A blender is more than just a kitchen appliance. It’s also a free tool to create some amazing Stargate graphics! Join Stargate fan James Young as he expresses his love of the show with beautiful digital art.

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Timecodes
0:00 – Opening Credits
0:27 – Welcome
0:43 – Guest Introduction
2:46 – Getting Started Using Blender
4:49 – Turning a Hobby Into Professional Work
6:04 – How long have you been a Stargate fan?
7:15 – How long does take to compose a simpler scene?
9:52 – How to Add Your Own Custom Planet
11:11 – Unreal Engine vs. Blender
13:16 – Star Wars Scenes
17:13 – Stargate Inspiration
18:00 – Destiny Eye Candy
22:35 – Daedalus-Class Battlecruiser
23:20 – SG1, Atlantis and Universe Animations
24:38 – Lantean Aurora-Class Battleship
26:01 – Atlantis Cityscape and Interior Animations
29:11 – Wraith Hive Ship
31:27 – Mountaintop Stargate
33:12 – Star Trek: Deep Space Nine – U.S.S. Defiant Animation
34:47 – Learning From Mistakes
37:15 – Confidence in the New Stargate
38:16 – Hope for a Consolidated Story
40:35 – Social Media Influence on New Shows
42:03 – Balance Between Pleasing an Old and New Audience
45:11 – Keeping Expectations Realistic for New Stargate
49:28 – Upcoming Projects
52:42 – Excited for New Stargate
55:11 – Thank You, James!
57:04 – Wrap-Up
1:01:02 – End Credits

***
“Stargate,” “Stargate SG-1,” “Stargate Atlantis,” “Stargate Universe,” and all related materials are owned by Amazon MGM Studios.

#Stargate
#DialtheGate
#TurtleTimeline

TRANSCRIPT
Find an error? Submit it here.

David Read:
Welcome to Episode 399 of Dial the Gate: The Stargate Oral History Project. My name is David Read. I am the host and executive producer of this channel. Teryl Rothery is gonna be joining us for episode 400. Until then, James Young of Venture Pictures. This kid and what he can do with this utility, Blender, it’s more than an appliance in your kitchen. It is a free tool that, with enough time and determination and your willingness to sit and explore people creating content on YouTube and them showing you how to use the tools, you can create almost… I keep on thinking of George McFly. Or Marty, I guess, and then George. If you put your mind to it, you can accomplish anything. That’s what this guy has done. I have been blown away by his content on YouTube and Instagram. I reached out to him and I said, “Look, A, I want that shot.” There was a specific shot, it’s Atlantis on the water, that he originally put out. I was like, “I want that for my end credits, but I have some tweaks. You have to light the central spire and some of the other towers and I want there to be mist on the water. I want halfway through the shot for the stars to come out.” We’re gonna spend some time with James, you’re gonna get to meet him. He’s a passionate Stargate fan. He has some ideas about what he wants to see in the new show, so we’re gonna share some of those as well. We’re gonna get a little bit into Star Wars, Star Trek and Battlestar Galactica. Anything with star in the title, basically. Let’s spend some time with him and get to know him as an artist and as a Stargate fan, ’cause he’s gonna be collaborating with me on some different content through Season Six of Dial the Gate as we get into this mega-enormous season together. Let’s bring in James Young of Venture Pictures. How are you, buddy?

James Young:
Not too bad, man. How are you?

David Read:
The sun is coming up here. You’ve had it for a little while today. But you know what? I’m gonna take advantage of golden hour and see how I feel about this shot as it becomes absolutely unbearable. Dude, your work is genius.

James Young:
Thank you, man.

David Read:
Your visuals are so captivating. What I’m learning from you is that it’s not as hard as a lot of people might think it would be using this technology. How long have you been using Blender?

James Young:
So, with Blender, I think, sort of a lot of people, I have the same story, where during COVID, I think we were all locked in a bit and sort of not doing what we were usually doing. I think I sort of discovered through Blender that actually, there’s so many things that you can do. I think that what a lot of people sometimes struggle with is they see it, they get completely overwhelmed with it, and they go, “I could never do that.” What I think I realized is that there’s so many free resources out there that a lot of really great people share, that I sort of started using a lot of those resources to discover myself and, “How do I wanna make these scenes that are in my head?” I think with all the models and with a lot of YouTube tutorials, I think also community building and sort of making connections within the 3D community, I think then you start gaining a bit of an understanding bit by bit. Looking back on, say, what is it now? The last six years since COVID, in those six years, I’ve learnt a lot, but I’m still learning. If you trust the process, really stick at it, stick at it, and you’re really passionate about something, I think you’re gonna get there. I was saying before, a big believer in collaborations. I think that if you don’t know what you’re doing, I think it’s always good to sort of search out people who do. There are so many good people out there who do wanna help you. It’s not a gatekeeper-y thing. I think that anyone who is gatekeeper-y, they don’t last. I think they come and they go quite quickly, I feel.

