Issue link: https://digital.copcomm.com/i/1542693
alone shots depicting scale conceived in post. The lesson of Discovery was to re-explore what could be done in-camera by creating immersive sets with live reflections on the virtual production wall, a custom- built 2700 panel video wall operated by Pixomondo. By the time I joined the Star Trek family, we'd had some huge successes and a couple of disappointing failures, but either way, there was much to be learned and refined. In production terms, it has brought VFX back into the Art Department world. Now all of our digital assets are designed contiguous with the physical set pieces they serve and "blend days" are scheduled so that we can see everything in one place and tailor our lighting to match or hide the margins between what is real and virtual. A live- tracked lensing system working in Unreal Engine extends the "volume" into the "wall" so that our APPROVED A. USS ATHENA. AIR-LOCK. PRODUCTION STILL. B. KELREC'S OFFICE. ILLUSTRATION CREATED BY FRANK YANG IN BLENDER AND PHOTOSHOP FROM A RHINO MODEL BY BEN TRUNBULL. C. KELREC'S OFFICE. PRODUCTION STILL. D. BOTANY LAB. A SET SITUATED WITHIN A ROTATING GRAVITATIONAL O'NEILL CYCLINDER CREATED FOR THE VP WALL. PRODUCTION STILL. B A C D