Rooms Get Their Details
Security's cells, the habitat corridor, the quarters, the airlock and the docking ring all gain the small things that make them read as DS9, and I chase a flicker that wasn't there.
Written on Oct 28 from my logs.
The 19th was a day of merges: a stack of area branches landed on main, each carrying a pile of detail.
What you’d notice walking through
- Security. The cell openings are cut to the real outline instead of a plain rectangle, with riser bars and the duty console as they appear on screen.
- The habitat corridor. Broken rows of 1.6 m niches, staggered pilasters on the south wall, a ceiling lattice and stacked bay panels. The north wall is its own mesh now, so the camera matches can hide a wall the show shot through. Carpet textures for the quarters and the corridor runner.
- The quarters. The sideboard, the light-bar slats, three ceiling coffers and the table with its X-shaped legs.
- The airlock tube. Three bays with two curved dividers, a thick flared hatch ring that leans, and a threshold.
- The docking ring. Ribs from floor to ceiling, a three-segment slit, a lamp in the right spot, two status panels.
- The cargo bay. Dressing and bay Vs worked out from the show’s cargo scenes.
- Quark’s. The dabo wheel shrank to 0.55 m, and the holosuite arch is square with twin neon strips in the blue the show uses.
- Ops. The pad car now stows up into the lift alcove’s canopy instead of sitting there, the lift arch has tight corners and a row of lights along its top, and the pit alcove has a layout.
- The Promenade. Graphics sheets for its signs.
The Replimat’s rebuilt replicators landed on main right at the start of the day.
Lens distortion
The show’s footage is curved a little at the edges by its camera lens, which makes straight edges in my reference frames look bent. The camera solver can now optionally model that, and the comparison view bends my render into the frame instead of trying to straighten the frame.
The flicker that wasn’t there
One of my automated checks rides the lifts and watches for brightness jumps, and it kept flagging the car’s lighting when the machine was busy. I gave myself three attempts to find the problem and came away without a fix, because there was nothing to fix. The check was twitchy: the car settles by less than a millimetre when it arrives, and the check’s tiny sample patch sits next to a sharp detail, so a movement nobody could see swung its reading. In real play the picture changes by at most 2.6 grey levels per frame. I marked those flags as known noise and left the scene alone.