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Comparing my spaceship model to other spaceship models

I like this spaceship model. It has nice, contrasting colours, dull enough to fit together as a colour scheme on the ship. The ship is intended to look slightly worn and used, although still slightly clean and useable. This is very different from my ship, which is intended to look rusty and old, almost unusable. The shape of this ship appears to be fairly flat and interesting, whilst mine takes from the traditional rocket shape, mainly because of the fact that I used a bottle to start it off. This ship also has two pointers, which helps give off a symmetrical feel to it, which is rather nice to look at.

This ship has three clear sections, going thinner in the separation points, while my ship has one solid section for the entire thing. This ship is very detailed, with little panels and patterns carefully created along it. My own ship doesn’t have as much detail as this one. This ship has a plain colour, no wear or dirt on it, which makes it more obvious that it’s a model. Aside from the odd bit of orange here and there, it looks similar to when my rocket just had base paint on it. I've added a lot more colour to mine, with mine looking rusty and broken while this one is intended to look new and workable.

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Moon landing conspiracy theories

Astronauts Buzz Aldrin and Neil Armstrong in NASA's training mockup of the Moon and lander module. Conspiracy theorists say that the films of the missions were made using sets similar to this training mockup.

There are three main theories used when arguing that the moon landing was false:

The space race:

Motivation for the United States to engage the

Soviet Union

in a

Space Race

can be traced to the then on-going

Cold War

. Landing on the Moon was viewed as a national and technological accomplishment that would generate world-wide acclaim. But going to the Moon would be risky and expensive, as exemplified by President John F. Kennedy famously stating in a 1962 speech that the United States chose to go because it was hard.

Funding:

Conspiracy theorists claim that NASA faked the landings to avoid humiliation and to ensure that it continued to get funding. NASA raised "about US$30 billion" to go to the Moon, and Kaysing claimed in his book that this could have been used to "pay off" many people. Since most conspiracists believe that sending men to the Moon was impossible at the time, they argue that landings had to be faked to fulfill Kennedy's 1961 goal, "before this decade is out, of landing a man on the Moon and returning him safely to the Earth." In fact, NASA accounted for the cost of Apollo to the US Congress in 1973, totaling US$25.4 billion.

Vietnam war:

The American Patriot Friends Network claimed in 2009 that the landings helped the United States government distract public attention from the unpopular Vietnam War, and so manned landings suddenly ended about the same time that the United States ended its involvement in the war. In fact, the ending of the landings was not "sudden". The war was one of several federal budget items with which NASA had to compete; NASA's budget peaked in 1966, and fell by 42.3% by 1972. This was the reason the final flights were cut, along with plans for even more ambitious follow-on programs such as a permanent space station and manned flight to Mars.

Another argument is that there aren’t any stars in many of the photos, such as the one above. Some say that they didn’t edit stars in in fear of astronomers working out where the stars had been shot from Earth, although NASA could provide photos with stars in. The stars only appeared during long-exposure photos, such as those below.

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Spaceship model evaluation

In the end, I like how my model turned out. The additional details I put on helped to get rid of the obvious bottle shape and helped to see it more as a ship. I’m not entirely satisfied with the very top, with the coiled wire, as it looks messy where the hot glue over ran. If I did it again, I would of found something easier and more suitable for the roof. 

I painted it to look rusty, an effect I think has worked quite well. I did a mixture of a rich red-brown to a light orange-brown, with the richer colours near the edges of things. This helped to add depth too, I think, and the illusion of a rough texture on the surface. 

The paint of the wheels was a bit too messy to work, so in the future, I would get a smaller brush to slowly paint the shape on. 

I think the wires across it worked quite well, although I wish that I had gotten a smaller brush to paint them too, and added some more wear to them to suit the overall look of the ship.

On the underneath, I think it wasn’t too bad. The rusted paint went underneath the wheels a little and there are a few spots where the spray base didn’t stick so you can see the metal, but otherwise, it overall looks good.

