As
with the series 2 DVD box set, it was decided to have a panorama underneath
the disks and the scene was chosen from Gridlock where the cars
ascended out of the motorway system and into the sky. For this I created
a fairly simple model of the camper-van type flying car.
For
the second panorama, a conceptual shot was created not seen in the TV
show, showing the Master outside the Houses of Parliament. For this I
created the masses of Toclafane which involved studying many screen grabs
to create a detailed texture map. On and a few sheets of 3D paper too!
The Toclafane
were also used on the volume 4 vanilla cover, lit by red to match
the colour scheme of the surrounding sleeve, shown below right.
It's
a bit boring but I do feel it worth mentioning one other little thing.
Often in computer artwork its the stuff you don't notice that takes the
most time. An example on this box set was on the first page of the booklet
which required a large spread of the TARDIS with Master regenerating.
The only problem was, we didn't have an empty TARDIS photo exactly how
we wanted. The solution - take two photos and stitch them together! The
image here shows before and after I photoshopped the two disjointed images
together (and removed bits of Martha) and blended them together.
I also
had to remove the railings and chair which were on the wrong side because
the photo had been mirrored. Also other details like the lettering over
the door had to be mirrored back again. The devil is in the detail!
What Doctor Who work would be complete without some Daleks?!
I
provided three of them hovering in the background for the volume 2 vanilla,
and there are two more floating around on the fold-out flexi packs.
Also for the exclusive Woolworths box set, I knockd up a pair of Dalek
gun and arms for the perspective shot of the Doctor and Martha being menaced
through a Dalek's-eye-view.
3D
Artwork for the 2006 Doctor Who Series 2 BBC DVD Releases
Left is the
Guinevere probe used for the back of The Chrismas Invasion vanilla release.
On the right is the TARDIS which is used on the back of each vanilla and
on the front of the Satan Pit vanilla also. This image is used on the
Doctor Who artwork page also
for the TARDIS falling into the fire of the Satan Pit.
Shown left are four of the TARDIS renders used on the Vanilla covers.
Below
is the artwork for the Cyberman X-ray which appears on the box set. It
didn't want to look too over-complicated. There was a danger of showing
too much detail so that you
can't really make much out of any part of the shape inside. I wanted things
like the joints in the hands and the "bones" of the legs to
be clearly visible. Hopefully from the close-up image on the right this
is achieved, although some work had to be done to try to marry up the
outside rods of the costume with where the actual limbs of any human actor
would seem to be. There are instances where the tubes and bolts of the
suit bear no relation to the cross-bars and joints of the human operator.
Below right is the corresponding Dalek X-ray for the back of the box set.
The main image below is a render of the Daleks used for the scene outside
the Torchwood tower.
The X-ray was then coloured in layers to brings out the different parts
of the Dalek creature. Not too much internal detail was included so as
not to cloud the view of the interior.
Below is an alternative version of the final inside spread complete with
explosions and destruction of London buildings which was never actually
seen on screen!
On
the right here is my final pack-shot render which is a 3D visualisation
of how the finished article will look.
This is useful to have available to send out to companies before the final
packaging has actually been manufactured as it allows for promotional
and advertising work on the forthcoming product to begin before there's
actually anything to photograph. Doing it in 3D also allows for more flexibility
to posing the products. You'll have seen this pack-shot everywhere including
Doctor Who Magazine.
As
with the series 2 DVD box set, it was decided to have a panorama underneath
the disks and the scene was chosen from Gridlock where the cars
ascended out of the motorway system and into the sky. For this I created
a fairly simple model of the camper-van type flying car.
For
the second panorama, a conceptual shot was created not seen in the TV
show, showing the Master outside the Houses of Parliament. For this I
created the masses of Toclafane which involved studying many screen grabs
to create a detailed texture map. On and a few sheets of 3D paper too!
It's
a bit boring but I do feel it worth mentioning one other little thing.
Often in computer artwork its the stuff you don't notice that takes the
most time. An example on this box set was on the first page of the booklet
which required a large spread of the TARDIS with Master regenerating.
The only problem was, we didn't have an empty TARDIS photo exactly how
we wanted. The solution - take two photos and stitch them together! The
image here shows before and after I photoshopped the two disjointed images
together (and removed bits of Martha) and blended them together.
I also
had to remove the railings and chair which were on the wrong side because
the photo had been mirrored. Also other details like the lettering over
the door had to be mirrored back again. The devil is in the detail!
I
provided three of them hovering in the background for the volume 2 vanilla,
and there are two more floating around on the fold-out flexi packs.
Below
is the artwork for the Cyberman X-ray which appears on the box set. It
didn't want to look too over-complicated. There was a danger of showing
too much detail so that you 
can't really make much out of any part of the shape inside. I wanted things
like the joints in the hands and the "bones" of the legs to
be clearly visible. Hopefully from the close-up image on the right this
is achieved, although some work had to be done to try to marry up the
outside rods of the costume with where the actual limbs of any human actor
would seem to be. There are instances where the tubes and bolts of the
suit bear no relation to the cross-bars and joints of the human operator.
On
the right here is my final pack-shot render which is a 3D visualisation
of how the finished article will look.
