Max Gabl created this made-from-scratch matte painting for Star Trek’s “Dagger of the Mind” episode in CINEMA 4D. He used Photoshop and Painter to texture and paint the model.
MAXON Computer, a leading developer of professional 3D modeling, painting, animation, and rendering solutions, today announced that the advanced 3D matte painting and texturing capabilities of MAXON’s CINEMA 4D were used to recreate backgrounds in high definition for release of the original Star Trek television series on Blu-ray Disc. Relying primarily on CINEMA 4D’s BodyPaint 3D texturing capabilities, acclaimed matte painter Max Gabl worked closely with CBS Digital over the course of nearly two years to restore and update visual effects for the legendary ’60s series. Seasons 1 and 2 of Star Trek: The Original Series Re-mastered (Star Trek TOS-R) were released by CBS/Paramount Home Entertainment earlier this year; Season 3 went on sale December 15th.
Working under the direction of Star Trek: The Next Generation art director Michael Okuda, longtime Star Trek producer Dave Rossi, and visual effects supervisor Neil Wray, Gabl was tasked with elevating production values across all 54 episodes, which contain many original shots that were filmed with very simple lighting setups and hastily painted and poorly lit backdrops. Gabl deployed BodyPaint 3D as a core software application to bring the look of backgrounds up to present-day high-definition standards, recreating 33 establishing shots and scene extensions, as well as 47 planets and several paintings of nebulae and other planetary system objects.
A key creative challenge was the complete lack of data crucial for visual effects content creation, such as camera type and focal lens that are used to match the virtual camera to the scene. “I quickly realized that successfully bringing elements such as matte paintings of planetary objects from the original series into an HD format and maintaining the visual integrity of the iconic television series would necessitate a 3D software solution that offers stability and customization,” Gabl said. “CINEMA 4D with BodyPaint 3D is the ideal solution for matte and texture painters. It offers numerous workflow advantages that are key to maintaining high production standards on a long-term project of this magnitude, and the interface is well designed, stable and extremely easy to use and customize.” Gabl, whose credits include Stealth, Flags Of Our Fathers, Racing Stripes, and Pushing Daisies (see www.maxgabl.com/Content/Matte_Paintings.html), created many of the matte paintings of the buildings and planets from scratch (3D model to final render) directly in CINEMA 4D. He also worked in some cases with models built by other artists at CBS Digital, which he imported into the application to light, texture, and render. Some of the paintings were completely new overview shots while others were crafted around original Star Trek footage, with subtle enhancements blended into existing images.
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