I don’t like the bits that stick out at the bottom. If I did this again, I would paint them to look like something different from the rest of the ship, as it isn’t very easy to tell they’re supposed to be separate from the main body of the ship. 

In general, I do like how it ended up looking, even if I would change a few small details for a smoother aesthetic on the ship.

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I like how they created this in cinema 4d. They used various physics settings to create different effects on the objects, such as liquid, bouncing, and powder. They all look very interesting, and show how cinema 4d can be used to create fascinating effects.

The amount of detail on this is beautiful, it could easily pass for a real photo. This person clearly put a  lot of detail into every part of this, from the peeling wall to the gently creased cloth. The lighting gives us the ideas that there is a window gently shining down on them, a shine coming off the objects to make them even more realistic. It shows how wonderful cinema 4d can be when used so carefully, and that games created don’t have to be blocky. They even put slight cracks over the bowl, faint scratches, which is insane.

This one is very detailed and realistic. Even the movements of the bug, subtly twisting with every move, is amazing, and shows how much cinema 4d can achieve when used right. The angles used are great, and show how well the lighting from the bug works. The detail on everything makes it hard to believe they're animated, from how a gentle wind moves things to how they shake in movements.

This animation is obviously an animation, although the detail are wonderful, really helping the viewer become invested. The colour themes go together nicely, each stage having its own colours and lighting to match, which works well. They all share the cube shape, linking them all together with a surreal feel to it, matching the logo which pops up in-between each version. The animation works well with some sense of physics attached, although not very much, which works well for this style.

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Cinema 4d- Captains chair

I liked the general shape of this chair, how the back curves together, so I took from that to make the back of my chair into a triangular shape. The patterns on it, like small ridges, I took from too. I liked the effect they had, although I emphasised them on mine greatly. 

The back off my hair has a smaller triangle sticking out slightly, after playing with the back of the chairs shape, I liked this one the most. 

The square back of this ended up playing into the shape of my chair, along with the chunky arms either side, with the control panels. I made mine a little more minimalistic and less colourful, but it has the same idea from it.

Here, you can see the buttons on the chunky arms, and how the general shape of the chair is similar to the previous chair. The arms move smoothly into the chairs shape on mine, though, a clear difference. 

The ridges on the inside of this chair looked nice, and gave it a retro vibe, so I put a similar thing onto my chair, as seen above. Unlike this chair, however, my ridges are a singular line and only apply to the back of the chair, not the seat. It still gives the same effect, though, of comfort. I also made the arms flow down from the back of the chair, like this one.

I liked the front view of the seat and arms and how that looked, which is what I then put onto my chair, although mine doesn’t tilt forwards like this. 

A common theme among the captains chair is that the chair is elevated on a small pole, so I did my own take on it. I did the pole and the stand, before putting a nice shape on the front. I think this helps make my chair unique, and I like it. 

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Reviewing my work

I am happy with my final outcome, although there were things that I could have done better. 

I started off with a terrain, adding a seamless moon texture and then shaping the environment. I raised the entire level so I could create the dip, which I like the effect of. It isn’t easy going back up to the surface after falling down, and I think it does make the player rethink whether to jump down at first or not. I created craters, which I like the effect of. In some of these creators, I put water inside. 

If I did this again, I wouldn’t spend so much time on the water. I wanted it to move and interact, but it was to hard, and I wasted far too much time on something so small.

I wish that I had added more details in for the player to be able to interact with the terrain more, so the game feels more interesting and interactive than it is. There are some details for the player to discover, but nothing happens when they find them, and there’s no way for them to know where to find things. 

Time management was an issue for me. I used a large chunk of my time trying to create interactive water, so when it came to adding more details onto the game to make it more interesting, I didn't have nearly enough time to do much. 

I like the ship and the rover/car I put in. I made sure the ship wasn’t going to take off and stretched it to try and give it a more rocket feel. the rover/car, however, I wish that I had done more with. I managed to attach a board to it, but I was hoping to add more, so the player could ‘sit’ on the rover as it moved about. Looking back, I would’ve focused on that more: it’s one of the first things the player interacts with, and being able to ride it would’ve been a nice touch.