David Read:
Unless they’re extraordinary and unto themselves.

James Young:
I think collaborations, for me at least, I definitely enjoy it. For me, it’s a fun hobby. If that hobby turns into more work one day, then I’m all for it.

David Read:
Did you ever see yourself at any point being able to do this professionally? Or is this purely a hobby?

James Young:
Honestly, I don’t know. I think I originally started sort of doing it as a bit of a hobby. As I went on, I definitely discovered that there was a way to make some work out of this, be it through commissions, be it through sort of the typical influencer-y social media monetization, or by being employed by a big company. I think these days, the options are so much broader than what they were. I think the pathway into these jobs was maybe simpler in a way, whereas now, actually, you can make your own stuff online. You could make your own IP. With Blender and a lot of these tools out there, especially Unreal Engine, for better or worse, I think it has allowed people to express things, be it from franchises they love, Stargate and Star Wars, or even try and make your own stuff. There are so many talented modelers out there too that I think it’s almost overwhelming, isn’t it, on which direction do you take? For me, I don’t know. I’m still figuring that out.

David Read:
There is an abundance of choice, for sure. This is a Stargate show. How long have you been a fan?

James Young:
Honestly, since day dot. I was born in ’92 and I think with Stargate, the fun-ness of it when I was younger sort of captured me. I think, sort of as a family, we all sort of love Stargate. I think the quantity of episodes and the fun of it, it has so much for everyone, and I think that’s really hard to find in sci-fi these days. Christopher Judge said it in one of your interviews recently. It’s full of hope, and it’s fun. I think a lot of sci-fi has become very doom and gloom, and as much as I love the Battlestar Galactica’s of this world, I think Stargate filled a void in sci-fi we’ve not had in a long time. I really do hope with it coming back, it sort of finds those old roots again, for a bit of fun, a bit of hope. It can be serious. It can be thought-provoking. It can be literally action and I think that’s what Stargate did so well. As a fan, I think I’ve always loved it. It captivated me and it’s definitely one of those pillars that’s really influenced my work and at least what I do, sort of in terms of space scenes and all that sort of stuff. It’s a huge inspiration.

David Read:
I am thrilled to have come across you. I can’t remember which one it was that you… I think it was Atlantis on the water, where it was like, “I must have this.” I reached out to you and I was like, “Let’s make a deal.” You take a chance on folks and it’s, “are they gonna respond? Are they not? Are they gonna promise something and then not deliver?” Your output rate is staggering. You’re like a duck to water, man. Let’s take a look at something, quote, unquote, “simpler” here. This is USS Voyager. How long would something like this, not render time, but in terms of composition, how long does something like this take to compose?

James Young:
It really depends. For me, I tend to sort of block out the idea first. That might take maybe an hour, sort of blocking out the idea and how I want the shot to go. I do a lot of research on shots too, so beforehand, I’ll be going through YouTube or, as I’m doing a rewatch usually of TV shows, I get these ideas. I think you get all this inspiration beforehand. I’d say an hour, two hours, comping it out. In terms of the asteroids and things like that, I’ve learnt now to use geometry nodes in Blender, that takes, I would say, minutes to sort of set up.

David Read:
Really?

James Young:
Honestly, there’s so many free assets now. Blender Kit is one of them and Sketchfab, where you can drag and drop these assets straight into Blender. All it really is a case of is: Where do I want it to move? How do I want it to look? How does the lighting go? Where do I want that planet? I think with Blender, what I discovered, it’s all the add-ons that make the work easier. I’m sort of a big fan of things that can save time, but in a way that’s good, if you know what I mean? I still wanna keep a certain quality, but I also wanna save time when outputting a lot of stuff like this. The add-ons for Blender really have sped on my process. I’d say in a good three or four hours, I can sort of get that done. Much like the Atlantis one that I did for you. Once I’ve got the assets and once I can place it, then it really is a case of the camera and the color design and everything like that. That’s sort of, I’d say, the longer process, the sound design and the post work. I’d say that probably takes longer for me.

David Read:
The planet that’s in this shot, is that a stock planet, or do you have to design these things?

