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I've often wondered that too Paul :) My theory on it is that iot's probably a trade off on construction strength and visibility. Coupled to the fact that in space combat these ships are porobably going at such ludicrous speeds that target aquisition would probably be an entirely screen holographic cockpit based affair and they would only need an approximation of where they were for postioning and approach :)
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actually I asked someone about that. Its a left over from bluescreening days. Cockpits like that show up better on film. And they are easier to matte I bet too. :D
I would also bet it has to due with the number of artist who have flown combat missions ;) |
Wow. Both make sense.
On the other hand, both the X-wing and the Viper had smaller cockpit frames. But I can understand how an all glass canopy wouldn't show up against the background in a scene. Such is the trade off. I've loved this fighter. Thanks for modeling it. |
Looking great!
I'm curious about the design history. I never heard that it was considered for SW and BsG. What's the story? |
looking really cool!
from what I understand, at that time, John Dykstra was the chief modeller for starwars and he was the one principally responsible for the models in starwars, Battlestar Gallactica and Buck Rogers. which is why all 3 mediums share a quality in modelling and detailing that is similar at least.... models that were rejected by George Lucas were kept by the model makers and then sold to other productions. |
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The special effects people on ESB ran into problems with the thin frames while doing the Battle of Hoth, since you'd be seeing white snowscapes through the windows of the snowspeeder, and then the matte lines would look really horrible. So they played with the opacity of the cockpit which helped diminish the matte lines. The before and after comparison shots from when they digitally cleaned up the matte lines are really neat; I'd never actually noticed it before. :) |
I dunno... it seems like it would still be a problem. The old way to do spacehips in film, ala star wars, was to do the bluescreen background shoot, then use acid to remove the blue parts of the film. The acid was a very inexact process. Too much and you would eat away all your scene, too little and you wouldn't get a good clear area.
Now the edges of the viper cockpit would be fairly easy to do in space, since you can grow the matte to be larger. The extra black matte would be invisible against the black space background as you indictated. But to do a bubble cockpit requires the edge of the cockpit glass to show up on film, which is hard since it is glass. And also you have to be able to make a good matte of it.Which requires exact acid corrossion across a large footage length of film. I don't think it was possible back then. Your cockpit glass would tend to appear nonexistant in space. Which looks funny. And in atmosphere you would get that corroded matte that you often see in bad chromakeying. :D |
? I thought they used traveling mattes.
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Wow, nice work,
Andy |
okay........were be the updated images or completed mesh beauty shots?!
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meesa still working on it - but it's been a bit infrequent of late - too much real world stuff going on! :D
will get bak to it soon - mostly working on a concept for the interior at the moment :) |
Oh....My....UUUUuuuunnnnnnnnggggggg,
I think I just loaded my huggies! That is really AWESOME....uh..the mesh, not my loaded huggies. :) |
Hello
I have some screen caps of the forward cockpit, but it would only degrade the quality of your work to use them. Fantastic job!! I look forward to see the rest. Alan P.S. your welcome to them if you want them. |
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