In conclusion, although I like my final outcome, there are things I could’ve improved on at the time that I didn’t think would matter. 

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Surface of the moon

References for the surface of my unity 3d project. 

My unity 3d terrain was set on the moon, so I researched images to try and get this across. I added craters and rocks, and used a seamless moon texture on top of this. I think I matched these references fairly well.

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Unity

Unity is a cross-platform game engine developed by Unity Technologies, first announced and released in June 2005 at Apple Inc.'s Worldwide Developers Conference as an OS X-exclusive game engine. As of 2018, the engine has been extended to support 27 platforms.

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ABOUT RYAN NAGATA

Ryan Nagata is a model maker and film maker based in California USA. He is known for his replica space suits and Ray guns. He is also part of a collaboration called F3. His work has been featured in films, TV, and print ads and exhibited internationally. He fabricates and sews every part of these spacesuits by hand.

FIGHTING FOX FILMS

3F Studios is a collaboration between Ryan Nagata and George Edelman. For years, they produced movies and web content as “Fighting Fox Films.” While they continue to produce video content, Ryan makes original art pieces, props, and costumes in their Los Angeles studio. All of their exploits are documented here.

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Environment Creating- 3d Unity

The environment my unity 3d project is set in is the moon, although it’s intended to hint to alien life. There is a spaceship, to show how the player got there, with a little rover/car rolling about to show that exploration is still in progress.

There is a large dip in the ground for the player to explore. There is moving water to be found and a secret coffin under one of these pools of water. The concept is that the player is an exploration spaceman, to find all of the little hidden parts of the map.

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Mission Objective Apollo 13 was supposed to land in the Fra Mauro area. An explosion on board forced Apollo 13 to circle the moon without landing. The Fra Mauro site was reassigned to Apollo 14.  

Crew James A. Lovell Jr., Commander Fred W. Haise Jr., Lunar Module Pilot John L. Swigert Jr., Command Module Pilot

Backup Crew John W. Young, Commander Charles M. Duke Jr., Lunar Module Pilot John L. Swigert Jr., Command Module Pilot

Payload Odyssey (CM-109) Aquarius (LM-7)

Prelaunch Milestones 6/13/69 - S-IVB ondock at Kennedy 6/29/69 - S-II ondock at Kennedy 6/16/69 - S-IC ondock at Kennedy 7/7/69 - S-IU ondock at Kennedy

Launch April 11, 1970; 1:13 p.m. CST Launch Pad 39A Saturn-V AS-508 High Bay 1 Mobile Launcher Platform-3 Firing Room 1

Orbit Altitude: 118.99 miles Inclination: 32.547 degrees Earth Orbits: 1.5 Duration: five days, 22 hours, 54 minutes, 41 seconds Distance: 622,268 miles

Landing April 17, 1970 Pacific Ocean Recovery Ship: USS Iwo Jima

Eventually a film was created based off the mission. 

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First man in space

April 12 was already a huge day in space history twenty years before the launch of the first shuttle mission. On that day in 1961, Russian cosmonaut Yuri Gagarin (left, on the way to the launch pad) became the first human in space, making a 108-minute orbital flight in his Vostok 1 spacecraft. Newspapers like The Huntsville Times (right) trumpeted Gagarin’s accomplishment. Mercury astronaut Alan Shepard became the first American in space less than a month later. The first cooperative human space flight project between the United States and the Soviet Union took place in 1975. The Apollo-Soyuz Test Project was designed to test the compatibility of rendezvous and docking systems for American and Soviet spacecraft and to open the way for future joint manned flights. Since 1993, the U.S. and Russia have worked together on a number of other space flight projects. The Space Shuttle began visiting the Russian Mir space station in 1994, and in 1995 Norm Thagard became the first U.S. astronaut to take up residency on Mir. Seven U.S. astronauts served with their Russian counterparts aboard the orbiting Mir laboratory from 1995 to 1998. The experience gained from the Mir cooperative effort, as well as lessons learned, paved the way for the International Space Station. In-orbit construction on the Station began in November 1998, and it has been staffed non-stop with international crews since November 2000. The first Station crew, made up of U.S. commander Bill Shepherd and cosmonauts Yuri Gidzenko and Sergei Krikalev, was launched on board a Russian Soyuz spacecraft. The crew returned to Earth on the Space Shuttle Discovery in March 2001.

