Since the company began, it has been my pleasure to take part in many works involving 3D design. Because this is a unique skill, I have assembled the best examples of my own work in this challenging field. The vast majority of what you see below was created for personal or school projects; client-sponsored work available upon request.
Click each thumbnail to view a larger image.
"117E Set #2." Back in my high school days, our TV studio included two main sets--the main news set, and this standalone piece, which once played stand-in for a hallway corner (it used to be equipped with lockers before it was redressed with the simple black curtains). I figured that if the time ever came for me to make my own replica of that studio, this would come in handy. As you see it here, some creative license has been taken--there were never fluorescent lights on the sides, and to my knowledge no blue light has ever been shone down on it.
"Star Trek: TNG Corridors." Anyone who's ever seen Star Trek knows that the corridors play an integral role. The design of the passageways for the second of the Star Trek shows, The Next Generation (or "TNG" for short) was always one of my favorites, perhaps because they look the most inviting. Although I don't have an actual use for these interiors at the moment, the TNG corridors are such a terrific design that I thought I might as well go ahead and make my own.
"Star Trek VI Corridor." The design of the corridors of the Enterprise-A looks suspiciously like that of the later Enterprise-D, making observant fans wonder exactly what the two ships in between might have looked like. In any case, you'll note some distinct differences between this and the TNG corridors above--mainly the absence of any of the warmer colors that made the Enterprise-D look so inviting. At the time the Enterprise-A was commissioned, hostilities between the Federation and the Klingons were at their peak, so it makes a certain sense that Starfleet might make the design of their ships reflect a more militaristic feel.
"1701-F Corridor." This concept corridor design for the Excalibur-class U.S.S. Enterprise NCC-1701-F comes not from a show or a movie, but from the pages of my second Star Trek novel, "Beginning's End." Set 15 years after the last movie, I wanted something that would reflect Starfleet technological advances and yet would still have a Federation feel. It seemed like the descriptions in the book itself kept changing, so I figured I'd go ahead and make something visual to refer back to.
"The Caretaker's Array." Anyone who's seen the pilot of Star Trek: Voyager should recognize the awe-inspiring form of the Caretaker's Array; a massive space station dwarfing the U.S.S. Voyager by at least ten times, it was run by the mysterious Caretaker, a Sporocystian life-form whose sole purpose was to explore this galaxy. Unfortunately, Sporocystian technology proved devestating to the atmosphere of the homeworld of the Ocampa, an innocent and peaceloving race from the Delta Quadrant--and so to make amends for the accident, he constructed this station to serve as a base of operations while he cared for the Ocampa. It's unknown exactly what capabilities the station possessed, but it was clearly capable of sending massive bursts of radiant energy across light-years of space, firing an energy weapon powerful enough to irradiate the entire surface of the planet, scanning an entire galaxy through use of a coherant tetryon beam--and even bringing starships to its own proximity through the use of massive magnetic displacement waves.
"CBS Artist's Lobby." I found it an odd practice that CBS would have more than one lobby for entrance to their Television City building, but former Price is Right announcer Randy West tells me that's exactly what they've got. This small but comfortable room greets the creative talent that comes to visit the studios; I'm given to understand that employees use a different entrance most of the time.
"CBS Ominous Lobby." Somehow, based upon the appearance of Television City's exterior, I had expected their lobby to look something like this. Before Randy West provided the details for the lobby above, this was what I genuinely expected employees and visitors alike to step through every morning. This interior was created for a project I did for Music Appreciation class, a project on the history of the theme music from Family Feud (a CBS lobby seemed an ideal place to show composer Robert Israel and producer Mark Goodson greeting CBS executives).
"Eelomin Conference Room." A long time ago, I wrote two Star Trek novels, in which the principal characters were a group of Eelomin refugees from the distant Galactic Rim. One of the scenes in the second book was a meeting aboard an Eelomin starship, and one day while tinkering around I decided to go ahead and build it as I'd imagined it. The design of the Eelomin ships was meant to be stylistically very different from that of the Federation--lots of stone and glass trim, as opposed to the more metallic look favored by the Federation--but still recognizeable, meaning the Eelomin weren't all that different from us. I made two versions, one (yellow) that was meant to look more inviting, and another (blue) that was meant to look a lot more sterile.
"John H. Kerr Dam." Ever wondered what a fortress looks like? In some ways, the design of the John H. Kerr Dam harkens back to what you'd expect one to look like. This particular facility, located on Kerr Lake in Virginia, provides power for most of the surrounding area. From left to right: spillways on the Lake Gaston side; aerial wide shot; floodgates on the Kerr Lake side; entrance to lobby and powerhouse. This is an impressive place, so if you can ever get up there to see it in person, I'd highly recommend it.
