Issue link: https://digital.copcomm.com/i/1474575
would match the stock photo. I had a little more success, but I had no way of showing the helmet in three hundred sixty degrees. This worked O for the Maverick helmet because everyone already knew what it looked like, but I knew others would be trouble. My fi nal attempt was a D template approach with four helmet views front, top, back, side. I explained the trouble with the process to eremy indle and Clint allace. It was Clint allace who recommended getting specialist Set Designer C. Scott aker involved modeling the helmets and digitally wrapping them. ith that, I sent Scott my Procreate sketches and all of the vector graphics he would need to render the helmets. Scott used a combination of techniques in Maya, Substance Painter and Ray to translate the D graphics onto the D surface of the helmets, rendering four standardized viewsof each helmet design, as well as degree turntable animations. It was a breakthrough moment for the design of the helmets and how they would be presented to our director, cast and crew. dditionally, the meshes from Scott's renders were delivered to FX to overlay on their own helmets. A. HANGMAN HELMET. B. HANGMAN HELMET, GRAPHICS BY CLINT SCHULTZ, RENDERING BY C. SCOTT BAKER. C. COYOTE HELMET. PROCREATE SKETCH BY CLINT SCHULTZ. D. COYOTE HELMET, GRAPHICS BY CLINT SCHULTZ, RENDERING BY C. SCOTT BAKER. E. HANGMAN (SLAYER) HELMET. PROCREATE SKETCH BY CLINT SCHULTZ. F. PHOENIX HELMET, GRAPHICS BY CLINT SCHULTZ, RENDERING BY C. SCOTT BAKER. G. PHOENIX HELMET. H. PHEONIX VECTOR ART BY CLINT SCHULTZ IN ADOBE ILLUSTRATOR. I. BOB VECTOR ART BY CLINT SCHULTZ IN ADOBE ILLUSTRATOR. J. COYOTE HELMET. K. BOB HELMET. PRODUCTION PHOTOS COURTESY OF PARAMOUNT PICTURES. Extensive conversations were had about who wore what helmet and what squadron they were with. The fi lm received permission to use actual S Navy squadron insignias, allowing us to pay tribute to the squadrons participating in the fi lm. The pilots fl ying in the FE single pilot were fairly simple. e split up the squadrons between NS Lemoore and NS Oceana with the help of military advisor Greg "Chaser" eithley, a TOPGN pilot in his own right. Some of the fi rst attempts at designing helmets for Rooster Miles Teller, resulted in revisiting the Goose design from . oe wanted to make the family connection, so I used the arrows from his F squadron, the "Golden arriors," to create a pattern similar to the Goose and Maverick stripe pattern on the crown of the helmet. The shell of the helmet was painted red to match Gooses.' The Rooster helmet was the fi rst helmet created for the new pilots and we went through about a halfdozen variations on the designs for the sides of the helmet. Originally scripted as Rascal and oomer before landing on Rooster, C. Scott aker would rerender with each new call sign. A B D D C