CGI | Sci-fi Art

I'm a second generation small business owner.  My father owned a cleaning business back in Maine.  One of the things he taught me was professional pride is a healthy thing and that if someone doesn't take pride in their work, its quality will suffer.

My previous job as a house painter here in Florida a few years ago helped drive this lesson home for me.  The owners of the company weren't afraid to absorb cost if it meant that it would save their company reputation or add to it in some way.  They say that they lived by an old Hebrew proverb, and I believe them. 



I finally learned this lesson first-hand with my own business.  And especially in the laboratory set I recently built for Nem Gate. Lesson learned: Don't be afraid to absorb cost for a customer if it means getting the job done to your satisfaction.

As it was, the client did not indicate he was happy with the completed set, but was unable to spend any more time or money on getting it to spec.  This left me with a conundrum: do I want to go the business-first route and put out a product neither the customer or I was happy with, and potentially could lead to embarrassment if it was released to the public? Or do I go the artist-integrity route and absorb a chunk of money and make sure the final product is up to snuff?

I chose the artistic-integrity route, I guess.  I can only hope it pays off in the end.  If not, I will have to be content with the fact that the client was happy, and I'm more satisfied with the results, though there's always room for improvement.





Make the day of death better than the day of birth.  When you're dead, you can't enjoy the money.  But if you leave a good reputation and people speak and think well of you after you're gone, well, then I guess it's all well and good.  I'm never completely satisfied with any of my work, anyway.

Dan

A large machine for Nem Gate. Work on this thing gave me a headache!  It was very difficult to get the ideas flowing on this.  But in the end, I think the result was okay for the most part.  I just wish it hadn't been such an ordeal for the client and I to try and drag it into existence.

It wasn't the client's fault, mind you.  He's always understanding, patient and cooperative.  It was me, struggling to actually see how to make it work.  The room came relatively easy, but I do rooms all the time.  It's become second nature.  The frame and the reactor, on the other hand.  Well, I've got to work on my skills in that area, I guess.


Even then, however, it goes to show you that even with years of experience, if the idea doesn't want to come, it's not going to.  Artist's block can come from stuff like family or personal issues, stress from having to help loved ones, just not getting enough sleep one day, your blood sugar dipped too low, or sometime as simple as someone cut you off in traffic.

Resistance immediately sets in at that point.  If you're an artist with unfinished work on your hard drive or in your studio somewhere, you've experienced resistance.  And resistance, which is when you're working on a project and lose interest in it or it just won't go any more and you want to give up, is the worst thing for a professional artist.  We're under contract to finish a work for someone. We're getting paid for this.  We don't finish it, we don't eat.  We don't eat, we get irritable! 

There are exercises, they say, which help with combating resistance, but in my experience, it literally comes down to just forcing yourself to sit at the computer and start making geometry. Any geometry.

So, I plug in "chill" on Pandora Radio, and get out my tea and a few snacks and start working.  I add a greeble here, or a panel there.  Then it just starts coming, but it's always a struggle to get art to thrive.  Art for me requires peace and clear thoughts.  Nowadays, those things are getting rarer and rarer.  So, we adapt as best we can to the changing times and hope for the best.

Dan

Dan

Dan

One of the questions I get asked the most is: "Do your interiors actually fit inside your ship exteriors?"  The answer is always, "Yep, it does fit."  No weird MMO-style it's-bigger-on-the-inside stuff.  I am nevertheless a Doctor Who fan, mind you.



What the current set looks like without the ship around it.  We're nearing the end of the architectural modelling phase here.  Next, we're into the detailing phase, where we add props, furnishings and other stuff.  Then materials and we're done.


What the chunk of rooms looks like inside the ship, and what space is taken up.


What each section is, by color, with future additions pointed out, as well.

Rendering up a video walk-through overnight.  Hopefully I get to work tomorrow instead of watching the computer render.


Dan

Still deliberating on the furnishings in these lounge areas.  Also, for some reason, I find these windows so incredibly beautiful, I'm seriously considering adding more of the things around the ship, particularly in the flat areas around central ring of the ship. 

This has a potential two-fold benefit. 1.) I was never pleased with those greebles.  2.) It'd give me more compartments on the ship with an awesome view.


Dan

Still working out the details on these rooms.  I'm not sure what purpose they serve, but it's likely some kind of crew recreational area.


Was thinking of deleting the walls between the two rooms (the walls form the corridor in the middle of the ship visible in the center picture) and simply making one, large, open lounge area with windows on either side.  That would be an interesting space for filming.  The problem is, if that room were holed by enemy fire, it would effectively cut off the bridge from the rest of the ship.  Probably not a good idea in the design of a military vessel.  Of course, in the civilian versions of this class of ship, I'd imagine the owners would tear out the walls and create that lounge area.

Weird place to find resistance: the end walls of the rooms.  Still have no clue what I'm going to put there...

Dan

Update on the work on the interior of the Viminal gunship.





It's funny as you go along in the process of making one of these things, where your eyes are drawn.  These areas are usually ones that stand out as different from the rest.  In this case, my eyes are drawn to the place where there are no greeble details.  It's really annoying to see those big, open spaces.  Will probably have to go through once I'm all done and see one last time where everything needs to be filled in.

Dan

Got an email the other day from Museum Victoria in Australia.  They've apparently finished work on the exhibit my work is featured in.  Very proud moment for any artist, to be featured in a museum.

In other news, still working on the Nem Gate project.  Here are some renders of the modelling thus far on this latest set.

An unedited compilation of the wide angle and establishing shots from the bike travel montage from Plagarus Part II.  Not very exciting, I'm afraid, due to lack of editing and sound, but this gives an idea what's going on so far with the great project that'll never be finished.


Without proper editing, such as cuts to close-ups, or different angles and perspectives, the scene seems to drag.  At least with proper music, it doesn't seem so bad, but the initial shots can be very long, at about 500 frames a piece.

Dan