THIS was the design for the NEW engine room???
- Thread starter RAMA
- Start date
I agree that it should hav ebeen bigger, but I like the basic notion of the engine room art - less shiny, less open space, more machinery.
Although I admit at first glance, I did expect to see Sigourney Weaver battling an Alien.
Although I admit at first glance, I did expect to see Sigourney Weaver battling an Alien.
Okay, that does it! God damn it! Church is now officially my hero. Those works are beautiful, not only in execution but in concept as well. Aside from some minor gripes (ie: what we see of engineering being only a corridor and the too-warm colors of his bridge), this is exactly what I would have wanted Star Trek to be.
It's a good movie. But sets like these would have made it even better. And the black hole effect is stunning, with all that exotic particle radiation.
It's a good movie. But sets like these would have made it even better. And the black hole effect is stunning, with all that exotic particle radiation.
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Interestingly enough, I think I like the old style colors. I'll give you that they probably made the right decision to ditch it with the desire to draw in new fans and all, but it's still appealing to me.
The new bridge still feels cluttered to me, though.
Agreed, I feel it should be bigger, more space between elements.
I think he's referring to the aircraft-style Attitude Indicator on the right side of the image. Now surely you need to know your attitude in space, and I suppose as long as you could define an artificial horizon to act relative to, it would work...but it doesn't seem like the best option for 3D navigation. Actually, there's an airspeed tape next to it as well...and an autopilot mode selector above it. And localizer/glideslope indicators. And an altimeter. I think he just lifted an aircraft's Primary Flight Display for use on that image...not that alot of that information couldn't be configured to actually be useful to an starship.
And actually, the image below it is a page from an aircraft EICAS display, probably an ECS window. See http://www.npsimpanel.net/_/rsrc/1233406220105/crj-700900-deluxe/crj_700_eicas.jpg top center picture. Again, not necessarily something that wouldn't make sense on a starship, but kinda neat (and weird for a pilot...) to see these things pop up on the bridge of a 23rd century vessel :P
But all in all, DAMN. I love 'em.
I like the concept bridge and engine room better too. The bridge in the movie was just too damn bright and white. The engine room in the movie was kind of meh too. I much prefer the one in the concept art.
I like the orange, too.
And yet, it's what was used in the film. It was just hard to see with all the damn lens flares and make-up lights.
No it wasn't. Yes, the physical layout is the same, but the colours and lighting is all different; making it a very different bridge.
From what I can gather, they didn't really do an engineering room because of the budget. That said, now that uniforms and sets have already been built that should free up some budget to do a decent engineering set this time around. Who knows, maybe the success of the film will cause the powers that be to free up even more funds for a sequel.
Check the photos (or the official website's 360° panorama) - the colors are the same, with the burnt orange floor and neutral - not white - upper architecture. The only real color difference is the lighting. Church's painting is only different in lighting and some details, such as the barcode scanners Dennis mentioned; color-wise, it's spot-on.
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This concept doesn't do anything for me, though I recognize it might have improved had it been pursued. It reads like generic futuristic space machinery, basically.
The brewery may have been chosen to cut costs, but I think it works quite well. The scenes in the engine room feel like they are in the bowels of the ship, where functionality trumps flashy presentation. It's more important that they viscerally feel right than that they make sense from a "fantasy future engineering" point of view. These scenes also help anchor the film in our near future, as opposed to some indeterminate and generic future time, which is consistent with the film's intention overall.
The fact that you can tell it is a brewery, especially if you are looking for it, really doesn't matter in my view. In some ways, it adds to the charm, and works almost as a throwback to TOS, where so much was done with minimal tech.
The hyper-realism in fantasy and sci-fi that CGI can provide is boring. We have to suspend our disbelief anyway. It's more interesting to say to yourself "Ha! They used a brewery!" than "Oh, more CGI..." or even "A combination of CGI and miniatures, maybe?"
The brewery may have been chosen to cut costs, but I think it works quite well. The scenes in the engine room feel like they are in the bowels of the ship, where functionality trumps flashy presentation. It's more important that they viscerally feel right than that they make sense from a "fantasy future engineering" point of view. These scenes also help anchor the film in our near future, as opposed to some indeterminate and generic future time, which is consistent with the film's intention overall.
The fact that you can tell it is a brewery, especially if you are looking for it, really doesn't matter in my view. In some ways, it adds to the charm, and works almost as a throwback to TOS, where so much was done with minimal tech.
The hyper-realism in fantasy and sci-fi that CGI can provide is boring. We have to suspend our disbelief anyway. It's more interesting to say to yourself "Ha! They used a brewery!" than "Oh, more CGI..." or even "A combination of CGI and miniatures, maybe?"
How can you criticize the concept art as generic futuristic machinery when what they used in its place looks like generic modern day brewery
How can you criticize the concept art as generic futuristic machinery when what they used in its place looks like generic modern day brewery
That's explained in my original post, though to reiterate: using a brewery as a starship's engine room is more interesting than using CGI-generated fantasy machinery, especially when CGI-generated hyper-realistic fantasy is standard fare in blockbuster movies of our time.
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