The final Christian Pearce post of this week features his designs for chunky, alternative universe, WWII fighter-bombers:
Ghidoragh is a New Zealand chip-tune band who just put out their first EP, called Threat Level Ultra. But rather than releasing it on vinyl or CD they’re selling it on… 3.5 inch floppy disk (and digital download, but that’s less weird/trendy).
The design and packaging were a fun side project for the WETA Works guys (including our friend Christian Pearce), and has a rad 90s computer game cover vibe…
After yesterday’s post on Christian Pearce‘s work on District 9, here’s a small sample of his Elysium designs.
He was obviously involved up to a later stage in the concepting, as the thought that’s gone into the designs and the finish on them is great.
One of the things I love about Neill Blomkamp’s first two films is how natural the futuristic technology feels. Like the Alien films, it isn’t all glowing ports and polished white surfaces, it’s practical, industrial and as a result it’s incredibly real-feeling.
And it turns out that the way you make something feel real is to pretty much design it for real. The image showing the construction of a robot chassis is fantastically detailed, and I adore the instruction manual approach to the rocket launcher:
Slightly unintentionally, this week is going to be all about Kiwi special effects house WETA Workshop, who’ve worked on Peter Jackson’s Lord of Rings and Hobbit films, Mad Max: Fury Road, Avatar and (most relevantly for this post), all of Neill Blomkamp’s films.
Christian Pearce is one of the WETA artists who worked on District 9 and Elysium, and because of that he’s getting two posts. One for weird aliens and their technology and one for ROBOTS (and guns).
It’s interesting to see how designs evolve from concept to screen. The weapons and tools kept the convoluted, intricate, functional look of industrial physics experiments, but the aliens (prawns) lost some of the homeless Granny vibe they have here…