No. The DSRV is too specialized. Off-shore UUV's are the right robot for such jobs.
Your assumption, Steve, is basically correct. As to our involvement with TV and movie production, Ellie and I built masters and sub-assemblies for the effects miniature makers -- we were always independent, third-party contractors engaged by guys like Greg Jein, who were employed by a studio/Producer to work a particular production. With the exception of one job, we never left Virginia Beach.
Red October was that rare exception where I was lead on specific vehicle design AND specific sub-assembly fabrication. I provided drawings to the Art Director of the ALFA, LA, and DSRV vehicles. Shortly after that work was submitted Ellie and I were commissioned by Greg (miniatures Lead till things were turned over to ILM -- that's another story!) to do all the propellers, and LA appendages, to varying scales, for Greg's team. Most of our work was retained by the ILM guys after Boss (who employed Greg) got the boot half-way through production.
Here is some of the work we did for The Hunt for Red October:
This is the LA miniature they assembled using castings pulled from tools they made from my appendage masters. The Navy continuity/security guy put the stink-eye on the seven-blade screw I provided. That bump-in the road put Ellie and me into crazy-mode to produce a more 'acceptable' five-bladed wheel to keep the post-production work on schedule. ****!
Ellie and I, even before we hooked up, were anti-Union. I grew up in Michigan and saw what collective bargaining produces; and Ellie suffered attack from picketers when she pushed through their line while working at EB.
We were our own people.
Why seek the level of the most useless guy in the room? That's what Unions and the Guilds breed.
Professionally, it mattered little to us. We got the jobs; we were good enough to secure work from the effects houses whenever the miniature work was overly complex, or the shop personnel were over-extended.
However, CGI changed all that.
David
D&E Miniatures
Your assumption, Steve, is basically correct. As to our involvement with TV and movie production, Ellie and I built masters and sub-assemblies for the effects miniature makers -- we were always independent, third-party contractors engaged by guys like Greg Jein, who were employed by a studio/Producer to work a particular production. With the exception of one job, we never left Virginia Beach.
Red October was that rare exception where I was lead on specific vehicle design AND specific sub-assembly fabrication. I provided drawings to the Art Director of the ALFA, LA, and DSRV vehicles. Shortly after that work was submitted Ellie and I were commissioned by Greg (miniatures Lead till things were turned over to ILM -- that's another story!) to do all the propellers, and LA appendages, to varying scales, for Greg's team. Most of our work was retained by the ILM guys after Boss (who employed Greg) got the boot half-way through production.
Here is some of the work we did for The Hunt for Red October:
This is the LA miniature they assembled using castings pulled from tools they made from my appendage masters. The Navy continuity/security guy put the stink-eye on the seven-blade screw I provided. That bump-in the road put Ellie and me into crazy-mode to produce a more 'acceptable' five-bladed wheel to keep the post-production work on schedule. ****!
Ellie and I, even before we hooked up, were anti-Union. I grew up in Michigan and saw what collective bargaining produces; and Ellie suffered attack from picketers when she pushed through their line while working at EB.
We were our own people.
Why seek the level of the most useless guy in the room? That's what Unions and the Guilds breed.
Professionally, it mattered little to us. We got the jobs; we were good enough to secure work from the effects houses whenever the miniature work was overly complex, or the shop personnel were over-extended.
However, CGI changed all that.
David
D&E Miniatures
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