Jeremy Lee
Member
In my opinion, paintings can be more lifelike than computer generated pictures...
Launch of OlympicClass Liners
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Parks Stephenson
Member
The images in the GotA book are a combination of CGI (computer-generated imagery), photography, and traditional painting. The computer is just another tool...another type of paintbrush, if you will. The quality of the final image depends on the talent of the artist, no matter what tool he or she uses.
Ken Marschall touched virtually every image in the book and subsequent "outtake" article in the latest Commutator. For the image captures from the wreck video, he took several frames from the video and composited them together to cancel out the camera's motion and unwanted noise (like floating silt). Compositing also sharpened the image and brought out detail. Finally, he would adjust brightness and contrast in order to make the image as viewable as possible.
Because of the short time allowed for the production of the book, Ken did not have time to paint any new paintings, so instead he "updated" a couple of his old paintings with new information.
For the CGI, Ken took CG renders built by Earthship Productions, Creative Logik Universe, and myself and made adjustments in Photoshop. Over the course of the past few years, Ken has learn how to add the computer to his artist's toolbox.
How he does it continually amazes me. Let me give you the example of the Marconi Room images. The original Marconi Room CG model was built by a video effects artist at Creative Logik Universe, with myself as advisor. By the time the model was turned over to Earthship Productions, it was incomplete, because time and budget only allowed for a certain amount of work to be done and the production company didn't need a complete model. There was no operators' desk or any of the receiving equipment in the Marconi Room, because actual props and actors would be composited into the final sequence for the film. For the book, though, these extra objects would have to be put in. But how? There was no more budget, so we could no longer use the services of the animation houses.
After having spent so many hours sitting next to the animator, I thought that I might take a crack at completing the model. I asked for custody from Walden Media, and my request was granted. Ken talked about painting the missing components into a render of the model for use in the book, but there simply wasn't enough time before the book's deadline for him to complete every task that he had taken on. I had access to a CAD program at my work, called SolidWorks, so I taught myself the basics in a couple of days and worked up some very basic shapes to stand in for the missing objects. Ken took the SolidWorks renders and placed them in the room in Photoshop, adjusting colour and adding shadow so that the objects looked at home in their new environment. He sent the Photoshop files to me so that I could add wires. Ken really wanted to put Phillips and Bride in the images, so he came over to my house one day and took pictures as I posed in my old Navy uniform. He took those pictures and made adjustments in Photoshop to make me look more like the wireless operators. He intended to morph my face into a likeness of both Bride and Phillips or at least two of the figures, but ran out of time to do so. That's why you see four Parks Stephensons in the two cutaway images in the book. Ken placed the altered images into the render of the CG model using Photoshop.
By the time we were finished (and both Ken and I were working on the images up to the last hour before the disc had to be on a plane to Toronto), the Marconi/Silent Room cutaway was a joint effort that had been created by three artists, working in SolidWorks, Lightwave 3D, and Photoshop. The image blended CG, photo and hand-painted imagery.
Something similar can be said about all the images in the GotA book. No one single source was used to create the images. Ken spent many hours making adjustments to each and every image. His best work is the kind where you don't even notice work was done. That, in my opinion, is Ken's greatest secret and the best testiment to his talent. There's a mantra in Visual Effects...every animator strives to make his work invisible. If the viewer doesn't know that Visual Effects is at play, then the VX people have done their job well.
I was not happy with our final effort for the GotA book. We just didn't have enough time to accomplish everything we wanted. The images of the Marconi Room are not completely believeable...no one would look at those pictures and think that they were looking at a photograph. Therefore, I didn't stop work at the GotA deadline...I have been working on the CG model ever since. The model was originally built in Lightwave 3D (with some Studio Max objects thrown in), so I bought Lightwave 3D and taught myself how to use it as I improved the CG model. Ken and I discuss revisions almost every night. The model has been so heavily revised that there's not much recognisable from the original model built for the film. You may have seen snapshots taken from an improved version of the model in the latest Commutator, but even those pictures won't represent the final quality of the model when I'm finally done with it. I'm working toward a new deadline...the final version of the model is due to be published in less than a year from now. My goal is to have it so detailed that it will look photorealistic, but also able to be taken apart and examined; i.e., individual Marconi components can be opened up so that their interiors can be examined. Do you want to see the inside of the transformer, so that you too can glimpse the problem that Phillips faced as he troubleshooted the system the night before the disaster? I can do that. And even though all this detail will be in the CG model, Ken will work his Photoshop magic toward the end to really bring the images to life.
My point in posting was to point out that in GotA, at least, there is no such thing as a true painting, photo or CGI. Every image combines work from a variety of tools.
Parks
Ken Marschall touched virtually every image in the book and subsequent "outtake" article in the latest Commutator. For the image captures from the wreck video, he took several frames from the video and composited them together to cancel out the camera's motion and unwanted noise (like floating silt). Compositing also sharpened the image and brought out detail. Finally, he would adjust brightness and contrast in order to make the image as viewable as possible.
Because of the short time allowed for the production of the book, Ken did not have time to paint any new paintings, so instead he "updated" a couple of his old paintings with new information.
