The expanse wallpaper1/10/2023 RD: A lot of the time, Seth would have sketches of an idea for a spaceship or environment, and we’d go away with that and do a bunch of our own sketches, then he’d review those, then we’d keep refining the design. We function as a remote studio, but our proximity to the production allowed for us to collaborate with the team in person. He’d assign the work and handle all of the feedback loops. TW: Our primary contact was Seth Reed, the production designer. It was the first real crossover of our skills. The Expanse was the first thing we’ve done together where I was picking his brain about how to get things to look photographic. Tim’s coming from matte painting, creating this beautiful photorealistic imagery. I didn’t do any 3D work, and my lighting was very illustrative. RD: Before we met up, everything was paint and sketch. My strengths are more in composition, lighting and mood in illustration work. He did pretty much all of the ships on The Expanse. TW: Ryan’s got way more mileage behind him in terms of tech design, so if there’s a spaceship, Ryan’s the guy to design it. Now we’ve been doing it for a while, we still have our strengths, but we can take on whatever the other person so it’s a lot easier to divvy up the work. When North Front started, there was a bigger gap in our strengths Tim was coming from matte painting and visual effects, and I was coming from videogame concept art. How do you divide up the work between the two of you? North Front’s concept designs evoke a detailed future grounded in contemporary technology. Tycho Station: a vast mobile construction platform. The work ended up lasting five or six months: not full-time, but we probably did about three months solid, then bits and pieces for the remainder. They had an in-house art department – mainly people doing drafting and set design – but they were short on concept artists to do the visualisation of the ships and the environments. Tim Warnock: We were referred to the production through a client of ours that had connections on the show. We caught up with Tim and Ryan to find out about the challenges of designing with one eye on the 21st century and another on the stars. To bring those worlds to life – not to mention the show’s numerous ships, costumes and weapons – Alcon called on the design talents of Toronto’s North Front Studio.įounded two years ago by games veteran Ryan Dening and movie concept artist and matte painter Tim Warnock, The Expanse was North Front’s biggest job to date, calling on the duo to create an ultra-detailed distant future grounded in today’s technology. It’s dense, uncompromising stuff, building convincingly grimy worlds around its cast of deep-space miners and underworlders, and juxtaposing their struggles against a vast, steadily unfolding conspiracy. Corey – the pen name of authors Daniel Abraham and Ty Franck, who also co-wrote the TV series – The Expanse takes place 200 years in the future, in a fully colonised solar system in which the human inhabitants of Earth, Mars and the asteroid belt teeter on the brink of war. And before the fifth episode had even screened, Syfy had picked up Alcon Entertainment’s gritty space opera for a second season.īased on the Hugo Award-nominated series of novels by James S. According to io9, it’s “the show we’ve been wanting since Battlestar Galactica”. Ars Technica called it “the best new science fiction series in years”. Right from the start, The Expanse looked like it was going to be special.
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