sorceress21

Ortho of both ships, the Okuda is top, the Scirocco is below.

Can anyone answer the age old mystery of why all Trek fan film production teams can't ever seem to make uniforms that actually fit the actors? Or why in the name of Roddenberry do they use actors who are far too out of shape to be in any military anywhere, any time who apparently don't know how to use a razor?

Congrats though Eric. This was probably one of the better fan film efforts out there.

Dorsal detail of the Okuda

psCargile wrote: »

Spoilers but not really. I like how space is a vacuum and vacuums are insulators but people exposed to space freeze anyway because I guess they radiate their bodyheat super fast, and the moisture on people's eyes and tongue don't boil off, even though Hello, vacuum, zero pressure, but we're going to run with this trope because The Fans Expect It, and there hasn't been an incident on the ISS where someone went outside without a suit to see what would really happen to compare that with scientific speculation.

That's actually not correct. A vacuum is not an insulator or a conductor, it's a heat sink as well as cold sink depending entirely on exposure to a radiant heat source. Depending on how far out in the solar system you are, the side of your body in sunlight can heat up and literally burn away in an instant while the side of your body in darkness freezes solid in moments creating a half frozen half burned hunk of meat.

For example, lunar soil in sunlight is about 253 degrees C. Step onto a patch of soil in the center of night side and it drops to about -243 C. The moon is a perfect model you can use to understand how temperature work in a vacuum. Soil in shadow behind a rock that is in sunlight will still be fairly warm as the soil itself is a heat conductor.

The scene with Naomi pushing out the airlock took place out beyond the asteroid belt. Too far out to get any useful heat from the sun. The actual unreal thing about that scene is that she would have died instantly and long before she shot herself full of a fictional oxygenated anti-freeze. She actually would have needed to have done that prior to opening the airlock door.

Vacuum in darkness is steady just about at absolute zero. Heat is radiation and it disperses in a vacuum rapidly without a constant source.

Officer's/VIP Observation Lounge both variants.

Didn't the whole story get really wonky towards the end after Wade stayed on Earth Prime? Human eyes..MMMmmmmmmm...LOL.

Viper wrote: »

The effect is subtle in this case. ACES lut works best on a 32 Bit image with full color range. It pronounces the bright parts so you get proper color bloom. Since the image is 16 bit, it doesn't have enough info to do it's job.

You can simulate the effect by just applying a curves adjustment and doing a slight s shape like this:


Most image editors should have that function. Some renderers also have it on the VFB. I apply the lut files directly in vray

Gimp has a color curve adjustment that looks almost exactly like that window and I adjusted it like you did with same results!..Thank you! It certainly does deepen the color sharpness..

Okuda in orbit..

Freak wrote: »

I can't even put into words how bad they are.
Then you add the crying and hugging every episode. Are these show meant to be Star Trek or some WB teen drama?

Captain Burnham addressing aliens: Attention alien vessel, this is Captain Burnham of the Federation Starship Discovery. While I appreciate that you are angry with us and that our actions of destroying your planet killing machine that you have launched against Earth may certainly be viewed as racist towards trees, I urge you to pause your attack for a short period while my command crew is able to retreat into their safe spaces and use their crying towels for a short time. After they have hugged each other enough they will return to their stations and be able to commence this battle under the following conditions:

1 - You confiscate all assault weapons from your crew because no one needs an assault rifle.
2 - During battle you refer to me, my crew and our ship as them or they.
3 - You accept my apology that everyone on board the discovery was not born a blob of protoplasmic Amoeba creatures like yourselves because that certainly makes us racists.
4 - Allow us to travel back in time, apprehend Donald J. Trump and force him to undergo diversity training under your supervision.

Alien Commander addressing, *ahem*, "It's" bridge crew: Weapons! Quantum torpedos FIRE! ALL OF THEM! And for the love of all that's holy, fuckin hurry!

@ shaved_ape

Very nice work! Glad to see another SU user take full advantage of what SU can actually do.

If you weren't already aware there are some work-a-rounds for SU that will enable you to create vastly more complex models without being slowed down by the file size. It's important that every SU user understands why this happens. SU renders your model in real-time. This is very different then how other modeling programs work. That is the root cause of why it gets bogged down with complex scenes.

I've got a current project running that's in excess of 5 million polys after export to Thea Studio and the SU file size is a whopping 423 mb.

Here's the trick:

First, make sure you are halving your symmetrical objects. Every chair, for example and every object that is symmetrical work in halves. Cut the model in half and make the working half a component. Duplicate it, flip the axis and stick it on the working half then make both halves a group. Once that's done create a new layer for that object and assign it to the new layer. "Chairs" for example. Then when you aren't working on the chairs in your scene you can turn them off. You can take that farther by assigning each half to their own layer, i.e. "right side". Thus you can turn off the half you aren't working in. When you use this technique SU doesn't calculate the "hidden" layer content data in the same way as when its visible. Thus you can get a substantial increase in app performance.

Another issue is textures. Complex textures probably slow down SU more than anything else. There's a couple of things you can do but the kicker is if you are using textures with patterns that need to be mapped such as the fabric on your chairs you may have to leave them be unless you are UV unwrapping your objects and mapping textures in something like Substance Painter, etc.. However there are two things you can do here:

Work in "Monochrome". When you are modeling there's simply no need display textures.

Also, turn off "Use Maximum Texture Size" and "Anti-Aliased Textures". Those two will substantially slow down the workspace.

Lastly, even after all those are applied SU will eventually bog down with a super detailed model. However, the good news is you can still model and work quickly. Here's what you do:

Let's say, in the case of your project here you want to do some detail work on your warp core. Assuming you've made it a component, simply select it, copy it, then open a 2nd SU window, in the new window, paste in place then work on your warp core there. I have a co-file named ("Model Title" Workspace) with every project. In the workspace is where I do my detail work. once I've detailed and UV mapped an object I send it back to the main file. Because in the workspace window there's nothing else but that individual component SU will run like you've just started off.

Hope that helps. If you already knew all of that then apologies. That being said Fusion 360 looks like a good alternative and seems like it's not a hugely different platform to learn. I've got it on my system as well and have the intention to learn it.