Hi everyone, my name is Israel FornÃ©s and I have been invited to show you how and why I produced the piece "K.A.O.S. Submarine Control Room". I hope you enjoy this Making Of - here goes!
First of all, the idea to make a submarine came from a project me and my team are currently preparing, which is the continuation of a job we did this January. You can see it in my page: https://www.israelfornes.com/forque09.html
For the first movie we did a car chase in the desert, without too much detail and only one month for the blue screen shooting and construction. But in our current project, we plan to do five more movies in a similar style, but different locations, inspired by the classics of cinema: Western, Sci-Fi, World War, B/W etc.
The image I am going to explain is from the World War movie. Everything is planned to make a deep ocean naval fight with ships and submarines. And the bad guys have a submarine - the K.A.O.S Submarine.
The references are old and new submarines images I found on Google (Fig. 01) The idea was to tell the story in today's present, but to also give the image an old fashioned look. This mix gave us a wide range of styles and was very fun to work with.
After first step, finding the references, I started the modelling. Normally I make paintings on paper for the designs, but in this case I only did one or two sketches and just started modelling the main body of the submarine (the floor, walls, and basic environment) to get the proportion of things. I used Silo 2 for the modelling (Fig.02), which is a very good program, easy to learn and, very importantly, let me save the model in the original .fac Electric Image format.
Some components, like the chair or the periscope, were modelled in separate scenes to allow me to move them around freely and model them in detail, but all the rest of the screens, buttons, boxes, cables etc were modelled in the same main scene. In Silo 2, I modelled in low res and when the model was ready for export, I subdivided the objects depending on the need of it. When all of this was done, I exported the model and reverted to the original low res version. The best thing about making everything in the same scene is that I was able to change things or add new models, place them in the set and export them to EI, and the object would be placed in the same place. This isn't new, but it is very useful when your 3D application doesn't have a modelling section, like Maya, LightWave, Softimage, C4D, 3ds Max ...
When modelling was done, it was time to prepare the textures. This stage was very time-consuming because I knew that the final use for the image was going to be in a movie and so things like the data screens, sonar and lights would have to be animated (Fig.03). Most of the button panels were flat and I made the diffuse mapping as a still image of the console, and only the lights were made in After Effects. The cycles were in a five second loop and projected as luminance to give the illusion of light.
The rest of the textures were made in Photoshop, from personal libraries. Normally I have a Diffuse map, Specular map, Reflection map if needed, and a Bump/Displace map to give more reality to the surfaces (Fig.04).