Starfleet Scout, Pt. 08

And, she’s finished.

A friend of mine pointed out something I’d already noticed, that the hull was a bit too shiny. Unfortunately, Lightwave has a weird thing with specular settings. No matter what you have the specular setting set to, putting on a spec map overrides it. In the case of this model, it made it super shiny and kind of plastic looking. To combat this, I turned the opacity on the specular maps down to 50%, which cut it back to more like what I had before I applied the maps.

Other than that, I added my usual simple interior. I also changed the registry number to NCC-1058. People familiar with a certain short-lived Sci-Fi series from the mid 1990s will understand the significance of the number 58 with the ship’s name. I’ll use the NCC-1063 registry that I made for a different ship in the class. Then to finish it all off, I added some lights to simulate the spill off from the bussard collectors, impulse engines and running lights. This is way faster, especially in render times, than fooling around with radiosity, with which I don’t have much luck in getting the results I want anyway.






4 thoughts on “Starfleet Scout, Pt. 08

  1. What do you mean by interiors? Do you actually model decks, and cabins, etc.? Do you have any examples on your blog? I don’t think I’ve ever seen them before.

      • It’s an OLD trick. They actually started that at least as far back as TMP. The refit Enterprise had set photos behind its windows to make it appear that something was there. With Voyager, they actually started curving the photos to add depth. That’s where the box idea comes from. (lots of CGI modelers use it) With a still image textured to the “back” of the windows, you get the impression that there are rooms there, but the images never change during a camera pass, and it looks exactly like what it is: a photo. I used to use that method when I didn’t have a computer capable of rendering animations very quickly. With the box, you get an image with depth that gives a more realistic look.

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