All we do know is that the grille wasn't bare metal, no glossy finish was used, and in most shots the panel was very dark and the grille a bit lighter. Therefore any colour choices are a best guess, and to taste. The shades of black and grey look different from shot to shot owing to lighting and camera angles. We don't know the precise colours used for the panel and grille. I’m still unsure about the ring height, and I feel that my version might be a millimetre or two too high. I had to make guesses based on side views of the faceplate, especially the one in the pod bay. We don't know the precise vertical elevations of the prop. Owing to design tweaks I went through several custom-cut Dibond panel pieces and dozens of MDF blocks that the frame would be screwed into.īut in the end I think it was worth it! If you’re heading to Madrid next week for the opening of the Kubrick Exhibition at the Círculo de Bellas Artes, check out my baby. I tested many different heights before settling on 0.2mm. I also printed piles of test prints to get a grille with a wave pattern that looks like it did in the movie. I went through several different LED types to get something suitably bright, and 3D-printed some cylindrical custom holders for them. I had to strip and repaint the final grille several times before the texture was satisfactory. I went through around 4 shades of black paint and 6 shades of grey paint (3 greys more failed to arrive!) in an attempt to get the panel colours right. Time being short, I had to scramble to find two more machinists to redo the parts in time for the museum deadline. The first machinist I hired lost all the parts in the mail, by shipping it untracked. Plus, of course, it had to be utterly perfect and precise in its construction. Despite its apparent minimalism, there’s more to the design than meets the eye. Warm white with a red filter to replicate the filtered tungsten light used in the film. Internally lit with an LED for low power consumption and longevity. For cost and production reasons, a custom-printed vinyl logo sticker rather than the waterslide decal used in the original production.
The correct font for the logo ( Monotype Grotesque No. Nobody has ever managed to produce a grille that looks like the ones they used in the film. 3D printed speaker grille to implement the subtle "wave" pattern. Lens to be fastened to the faceplate using its Nikon F lens mount. The brushed finish should be very subtle, and the surface black and fairly non-reflective. To save money, brushed aluminium Dibond (laminated composite) for the main panel instead of building the whole thing around a solid metal block. Yes, they’re crazy expensive but you can’t beat the look of the real thing. The outer bars would be undercut to create an overhang on the outer edge, and all bars would be slotted to fit the panel and grille components neatly. All dimensions to match the Ordway/Johnson blueprint.
I would use a custom-machined aluminium frame and mounting ring.
The Exhibition - Círculo de Bellas Artesīased on my research I formulated a cunning plan. The show opens on 21 December in the Círculo de Bellas Artes in Madrid, Spain. And the team in Spain did a lovely job of installing it in their “brain room” in Madrid. There are a number of minor drawbacks and limitations to my model for the usual reasons - time and money. And finally Karl Tate's research, that yielded two commercial prop replicas, was invaluable. Third, Adam Johnson's publication of Frederick Ordway's production blueprint verified the key dimensions of the faceplate, at least from the front.
#HAL 9000 SCREENS MOVIE#
Second, the 4K Blu-ray release of the movie gave us high-resolution images from the actual film at long last. First, the discovery of the actual lens model used in the movie - a Nikkor 8mm f/8 fisheye - by Amadeus Prokopiak and others was the Rosetta Stone. Four sources of information made this grand claim possible.
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