Interior/Exterior, Wim's Bedroom Perspective views. I mainly handled the technical details of building this. Someone else had developed the design when I started.
Interior/Exterior, Wim's Bedroom. Plans and Elevations. The windows were obscenely challenging to describe for construction.
Interior/Exterior, Wim's Bedroom. Window Detail. The compound angles of this window were very complex.
Interior/Exterior, Wim's Bedroom. Details of built-in units. The whole set was challenging since all the details flowed from one into the other.
Interior/Exterior, Wim's Bedroom. Closet Details. The whole set was done in Sketchup and drawn in Trimble Layout
Interior/Exterior, Wim's Bedroom. Finished set Exterior. We did not use the exterior windows as much as we had thought.
Interior/Exterior, Wim's Bedroom. Finished set.
Interior/Exterior, Wim's Bedroom. Finished set.
Interior/Exterior, Wim's Bedroom. Finished set. This images is of the set 'in-process', getting it's final coat of ageing.
Interior/Exterior, Wim's Bedroom. Finished set. Same as previous.
Interior/Exterior, Wim's Bedroom. Finished set. Dressed and lit.
Interior/Exterior, Wim's Bedroom. Finished set. Dressed and lit.
Interior Merchant Ship, Design Development. All I got was a floor plan and orders to make everything modular so we could use it elsewhere. Hit this out of the park on the first try.
Interior Merchant Ship, Design Development. Modeled in Sketchup, rendered in Ambient Occlusion Pro.
Interior Merchant Ship, Design Development. Modeled in Sketchup, rendered in Ambient Occlusion Pro.
Interior Merchant Ship, Design Development. Option #1 corridor. Modeled in Sketchup, rendered in Ambient Occlusion Pro.
Interior Merchant Ship, Design Development. Option #2 corridor. This is the one we used, and I am just as happy. Modeled in Sketchup, rendered in Ambient Occlusion Pro.
Interior Merchant Ship, Design Development. Vault exterior options. Modeled in Sketchup, rendered in Ambient Occlusion Pro.
Interior Merchant Ship, Design Development. Selected vault exterior. Modeled in Sketchup, rendered in Ambient Occlusion Pro.
Interior Merchant Ship, Design Development. Selected vault exterior. Modeled in Sketchup, rendered in Ambient Occlusion Pro.
Interior Merchant Ship, Design Development. Selected vault exterior. Modeled in Sketchup, rendered in Ambient Occlusion Pro.
Interior Merchant Ship, Design Development. Selected vault interior. Modeled in Sketchup, rendered in Ambient Occlusion Pro.
Interior Merchant Ship, Design Development, breaching claw. The color coding indicates what Construction would build vs. Special Effects. I shoudln't have bothered, construction built all of it. Modeled in Sketchup, rendered in Ambient Occlusion Pro.
Interior Merchant Ship, Design Development, breaching claw. Modeled in Sketchup, rendered in Ambient Occlusion Pro.
Interior, Merchant Ship, working Drawings, perspective views. The floor and ceiling were very complex. The floor tied up three router cues for two days. All are modeled using SketchUp and drawn in Trimble Layout.
Interior, Merchant Ship, working Drawings, flooring plan. Yes, there were that many different flavors of floor unit. We used them on three other sets, so nobody yowled too loudly about them.
Interior, Merchant Ship, working Drawings, Reflected ceiling plan and overhead dressing plan. Yes, we used the ceiling suits several times over as well.
Interior, Merchant Ship, working Drawings, elevations.
Interior, Merchant Ship, working Drawings, a typical wall unit. All of these had a lot of parts, most of which were run on a CNC router. Yes, I made up all the router path files and instruction pages for the router operators.
Interior, Merchant Ship, working Drawings, Notes for the rouuter techs.
Interior, Merchant Ship, working Drawings, hatch details. Like I said, LOTS of pieces.
Interior, Merchant Ship, working Drawings, hatch CNC notes. These were instructions for the router guys as well as assembly details for the beardy guys with the tool belts in the mill.
Interior, Merchant Ship, Hatch, finished unit. All that work for this??? It's a living...
Interior, Merchant Ship, working Drawings, vault exterior. This had a section of the vault door that got cut out on camera.
Interior, Merchant Ship, vault exterior, finished set. If you look closely, you can see where the pyrotechnics and break-away units were on the door.
Interior, Merchant Ship, vault exterior, finished set. This is a shot with the set lit and the break-away section removed.
Interior, Merchant Ship, vault hatch and interior, working drawings.
Interior, Merchant Ship, vault door, In-process, foam sculpting.
Interior, Merchant Ship, vault door, In-process foam sculpting. Note the line of the break-away cutout. This was cut when the unit was finished being sculpted.
Interior, Merchant Ship, vault interior, finished set. Much of the set was done in post, so we only built what the talent interacted with. No, this was not shot on a volume.
Interior Merchant Ship, Finished Set.
Interior Merchant Ship, Finished Set.
Interior Merchant Ship, Finished Set, Boarding Tube and 'Claw' Detail.
Interior Merchant Ship, Finished Set, Boarding Tube and 'Claw' Detail. This is the claw unit separated from the set. For VFX and CG, we had to remove the demolished wall section at times.