James Young:
No. Basically, what you can do, which is a bit of a cheap and easy way, you can get an image plane, essentially, and you can make your own planets and then stick that image plane essentially, very large, in the Blender scene. It will look like a normal planet. There’s this add-on for Blender called Custom Planet. It’s a bunch of pre-made, all-designed planets, and essentially, you can swap in and out and change, say, the cloud texture on top, how the planet looks, the color. You can make your own and stick it into the file. With Blender, it can appear very difficult from the outset and it is hard to start learning. It is a steep learning curve. But I think once you get a handle on the add-ons and how it all works, there are some really great tools out there which you can pay for, which honestly, in terms of Blender and 3D stuff, it’s not that bad. Unreal, I’d say, is probably more costly in how certain add-ons go. With Blender, I don’t know. I don’t think it’s a hot take, as a lot of people say it, but I find Blender looks better at its best. I think Unreal Engine has a look about it sometimes, but I still think it’s good. It’s still fantastic, but I think Blender, for a beginner at least, you can really get on well with it.

David Read:
Unreal feels more like in-game, whereas Blender, at least to me, looking at it, feels more like cinematic gameplay footage.

James Young:
Agreed. Definitely.

David Read:
It would go along with the game, but it wouldn’t be in an in-game engine, is what I’m trying to say.

James Young:
Definitely. It’s called Cycles, the render engine. It is so accurate to light. For any sort of artwork, you see that’s 3D, usually it’s made in Blender. Unreal can look fantastic, but there’s something about Blender I keep going back to, even though I sort of do dabble in Unreal and have fun with it. Blender’s one of those programs I think I feel like I get on with. For whatever reason, I enjoy it.

David Read:
When you find something and it gives you what you want, don’t fix what isn’t broken.

James Young:
Exactly.

David Read:
As long as you’re getting what you want.

James Young:
Definitely. It’s very long to render though on Blender. That is the only caveat. I’d say that Voyager scene, in 4K, probably took four or five hours to render. Whereas if that was Unreal, that’s done in minutes.

David Read:
Wow.

James Young:
There’s a big difference. Unreal can take longer if you do it properly as such. Unreal’s real-time engine is why a lot of people use it. It’s so much quicker to chuck out a really high-quality piece for socials. If you’ve got a 20-second video you wanna do, honestly, you could chuck so many out in a day with Unreal and I think that’s why Unreal’s become such a powerful tool, especially in industry too. It’s lowered costs maybe and time, which is money. There are definitely positives to all these tools. I wouldn’t ever say one way or the other. I think there’s a tool in a toolbox and I think it’s important to learn as many tools as you’ve got really and I think that’s definitely what I’ve learned in the process. Don’t get too stuck in your lane. If it works, it works. But definitely, if you can expand and try something new, do it.

David Read:
That’s the other side of this for sure. Let’s take a look at Star Wars. This is Valiant Class Firepower at the Battle of Coruscant. These are obviously character models. Now, is this all you, or did you do this with help?

James Young:
Yeah. I did this with a Quantum Biscuit who’s on Instagram and he goes by Joe Wiltshire, I think it is, on YouTube. He’s a really talented 3D modeler. I went to him with this idea of, “Hey, dude, I really want an internal shot from Revenge of the Sith. Is that something you can do?” He was like, “Yeah, sure, man, I’ll give it a go.” Within, I think it was two days or three days, he came back with this model of the interior. I was like, “Wow, this is amazing. How did you do this in two days?” The guy has such an efficient process and he did the models for me, did a bit of the animation and then I sorted out the scene and the post. The plan with this is to make something a little bit larger in the year, like a few other creators. It’s still in early phases, but it’s definitely on my list. Also, in that video there, there’s a Valiant Star Destroyer. That’s the bigger one that jumps in after this shot, which I really love actually. When this one jumps in… Where is it? There.

David Read:
Pow. Wow.

James Young:
That guy. That was done by Eve Caneda, I think his name is. He’s another really talented 3D modeler. I actually gave him a PC. It sounds bizarre, but he was creating a lot of stuff for Battlestar Galactica and other things on basically a potato. I found out through someone that he was doing it. I was like, “Dude, you can have my old PC. Make me some 3D models or something.” We sent it off to him and then that was sort of my payment, I guess, for the PC. I was quite grateful of that. I was happy to get rid of an old PC and also gain a really cool model in the process. It was a really good deal, actually. I really enjoyed that one.

David Read:
That planet is having a bad day down there.

James Young:
100%. That’s the same planet add-on, actually, I was talking about earlier. I was saying about you can texture on different bits. On the bottom there, it has different options for, say, fire on the surface and stuff. If it’s an image plane, it makes it a lot easier to render, whereas I think sometimes a lot of people overcomplicate the scene. I used to do it and I used to think, “If I need a planet, I need a proper 3D mesh planet.” These things really slow up your scene and make it harder to, I think, get bigger scenes done. I’ve got better. I’m still learning, but I’ve got better at simplifying scenes down and only really putting in the shot what you see and trying to sort of trick certain bits with the planet add-ons and things. It’s a really high-quality planet. You wouldn’t know, I’ll be honest, watching it, or care probably, whether that’s a 3D mesh or not. If it looks good, then that’s, I think, what the audience mostly likes.