For the CGI, Ken took CG renders built by Earthship Productions, Creative Logik Universe, and myself and made adjustments in Photoshop. Over the course of the past few years, Ken has learn how to add the computer to his artist's toolbox.
How he does it continually amazes me. Let me give you the example of the Marconi Room images. The original Marconi Room CG model was built by a video effects artist at Creative Logik Universe, with myself as advisor. By the time the model was turned over to Earthship Productions, it was incomplete, because time and budget only allowed for a certain amount of work to be done and the production company didn't need a complete model. There was no operators' desk or any of the receiving equipment in the Marconi Room, because actual props and actors would be composited into the final sequence for the film. For the book, though, these extra objects would have to be put in. But how? There was no more budget, so we could no longer use the services of the animation houses.
After having spent so many hours sitting next to the animator, I thought that I might take a crack at completing the model. I asked for custody from Walden Media, and my request was granted. Ken talked about painting the missing components into a render of the model for use in the book, but there simply wasn't enough time before the book's deadline for him to complete every task that he had taken on. I had access to a CAD program at my work, called SolidWorks, so I taught myself the basics in a couple of days and worked up some very basic shapes to stand in for the missing objects. Ken took the SolidWorks renders and placed them in the room in Photoshop, adjusting colour and adding shadow so that the objects looked at home in their new environment. He sent the Photoshop files to me so that I could add wires. Ken really wanted to put Phillips and Bride in the images, so he came over to my house one day and took pictures as I posed in my old Navy uniform. He took those pictures and made adjustments in Photoshop to make me look more like the wireless operators. He intended to morph my face into a likeness of both Bride and Phillips or at least two of the figures, but ran out of time to do so. That's why you see four Parks Stephensons in the two cutaway images in the book. Ken placed the altered images into the render of the CG model using Photoshop.
By the time we were finished (and both Ken and I were working on the images up to the last hour before the disc had to be on a plane to Toronto), the Marconi/Silent Room cutaway was a joint effort that had been created by three artists, working in SolidWorks, Lightwave 3D, and Photoshop. The image blended CG, photo and hand-painted imagery.
Something similar can be said about all the images in the GotA book. No one single source was used to create the images. Ken spent many hours making adjustments to each and every image. His best work is the kind where you don't even notice work was done. That, in my opinion, is Ken's greatest secret and the best testiment to his talent. There's a mantra in Visual Effects...every animator strives to make his work invisible. If the viewer doesn't know that Visual Effects is at play, then the VX people have done their job well.
I was not happy with our final effort for the GotA book. We just didn't have enough time to accomplish everything we wanted. The images of the Marconi Room are not completely believeable...no one would look at those pictures and think that they were looking at a photograph. Therefore, I didn't stop work at the GotA deadline...I have been working on the CG model ever since. The model was originally built in Lightwave 3D (with some Studio Max objects thrown in), so I bought Lightwave 3D and taught myself how to use it as I improved the CG model. Ken and I discuss revisions almost every night. The model has been so heavily revised that there's not much recognisable from the original model built for the film. You may have seen snapshots taken from an improved version of the model in the latest Commutator, but even those pictures won't represent the final quality of the model when I'm finally done with it. I'm working toward a new deadline...the final version of the model is due to be published in less than a year from now. My goal is to have it so detailed that it will look photorealistic, but also able to be taken apart and examined; i.e., individual Marconi components can be opened up so that their interiors can be examined. Do you want to see the inside of the transformer, so that you too can glimpse the problem that Phillips faced as he troubleshooted the system the night before the disaster? I can do that. And even though all this detail will be in the CG model, Ken will work his Photoshop magic toward the end to really bring the images to life.
My point in posting was to point out that in GotA, at least, there is no such thing as a true painting, photo or CGI. Every image combines work from a variety of tools.
Parks
Brian R Peterson
Guest
Thanks for the update Parks,
I've dabbled in photo editing, I have created some spectacular images too, some of them are here others are in my archives.
My best work yet by using painting, photos and photoshop was my art final where I took a photo of US Generals studying maps at a table cut out some of the background people and added in people like Hitler, Napoleon, General Grant etc. Its quite an interesting picture. I appropriately named it "A History of War"
Best Regards,
Brian
I've dabbled in photo editing, I have created some spectacular images too, some of them are here others are in my archives.
My best work yet by using painting, photos and photoshop was my art final where I took a photo of US Generals studying maps at a table cut out some of the background people and added in people like Hitler, Napoleon, General Grant etc. Its quite an interesting picture. I appropriately named it "A History of War"
Best Regards,
Brian
Jeremy Lee
Member
Brian, I didn't know you did photo editing on other subjects as well!
karen ann jones
Guest
In rememberance of May 31,1911 at 12:15,the Titanic was launched.She is loved and remembered today May 31
James Alexander Carlisle
Member
Karen,
Titanic was launched 31st May 1911 at 12:13. Lord Pirrie said she could go (down the slipway) early.
BTW Olympic is on Lord Pirrie gravestone.
Titanic was launched 31st May 1911 at 12:13. Lord Pirrie said she could go (down the slipway) early.