Interior Merchant Ship, Finished Set.
Interior, Merchant Ship, finished set. With smoke.
Interior, Merchant Ship, finished set. With more smoke.
Interior, Merchant Ship, finished set. With still more smoke.
Interior, Bording Tube. Perspective views, modeled in Sketchup, rendered in Ambient Occlusion Pro. This is integrated with the Merchant Ship Set but was its own thing, so it was drawn separately.
Interior, Bording Tube, working drawings.
Interior, Bording Tube, working drawings.
Interior, Bording Tube, working drawings.
Interior, Bording Tube, working drawings. These were the notes for the bent floor and ceiling panels.
Interior, Bording Tube, in-process. Laying in the fopam units.
Interior, Bording Tube, finished set. Without smoke for a change.
Interior, Bording Tube, finished set.
Interior, Bording Tube, finished set.
Interior, Onyx Cinder. Corridor sliding hatch. This is the developed model. Made in Sketchup and rendered in Ambient Occlusion Pro.
Interior, Onyx Cinder. Corridor sliding hatch, developed model. Made in Sketchup and rendered in Ambient Occlusion Pro. The figure is from 3d Warehouse and made by Max Grueter. Who is a genius.
Interior, Onyx Cinder. stateroom sliding hatch, developed model. Made in Sketchup and rendered in Ambient Occlusion Pro.
Interior Pirate Frigate (that's the only name it has) Working drawings. This was a VOlume set so the only bits we built were those the talent interacted with. Still, it was abserdly complex stuff. Another Floor from Hell...
Interior Pirate Frigate, Platform plan. This is the riser, upon which the Floor from Hell was mounted.
Interior Pirate Frigate, Flooring plan. The key for the CNC routed deck pannels. There were a LOT of them...
Interior Pirate Frigate, 1/4" elevations. Since this was on the Volume, most of the walls were digital.
Interior Pirate Frigate, Airlock massing model. This is loosely based on illustrations from Doug Chiang at Industrial Light & Magic.
Interior Pirate Frigate, Airlock massing model. The interior got much simpler due to the constraints of action vs. budget.
Interior Pirate Frigate, Massing Model. This exploded view was used to explain to our Production Designer how we intended the doors to slide without an overhead track.
nterior Pirate Frigate, Massing Model. Reverse of the previous.
Interior Pirate Frigate, developed model. The figure is by Max Grueter on 3D Warehouse. Have to do something to keep things from getting too serious.
Interior Pirate Frigate, developed model. Simplified Interior and open door. This was made in Sketchup and MOI 3d (for the foam cutters) Figure by Max Grueter
Interior Pirate Frigate, Airlock detail drawings. Sketchup, MOI 3d and Trimble Layout.
Interior Pirate Frigate, Airlock detail drawings. The doors had oodles of fabricated parts, and all of them had associated path files and meshes. This is an assembly drawing.
Interior Pirate Frigate, Airlock detail drawings. These are the notes for the Router and hotknife operators on using the path files I sent them.
Interior Pirate Frigate, Back Wall detail drawings. This used some of those modular bits and pieces from the Merchant ship.
Interior Pirate Frigate, Back wall detail drawings. These are the CNC notes. There were also assembly drawings, sections, yadda, yadda. You get the idea of what we did here.
Interior Skull Ridge Mountain Lair. Another volume set. The skull was a digital asset from the ILM Virtual Art Department, as were the columns, since our physical build had to match the virtual one.
Interior Skull Ridge Mountain Lair. Working drawings. I seem to always get the caves. I did concept development work the dungeon on Port Borgo too.
Interior Skull Ridge Mountain Lair. Elevations. The skull is from VAD, but we developed the throne since it had a bunch of mechanical effects associated with it.
Interior Skull Ridge Mountain Lair, Entry wall details. I gave the Boolean functions on my software a real workout. All of this had to be sectioned for sculpting.
Interior Skull Ridge Mountain Lair, Entry wall details.
Interior Skull Ridge Mountain Lair, Entry wall details. These are the CNC notes for the doors.
Star Wars: Skeleton Crew was a huge project. I was involved, either comprehensively or in concept development, in over 10 sets. At least. The work I show here is mainly things I did from start to finish.
I have to say this show was a blast to work on. I have not had as much fun on a project since I worked on Armageddon (Woops, don't date yourself, Dan). The work was varied and interesting, and the end product was beautiful. They also held the creative reins loosely, which is always a plus.
I realized (being married to an art historian helps here) that with the three movie trilogies, Rogue 1, and umpteen streaming shows, spread over something like fifty years of movie time, there were distinctive looks to each group of movies and streamers. That became a guide to ‘period styles’ in the Star Wars universe, so our production designer could tell me he wanted something that looked like it was from the Old Republic and modified in the early Imperium, and I knew exactly what everything needed to look like.
There was a bunch of Volume work, but by now, our cinematographers had learned that more interactively lit scenery helped on volume stages, so there were a lot more physical buildouts. Shout out to William Budge, Art Director, for all the set photos, since we were working remotely at the time.