David Read:
If it’s pulling off what you need… there’s a Mercury class right there.

James Young:
What was that one? That’s one that’s not finished yet by, I think, the same guys. It’s 3D SciFi. Eve works for them or does some stuff for them. That’s a Battlestar I think that they’re making still, but I used it in this shot.

David Read:
It is in dry dock.

James Young:
It is in dry dock. Still working.

David Read:
Under construction. That’s it, man.

James Young:
Can’t think of the name of them.

David Read:
That’s so cool. One more Star Wars and then we’re gonna get into Stargate here.

James Young:
Let’s go. This one was really dynamic. I really pushed myself a bit on this one. It was Hot Wheel Design as well who helped do some of the environment on this one, really leveled it up. All the animation and stuff, that’s all me.

David Read:
Very cool, man. Well done. So, you heard that Stargate was coming back.

James Young:
Yep.

David Read:
And you had to go for it.

James Young:
Definitely.

David Read:
What was your first idea to create this? Not what was your first idea of SG4, but what was your first idea in terms of, “I wanna express myself in this fashion?”

James Young:
In Stargate, it was mostly Atlantis, I think, for me. I really love SG-1, and that was the first. But Atlantis came along when I was a little bit older and for me, the Ancient storyline always captivated me. I always loved the Ancients and how it was all woven into that large story for SG-1 into Atlantis and then Destiny. For me, the first thing I wanted to do was a Destiny shot and that took a little while to come together on the page. It was a real struggle to find a good model for that but I did manage to find one. I really wanted to make a nice Destiny flyby or recharging in the star, that was the initial thing for me. As much as Atlantis was my favorite, I’d say, show overall, there was something about Destiny that I liked the look of. It ticked a lot of boxes for me.

David Read:
It’s my favorite, unapologetically.

James Young:
Destiny captured me. Because I’m such a big Ancients fan, I guess, it really ticked a lot of boxes. I think they tried to sort of go down that Battlestar Galactica vibe, and honestly, I liked it. I think Season Two really did kick up quite nicely and it’s a real shame we didn’t get a finalization of it. I do hope that we get some resolution to what happened. I think the show, maybe it came around in the wrong time for the studios, maybe, but I do believe that that show got very good and I think that if carried on, that would’ve been one of the best, honestly.

David Read:
There was a lot happening there. The studio wasn’t having a good time with the studio. There’s a lot to unpack. I love the atmosphere of this star that you have against this ship. Have you seen Sunshine?

James Young:
Yes, I have.

David Read:
It reminds me a lot of that.

James Young:
That actually was completely by luck. Thank you. I’m glad it actually came off, ’cause that was actually part inspiration, ’cause Sunshine, unironically, was one of my favorite films for a long time. I haven’t seen it in a long time, but it was one of my favorite films. I think Destiny, the whole show sort of captured into that bit of me that really loved Sunshine. It was a weird connection. I’m glad that actually came through because that was partly the inspiration for some of it.

David Read:
You don’t normally see clouds in proximity to a star. That’s one of the elements of Sunshine that I always took away with me: you can get away with all kinds of things. It’s on fire, so it’s smoke. But there’s no air, so, hey. Look, there’s sound in space, damn it. You have to pick one.

James Young:
There is. 100%.

David Read:
That’s all there is to it.

James Young:
Definitely. There is sound in space. I think you can’t have no sound because it doesn’t make sense. As much as it makes sense not to have sound, I think you have to for the atmosphere.

David Read:
That’s just it.

James Young:
Otherwise, the shot doesn’t look right. If you watch scenes with no sound on in space, it doesn’t make sense. That’s why they have those loud sorts of booms. I think Battlestar Galactica, again, did a really good job with sound design in space. I think they nailed the compromise.

David Read:
I think Joel probably would’ve dug it, to be perfectly honest. Man, we’ve got some major eye candy for this ship right here.

James Young:
This model’s so cool.

David Read:
So all of these are free?

James Young:
Yeah, so this is on 3D Warehouse. It’s an old model, but I found it basically untextured. I think the guy’s Pierre who does it. I can’t remember. I think it’s Pierre. It was a free 3D model on 3D Warehouse. I imported it into Blender and I said to myself, “I’m gonna texture this.” I hadn’t really textured anything properly before and I’m sure good 3D modelers and texturers will probably see some imperfections in here. I had a good go at trying to create the Destiny. It was a fun little learning curve, but also a nice little project and I think that’s what I treat a lot of these as. They’re sort of fun little learning projects for me, rather than some big overarching thing. This shot was one where I tried to at least cut in my shots, ’cause a lot of people tell me that I do very long-winded running shots, which is true. I tried, at least with this one, to make it a little bit more dynamic, a little bit more interesting, try things out and see where it goes, see what the feedback is. I’m always pretty open with feedback, too. It doesn’t bother me. I think some people aren’t a big fan of feedback, but I quite enjoy it. If you’ve got good feedback, I’m happy.

