posted
Ok, revisiting the Deneva means I really should revisit the design that inspired it. So, what I intend to do is extrapolate a design for the Erewhon that matches the partial interior and exterior sets as accurately as possible.
Based on a bunch of screen grabs and a degree of guestimation, this is what I have so far.
Now, what I would like from you cherry folks is a little help finding the original concept sketches (from the 'Making of DS9'book IIRC) and if anyone has the time or inclination. I have google-imaged it to death and to no avail, so help would be appreciated. Also if someone has a copy of "Timescape" on DVD (I think that's the title) some screen grabs of the interior of the Runabout's aft section would be a big help, as from what I understand, that set was re-jigged to make the interior of the Santa Maria. Getting an idea what the set originally looked like should help to extrapolate which portions of the set were used where and incidentally which part wall of the runabout do I have to graft to the outside of the Erewhon.
Shik
Starship database: completed; History of Starfleet: done; website: probably never
Member # 343
posted
Shit,I'd love to, Rev--I own the book--but I don't have scanner access anymore, & Kinko's gets all bitchy about "copyright infringement" & all that.
If anyone else has the book, though, the shots he wants are on pages 164 & 165.
-------------------- "The French have a saying: 'mise en place'—keep everything in its fucking place!"
Registered: Jun 2000
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posted
Cheers. Goggle ain't what it's cracked up to be.
Ok, now I need a little help figuring out the whole runabout aft section bit. So, in "Paradise" Miles walks into Sisko's cabin LINK through what looks to be the Runabout's midship hatch LINK then walks past what is certainly the starboard aft pair of windows LINKLINK. Now Sisko is facing the windows with is back to a generic section of wall LINK, so for, not a problem right? They just stuck in an extra wall that can be easily moved so the camera can get behind Brooks for the over the shoulder shot, so for so good right? Well, here's where I hit a little problem; look at it again LINK, see the light/shadow pattern from the windows? Count them. Four, maybe five as if he's facing the aft windows LINK. At first I thought they were just to his right, as they should be and the lighting continuity was just off. However, when he stands and walks around LINK the wall to his right in another generic wall with a smaller door in it and not the aft windows. So I'm stumped. Anyone have any ideas? Is it possible the aft windows were hoisted up as skylights? Or is it just an odd set continuity gaff where they did one shot on one day and the turn around on another?
posted
Just a sorta different tangent - I've always wondered - did they say they jettisoned the nacelles to land? Is it possible that the overhanging landing 'foot' is where one was possibly attached.
-------------------- "Bears. Beets. Battlestar Galactica." - Jim Halpert. (The Office)
posted
No, that's the landing gear, you can see the pistons and everything, plus I wouldn't put an entry gangway right next the the nacelle. It'd make docking rather fruitless.
quote:Originally posted by Shik: I don't think anything was reused.
Uh, what do you mean? Those are the set elements from "Timescape", that's a matter of record.
quote:Originally posted by Shik: The ship probably never had nacelles to begin with.
I think otherwise
Ok, this is what I've roughed out so far. I'm intentionally taking an unusual direction by sticking the bridge towards the aft part of the ship. The idea being that the engine room, computer core and all the operational parts of the ship are isolated in the rear section leaving the passengers and cargo separate in the front and rear sections.
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Stern. And it needs warp nacelles if it plans on going anywhere. I could opt for intergrated nacelles like the ones on the Val Jean and the Fed attack fighters, but I think on a transport this small internal volume is at a premium, so outboard engines make more sense. And yes, they could still be on the Santa Maria, just hidden behind trees and tents. If you look at the episode you'll see nothing is visible beyond about two meters further aft of the landing strut and about four meters fore of the airlock.
posted
I think we might wish to acknowledge the fact that there are many shots towards the "stern" of the ship, that is, to camera left towards the landing strut - and they all show clear sky above any section the ship might have beyond that strut, not propping above the roof level of the section above the door.
Moreover, the rock cliff with the cave dwellings sits in the direction of stern as well (although only starboard aft, again because we see blue sky to port aft). The ship shouldn't extend too far in that direction, even if it were customary to park in the shadow of a cliff for protection. A narrow stern would work; a broad one with nacelles would be a problem.
In contrast, there are basically no shots aimed towards the "bow" of the ship, that is, away from the strut. It's as if the camera dolly had a hard limiter there, to hide the imperfections of the set. All angles forward are angled down as well, to highlight the punishment box and hide the skyline.
Personally, I'd favor a design that extended significantly forward (that is, to camera right) from the struts, but truncated almost immediately aft of them (that is, to camera left) - much like in the Sternbach sketches. She could be twice or thrice as long as the sketched intentions, though, so that there would be room for a propulsion section amidships. If the ship has outboard warp engines, these might then lie just to the right of the set, flanking the hull. A dorsally mounted pair would be intriguing as well, though.
posted
I'll have to watch it again to get an idea of the surrounding terrain. When I did my caps I was focused mainly on hull details. The reason I put the extra level on the aft section is because when you look out the windows in Sisko's cabin, you can see the tree line is such that it must be up higher than the piece of hull that's seen. Also, whenever anyone enters or leaves the ship they turn to, or come from the left corridor, which leads aft, so the upper deck access must be in that direction. I think I did my calculations right as I believe the bridge structure would be JUST out of sight on camera left and even then I plan of redesigning it to look a little more like the bridge I designed for the Kobayashi Maru, so I can say the colonists dismantled the roof and kept that part of the upper deck as a balcony. As for the nacelles, I assume they would be removed at some point, either the salvage the housing for some other purpose or to remove their weight and stop the ship from sinking as I imaging those warp coils would be very dense and without a fully loaded cargo bay in the bow to counterbalance might even cause a problem with stability. Regardless, I'm not happy with the design of the forward section (camera right) and intend to have another go at it.