Films: lay-out
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Revision as of 20:50, November 30, 2012
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== Films ==
== Films ==
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[[File:Matthew Yuricich with air tram station matte painting.jpg|thumb|Matte artist [[Matthew Yuricich]] creating a painting of the [[air tram station]]]]
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[[File:Matthew Yuricich with air tram station matte painting.jpg|thumb|left|Matte artist [[Matthew Yuricich]] creating a painting of the [[air tram station]]]]
For {{film|1}}, approximately one hundred matte paintings were used. (''[[The Making of Star Trek: The Motion Picture]]'', p. 212) There were two particularly major examples of the matte paintings created for the film: as two backgrounds for planet [[Vulcan (planet)|Vulcan]], which were combined with live-action footage filmed at [[Yellowstone National Park]] and [[Paramount Pictures|Paramount]]'s [[B Tank]], [http://drexfiles.wordpress.com/2009/03/22/when-you-wish-upon-a-star-trek/] and a skyline for [[San Francisco]], including [[Golden Gate Bridge]] and [[Starfleet Headquarters]]. (''The Making of Star Trek: The Motion Picture'', p. 212) The latter was reused as stock footage in {{VOY|Non Sequitur}}. The film's "wing walk" sequence involved a matte painting of the ''Enterprise''{{'}}s saucer section. (''The Making of Star Trek: The Motion Picture'', p. 212) For [[Star Trek: The Motion Picture (The Director's Edition)|the director's cut]] of the film, these matte paintings were replaced by [[CGI]] digital mattes. Matte paintings were also used to optically enlarge such areas as the [[air tram station]] in San Francisco and the ''Enterprise''{{'}}s [[cargo bay]]. (''[[The Making of Star Trek: The Motion Picture]]'', interior colored photographs) Sketch test renderings of the cargo bay in different configurations were done by [[Andrew Probert]], some of which featured [[long range shuttle]]s. (''[[The Art of Star Trek]]'', p. 167) The shuttles were excluded from the final version, though. Probert noted, "''When they did the final matte painting, they omitted shuttles of any kind.''" [http://www.trekplace.com/ap2005int01.html] The matte painting of the air tram station was created by [[Matthew Yuricich]], the film's regular matte artist. (''The Making of Star Trek'', interior color photographs)
For {{film|1}}, approximately one hundred matte paintings were used. (''[[The Making of Star Trek: The Motion Picture]]'', p. 212) There were two particularly major examples of the matte paintings created for the film: as two backgrounds for planet [[Vulcan (planet)|Vulcan]], which were combined with live-action footage filmed at [[Yellowstone National Park]] and [[Paramount Pictures|Paramount]]'s [[B Tank]], [http://drexfiles.wordpress.com/2009/03/22/when-you-wish-upon-a-star-trek/] and a skyline for [[San Francisco]], including [[Golden Gate Bridge]] and [[Starfleet Headquarters]]. (''The Making of Star Trek: The Motion Picture'', p. 212) The latter was reused as stock footage in {{VOY|Non Sequitur}}. The film's "wing walk" sequence involved a matte painting of the ''Enterprise''{{'}}s saucer section. (''The Making of Star Trek: The Motion Picture'', p. 212) For [[Star Trek: The Motion Picture (The Director's Edition)|the director's cut]] of the film, these matte paintings were replaced by [[CGI]] digital mattes. Matte paintings were also used to optically enlarge such areas as the [[air tram station]] in San Francisco and the ''Enterprise''{{'}}s [[cargo bay]]. (''[[The Making of Star Trek: The Motion Picture]]'', interior colored photographs) Sketch test renderings of the cargo bay in different configurations were done by [[Andrew Probert]], some of which featured [[long range shuttle]]s. (''[[The Art of Star Trek]]'', p. 167) The shuttles were excluded from the final version, though. Probert noted, "''When they did the final matte painting, they omitted shuttles of any kind.''" [http://www.trekplace.com/ap2005int01.html] The matte painting of the air tram station was created by [[Matthew Yuricich]], the film's regular matte artist. (''The Making of Star Trek'', interior color photographs)
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[[File:Chris Evans painting the Genesis cave.jpg|thumb|left|A matte painting of the Genesis cave being illustrated by Chris Evans]]
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[[File:Chris Evans painting the Genesis cave.jpg|thumb|A matte painting of the Genesis cave being illustrated by Chris Evans]]
For the film {{film|2}}, three matte paintings, created by [[Industrial Light & Magic]], helped enhance the illusion of the [[Genesis cave]]. The main painting was done by matte artist [[Chris Evans]] and was photographed by [[Neil Krepela]] and [[Craig Barron]]. Two more paintings, one by [[Frank Ordaz]] and another by Chris Evans, were also used for the cave. (''[[The Making of Star Trek II: The Wrath of Khan]]'', p. 137) Director [[Nicholas Meyer]] commented that the matte painting was mainly a cost-saving device, and he thinks it looked cheap and unconvincing. If time and budget had allowed, he would have filmed the Genesis cave on a real location. ([[audio commentary]], ''[[Star Trek II: The Wrath of Khan (The Director's Edition)]]'' [[DVD]])
For the film {{film|2}}, three matte paintings, created by [[Industrial Light & Magic]], helped enhance the illusion of the [[Genesis cave]]. The main painting was done by matte artist [[Chris Evans]] and was photographed by [[Neil Krepela]] and [[Craig Barron]]. Two more paintings, one by [[Frank Ordaz]] and another by Chris Evans, were also used for the cave. (''[[The Making of Star Trek II: The Wrath of Khan]]'', p. 137) Director [[Nicholas Meyer]] commented that the matte painting was mainly a cost-saving device, and he thinks it looked cheap and unconvincing. If time and budget had allowed, he would have filmed the Genesis cave on a real location. ([[audio commentary]], ''[[Star Trek II: The Wrath of Khan (The Director's Edition)]]'' [[DVD]])
