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.
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.
Well, I’m just going to create entirely separate red alert animations and then switch them over in Unreal.
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!
Jinkies, Scoob! That was fantastic! An interesting way to start May the 4th,,, Did you do the unfocused / focused transitions in homage to the First Contact credits or was that just lucky? Also: They spent a whole freaking movie on this bridge and never showed me what they were about with that view screen. You did less that 2 minutes and I get it completely now.
@Donny - the turbolift opening onto the bridge and walking around it was magical! I agree with Tallguy about the view screen. You did a way better demonstration of how it is a hologram than the movie did (which I mistakenly thought was just a boring screensaver all this time )
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.
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.
Just gorgeous, and the music topped things off perfectly. I like the subtle lens flares - realistic without being intrusive
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...
I can only agree with what others have said, it's staggeringly good. You've really achieved an astonishing level of photo-realism. It probably looks better than the real set ever did!