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Posted: |
Jul 16, 2013 - 9:56 AM
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By: |
John Mullin
(Member)
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Not flat and even all over the place as the grey bulk skeleton, platforms and metal of the collector are also lit blue and reflecting blue? Wouldn't that make it difficult to remove? Also the gas sequence would be rather difficult to blue screen back then no? I'm still not convinced they intended to remove it, especially after seeing that green screen in the extras.
Not difficult to work with. Even in 1998. And believe me, a lot of film and TV people are very conscious about how they're perceived by their peers. Even if they convinced themselves that Joe Audience wouldn't pick up on the blue screens, there likely would have been a concern about having looked like they seriously dropped the ball to their colleagues and to the studio. There's no way that Rick Berman and Peter Lauritson weren't aware of how bad that finale looks... there must have been a lack of time or money (or both) for it go out like that.
2.) Why would any director decide to make the interior of anything that shade of blue without it intentionally being a blue screen shot? It calls attention to its self fairly obviously.
Because blue and green screen weren't identified by an audience as being such back in 1998?
1998 wasn't the dark ages, man. People knew what screen and blue screens were.
Also, please don't ignore the part above where I said that I know someone who worked on the post production team for this movie, and he told me that indeed that the whole climax inside the collector was intended to have VFX in it, but had to be aborted because they ran out of time. Ultimately, the decision was made to just let it go out blue. I myself worked on STAR TREK NEMESIS as a VFX PA in 2002 at Digital Domain, and people there were still talking about what a debacle that was. THERE IS NO DOUBT THAT THE BLUE OUTSIDE OF THE WINDOW WAS NOT INTENDED FOR THE FINAL PICTURE.
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Posted: |
Jul 16, 2013 - 10:11 AM
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By: |
Francis
(Member)
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1998 wasn't the dark ages, man. People knew what screen and blue screens were.
Also, please don't ignore the part above where I said that I know someone who worked on the post production team for this movie, and he told me that indeed that the whole climax inside the collector was intended to have VFX in it, but had to be aborted because they ran out of time. Ultimately, the decision was made to just let it go out blue. I myself worked on STAR TREK NEMESIS as a VFX PA in 2002 at Digital Domain, and people there were still talking about what a debacle that was. THERE IS NO DOUBT THAT THE BLUE OUTSIDE OF THE WINDOW WAS NOT INTENDED FOR THE FINAL PICTURE.
Ok, I'll take your word for it then.
P.S. 1998 wasn't the dark ages, but digital composing via computers started to become the standard in the mid 90s, just saying.
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P.S. 1998 wasn't the dark ages, but digital composing via computers started to become the standard in the mid 90s, just saying.
No, but NON-digital composting was standard for a LOOOOOONG time before that.
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Mike Okuda confirmed to me that there was never an intention to key in anything to replace the blue. That was simply the design choice for the interior of the collector array.
Mike
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But... it's hard to disagree with Mike Okuda. That guy knows everything relating to Trek!
I've done it twice, and been right both times. But never for any project he actually worked on. 
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). Also it is noteworthy that Piller, Berman and even Stewart acknowledge when elements from previous episodes/movies are being rehashed. Piller is really being put to the test and righteously so as the final product I think is better than any of his earlier synopsis that were too political, too sci fi and backstory driven.
