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Welcome to Atop the Fourth Wall, where bad comics burn. In this episode, Linkara continues his look at the terrible adaptation of Star Trek II: The Wrath of Khan!
atopthefourthwa...
Originally uploaded December 12th, 2011.
ORIGINAL INFO: This comic has done far worse than kill us. It hurt us… and it wishes to go on hurting us.
RUMINATIONS: One of the reasons that Pollo needed a new body was that the old just didn’t green screen very well… like, at all. The metallic spray paint I used on him was just too reflective of the green. Mind you, his current body has a similar problem, but it’s not as harsh was it was here, where I needed to actually CG Pollo into it. I made sure to photograph every side of him to try to recreate him as closely as possible to the real thing. The other Pollo was CG mostly because the metal body wasn’t built to be a puppet, so there was no way I could reasonably hold it up to do some of the shots I wanted to do. This also allowed me to give Pollo the hovering motion I never really could do properly on the show. You can probably chalk it up to this particular hoverskirt’s design not working well with the recycled air system onboard the ship.
On the subject of CG, this was also the point where we introduced other sections of Comicron One, like engineering and the hallways. I’m a bit disappointed that they don’t look more like the bridge, but this was sadly due to Marobot losing the original files for the bridge, thus he couldn’t improve it or build a new version, thus he redid everything from the ground up. Scale is a bit of an issue and it wasn’t helped that he insisted on having depth of field for the shots… which is kind of a problem when I’m not necessarily standing where he THINKS I’ll be standing, thus the camera focus makes it look much more fake than if I had just blurred it myself. I also wish I was more adept with green screen lighting at the time, which would have allowed the shots to be integrated better. I wouldn’t get to that point until the end of the Gunslinger arc, partially thanks to Rob when he did the green screen shots for To Boldly Flee.