As a proud owner of a 22-year old Epiphone Firebird, I will forever vouch for the long-term quality of their guitars over Gibson.Nah, I can’t responsibly plop down the cash for a Gibson. Both of the guitars on the wall are Epiphones!
As a proud owner of a 22-year old Epiphone Firebird, I will forever vouch for the long-term quality of their guitars over Gibson.Nah, I can’t responsibly plop down the cash for a Gibson. Both of the guitars on the wall are Epiphones!
Here's the finished "credits" monitor display, looping 4 times. You might have to pause to catch your namesI needed names to fill in the last page so it didn't feel blank, so I included some of the more prominent members of the art department during that era of Trek (as they deserve thanks), plus a few like MJ and GR that just HAD to be included.
Yeah, @cardinal biggles is correct. Its not as simple as red shifting everything. Also, the side bars of most of the red alert screens change and animate themselves.
It’s not that it’s impossible or necessarily a HUGE time sink. It’s just that I’ve reached a point where my bridge motivation is at a low, after two months. I fear if I devote another week or two to make red alert screens, that motivation will die completely and, like what happened with my Enterprise-A bridge, i will end up leaving the bridge unfinished as a whole. I actually couldn't even muster the motivation the last two nights to work on the remaining details I have left, which is a bad sign for me. I'm sure you guys have seen what's happened historically when I've reached a point of low motivation over a given area...I tend to shift gears completely (Enterprise-A bridge, K't'inga bridge, Ds9 BoP bridge, TMP cargo bay, anyone?)
I’d rather go ahead and finish the few details I have left, take final renders and video, and then at a later date circle back around and do red alert screens. Probably when I tackle engineering, or the Evacuation Corridor, which will need proper red alert screens. Then, I can at least get the colors down, the animations required, and filter that down to the screens I already have generated.
Well, I’m just going to create entirely separate red alert animations and then switch them over in Unreal.Now you've got me wondering, how would I go about setting up a toggle to switch over to Red Alert (in your After Effects comp). Some combination of Ray Dynamic Color and expressions to toggle all the various sidebar and text variations. It'd have to be an easy enough rig to apply as you're building new graphics, easy enough to modify as necessary. That'd be a fun ol' Trek/After Effects rabbit hole.
That's amazing, Donny! Felt like I was really there!All right guys. Finally learned how to use Unreal's cinematic tools. Fire up your TVs for this one if ya can. A short cinematic tour of the finished First Contact bridge, timed to the wondeful music of Jerry Goldsmith.
Enjoy!
Yep, yep, yep, I'm just thinking about how to simplify the process of making those red alert animations (and, as usual, "simplify" means doing a lot of extra work now to make less work later). Just a fun exercise.Well, I’m just going to create entirely separate red alert animations and then switch them over in Unreal.
I didn’t plan it but it occurred to me halfway through the process that it was similar to the opening credits. Just a happy accident! I wanted to employ a more cinematic style than I have before, so changing focus was just something I thought would spice things up. It also helped sell the whole “tease” feeling I was trying to convey with the closeups at the beginning.Did you do the unfocused / focused transitions in homage to the First Contact credits or was that just lucky?
Absolutely beautiful, Donny. Probably one of my favorite soundtracks since the Horner tracks from TWOK & TSFS. I was hit with a bit of a wave of wistful nostalgia with this one. So well done...All right guys. Finally learned how to use Unreal's cinematic tools. Fire up your TVs for this one if ya can. A short cinematic tour of the finished First Contact bridge, timed to the wondeful music of Jerry Goldsmith.
Enjoy!
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