Even 2001 had the Discovery well-lit.
Donny's Refit Enterprise Interiors (Version 2.0)
- Thread starter Donny
- Start date
Heck, just having windows at all is unrealistic. Given the intense radiation in space, and the blindness hazard from being exposed to direct sunlight unfiltered by atmosphere, you'd be better off just relying 100% on viewscreens. So of course what do modern Trek productions do but replace bridge viewscreens with picture windows...
That whole situation reminds me of the old Car Talk bit on whether two people who don't know anything know more or less than one person who doesn't know anything. The bridge window was added to justify why the bridge was at the top of the ship instead of somewhere more centralized and protected, which ended up making both windows and exposed bridges make even less sense.
In a franchise full of technology that borders on magical — Engines that warp space! Protective energy shields that extend around the ship! Artificial gravity! The miraculous deflector dish! — but yeah, let's talk about windows.
Those examples really backfire for you, because the reason Star Trek's creators were even aware of the need for those technologies in the first place was because they did their science homework and understood space travel far better than their contemporary SFTV creators. Most shows assumed you could just blast off in a rocket and reach other stars in a few weeks. Star Trek's creators understood that interstellar travel would require warp drive, a concept grounded in Einstein's General Theory of Relativity. Their scientific advisors also informed them of the need for a deflector or shield system to protect against interstellar debris, something you didn't see on other sci-fi spacecraft of the era (even though practically every space-themed B-movie in the '50s and '60s felt compelled to have the spaceship go through a swarm of asteroids at some point, as did the Lost in Space pilot).
The relative intelligence and plausibility of Star Trek compared to contemporary shows -- the fact that it didn't actively insult our intelligence -- was a key part of what made it so popular and compelling to so many. And it's what's inspired generations of tech fans and artists who participate in forums like this one. So why is it wrong just to talk about such ideas in a forum like this? The whole reason we're here is to talk about stuff, and comparing fictional depictions of spaceflight to more realistic scenarios can be an informative and interesting topic to those of a technical or design-oriented mindset.
I guess for some, the windows (added atop everything else) is that single, final straw that breaks the camel's back (representing the "suspension of disbelief"). I'd pity that camel except that it loves to spit. (No, I have no idea how that relates to all this; I'm just randomly typing a stream of consciousness.)
It's not about any backs being broken. Just because I happen to bring something up in conversation does not mean I find it intolerable. It just means I'm making conversation.
I was responding to Biggles. You just happened to post while I was still composing.
I know the main navigational deflector bounced around between amber and blue, but did the impulse deflection crystal as well?
From my references, the only time we see the impulse deflection crystal lit up in TMP it was orange:
The rest of the film it was always "off". Perhaps I should just leave the impulse dome light off for TMP?
In the new shots of the Enterprise in TWOK, the impulse deflection crystal was always blue. The Reliant's was blue as well.
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Wow - learn something new every day! Had no idea...
Edit: I'm now thinking I was getting the TMP version muddled up with the Pre-TMP/Post-Phase II variant, where not only the crystal was blue, but so were the impulse engines and the warp coils were purple!
Edit: I'm now thinking I was getting the TMP version muddled up with the Pre-TMP/Post-Phase II variant, where not only the crystal was blue, but so were the impulse engines and the warp coils were purple!
This was something I noticed last time you worked on the lounge, but I feel like the blue chairs and wood paneling make the whole thing a little more dark and less comfortable than the TMP version. I know Kirk and Spock's quarters in TWOK were pretty dark, too, but I feel like there's a psychological benefit to having at least some off-duty areas that are "sunnier." Also, the orange chairs contrast more with the carpeting, which I think contributes to the TMP version feeling brighter. Maybe a lighter (or even darker) carpet in the TWOK version could bring back some of the "pop," or the chairs being off-white or cream colored.
Looking at some photos of the living areas when I was on a wooden boat, which had a similar sort of color scheme to this TWOK Lounge, it mostly seems to be a difference of value and saturation. The walls were straight-up white, the majority of the wood fixtures were blonde and not dark, with the exceptions of the frame of the stairs (companionway) and the floor (sole), and the upholstry and other fabric was navy blue.
I was surprised when I looked at it, that in a majority of the movies, the crystal seemed just straight-up white to me, even though it's usually depicted as being the same deep blue as the deflector dish. I just did a quick spot-check, and after TWOK, I don't even see a hint of blue, the color cast just seeming to be incandescent yellow.
Looking at some photos of the living areas when I was on a wooden boat, which had a similar sort of color scheme to this TWOK Lounge, it mostly seems to be a difference of value and saturation. The walls were straight-up white, the majority of the wood fixtures were blonde and not dark, with the exceptions of the frame of the stairs (companionway) and the floor (sole), and the upholstry and other fabric was navy blue.
I was surprised when I looked at it, that in a majority of the movies, the crystal seemed just straight-up white to me, even though it's usually depicted as being the same deep blue as the deflector dish. I just did a quick spot-check, and after TWOK, I don't even see a hint of blue, the color cast just seeming to be incandescent yellow.
I take it that by "propping" you mean adding the tabletop items and wall photos seen in the miniature shot?
Yep! And more plants to each side
I agree on some points, especially that there needs to be more contrast between the grey carpet and the blue of the chairs. I tried doing cream-colored chairs but that just didn't work. So I've darkened the blue of the chairs instead, as well as raising the saturation slightly. I like the results:
as opposed to before:
As far as brightness goes, I'm leaving the pit area dark while leaving the forward lounge area bright, as opposed to my 2015 attempt where I had the light pretty much equalized once the viewscreen walls dropped down. And I like my TWOK lounge being darker/moodier than the TMP version. But I dunno. I tweak lighting all the time while I go along in my work so who knows how I'll have it end up by the time it's done.
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From my references, the only time we see the impulse deflection crystal lit up in TMP it was orange:
The rest of the film it was always "off". Perhaps I should just leave the impulse dome light off for TMP?
In the new shots of the Enterprise in TWOK, the impulse deflection crystal was always blue. The Reliant's was blue as well.
I can't believe I have never noticed that in all the times I have watched the movie! You should definitely leave it like that, it looks so different, it's great!
I love the wood panelling, makes it feel more welcoming, and less sterile. Just one thought though, with the little triangle table in that position, you'd have to have very thin legs to fit them between the table and the front of the chairs!
Donny, your renderings make perfect backgrounds for Zoom meetings!
I think the forward area looks a lot better this way. Bit less like a tavern. I get leaving the aft section dark, as it was in the movie (though, now that I think about it, I wonder if that's because there was no one in there when we saw it)