David Read:
You’re not perfect and if you think that you’re perfect, you’re wrong.

James Young:
I definitely enjoy throwing these out there and honestly seeing what people’s opinions are on it and then going from that and trying to improve, I think, bit by bit, that iterative process. I love this model. It’s so cool.

David Read:
Let’s have a look at something a little closer to home.

James Young:
I love that ship. It’s a really fun-looking ship.

David Read:
That’s it. They’ve actually, in this one, fully rendered the Earth symbols on the side, whereas it’s implied in the actual design.

James Young:
Who was this done by? It was done by 3D Sci-Fi. They’re the guys who do a lot of free models and things. They did this one with an 8K texture. The actual mesh is lower poly, so it’s quite nice for scenes, but the texture they did a really good job on. The light is rendered in on there. It’s a really cool model to use for stuff like this because I can render out things a bit quicker. This one, God, this was one of the first Stargates I tried to make. I was trying to make the wormhole effect.

David Read:
The puddle?

James Young:
Yeah, the puddle, sorry. I was trying to make the wave effect.

David Read:
It’s raining on it.

James Young:
It’s raining. It didn’t work how I wanted it to.

David Read:
It’s cool. Look, it’s a cool effect.

James Young:
It’s a different effect.

David Read:
Look at this.

James Young:
That’s an early one, too.

David Read:
It’s all right.

James Young:
I’ve got better now. No, that’s all right. Don’t worry. I don’t mind. I quite enjoy seeing all these older ones as well. I don’t really go look backward too much.

David Read:
It’s really, really cold on Atlantis. It froze over. Or Atlantia.

James Young:
It’s so cool.

David Read:
Man, wow.

James Young:
And this was the first Destiny one.

David Read:
You’re trying your hand at everything here.

James Young:
Honestly, that’s how I am, really. There is a method to my madness. If I get an idea, I’m a big believer of, “go do it.” It doesn’t have to be perfect. It can be a bit rough and ready. See how it goes, see what people think about it. You get good feedback, I feel, from that. I try out things with this. I tried some volumetric rays on this. I thought they look all right, but I didn’t really go back. I don’t know. I really do try anything.

David Read:
That’s it, man. Atlantean Aurora-class battleship.

James Young:
I love this one. When I first saw this ship in the show, it captivated me. I love the design of it.

David Read:
Really?

James Young:
I think some people love or hate it.

David Read:
I can’t stand it.

James Young:
I know. It’s so much like marmite but I loved it. I don’t know. There’s something about that design and that era, I love it. I wish we’d got more. I know a lot of people probably disagree, but I wish we got more of that. I think we only really ever saw, through the replicator arc, I think it was, some destroyer-looking ones, but never anything major, I’d say. That one was the one we saw and then that was it.

David Read:
That’s it. That’s a repeat?

James Young:
I think that’s a repeat. I do tend to sometimes try and do that.

David Read:
No, don’t excuse yourself.

James Young:
I think at the end I put the guy who made that model. It’d be great if that guy’s in your audience. Davide-SD. It was a great model.

David Read:
That’s a cool model.

James Young:
But that was quite an old one. I think that was 2007, that model.

David Read:
Really?

James Young:
I think. Honestly, old model, that one. It’s got a whole bridge interior and everything.

David Read:
That’s legit.

James Young:
I love this.

David Read:
This is the one that clinched it for me. It was, “OK, I gotta reach out to this guy and see.”

James Young:
Is this the one where I put the shield up? I think this is the one where the shield goes up.

David Read:
Then maybe it’s not.

James Young:
It is this one. I think I did two. I did one before this. I think that’s on Instagram. I don’t think I uploaded that one. That has a higher-quality ocean. Whereas with this one, because I tried to do the shield and the ship, this is where the scene got a bit heavy.

David Read:
Wow, look at that. That’s awesome. I’ve not seen this.

James Young:
I tried to figure out the shield. I still need to work out a good shield.

David Read:
That’s one I’ve seen.

James Young:
This one.

David Read:
That one I’ve seen right here.

James Young:
This one.

David Read:
Atlantis. That’s it.

James Young:
Yes.

David Read:
Terra Atlantis.

James Young:
I still need to go back to it, really, but I wanted to do a little thing like that where I do stills of locations. I think similar to what we were doing with the intros, then do a little factoid underneath. I think there’s gonna be so many people discovering Stargate, I feel, with all this new announcement. With Jason Momoa already, I think a lot of people are discovering Atlantis through him. I’ve definitely noticed a big peak in interest with Atlantis, at least.

