WOOOOOOO-WEEEEEEEEEEEE, I forgot how many drawings went into the making of this Monster!!!! Today are the drawings of the wing tip armaments and all of the overall plans that make up all the mechanics of the Scimitar. If your in the mood to model this one, here is all the stuff you’ll need! Each wing had to be drawn individually because every one was vastly different in shape. The detailing and panel break up was identical from top to bottom, and the only change in this was on the main hull and central structure of the ship. On the wing plans are a set of registration circles that, when aligned in layers, use these circles to scale everything accordingly. Also are some beautiful CG renderings by Digital Domain artist Rory McLeish. Rory was the one that modeled this beast for Nemesis, and I had a great time working with him. He filled in a lot of holes and added a lot of his own imagination to the final design. Rory had the thickest Irish accent on the phone and I almost could never understand him, so I would just say yes a lot and then call Jay Barton and have him decipher what Rory had just said to me, HAAAAA! Lots of good times between our two departments. Anyway, here is a cornucopia of stuff to look at, and I have to get to work so hope you all have a great Friday and enjoy all the pictures. Next week we’ll wrap up the Scimitar and hit the Valdore, and if time allows, I’ll start that week of Robert McCall.
Archive for the 'Trek Movies' Category
Well, the overall design had been approved, so the next step was to get into the details and work out how the ship would open up into a spider. David Negron Jr was on the show and had worked on Voyager prior to Nemesis. I was always a fan of David’s work, and I so loved his ability to whip out some awesome ideas in beautiful quick color sketches. Below are some variations on ideas to get the Scimitar to open up. There were a lot of ideas that he penciled out and some of which had some wicked hinging of the wings. The two of us would work off of each other’s concepts, and it was a lot of fun to work with Dave, even though we were in different buildings. Dave’s work on the Scim was short, and we both did the same with the next ship, the Romulan Valdore. We worked back and forth to get the big V’s look and details down on paper. Both of us had big palettes of things to do, and while Dave was working on ship sketches, he was also busy working on the Reman mining complex. I was doing both Enterprise and Nemesis, as well as Doug Drexler and the rest of the E art depot, so it was one very busy Art department. Below are a lot of drawings that started to define the intricacies of a very complex battleship, so sit on back in yer easy chair and enjoy Day 2 of the Reman Scimitar!
Star trek Nemesis, Well it was in the year of 2001, and Enterprise had just started up and at almost the same time Nemesis was in the works. The incredible writer John Logan had been penning the story and was working very hard on the drafts for the script. We got to read a teaser early on and it was a very cool read!! John was always a Star trek fan, and he was really putting it all out for his tale of Reman and Romulan conflict. Just in the first few pages, we were thrilled to see the list of great new ships that were going to have to be drawn and the Scimitar was one wicked sounding machine. John wrote that it was a massive vessel (unlike anything we had ever seen before) which would take on the form of a viscous spider when it was poised for attack. Almost every script we ever got on Star Trek had the description of a new ship as (unlike anything we ever saw before) but the window of approval that designs had to squeeze through was very tight and would not allow you to travel too far outside of it’s very rigid boundaries. We all laughed when we read this especially word for word from an outsider. Anyway, the Scimitar was a huge challenge in just the mass and what it’s function was to be…it was going to have a lot of mechanics, and coming from a physical model shop background, my thoughts were mechanical hinge points as opposed to a CGer’s point of view, which would be more in line with liquid hinge points and morphing. The ship was definitely a challenge, and being that the description called for something new, the first pass came from another one of my Sci Fi art heroes, Mr. John Berkey. John was one incredible artist who had a passion for fantastic space ships modeled after everything imaginable and in part to predatorial fish. The read opened the door to maybe pay homage to John’s style but was rejected after only one sketch being to ambiguous and not defined enough. You could almost see that this one was headed towards the classic Bird of Prey design which had ingrained itself as the shape of a star trek bad guy, and the closer you get to that shape, the better your chances for approval and making everyone happy!!! HAAAA! So heading down that path, a few shapes emerged and one in particular that went a little too far into the realm of being too bird like…I liked the lines but remembered the evil hawk shaped ship from “Galaxina”, and after watching the movie again, it was just too similar. A few more passes emerged and finally wound up with…you guessed it…a Bird Of Prey looking vessel which is so unlike anything we had ever seen before!!! HAAAA-HAAAAR! Know the mission was to make the shape as different as possible in terms of details and mechanics. So stay tuned ’til tomorrow when we will get to see some of the spider sketches by the awesome concept illustrator David Negron JR. So until then, be good and don’t take any wooden nickels!