BTW Olympic is on Lord Pirrie gravestone.
Michael H. Standart
Member
It wasn't really a nameplate. The letters were literally engraved/cast into the hull. I presume the lettering you're speaking to is in a widely known photo taken of the ship prior to her launch which look like they were painted on. It helps to know that this photo was retouched to bring out the letters, but some of the work was a bit sloppy.
In the unretouched photo, you can still make out the letters, but they look a lot better.
In the unretouched photo, you can still make out the letters, but they look a lot better.
James Alexander Carlisle
Member
Like Michael says the names and port of registry were "cut in" to the plates and then painted over.
It on the rigging plans for Ship 401.
It on the rigging plans for Ship 401.
Stanley C Jenkins
Member
Hello James,
As we are talking here about launching ships at Harland & Wolff in Belfast, could you possibly explain to Alyson why I have suggested (in another thread) that the Olympic and Titanic were "Irish" ships rather than "English" ones? I have always sensed a tremendous feeling of "ownership" in Belfast which does not apply to ships built in places such as Barrow, Birkenhead, Tyneside or even on the Clyde.
As we are talking here about launching ships at Harland & Wolff in Belfast, could you possibly explain to Alyson why I have suggested (in another thread) that the Olympic and Titanic were "Irish" ships rather than "English" ones? I have always sensed a tremendous feeling of "ownership" in Belfast which does not apply to ships built in places such as Barrow, Birkenhead, Tyneside or even on the Clyde.
Jim Currie
Member
Hello Stanley,
As a native of the Clyde - one who was brought-up during the hey-days of 'Clyde-built' and spent many years visiting yards from Greenock to John Browns, Stevens, Yarrows,Barclay Curle etc., etc., on the upper reaches; I could not help but notice your 'even on the Clyde' remark. Obviously you haven't spent a lot of time in shipyards. The sense of 'ownership' you refer to was common to all shipyards and shipyard towns; no more so in Belfast than anywhere else. On launch days in these yards, it was a family gala - Maw (mother), Paw(father) and all the weans(children) turned-out in their finery to see the efforts of the family bread-winner christened.
At a launch; the noise of the factory hooters, ship's whistles and cheers of the workers and their families could be heard miles away - the noise even drowned-out the normal din of the riveters. It was magic! It's not by accident that the words 'pride' and 'Clyde' sound so alike!
Jim.
As a native of the Clyde - one who was brought-up during the hey-days of 'Clyde-built' and spent many years visiting yards from Greenock to John Browns, Stevens, Yarrows,Barclay Curle etc., etc., on the upper reaches; I could not help but notice your 'even on the Clyde' remark. Obviously you haven't spent a lot of time in shipyards. The sense of 'ownership' you refer to was common to all shipyards and shipyard towns; no more so in Belfast than anywhere else. On launch days in these yards, it was a family gala - Maw (mother), Paw(father) and all the weans(children) turned-out in their finery to see the efforts of the family bread-winner christened.
At a launch; the noise of the factory hooters, ship's whistles and cheers of the workers and their families could be heard miles away - the noise even drowned-out the normal din of the riveters. It was magic! It's not by accident that the words 'pride' and 'Clyde' sound so alike!
Jim.
James Alexander Carlisle
Member
Stanley,
I don't think many of the H&W workers considered their ships "Irish". They are considered British ships, even more so in 1912 when there was talk about Home Rule. The workforce considered themselves British.
As for the Clyde, there is hardly two more cities in the UK more like each other. My other Grandfather was from Glasgow and served his time in John Brown's as a boilermaker. The launch was exactly the same in Belfast as it was in Glasgow. The whole family went to the launch even the weans were there as well, some even in their prams!
My best day with my Dad and Granda was the 16th March 1960 when the Canberra (1621) was launched.
No the ships were British, note not English.
I don't think many of the H&W workers considered their ships "Irish". They are considered British ships, even more so in 1912 when there was talk about Home Rule. The workforce considered themselves British.
As for the Clyde, there is hardly two more cities in the UK more like each other. My other Grandfather was from Glasgow and served his time in John Brown's as a boilermaker. The launch was exactly the same in Belfast as it was in Glasgow. The whole family went to the launch even the weans were there as well, some even in their prams!
My best day with my Dad and Granda was the 16th March 1960 when the Canberra (1621) was launched.
No the ships were British, note not English.
Stanley C Jenkins
Member
I may have over-stated my theory of "ownership", insofar as I did not mean to imply that Glaswegians did not feel pride in their creations. My feeling however - and this is entirely subjective - is that the sense of pride is, if anything, stronger in Belfast than elsewhere (a reaction, perhaps, to the trauma of the Home Rule crisis and other adversities?)
James Alexander Carlisle
Member
I would put Belfast and Glasgow on equal par. Remember they were many from Belfast who worked in the Clyde Yards and many from Clyde who worked in the Belfast Yards.
H&W had a Yard in Govan and many a fine ship was built on the Clyde by all Yards.
H&W had a Yard in Govan and many a fine ship was built on the Clyde by all Yards.
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