John is also advising on the planned restoration of the recently located Aries 1B moonship model from 2001: A Space Odyssey, and he chatted a bit about that model as well.
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