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TOM SACHS

SPACE PROGRAM

For more than a decade Sachs has pondered the homespun technical ingenuity and romance with the unknown that brought America the Apollo program. Experimenting with models of varying scale ("Lunar Module (1:18)," 1999; "Crawler," 2003) has culminated in the realization of his own life-size SPACE PROGRAM. Pirating the milestone in collective memory when man took his first walk on the moon, Sachs reconstructs its key components, built to scale his way. By recollecting this historic event as a custom-made experience from the free domain of public imagination, he renders it totally in and of our time, charged by a vigorous artistic idiom that is ambivalent to the core. In a new twist on his shameless cannibalizing of corporate identity, Sachs now has the giants of high-style branding - Nike, Prada, and the like - working for him to produce items (lab coats, space boots) for the detailed inventory of his funky space odyssey.

In addition to the huge, intricately built lunar module that is the centerpiece of SPACE PROGRAM - replete with such classic Sachsian features as a fully stocked booze cabinet, toolkit, and soundtrack necessary for survival on an alien planet - visitors will find a fully functioning mission-control unit. On a grid of monitors, the liturgy of space exploration unfolds in a live demonstration by Sachs and his team, involving countless rituals and procedures, from instrument checks to moon-walking and sample-collecting to splash-down. Thus the gallery becomes a sort of reliquary of both the material traces and special effects of the artist's encounters with the terrible sublime.

ABOUT TOM SACHS

TOM SACHS is a sculptor, probably best known for his elaborate recreations of various Modern icons, all of them masterpieces of engineering and design of one kind or another. In an early show he made Knoll office furniture out of phone books and duct tape; later, he recreated Le Corbusier's 1952 Unité d'Habitation using only foamcore and a glue gun. Other projects have included his versions of various Cold War masterpieces, like the Apollo 11 Lunar Excursion Module, and the bridge of the battleship USS Enterprise. And because no engineering project is more complex and pervasive than the corporate ecosystem, he's done versions of those, too, including a McDonald's he built using plywood, glue, assorted kitchen appliances. He's also done Hello Kitty and her friends in materials ranging from foamcore to bronze. A lot has been made of the conceptual underpinnings of these sculptures: how Sachs' sampling capitalist culture, remixing, dubbing and spitting it back out again, so that the results are transformed and transforming. Equally, if not more important, is his total embrace of "showing his work." All the steps that led up to the end result are always on display. On a practical level, this means that all seams, joints, screws or for that matter anything holding stuff together, like foamcore and plywood, are left exposed. Nothing is erased, sanded away, or rendered invisible. On a more philosophical level, this means that nothing Sachs makes is ever finished. Like any good engineering project, everything can always be stripped down, stripped out, redesigned and improved.

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Spacesuits

These are some of the spacesuits from space missions.

To put on the spacesuit, the astronaut first dons the lower torso assembly and then rises into the top section of the two-piece EMU spacesuit hanging on the wall of the airlock. The upper torso of the spacesuit is a hard-shell fiberglass structure that contains the primary life support system and the display control module. Connections between the two parts must be aligned to enable circulation of water and gas into the liquid cooling ventilation garment and return. Then, the gloves are added and last to be donned is the extravehicular visor and helmet assembly, which provides protection from micrometeoroids and from solar ultraviolet and infrared radiation. Bearings in the shoulder, arm, wrist, and waist joints allow the crewmember freedom of movement. Bending, leaning, and twisting motions of the torso can all be done with relative ease.

