Cloverfield Paradox Console Designs












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Awesome!! thanks for sharing!!

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sheeeeeeesh :100:

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Always fun to see the 3dconnexion space navigators and other devices integrated into consoles like these, or as part of control systems for space ships.

Instead of traditional keyboard layouts I’d like to see more split keyboard approaches in futuristic console setups, though (I like having halves to my side). Maybe I can plant a seed in your mind to look into that for future film designs :wink:

Yeah i have suggested the split keyboard but they always go with a more traditional style. One day maybe. Of course now everything is a touch screen or hologram.

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I like the MFD-style buttons. The U.S. Navy found that pure touchscreens caused more accidents than physical controls.

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Do you cnc the parts to make physical models? these are so cool…

Its a mix of methods. Some parts are CNC , some are 3d printed. The main structure on the of the consoles were built out of MDF by the construction crew. It never ceases to amaze me what the construction crews can do on these shows with MDF.

I dont have pictures of the finished pieces but to show an example these are from Star Trek Into Darkness. The helm console you see here is almost entirely made of of MDF (multi density fiber wood) The level of craftsmanship these guys had was insane.

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so cool!!

I worked in toys for a big part of my career, and the model makers were similarly extraordinary.

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I would never have guessed that MDF could look that good. I associate it with flat pack kitchen units.

Well, actually…the team that built that helm console do high end cabinetry when they arent working on films. So in a way…

kerfing, epoxy and bondo is a pretty powerful combination.

That was the crazy part with that console. There was almost no filler . The seams and joints were almost perfect.

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What model units do you use for set design?

mm? m? feet and inches?

I’ve tried exporting to unreal engine to see what it is like walking around a room but that takes too much time, it is a minor pain, but it’s annoying enough that I don’t do it anymore. I have a plugin that lets me walk around inside Rhino in Ghosted or Shaded mode using an xbox controller.

It was a fun little project, if you like I could send you the source.

If anyone else wants to play then I can stick it on GitHub. I’d like to get proper world unit selection in first and make sure it works.

You can see me walking around the original Enterprise bridge in this video: I added a physics engine to Rhino3D – scarab's stuff (that set is so small, hard to navigate using an xbox pad)

I went mad and added non-Euclidean physics here: Secondary Hull Walkthrough – scarab's stuff

The 3rd “image” down is the actual video.

I’ve added jetpacks since then because everything is way cooler with jetpacks.

Typically feet and inches.

I have yet to deal with Unreal ( I dont really want to either) for various reasons I wont get into here. Some fellow set designers have figured out a pretty good pipeline however. To be honest most of my work focus is on design . I leave the walk through to others. I kind of feel like the whole Unreal thing has become a distraction, new shiny toy but does it actually improve the way we do things. I suppose it all depends on who your working for and how they want to approach. The whole “volume” stage thing is a useful approach but too many use it like its one stop shopping…it isnt. The other problem is there simply arent enough people that know how to prep or use that system.

Thanks for the links. Pretty neat stuff. The one thing that Unreal does offer (but so does Maya, Blender , Modo is cinematic camera lenses. The biggest thing for us is using the correct aspect ratio and lens to match what the DP is going to shoot with. Rhinos cameras simply dont cut it for that. A number of years ago a lens toolkit was put together to use in rhino that closely matches film cameras. Its in the process of being updated but hard to say when it will be ready.

Do directors do pre vis with the set models or do you just have a look to see how much detail you need or can get away with?

Pre-vis is a big part of the process in determining the shot angles and action yes. As to the level of detail, thats driven purely by the design requested. As to how much to build is always a balance between budget, time and whats actually seen on film but its a case by case basis. These days it seems more directors want everything because they wont or cant commit to anything. They basically want the sets to be as if they are going to a location and have free reign. This of course tends to make things expensive. Ive spent months designing a set , it gets built to be shot from any angle and the pick one angle and 90% of the set is never seen.

Yes, just walking around the model is pretty neat.

I added the polar movement because I have plans for the engine room layout. I will have multiple warp cores based on a radial engine. Something like a Pratt and Whitney wasp: Pratt & Whitney R-1340 Wasp - Wikipedia

My initial stab at it has been very poor. It is too regular and is very visually boring. Too mathematical and computery. I think your brain takes in the shape in a nano-second and then gets bored.

The cylindrical surface is my collision geometry for walking around the engine room. I imagine a system of platforms and gantries that let you inspect each engine.

I’m going to have to bite the bullet and try modelling radial engines for real. I think that the irregularities, asymmetries and complexities is what makes them look so visually interesting to me.

I do this stuff as a hobby and have just started a new job looking at robots (with cameras) so who knows when I will have the time. But, if I get something decent, then I will post the results in the gallery.

In addition: I’m going to add an inverted version of the polar physics where you walk around the inside of the cylinder instead of the outside. That would let me recreate the carousel set from 2001: Centripetal Motion - 2001 A Space Odyssey (see description on why this isn't Centrifugal Force) - YouTube