Morning all and Happy Monday!!! I wasn’t home much over the weekend, but I did manage to grab an arm full of files on the way out the door. First up on top of the pile was the Space dock stuff from Nemesis. A fun piece to work on, and, as with the stories of Alex Jeager and I drawing the same things from ILM Paramount Pics, the same was true between Darryl Anka over at Digital Domain and myself over at Paramount. Darryl and I worked at Apogee (John Dykstra’s motion control company) together in the ’80s, and he is one awesome illustrator… he would create a lot of the images we would build as miniatures, and he was always thrilled to see what would come out of his scribblings. During the Nemesis years, he was on staff at Digital Domain and a part of the Star Trek crew. Ron Gress was one of the VFX supervisors on the show, and, if you recall his name, he was the one that did the beautiful pearlescent paint job on the Motion Picture “E”. Ron had the shot list created that would pertain to anything that would involve a visual that DD was to produce. Daryl was given the same list, and both art departments would try to get all the visual designs done as quickly as possible, so as to get the digital and practical models going. Over at Paramount, we had come up with some Space Dock designs, and they were not too much of a high point with importance visually, so they went through the approval process with only one cosmetic change. The top of the dock had a considerably large living complex, and the producers opted for a minimal area, as to keep the frame work more open. Sketch two did this, and the final part of the dock was the docking coupler, which is suspended from the top and forward third of the dock. The Enterprise “E” saucer based shuttle bay is where the docking arm connects. This was to be a broader design as to accommodate more that just the “E”, but there was little concern for these details based on the secret fact that this was to be the last TNG film. As these were being turned over to Digital Domain, we received the fax of Darryl’s drawing, which was a cool design that mixed a little bit of the original and the dock created for the NX-01. Seeing the name on the bottom is how I found out that Darryl was on the show too! Sadly, his idea was presented too late to get in the run, but together we had both done new worker bee concepts for the next meeting. Darryl’s ship made the cut, and talk about a very excited guy!!! He was so giddy and thrilled to get his crafty drawing conceived and built and then put into the final film!! We were all very excited for Darryl and his first big addition into the world of Star Trek! Here today are all the sketches and some images from the final shots produced by the awesome crew over at Digital Domain!!
Lots of questions about what was on the Nemesis set in regard to the gold ships, and here is a quick follow up answer with pics. For Insurrection I was asked to make three more of each ship for the Observation lounge. By this time the Enterprise “B”, “C”, and “E” kits were available, so those were used instead of what was done previously. The kits were all filled with resin again and plated; the script changed after these were built, and they were no longer needed,,,, on top of that, I paid for everything out of pocket, and because the work was written out and I hadn’t submitted an invoice. I got stuck with the bill,,, So in return they let me keep the models,,, A few years later Nemesis came to be and all those ships were used, but this time they wanted to have 12 ships spread across two cases. So in addition to the 3 sets of the original 6 ships, I built a Voyager, Excelsior, Grissom, Reliant, The Space Shuttle STS-1, and the Enterprise carrier CV-65. I had already given the previously plated models to John Dwyer to start setting in the case. I got the other ships done in about a week and took them to the stage and he had already filled the cases twice with doubles of the original 6. It was too much work to take out and replace the dups with the new so they didn’t make it on the big screen, but they did wind up at my house again. Here are some dusty pics of the ones that didn’t make it!
