Creating the planet:
← Older revision
Revision as of 12:45, August 16, 2013
Line 22:
Line 22:
==Background information==
==Background information==
===Creating the planet===
===Creating the planet===
−
Production Designer [[Scott Chambliss]] noted that everyone involved in {{film|12}} wanted the film to begin on a tropical planet which felt special and different from Earth. [http://www.guardian.co.uk/film/2013/may/11/star-trek-into-darkness-insiders-guide] "''The guys had written it as a beautiful island,''" remembered Chambliss, "''and it sounded like Fiji or somewhere like that, quite gorgeous and lush. The one thing that I immediately didn't want to do was go to [[Filming locations|some place]] that looked like a great vacation spot and shoot this.''" ({{STM|172}}, p. 67)
+
Production Designer [[Scott Chambliss]] noted that everyone involved in {{film|12}} wanted the film to begin on a tropical planet which felt special and different from Earth. [http://www.guardian.co.uk/film/2013/may/11/star-trek-into-darkness-insiders-guide] "''The guys had written it as a beautiful island,''" remembered Chambliss, "''and it sounded like Fiji or somewhere like that, quite gorgeous and lush. The one thing that I immediately didn't want to do was go to [[Filming locations|some place]] that looked like a great vacation spot and shoot this.''" ({{STM|172}}, p. 67) Prop designer [[John Eaves]] observed that, as the film developed and subsequent revisions were made to its script, the "village shrunk in size drastically to fit budget constraints." {{st.com|designing-for-into-darkness||article}}
Bearing in mind that Nibiru was to seem particularly alien, Scott Chambliss thought, "''Well, we don't want it be green.''" [http://www.guardian.co.uk/film/2013/may/11/star-trek-into-darkness-insiders-guide] In retrospect, he continued, "''So what are tropical environments other than green? They are lush and green, green, green, green. I thought, 'Let's flip that and go red, red, red, red. Let all the vegetation be red.' That was inspired by one of my favorite plants I see in Hawaii, which is a kind of bamboo.''" ({{STM|172}}, p. 67) This impetus was lipstick bamboo, portions of whose trunks are typically magenta. Said Chambliss, "''I took a photograph of timber bamboo, a beautiful jungle of it, and played with it in Photoshop and turned it really deep ruby red.''" [http://www.guardian.co.uk/film/2013/may/11/star-trek-into-darkness-insiders-guide] He further recalled, "''I just started with an assistant messing around in Photoshop, messing around with bamboo forests and inverting the colors so that they become this lush ruby red. In flipping some of the other tones around, they became this mossy golden color. Suddenly, it felt like a tropical world, but was utterly different than what we've seen.''" ({{STM|172}}, p. 67) Chambliss deemed the result "beautiful." [http://www.guardian.co.uk/film/2013/may/11/star-trek-into-darkness-insiders-guide] It was thereafter decided that [[Industrial Light & Magic]] would develop digital treatments to turn foliage into shades of red. (''[[Cinefex]]'', No. 134, p. 77)
Bearing in mind that Nibiru was to seem particularly alien, Scott Chambliss thought, "''Well, we don't want it be green.''" [http://www.guardian.co.uk/film/2013/may/11/star-trek-into-darkness-insiders-guide] In retrospect, he continued, "''So what are tropical environments other than green? They are lush and green, green, green, green. I thought, 'Let's flip that and go red, red, red, red. Let all the vegetation be red.' That was inspired by one of my favorite plants I see in Hawaii, which is a kind of bamboo.''" ({{STM|172}}, p. 67) This impetus was lipstick bamboo, portions of whose trunks are typically magenta. Said Chambliss, "''I took a photograph of timber bamboo, a beautiful jungle of it, and played with it in Photoshop and turned it really deep ruby red.''" [http://www.guardian.co.uk/film/2013/may/11/star-trek-into-darkness-insiders-guide] He further recalled, "''I just started with an assistant messing around in Photoshop, messing around with bamboo forests and inverting the colors so that they become this lush ruby red. In flipping some of the other tones around, they became this mossy golden color. Suddenly, it felt like a tropical world, but was utterly different than what we've seen.''" ({{STM|172}}, p. 67) Chambliss deemed the result "beautiful." [http://www.guardian.co.uk/film/2013/may/11/star-trek-into-darkness-insiders-guide] It was thereafter decided that [[Industrial Light & Magic]] would develop digital treatments to turn foliage into shades of red. (''[[Cinefex]]'', No. 134, p. 77)
Line 28:
Line 28:
The filmmakers experimented with the option of shooting the Nibiru scenes on location. Multiple locations were considered. ({{STM|172}}, p. 48; ''[[Cinefex]]'', No. 134, p. 77) Several backlots were also viewed. (''[[Cinefex]]'', No. 134, p. 77)
The filmmakers experimented with the option of shooting the Nibiru scenes on location. Multiple locations were considered. ({{STM|172}}, p. 48; ''[[Cinefex]]'', No. 134, p. 77) Several backlots were also viewed. (''[[Cinefex]]'', No. 134, p. 77)
−
One site scouted by Director [[J.J. Abrams]] was Hawaii, but he opted not to film the sequence in Hawaii, as {{w|color grading}} the plants did not produce satisfactory results. "''In a funny way, I wanted to make it work,''" conceded Roger Guyett. "''I was kind of intrigued by it. The problem is of course, the jungle has many, many shades of green and it’s being lit by natural light which is not like a green highlight particularly, and it’s exterior, it’s very hot. We tried – we did a whole bunch of tests and thought there would be some mileage in there. What could work about this? Well, I felt, if you did that it would feel weird. Maybe that’s OK, because you’re in a ''[[Star Trek]]'' world. The thing is, it didn’t just look weird, it also looked very kind of false. Kind of an electronic thing and not natural.''" [http://www.fxguide.com/featured/star-trek-into-darkness-vfx-makes-it-so/]
+
One site scouted by Director [[J.J. Abrams]] was Hawaii, but he opted not to film the sequence there, as {{w|color grading}} the plants did not produce satisfactory results. "''In a funny way, I wanted to make it work,''" conceded Roger Guyett. "''I was kind of intrigued by it. The problem is of course, the jungle has many, many shades of green and it’s being lit by natural light which is not like a green highlight particularly, and it’s exterior, it’s very hot. We tried – we did a whole bunch of tests and thought there would be some mileage in there. What could work about this? Well, I felt, if you did that it would feel weird. Maybe that’s OK, because you’re in a ''[[Star Trek]]'' world. The thing is, it didn’t just look weird, it also looked very kind of false. Kind of an electronic thing and not natural.''" [http://www.fxguide.com/featured/star-trek-into-darkness-vfx-makes-it-so/]
The idea of moving the production company to a fairly distant location, incurring substantial logistical cost, was replaced by a more local approach. "''But there isn't any real jungle in Southern California,''" related J.J. Abrams, "''and the more 'foresty' it became, the less interested I was in trying to turn pine needles red.''"
The idea of moving the production company to a fairly distant location, incurring substantial logistical cost, was replaced by a more local approach. "''But there isn't any real jungle in Southern California,''" related J.J. Abrams, "''and the more 'foresty' it became, the less interested I was in trying to turn pine needles red.''"