CREATING THE FANATIC FRAME
![[lector cell-AI]-frame 2.0-2400.jpg](https://static.wixstatic.com/media/a7fe49_576aa2eca944481daba8de00617eea7d~mv2.jpg/v1/fill/w_1017,h_625,al_c,q_85,usm_0.66_1.00_0.01,enc_avif,quality_auto/%5Blector%20cell-AI%5D-frame%202_0-2400.jpg)
What is the Fanatic Frame? Its combining a love of digital images with the love of movies. Its finding the perfect frame or frames within a scene, taking them into the playground of photoshop, and creating an ideal image. High resolution conversion, color correction, compositing, mixing multiple frames, and arriving at an image that best captures the feeling, essence, and meaning of a scene or entire movie, into a single image. Not just a film still, as no such frame need exist in the film reel, but a completely new image, with only one prerequisite — that it be awesome.
Concept art perfectly realized
From the dark mind of H. R. Giger, this frame is an example of what a strong conceptual artist brings to a film, and is a testimony to the set designers, cinematographers, and ultimately directors ability to realize the concept so beautifully on screen. The camera pulls back from the emerging explorers in a sweeping crane shot to reveal the enormity of their discovery.
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What makes this a Fanatic Frame: Upscaled, color balanced for max-clarity and texture. That's it. Perfect as-is.
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Check out more H.R. Giger concept art Here!
H. R. Giger's original concept art
Star Trek II: The Wrath of Kahn — 1982, Original property rights Paramount Pictures
I am and always shall be, yours.
Star Trek was a huge part of my growing up, and Spock was the man. This scene from The Wrath of Kahn is one of many that make this undeniably the best Trek film of all, and this is my best stab at the perfect frame to represent. Kirk looses his best friend saving the ship, and we, the audience loose our favorite Star Trek character in only the second film. Sure, he comes back again and again, but It was a cinematic gut-punch back in 1982.
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What makes this a Fanatic Frame: Upscaled from a 4K digital to 12K using Topaz AI, then layered in photoshop for maximum clarity, texture, charter separation. Cropped in from it's original wide screen, wide shot to bring us into the moment in a single image. Artistic licence bonus feature — realistic radiation burns on Spock's face to replace the less-than convincing original make-up effects. (the poor make up effects in the original barely held up then, and fail miserably in 12K.) The texture effects here are lifted from actual radiation burn images (to get down right gross about it.) Production geeks click here for layer-by-layer production notes.