Issue link: https://digital.copcomm.com/i/1526889
story points and locations. I worked closely with Alvarez and Marshall to bring it all together. I started by building the structural frame by itself in a 3D software, then I progressively added layer upon layer of metal surfacing around the framing to solidify it—similar to how a cruise ship is built, in order to sell the massive scale of the station, I added a ton of tertiary tech greebles and piping across the surface. I read that some of the plastic greebles that were used on the original Aliens practical Nostromo model were some of the same parts used in Star Wars. Knowing that, I specifically added some tiny Star Wars-style tech details scattered across the station surface to keep the design language in step with the original film. While I modeled it in 3D, I would periodically add tiny point lights all over the structure to create little pools of warm and cool light. What that does is help trick your brain that you're seeing something really massive. Once I had the underside of the station blocked in, I broke out structural sections for individual set locations to work on separately. For example, the Romulus laboratories, curved hallways, spaceship hangars, etc. The Art Department then placed the interior set designs inside the new exterior sections so everything worked together spatially. We now had a map to plan out certain action sequences. Once those locations were locked in, previs was able to start iterating the action outside the windows of the station. It just all worked together perfectly. It was a very fluid and organic evolution of the interior of the Renaissance space station. The sets and layout of the ship were informed by story points in the script but also evolved as changes were being made. Marshall and Alvarez worked closely together to find the most elegant flow from set to set. Naaman found a multitude of clever ways to alter certain set design elements, as well as redressing sets so that they would work over multiple sections of the station's interior. D. SIGNIFICANT LOOK DEVELOPMENT TIME WAS DEDICATED TO THE STATION'S UNDERSIDE, AS MUCH OF THE FILM'S ACTION IS SET THERE. IN THIS ILLUSTRATION, ARTIST ALEX NICE EXPLORED LIGHTING SCENARIOS THAT EMPHASIZE THE SEPARATION BETWEEN THE TWO STATION HALF-MODULES. DONE IN ZBRUSH, 3DCOAT & 3DS MAX. E. 3D ILLUSTRATION BY ARTIST ALEX NICE DEPICTING THE CATASTROPHIC COLLISION BETWEEN THE SPACE STATION AND THE PLANET'S ICY RING. DONE IN 3DCOAT, ZBRUSH AND 3D STUDIO MAX. E C D