Hey all and Happy Friday!!!! I have to say it has been great fun going through the old boxes of art and photos to put up on the blog here!!! Sure is a lot more stuff in my garage than I thought I had, and even some secret treasures that I really forgot about. I found a cup of snow from the North Pole (Santa Clause 3), Dilithium Crystals and snow from the Andorian planet’s surface (Enterprise), and too many other things to write about this morning. The big finds were the cases of Gold Enterprise’s from the last three TNG films. They all still look really good for the amount of abuse they got on stage.
Here’s the story of how these golden eggs came to be on First Contact:
Herman Zimmerman and I were talking about the observation lounge and how they were going to have to sculpt an Enterprise E profile to go with the half carvings created for the Ent. D. It was one of those things that in the back of my mind I said: “If we could do those gold ships differently, we could make full size models and have them gold plated!!” The only thing is, I said it out loud as I thought it… Herman looked at the broken half sculpts on the floor and then looked at me and said that he loved that idea and asked when could I start making them….We laughed and then the massive stress and joy of this new project was what I felt next!!! We were still heavy in the designing phase of things, and these models had a pretty severe deadline. This was before eBay, so I went and scoured the hobby shops all the way from Los Angeles to PHX Arizona to find any and all kits of the Enterprises. What was available then was the Enterprise A, a TOS Enterprise that was too small so I opted to get the cutaway version that was substantially bigger, and the Ent. D. That left the “B”, “C” and the new “E”. For the “B” I grabbed one of the Playmates toy which was a good scale. For the “C” my friend Nelson tracked down a beautiful Garage kit that, too, was a good scale. For the “E”, I had just finished making a big 28 inch study model for the producers here in LA and for the model guys and gals up at ILM. It was almost too big, but there was no time to sculpt another one so it had to do. Herman asked for 3 of each ship because we were now going to have the smashing of the case scene. In the end, we wound up making 6 of the “D’s” and about 6 or 7 of the “C’s” because it was the one that all the glass would fall on top of. Getting them all built was a huge challenge because the kits are just awful to work with, and most of the seams were huge and the choice of part lines put large, deep lines through what should be a clean surface. The Enterprise A was the worst because it has this kinda wood texture on every inch of the ship, so I wound up filling every line and sanding it smooth to make the finished gold plating look like an Oscar. Time was short, so the smooth look only happened on the TOS, A,C, and E. The rest were as is. To expedite, I made one master of each ship, molded them and then made solid resin castings. The ships were very heavy and after the plating was complete, they felt like solid blocks of gold. Jim and Dan are the two guys that run ArtCraft Plating, and they did an awesome job with the gold plating of the ships…they get all my business, and I recommend them to anyone that has something they need plated in any kind of metal or finish! Herman was getting tense with the deadlines, and my in and out of the office juggling routine between art and models made it even more difficult when things were due by the end of every day, but in the end everything worked out fine. The models turned out gorgeous once mounted and they were hit with those Halogen jewelers lights built into the case. Mike Okuda made great little plaques for each ship that really made the whole display sing! The saddest day was when they filmed the smashing scene, and it was brutal to watch the models get hit with rifle and glass!!! Oh well, that’s what they were made for, HAAA! Anyway, here are some pictures of the golden babies for you to enjoy!!! Have a great weekend.
Hey there. I found these charts over the weekend and had to stick them up. I believe one of these pages made it to the sketchbook but not all three, so here you are. I also found the Pantone color chart used in painting the Enterprise E for the First Contact physical miniature. I’ll post that one on “E” day. Enjoy. Here you go Bernd!!!! Note that in the first scale chart The “E” is still a Galaxy class starship.