David Read:
Jason Momoa. Who is that guy? I can’t imagine why.

James Young:
The guy obviously brings in the audiences.

David Read:
That’s it.

James Young:
It’s nice that people are starting to discover all these old shows that really still stand up today, really well.

David Read:
This one.

James Young:
Yes. That model was awesome.

David Read:
Look at that. Wow.

James Young:
This interior, I don’t quite remember where this interior came from. I think it was Colton who textured it, but I think the actual base mesh was someone else. I can’t remember who. He told me, I can’t remember his name. A guy called Colton that I found on Twitter, believe it or not. I remember when the, what do you call it? When the announcement happened, I saw in the comments, this guy shared some interiors of Atlantis. I was like, “Oh my God, this is so cool,” and thought I’d have a go and see where that goes. That was in Blender.

David Read:
I always wondered where she landed. There was a strut between a couple of the piers. I always assumed that it landed on there. We only had one shot of it.

James Young:
It’s pretty hard.

David Read:
From Season Three and they reused it again and again.

James Young:
It was hard to try and scale it up because when you scale it up…I did a bit of research on it and when I was trying to scale up the ship and try and work out where it parks, when you look at it from certain angles, it doesn’t look right. It’s like they were faking it.

David Read:
It’s like they were faking it.

James Young:
I think that maybe there was some truth to that, or maybe it was the camera lens. Maybe it was a bit wide and appeared to be bigger than what it was. But no, I definitely rethought that scene when I discovered it didn’t fit. Or maybe it’s me not scaling it right, which probably is more likely the case.

David Read:
Let’s look at the Wraith. Let’s check these guys out.

James Young:
I forgot about that one.

David Read:
This is a pretty impressive hive ship.

James Young:
That was, believe it or not, a 3D-printed model from… God, who’s the guy? It’s on Printables. I found this Wraith hive ship on there and I was like, “My God, this is fantastic.” I took it upon myself to learn some texturing and I used this as a bit of a test bed for learning to texture. I’m sure I could probably improve that a bit more. It’s a bit too scattered, but I really wanted to use this as an example for texturing, ’cause I’m still learning, really, how to do that properly and adding all the lights in where it goes. It’s not perfect by any means, but in a darker environment, I think I pulled off the shot I was after, and all the darts coming out.

David Read:
There’s quite a few of them.

James Young:
That was a heavy task on the computer, that one. But I really wanted that large hive ship, lots of little darts.

David Read:
There’s what, 500 darts in this shot?

James Young:
Way too many, probably, for that ship.

David Read:
Hey, I was gonna say mouths need feeding, but hands.

James Young:
Maybe. They have to be fed, definitely. I actually don’t know how many darts there are in a hive ship. That’s something I probably should have looked up before.

David Read:
That’s a great question, for sure.

James Young:
I have to look it up. Literally, if I get an idea, it comes out. I usually re-watch the shows and then the ideas come along with that. Every time I do a bit of a re-watch, it’s sort of once a year I tend to go through the series again, I honestly chuck things out as they come to me. Or I’ll write down an idea in my phone and then I’ll come back to it later on in the evening and try and hash out the idea and then maybe reach out to people and see if they wanna collaborate on things or create some things. The whole process for me is pretty much like, “I’ve got this idea. Let’s go.” Like you came to me with an idea. I say, “OK, yeah, I’ll see if I can make it happen.” I’ll go and try and figure out the idea, get it done, bang it out. That’s how I’ve always done things with socials. I think I’ve found a nice lane.

David Read:
One of the last things that you got here that I thought was really cool is this mountaintop.

James Young:
I really thought it’d be cool to have a Stargate on top of a mountain, but then a lot of the comments were like, “Why is it there?” I was like, “You know what?”

David Read:
Because.

James Young:
Just because. That is honestly my idea. I thought it looked cool.

David Read:
It looks contrived. It’s contrived because I contrived it.

James Young:
I said to myself, “I have never seen a Stargate on top of a mountain before.” I was like, “It looks cool.” I don’t know. I think it came from, ’cause I re-watched that episode where they talk about, what is it in Lord of the Rings when the fire sets…

David Read:
The lighting of the beacons.

James Young:
The lighting of the beacons. I think the doctor… I can’t remember his name now. The doctor guy. My God, it’s coming out my head. What’s his name?

David Read:
The doctor?

James Young:
He’s the scientist in SG-1 in the later seasons. What’s his name?

David Read:
The later seasons of SG-1? Scientist. Dr. Lee?

James Young:
Dr. Lee.

David Read:
My kids love it. The Twilight Bark.

James Young:
That’s it. I think that’s the reference I was on about.