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[[File:Mount Seleya matte painting.jpg|thumb|Chris Evans working on a matte painting of the temple on [[Mount Seleya]]]]
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[[File:Mount Seleya matte painting.jpg|thumb|left|Chris Evans working on a matte painting of the temple on [[Mount Seleya]]]]
For {{film|3}}, a matte painting was used for views of the ''Enterprise'' through a row of large windows in the [[Spacedock]] cafeteria. This painting simply enlarged the windows that were built for the cafeteria set, extending them upward. (''[[Trek: The Unauthorized Story of the Movies]]'', 3rd ed., p. 94; [[text commentary]], ''[[Star Trek III: The Search for Spock (Special Edition)]]'' [[DVD]]) At least three more matte paintings were used for the Genesis planet, helping give the impression that scenes on the planet's surface were outside. (''[[The Making of the Trek Films]]'', p. 57) Although matte paintings are relatively expensive, their use in the Planet Genesis scenes was an economically sound investment, as they reduced the required size of the set for the planet. ([[text commentary]], ''[[Star Trek III: The Search for Spock (Special Edition)]]'' [[DVD]]) Several more matte paintings were created for [[Vulcan (planet)|Vulcan]] and [[Mount Seleya]]. (''[[Star Trek: The Magazine Volume 3, Issue 8]]'', p. 27) One of these was later reused in {{film|4}}. ([[text commentary]], ''[[Star Trek IV: The Voyage Home (Special Edition)]]'' [[DVD]]) The matte paintings of ''Star Trek III'' were created by Chris Evans, [[Michael Pangrazio]] and Frank Ordaz. ([[text commentary]], ''[[Star Trek III: The Search for Spock (Special Edition)]]'' [[DVD]])
For {{film|3}}, a matte painting was used for views of the ''Enterprise'' through a row of large windows in the [[Spacedock]] cafeteria. This painting simply enlarged the windows that were built for the cafeteria set, extending them upward. (''[[Trek: The Unauthorized Story of the Movies]]'', 3rd ed., p. 94; [[text commentary]], ''[[Star Trek III: The Search for Spock (Special Edition)]]'' [[DVD]]) At least three more matte paintings were used for the Genesis planet, helping give the impression that scenes on the planet's surface were outside. (''[[The Making of the Trek Films]]'', p. 57) Although matte paintings are relatively expensive, their use in the Planet Genesis scenes was an economically sound investment, as they reduced the required size of the set for the planet. ([[text commentary]], ''[[Star Trek III: The Search for Spock (Special Edition)]]'' [[DVD]]) Several more matte paintings were created for [[Vulcan (planet)|Vulcan]] and [[Mount Seleya]]. (''[[Star Trek: The Magazine Volume 3, Issue 8]]'', p. 27) One of these was later reused in {{film|4}}. ([[text commentary]], ''[[Star Trek IV: The Voyage Home (Special Edition)]]'' [[DVD]]) The matte paintings of ''Star Trek III'' were created by Chris Evans, [[Michael Pangrazio]] and Frank Ordaz. ([[text commentary]], ''[[Star Trek III: The Search for Spock (Special Edition)]]'' [[DVD]])
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For {{film|5}}, two matte painting landscapes of [[Yosemite National Park]] were created by [[Illusion Arts, Inc.]], who were already working on ''[[Star Trek: The Next Generation]]'' at the time. [http://drexfiles.wordpress.com/2009/06/04/illusion-arts-tribute/]
For {{film|5}}, two matte painting landscapes of [[Yosemite National Park]] were created by [[Illusion Arts, Inc.]], who were already working on ''[[Star Trek: The Next Generation]]'' at the time. [http://drexfiles.wordpress.com/2009/06/04/illusion-arts-tribute/]
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[[File:Khitomer matte painting.jpg|thumb|left|A matte painting of [[Khitomer]] is prepared for being photographed, on stage at [[Matte World]]]]
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[[File:Khitomer matte painting.jpg|thumb|A matte painting of [[Khitomer]] is prepared for being photographed, on stage at [[Matte World]]]]
For the film {{film|6}}, [[Matte World]] was assigned to create three matte paintings. These did not include an establishing shot of [[Starfleet Headquarters]] that appears early in the film. Associate producer [[Brooke Breton]] explained, "''This shot was added so very late in the schedule that we didn't even have the time to do a matte painting [for it] [...] since the matte department here was busy on ''Hook''.''" The shot was instead created via the less time-consuming method of combining miniature elements with a live-action plate, the latter of which featured the [[Golden Gate Bridge]]. (''[[Cinefex]]'', No. 49, pp. 41 46, 48) The three settings for which Matte World did work were:
For the film {{film|6}}, [[Matte World]] was assigned to create three matte paintings. These did not include an establishing shot of [[Starfleet Headquarters]] that appears early in the film. Associate producer [[Brooke Breton]] explained, "''This shot was added so very late in the schedule that we didn't even have the time to do a matte painting [for it] [...] since the matte department here was busy on ''Hook''.''" The shot was instead created via the less time-consuming method of combining miniature elements with a live-action plate, the latter of which featured the [[Golden Gate Bridge]]. (''[[Cinefex]]'', No. 49, pp. 41 46, 48) The three settings for which Matte World did work were:
*Courtroom on [[Qo'noS]] (''Cinefex'', No. 49, pp. 53-54)
*Courtroom on [[Qo'noS]] (''Cinefex'', No. 49, pp. 53-54)