Well this is a melancholy anniversary. “STV” was my first venture into the Star Trek galaxy and in those early days we were very excited about what we were about to do. The film had a great script. It was going to be Shatner’s directorial debut, Jerry Goldsmith was back, Herman Zimmerman was the new Production designer, Mike and Denise Okuda were on board, Nilo Rodis was designing the spacecraft, Greg Jein was the model shop supervisor, but one thing was missing,,,,ONE MAJOR element that was key to the visual look of Star Trek was not coming back and that was ILM. There were some heated exchanges between the higher ups and ILM about VFX costs during the filming of “ST IV” The shot of the Bird of Prey flying under the Golden Gate bridge and the cost of the mechanical Motion control whales was looked at in the light of being excessive and during these arguments the decision was made (to generalize the answer) we’ll show you ILM that we can get someone else to do the VFX and they’ll look just as good and for a lot less. And so be it, let the new VFX house grant their skills and talents to the legendary Star trek Universe. Greg Jein who was a veteran of the previous films and also a major part of TNG was picked to supervise the Miniature construction and also to build a great deal of the props for the show. Greg Jein for those that don’t know is one of the greatest model makers ever!!! (Stay Tuned for Greg Jein week in the near future) His assignment was to build all the miniatures, Shuttle craft’s two sizes of the Enterprise Shuttle bay, Oversized pieces of the Klingon Bird of Prey and so on. Once completed everything had to be packed and shipped to New jersey to be filmed. Greg is the nicest guy in the world but He was treated like complete ((#^&%#*^^&%)) on this one and so undeservingly so, but he kept a smile on his face thru-out the apocalypse hanging over his head… we had a great time working together despite all the bad and Greg’s dark and evil joking side was in full gear!! The film was doomed with every kind of production problem and in the end Shatner was made the proxy and the one who ultimately got all the blame. The film didn’t do well theatrically and sadly is considered the least favorite of all the films but if you look past all the bad there is a great heart beating thru the interaction of the original crew and the introduction of Spock’s brother. The scenes that play out between the actors in regards to finding their pain is brilliantly written and the performances are exactly what you would expect to see. As an introduction to Star trek I had the best time working for Greg and in all honesty I wasn’t ready for all the responsibilities he gave me and in many ways I feel I didn’t have the knowledge to perform as good as I wanted to!!!!! but he continued to nurture me on and I am so grateful for that opportunity. As always Jerry Goldsmith’s music scores as one of the high points of the film, and his theme entitled ” a busy Man” stands out as an incredible and iconic moment in Jerry’s brilliant ST themes. Herman’s work shines brilliantly with his beautiful klingon bridge as well as the Enterprise bridge. Twenty years have lessoned the pain to the point that I can joke and enjoy this one again so take all my comments in a light hearted way and can’t wait to hear everyone’s comments and feelings about Trek 5, So with that here are some images from the film and Happy anniversary STV.
Here are more from the Jeager Files
Alex created a lot of designs for STFC and in addition to yesterdays post here are some more meshes and some rough B&W concepts. As a special treat the last sketch is by ILM model maker extraordinaire, John Goodson. he was in charge of building all the practical models with his crew for First contact and he had a minute or two to doodle this little beauty up.. Would have loved to have this one as a model.
Alex Jeager was the key concept artist at ILM on ST First Contact. We first met by phone and later in person on one of my trips up to see all the model work going on with the new Enterprise and the Phoenix. Alex was in charge of creating a lot of the designs for the borgification VFX sequences, the Borg Queen, various details on the “E”, the color scheme for the Phoenix, VFX storyboards, and mostly he was the one that designed the Federation Armada that battles the Borg over Earth. Alex back in the days was a pen and marker guy and advancing to computer modeling and photoshop work. on FC he did a bit of both CG and Traditional renderings and here are some samplings of both. As requested here are many of the concepts that didn’t make the final film and a special group of images from my favorite of Alex’s incredible designs, The Akira!!! I am probably the only one that can’t get on Alex’s web page but I can get to his Blog and both links are over in the Blogroll to the right!!! Hope you enjoy all the cool drawings and CG meshes by the incredible Alex Jeager!