David Read:
That’s a reference that was in “Critical Mass.”

James Young:
That’s the one. That was basically the idea for that shot, believe it or not. It was literally hearing that scene, going, “That’s funny. I’ve got an idea,” and I went and did it. That was honestly where that came from.

David Read:
Hello, Asgard.

James Young:
Yes. That was a fun one. Scale.

David Read:
That one’s really cool.

James Young:
I do like scale. I think that’s sort of the one thing I really enjoy.

David Read:
This is how massive this is.

James Young:
I really enjoy showing that. I think Destiny did a really good job in the show of portraying that too.

David Read:
Absolutely. All right. It really wants us to watch this, so let’s watch The Defiant Returns.

James Young:
God, this one.

David Read:
What’s the flicker? What’s about that?

James Young:
On the mesh…

David Read:
Having power problems. Chief O’Brien is having a real difficult time.

James Young:
It’s power problems. I think that model, I found with the mesh, it wasn’t too good. The textures on it, for whatever reason, they weren’t playing nice and it took a lot of going to try and get that to work. I need to probably re-texture that model and start again. This one, I was trying to sort out a big fleet and I think I did this all wrong. The camera’s all over the place. Where I was doing the fleet in this one, I was copying every object and that sort of was a bit of a cardinal mistake. When you’re copying every object, you’re adding more polygons to your scene. It took a long time to render, but as I found out after, you don’t have to copy things like that. You can copy it but not add to the scene, if that makes sense.

David Read:
It does not, but I assume that you know. There’s, I’m guessing, a way to duplicate the ships without duplicating the workload?

James Young:
Yes, literally, and that’s how you get these bigger scenes in TV shows or anything. They don’t copy each object necessarily. There’s a bit of internal trickery, I guess, and I think with me, that was probably a good example of me learning on the go. I go and create something and I make a mistake and I go, “Cool. I’ve learnt from this.” I think my biggest takeaway from probably the last six years of diving into 3D stuff more, is that I think you have to go and make mistakes. You have to go and try. Don’t think you’re gonna be the best from day dot. I think there’s lots of pressures these days, especially with social media and people wanting likes and views and maybe not getting them. There are so many good people out there who don’t get lots of likes and views and they’re fantastic artists. Go out there, give it a go and in time it will come together. I think that’s my biggest takeaway with social: go have fun with it. That’s gotta be number one.

David Read:
You need to have a good time, otherwise it’s not worth doing. If you’re going out there expecting to launch the next big thing in the world, the wrong reasons are behind the root of it

James Young:
It’s good to have confidence in yourself. I think it’s really good to see where you’re going and be positive with yourself. Give yourself time to learn. You see someone’s success, but you don’t see the 20 years prior. It is a lot that comes with the success, I think, too.

David Read:
Simon Sinek once said – and I’ve used this analogy at least once – you’re at the foot of the mountain. You see the top and the summit and a lot of people, what they’re missing is the mountain. You have to climb it.

James Young:
Definitely. It’s all a journey.

David Read:
You have to somehow find your own process.

James Young:
It’s the journey.

David Read:
That’s it. It is the journey. That’s it.

James Young:
When I was creating stuff, I went through this time where the earlier stuff was doing really well, then I think as we all get in creating, sometimes there’s a lull. I think in that lull, that’s when you learn or definitely, I think, solidify what it is that worked at the start. I think it’s that passion. It didn’t necessarily have to be the best thing since sliced bread, but you were putting in that passion. When you get that lull, I think sometimes that’s a sign of maybe you’re trying too hard or maybe you’re trying to do something you think others want to see. Definitely for me, once I learnt in that lull, “OK, let me try some different things. Let’s do some Stargate stuff. Let’s do some Star Trek stuff.” After a while, that started gaining a bit more traction and that came because I was passionate about it and it came through. I think being diverse, but sticking to things that you enjoy and you do it because you enjoy it. Stargate, it really worked for me. Moving forwards with Stargate and stuff, I’m really excited that there’s a new show on the horizon. With the old team, it seems, that are on the case, I’m quietly confident. I think it’s gonna be good. I think we’re seeing a change in TV and I think Stargate will be, I think, one of the starts of TV finding some of what used to make it work. We’re not gonna get 20 episodes ever again, I’d be naive to think they’d get 20 episodes.

David Read:
That’s over.

James Young:
But that’s understandable.

David Read:
I’m not sure I want them. A lot of people are gonna disagree with that.

James Young:
That’s fair.

David Read:
I would prefer quality over quantity.

James Young:
I think I agree. I think Foundation did that quite well, actually.

David Read:
It did? OK. I’ve seen the first episode.

James Young:
I think hour-long, 10 episodes, 11 episodes, in today’s environment, like you said, that’s a good compromise.