Over time, the suit has been modified for easier movements and suitable protection. 

Diagrams of how the suit works:

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Reflecting on my animation

In the end, even though it wasn't finished, I like my animation. I looked at references to lip sync with the audio so it worked, and although it was shaky, it was smooth for frame-by-frame, especially since the program I used didn't use pen pressure the same way as my usual drawing program.

I like how my character design changed and evolved to suit the style and character, as it made it easier, and blacking out parts of it meant I didn't need to colour it but it still got rid of the lineart effect. In the future, I may do thicker, bolder lines, so I can add colour in without ruining the lines, the main reason I never added colour to my animation.

I would've managed my time better if I did this again. I rushed the second set of storyboards a bit because I knew my animation would be longer, especially after recording my audio and knowing how much animating I had to get done.

I wish that I had done less speech and worked on cutting the animation done to make it more manageable, since although I do like what I got done in the end, I didn't get the entire mini story down due to the time. This does tie in with the time management issue, so I would plot out my time much better next time.

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The arcana concept art

Concept art for Countess Nadia- they started off with pale hair which fades to white, with intricate clothing and a veil on her head. I love this concept art, the colours go together so well and the veil suits her character well. They used watercolours to colour her, and they look pretty. You can tell she's of high class just by looking at her, and the various outfits look all different and suit her.

This is her end appearance. You can see how similar the concept hair style is, although they changed her colour to go pink down to purple. The fabric on the bodice of her dress is thicker and slightly simpler, and the dress is slimmer. They replaced the fabric sash with a metal belt. You can see how they developed her character.

Julian Devorak

You can clearly see the different ideas from the different artists, with almost opposing characters. The similarities are the sharp features and tired eyes, with messy hair and a dramatic coat. However, one has an eyepatch, and the other has thick gloves on, almost like workers gloves.

I prefer Dana's take on this character, it looks smoother and more put together, while the other looks almost like a traditional anime villian, but that could just be my own preference.

This is the final appearance of him. As you can tell, it's almost exactly like Dana's design, especially in the bottom left corner. I like how his colours go together so well. They changed the eyepatch to fit better, having worked it into the plotline.

Asra

Here we can see the final design beside the concept art. The concept art has very similar colours, the only differences seeming to be in the outfit itself. The most noticeable difference is the fur collar, and the fit of the pants, which didn't suit his character as well as his current appearance. I like the concept art, though- they've obviously put some work into making the outfit suit him and where he lives, and the colours go very well together.

Concept art for Aisha and Salim

From the first look, you can tell their relation to Asra, as they've matched some of their features to their son so it makes sense. I like their colours- they go well together, but you can tell they have different colour schemes, despite this. I like their outfits a lot, they both wear dresses with the same sleeve types, although she has flashier colours and things on top (including a shorter version of Asra's cloak), while he has softer and simpler colours, his cloak longer but simpler than hers.

I like their final designs. They adjusted some small details and changed a few colours slightly, but otherwise, they kept the overall appearances. Her colours go a bit better together with a purple feel to them, while he has more yellow undertones. They have little bits of each other's colours on them- such as his purple design on his shirt and her gold accessories- but these colours match their familiars. They're designed to be close with the tarot card 'The lovers', a card which is depicted with their familiars on.

As you can see, the characters are clearly linked to this card, resembling their connection to it, which is a nice touch and relevant to the plot. I believe having this card made helped them design the characters by referring to this card and their son for the concepts and appearances.

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Making the ship look rusty

I used various paints to create a rusted effect on my ship once it had been sprayed with a base. I used a darker colour on the edges and under things, and used the occasional dab of bright brown or green, to add to the effect. I like how it has turned out- the rust comes into the final story for the ship and it clearly looks old. I like the shape I ended up with as you can't always tell it's a bottle straight off, the wheels being one of my personal favourites.