Consider this a bit of creative license, since I've never been to this facility at night before, and am therefore unsure of how authentic these shots are. It's reasonable to assume that this place is lit up somehow so it can be seen at night...regardless, just look at it; as ominous as it looks by day, doesn't it look absolutely terrific when lit up like this? From left to right...Gaston-side spillways; aerial shot; Kerr-side floodgates; Gaston-side spillways and powerhouse.
"Double Dare." I'm given to understand that this used to be a popular show on Nickelodeon, and although I never actually saw it for myself, a request came my way to recreate it. The effort you see above was done exclusively from screencaps from the show; not bad, if I do say so myself.
"William G. Enloe High School West Building." I'll admit it, this isn't an exact replica; the real Enloe doesn't have a pond like this in front of the media center. Still, this is a highly detailed replica of my alma mater, and it looks very similar to the real thing. Even my fellow alumni from this school were fooled for a few seconds. By the way, the area just outside the media center is heavily forested, and there's a hill just on the other side of the breezeway.
"FAA Situation Room." I'm not sure if this layout is accurate or not, at least for the FAA; it's much closer to the control room from Goldeneye 007. Regardless, this beautiful and highly detailed interior was created for a terrorism project I did recently, to show the FAA hard at work. For that project, the monitors showed uplinks from satellites and planes all over the world.
"Family Feud." Gameshow sets are meant to look colorful and attention-getting, but few do it so well as does Family Feud. Since its 1999 premiere, this set has always been one of my favorites. Each image above represents a different era--from upper left to lower right; 1999-2000, 2001 (blue), 2001 (red), 2002 (Richard Karn's pilot), 2003, 2004, 2005.
"Revenge of the Students." I consider the Revenge of the Students project to be one of my best achievements; a complete CGI episode of the show, taking myself and four other members of the Class of 2003 and pitting them against the five scariest members of the Enloe staff. The set for this is a custom design, taking the best elements of all the show's different eras and combining them into what you see above.
"Jeopardy!" (1997). America's favorite answer-and-question game got a great new look in fall of 1996, when the set was revamped from the classic 1984 electronic look, to this, which has been nicknamed the "sushi bar" set. This was always my favorite era, because it wasn't too busy-looking (but was still nice and colorful), and yet looked professional and intellectual.
"Jeopardy!" (2006 Campbell College Tournament Concept Set). At one point in fall 2006 I was to be put in charge of a Campbell University version of Jeopardy, and I couldn't stop thinking how cool it might look if the real show came to see us, and made up one of their awesome travel sets. They'd recently been in the area to do some shows from NCSU, so I had an idea of what they might do for us--so I just started building, using some famous landmarks from the Campbell campus--along with traditional Jeopardy college set dressing "The Thinker"--and kept going till I came up with this.
"Home Office." Every man has dreams of having his own office...well, this is mine. It may be small, but at least it's comfortable and well-equipped.
"Joe Gates' Classroom." One of the projects I'm working on right now is a virtual Star Trek episode, and there's a scene that takes place in the ship's holodeck--and because the entire crew is made up of Enloe students, I wanted to use someplace familiar to them. This, the classroom belonging to Joe Gates, seemed like as good a place as any, because he's a fairly notorious teacher that's respected by the entire student body (I never had him, and that applies to me as well).
"The Loe Down." This is the main news set from room 117E I referred to earlier. It's a fairly simple set, easy to shoot and light. By the way, the main news desk is a hand-down from WRAL TV-5.
"MPAA Conference Room." Another project I recently completed dealt with TV and Film Ratings and as part of it I wanted to offer a look at where the MPAA's movie-ratings panel does their work. I couldn't find any photos of their viewing room, but I did manage to find a few descriptions. I did my best to extrapolate from there to create something visual; this was the best I could come up with.
"Mutant X - Sanctuary (Season 3)." This magnificent interior comes from the "Mutant X" universe, and was the secret underground headquarters for the action team of the same name. From here, team leader Adam Kane monitored world events and determined where his team's services were needed most. Seen here is the fortress as it appeared during the show's third season, a marked change from the first two years but altogether still a great-looking place. Note the numerous glass and stone touches.
"Mutant X - Genomex." Any good guy of course needs a nemesis to fight against, and for Adam Kane and his team, Genomex was it. Genomex was a biotech firm that was actually a secret branch of U.S. Intelligence, and they were initially responsible for the genetic therapies that created the mutants Adam Kane was fighting to protect. In the pilot of "Mutant X," Genomex was taken over by a ruthless man named Mason Eckhart, whose sole mission became to track down all the mutants the company had created, and place them in stasis to protect the rest of the world from their powers. Seen here is the central stasis chamber, overlooked by Eckhart's office.
"Mutant X - Sanctuary Lab (Season 2)." In the second season of Mutant X, following the defeat of Genomex, this interior suddenly began popping up occasionally as an extension of Sanctuary. In the show, it was meant to be used as a multipurpose lab and testing room, but observant fans will notice that this is clearly a redress of the same Genomex set as was used in the first season. This interior made sense in a way, because since Adam Kane was the chief biogeneticist of Genomex, it might make sense that some of the same technology and designs might come into play for his secret base as were seen in his former job.
"Nick Arcade." One of my favorite shows as a kid was this one, and I fully admit their ultra-cool set was one of the reasons why. The place looked like nothing so much as a huge video arcade, which had a great appeal to kids of all ages. I still say this is one of the coolest gameshow sets I've ever seen...
U.S.S. Voyager NCC-74656 Interiors
This set of interiors was created for that same Star Trek project that I referred to earlier. It takes place on board the U.S.S. Voyager, and so all these interiors were meant to look like they might belong to that particular vessel, and wherever possible match the actual interiors from the show as closely as possible.
Bridge. Located on Deck 1, the bridge serves as the command center for the entire ship. My version is pretty much a carbon copy of the one from the show--the only difference, two additional alert status bars, one each by Security/Tactical and Ops.
Brig. The brig, located on Deck 4, serves as the detention area for crewmembers that have become unruly and can no longer remain free among the ship's general population. Depicted are one of two security chambers, each with a single forcefield cell (pictured active) large enough to hold up to fifteen people.
Captain's Quarters. Located on Deck 3, forward section, the captain's quarters are by far the largest and most accommodating living space aboard Voyager.
Corridors. These passageways run through the entire ship and connect every section to one another. In the unfortunate possibility that a crewmember might become lost, at periodical intervals companels can be found that interface with the ship's computer. Also available are the direct voice interface that functions in literally every section of the vessel.
Holodeck (Deactivated). Periodically, crewmembers have need to separate themselves from starship life and just have some fun. For that, they can come to the ship's holodeck, a holographic environment simulator capable of recreating any object or locale--limited only by the imagination of the user.
Captain's Ready Room. Located on Deck 1 directly off the bridge, the captain's ready room serves as the work and meeting area for the captain. Made for comfort as well as efficiency, this room is lit softly and meant to look homely--but at the same time is equipped with status and repeater displays to keep the captain up to speed on the status of the ship. Also, note the small gold replica on a stand next to the door.
Briefing Room. Located on the opposite side of Deck 1 from the captain's ready room, the briefing room serves as a place for the senior staff to meet and discuss shipboard operations. As with the ready room, this room is lit softly to look inviting and be conducive to constructive thought. It is also equipped with a large viewscreen to provide computer access.
Residential Corridors. Located on Decks 2-8, this corridor design is meant to look less foreboding than the passages throughout the rest of the ship. These corridors provide access to all crew quarters and residential areas.
"Dimensional Portal Room." Anyone who saw the original Teenage Mutant Ninja Turtles cartoon knows what this is. This room, whose design changed throughout the show's run, housed the gateway between our dimension and Dimension X; the design you see above is based most closely on what can be seen in "The Shredder is Splintered," the finale of the first season.
"Press Your Luck." Gameshow fans will recognize this as the set to "Press Your Luck," the 1983 show whose mantra was "Big bucks, no Whammies!" For those who might not be familiar with this show, you would take spins on the Big Bord, and try to stop on a square containing cash or a prize. If you landed on a Whammy, a cartoon of a little red creature mocking you would play, and you'd lose all your winnings to that point. Four Whammies, and you were out of the game. A revival of this show, Whammy the All-New Press Your Luck aired for two years on GSN, and was hosted by Todd Newton. (It wasn't anywhere near as good as the original).
"Chez Barth's." This high-class restaurant was created for a special anniversary show for "You Can't Do that on Television." Because the original sets aren't around anymore, and to build new ones would cost a lot of money, their staff turned to me for CG replicas. This restaurant interior was one of several sets that I created for them.
"Technodrome." A perfect companion for the portal room interior above, this huge battle machine ("...five times the size of the Houston Astrodome" -Raphael, Return of the Technodrome, TMNT 2x13) served as the mobile headquarters for Shredder and Krang. It was never actually seen in normal daylight as you see it here; for Season 1, it was located underground beneath Manhattan; Season 2, Dimension X (planetoid); Season 3, Earth's Core; Season 4, Dimension X (asteroid); Seasons 5-6, Antarctica; Season 7, bottom of the ocean; and Seasons 8-10, Dimension X (planet).
"THX Logo." Ever wondered why movie-theater sounds sound so cool? It's cuz of this marvelous invention, THX. They have a pretty cool logo--and this is just one way I think it would look cool.