David Read:
Full hour, not 42-minute crap.

James Young:
Yes. I’d love a full hour. Gotta have a full hour, please. I can’t be dealing with the 40-minute, 30-minute episodes. That’s not really an episode.

David Read:
No. Exactly.

James Young:
I really hope that we do get a nice consolidated story in 10 episodes. It’s not a negative, I think the filler episodes really filled a role; for character progression and really delving into things. I think a lot of the episodes we love maybe from Stargate and other shows, it’s usually those little ones that are in a closet or in a room. Like Rodney in the back of the jumper. Honestly, that was one of my favorite episodes. I thought it was really fun.

David Read:
Exactly right. I think it depends on what you mean by filler.

James Young:
That’s fair.

David Read:
If you’re meaning something away from the primary plot of the overarching mythology, it doesn’t necessarily mean that it has to be, “I wanna know what’s happening with the Wraith,” or “this replicator thing over here is happening.” You can have McKay in the back of a jumper at the bottom of the Lantean ocean and have it be fascinating. To me, that’s not filler.

James Young:
No, true. That’s fair.

David Read:
I can’t even remember the name of it. There’s an episode in Galactica where it’s following Adama’s day and he’s trying to remember who’s on post at what time. I’m thinking to myself, “it’s Edward James Olmos and I’m bored.” They had too many episodes at a certain point. That was a tighter show when it was 14 in Season One.

James Young:
That’s very true.

David Read:
I think the quality of it suffered slightly for that.

James Young:
That’s fair, actually. I’ll take that. I agree. I think having a shorter amount actually does then focus them in on the quality more. I guess when you’ve got that big canvas of 25, then you can sort of go a bit crazy on certain episodes that maybe actually is a detractor. At the time that was a complaint of some stuff, wasn’t it? Especially in Trek, I think, there was some episodes that people were like, “I don’t like this, but I’ve got a new one tomorrow, so it doesn’t matter.” You know what I mean? I think in some ways, I guess it was positive that they had more to try, but then on a negative, I guess if it did detract and not do too well, then it did maybe put some people off. I guess in today’s era of social media and instant opinions, a bad episode can sometimes cause some bad feeling across social media.

David Read:
It can sink a project.

James Young:
I see it a lot these days. For me that’s the biggest, I don’t wanna say worry, but for the show or for the new Stargate show to navigate. I’ll be interested to see how they navigate their social media and how they do the communication for the show. TV programs are trying to navigate that more and more and I can sort of see different approaches. Some don’t talk about it; some are very defensive of their show, which they should be. It’s their show. They can defend and say what they wish, but sometimes when you get too much animosity, I think that sometimes is a detractor. It’s always good to defend your show, but sometimes you’re adding fuel to the fire of people that maybe never wanna love it. You can never please everyone; it’s a tough balance. I definitely feel for these people having to make these decisions, ’cause it’s not easy.

David Read:
You’ve gotta pick something. Don’t poison the well of the audience who’s drinking from it.

James Young:
Exactly. I agree.

David Read:
If you’re trying to manipulate the audience into showing favor to something that they wouldn’t necessarily… then that’s one thing. If you’re approaching them in bad faith, they’re gonna feel it.

James Young:
I agree.

David Read:
If you’re creating something that’s like, “Look, I wanna be entertaining. I believe in this IP for what it is and not for what I want it to be,” it’s gonna be much harder for you to fail.

James Young:
Definitely. I agree. This is what I’ve been quite quietly optimistic with, the Stargate updates. They feel very positive and that’s what I’m seeing through interviews and the initial launch. It felt positive. It felt like you’re talking to the fans of the show who have been there from day dot and being honest about where they wanna go with it. They obviously do want a new audience too and shows need new audiences. You’d be silly to think they can’t. They can still respect the older audiences too and if they find that balance, I honestly do believe Stargate’s gonna be a really good show. I don’t think that about a lot of things, but I think it’s gonna be good. I have a good feeling about it.

David Read:
Battlestar did it extraordinarily well. There were a lot of folks who were like, “You cannot do this.”

James Young:
I remember that.

David Read:
“This is not happening.” The same thing happened with Next Gen in the ’80s. Before you knew it, two or three years go by and people are like, “I think this one’s better than the first.”

James Young:
I remember that.

David Read:
Now it’s accepted that that’s the case. For Battlestar Galactica, there’s no one who thinks that the original exceeds the run of the newest series.

James Young:
It’s a different beast, isn’t it? Battlestar is a perfect example, actually. There’s been a few interviews with the actors on it and when they first dropped it, there was such a bad reaction at the cons and things. They all thought, “Oh, God, this is gonna be terrible. You’ve made Starbuck a woman,” and all this sort of thing. