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Here is the Revell version D7. I think that the kit is well engineered, and overall looks pretty close to the Round 2 version. Just the scribings on the top hull and bridge from the Deep Space 9 version make it different. The paints are Krylon Satin Pistachio and Rustoleum Painters Touch Satin Granite. Decals are awesome and look painted on.















 

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Oooh, very nice!

They may not be screen-accurate, but I like the scribed lines on the top of the hull. I find it kind of strange that they don't continue across the rest of the surface; it make the other parts of the ship look kind of less finished by comparison.
 

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That is a beautiful model, but I have to admit that I really dislike those engraved lines... they should have kept it true to TOS, and made it smooth, and not retconned from DS9 or ENT. But your model came out great, and the paint job looks awesome... great job!
 

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My only issue with this is the color choices made. Yes, I know the reason for painting as it's painted, but it's just too... VIVID... for my tastes, and looks nothing like what I see on my TV screen.

A more subtle, "desaturated" approach would look better, from my standpoint. But... you didn't build this for me, you built it for yourself, so as long as it's what you wanted... who am I to question it? :)
 

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I think when I finally get around to building another D-7, I'll go for a slight two-tone gray, rather than the green & gray of the shooting model.
 

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If you feel like going non-screen accurate, try shades of dark and light gunmetal instead of grey and green. I painted my last D-7 that way and it looked great!

(I'd post some pics, but it met a warrior's death battling gravity (i.e., fell off the shelf and went smash :())
 

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I'm working on an ERTL 25th anniversary reissue D7 for a client. I used the Krylon Celery with Krylon Classic Gray. Those look pretty close to the colors on the studio miniature I have seen.

Photos will be posted on the website soon.

It still looks ALL gray on screen to me.


Geminibuildups

GEMINI MODEL BUILD-UP STUDIOS
www.geminibuildupstudios.com
 

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When I did mine, I did it with a green-shaded grey and a blue-purple-shaded grey. In several areas, I used my airbrush to shade it a bit.

I've always been convinced that the reason for painting the mini the two shades was because they wanted to be sure that the shape of the thing could come across on-screen (even when all the detail was getting "blurred out" and the studio lighting was making it uniformly lit... ie, no shadow effect to speak of).

We know that the green totally disappeared when shot. Mainly because this was processed with multiple passes on the optical printer, all using Kodak film (which, as discussed elsewhere recently, removes a significant portion of the green tinting from any shot... hence why command tunics on screen are not at all green, while the tunic fabric used did have a bit of green shade to it).

The green was captured on the first-pass shots, albeit paler than you might expect it to be. Subsequent optical printer passes would remove effectively all traces of green, or "purple" for that matter, green, but would retain the "different shades of grey to show the ship's overall shape" effect that they were going for.

So... when I did my AMT Klingon ship, I used just the most barely detectable hints of the green and the purple tints.
 

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We know that the green totally disappeared when shot. Mainly because this was processed with multiple passes on the optical printer, all using Kodak film (which, as discussed elsewhere recently, removes a significant portion of the green tinting from any shot... hence why command tunics on screen are not at all green, while the tunic fabric used did have a bit of green shade to it).

The green was captured on the first-pass shots, albeit paler than you might expect it to be. Subsequent optical printer passes would remove effectively all traces of green, or "purple" for that matter, green, but would retain the "different shades of grey to show the ship's overall shape" effect that they were going for.
The truth is the Klingon ship was not shot with just white light, but was lit with cyan-filtered light from below, which had the side effect of lowering the contrast somewhat. The film stock used was Eastman 5254, which was a full stop faster than what the Enterprise was originally shot with. I have no idea what "subsequent optical printer passes" you are referring to to remove color. Nothing like that was ever done on the Klingon ship that I can recollect.
 

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I can live with the engraved lines on the hull - but what were they thinking with those horizontal grill inserts?!? Wrong on all counts...
 

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I can live with the engraved lines on the hull - but what were they thinking with those horizontal grill inserts?!? Wrong on all counts...
I saw that as well. I don't see anything about the Revell Germany kit that would make me want to buy it instead of an original AMT kit, or at the very least, a Round 2 repop.as for the hull engraving, if someone came up with a Klingon version of an Aztec mask pattern you could do a very cool paint scheme using two shades of paint that were subtly different on a smooth skinned kit.
 

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The truth is the Klingon ship was not shot with just white light, but was lit with cyan-filtered light from below, which had the side effect of lowering the contrast somewhat. The film stock used was Eastman 5254, which was a full stop faster than what the Enterprise was originally shot with. I have no idea what "subsequent optical printer passes" you are referring to to remove color. Nothing like that was ever done on the Klingon ship that I can recollect.
Prior to CGI, almost no effects shots were ever achieved without multiple optical-printer passes. It's not like today, where you can capture an image digitally, and then digitally matte it into a frame. Only on rare occasions, when things could be done entirely in-camera (such as Trumbull's work on 2001) could you avoid the issues related to the "several layers deep" optical compositing process.

Every single time you see any ship, on TOS Trek (or virtually any other SFX-rich show prior to digital compositing), you're seeing something several generations of film away from the originally-shot footage.
 

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I am well-aware of production, optical and digital processes, since that has been my profession for several decades. :)

I just wanted to be certain that the obvious misinformation from the earlier quote was corrected for the benefit of other readers.
 

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I am well-aware of production, optical and digital processes, since that has been my profession for several decades. :)

I just wanted to be certain that the obvious misinformation from the earlier quote was corrected for the benefit of other readers.
What "obvious misinformation?"

I stated that, as an effect of putting the old effects shots through multiple generations of processing, through the optical printers, and with every single pass being done on film which, in this case, was Kodak film (meaning which removes a portion of "green" in favor of more yellow-orange), the green of the miniature almost entirely disappeared.

That's not "obvious misinformation." That's the truth. If you've worked in the process, WITH OPTICAL COMPOSITING, for several decades (and I have no reason not to believe you), I know you already know this.

So... please, explain in more detail what you believe I've said that is "obvious misinformation." If I'm laboring under a false understanding (held for half a century), I'd sure like to get my misunderstanding corrected.
 

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I saw that as well. I don't see anything about the Revell Germany kit that would make me want to buy it instead of an original AMT kit, or at the very least, a Round 2 repop.as for the hull engraving, if someone came up with a Klingon version of an Aztec mask pattern you could do a very cool paint scheme using two shades of paint that were subtly different on a smooth skinned kit.
And ... the AMT/R2 repop is cheaper to buy!
 
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