"The New Price is Right (1994)." Paramount Pictures sponsored this half-hour primetime version of the show, which sought to modernize the daytime version hosted by Bob Barker. In addition to updating all the music, offering higher-priced prizes, and bringing in Doug Davidson as host, they built an entirely new, modern, and high-tech set. It took some getting used to for longtime fans of the daytime show--the logo is cool, but the square door borders just looked odd--but in its own right this was a great-looking design.
The Price is Right
Ask anyone, and they'll tell you that they've seen The Price is Right at least once. This show has perhaps one of the most famous set designs in television history; and yet, if you look carefully, you'll notice some subtle (and not-so-subtle) differences through the years. I've had this model for a while, but I only recently finally perfected it and began making different versions. Let's have a look at some of the landmarks of the last two decades:
Season 14 (1986). When I first started watching TPiR, this is what I was seeing. In those early days, the Big Doors still had their 1970s-era flair, reflected in both their designs (most noteably Door #2) and the fact that the strips on the frames were all different colors. In some ways, I like this set the most, because it harkens directly back to TPiR's beginnings, even though it's not quite as sleek as later designs became.
Season 20 (1992). Kind of a step in between, Season 20 saw some slight changes. Although the doors kept their classic designs, the strips all became gold, and the turntable's trim went gold to match. Also, as you can see, the carpet went from green to red.
Season 25 (1997). In the show's 25th Season, the Big Doors got a touch-up, introducing designs that had a much more celebratory feel than their predecessors. And rightly so--after all, 25 years on the air is no small accomplishment. These have always been my favorite door designs hands-down, because they brought new color and detail to TPiR.
Seasons 31-34 (2003-2006). Season 31 officially said goodbye to the white doors (for good?), and in their place were introduced these starburst door designs. Along with the colorful and attention-getting doors came new, glittery door frames, and a blue wall to replace the classic black (both of which were first introduced during the summer of 2002, in primetime specials saluting the US Armed Forces). At first, the turntable featured the Hollywood mural seen on the far left--but it didn't last more than a few months before being replaced with a recolored version of the classic turntable (middle left). Although the colors now in use go well with the Big Doors, I'd rather have the mural. (And no, they don't actually use HDTV monitors on-stage like that, nor is there one at the back of the studio--those are there from a different project I did that called for some extra touches).
Seasons 35 (2006-present). Season 35 saw yet another revision to the Big Doors. Continuing the trend of the past few years, the flowaround pattern is now completely gone, in favor of the starburst pattern that appeared in 2003. I have to say I like the rainbow pattern, but I miss the flowaround design. And I have to say I miss the splash stands that were onstage during premiere week.
Million Dollar $pectaculars (2003-present). Beginning in 2003, TPiR returned to primetime with a series of special shows entitled "Million Dollar $pectaculars." Although the format remained unchanged from the daytime show, the prizes were much more expensive, the cash values were all increased--and as a special change, the top prize on the Big Wheel went from $11,000 to a whopping $1 million. To date, no one's won it--but it's only a matter of time. In any event, these MDS shows used a door design that was a lot simpler than anything ever before seen--rather than using the flowaround pattern, these were simple dollar signs beneath the MDS logo. To this day, I've never liked that design, but repeated requests to see a render of them prompted me to draw them anyway. The turntable deserves a special callout here--the first few MDS shows were notorious for using murals, but to my mind the only one that looked good was the primetime Hollywood mural (pictured far left). The last few MDS shows I saw all employed the daytime turntable, which I think works just as well as any mural ever could. (Same story here as above for the HD displays)
Million Dollar $pectacular (Custom). I let my imagination run wild...and this is what it brought me. For a long while now I've been working on my own CG episode of TPiR, but I never quite finished the first version. After a long hiatus, I'm about to start on a second and much-improved version--and this set is the one I'll be using. It takes the best elements of the old (the Season 27 doors, for example, or the classic colors for Contestants' Row) and combines them with the best of the new (the primetime Hollywood mural, or the HD displays, or that nifty gold logo at the back of the studio). I'm really looking forward to seeing this model in action...
"Who Wants to be a Millionaire." In case you couldn't tell by now, I'm a big gameshow fan, and so far be it from me to speak ill of one of their set designs. Still, the WWTBAM layout is definitely a unique approach to set design--rather than having an audience and a stage facing one another, this time the set is a 360-degree space surrounded on all sides by the audience. It's innovative, but it definitely takes some getting used to--and, if nothing else, that 360-degree design made it a real challenge to model like this.
"You Can't Do that on Television Link Set." Another of the sets I was asked to recreate for the YCDTOT special was this link set. Resembling nothing so much as a schoolyard jungle gym, this was the backdrop for one of their comedy sketches and was an extremely difficult piece to model--in addition to having to have all the different links line up, they had to do it in the shape of a half sphere.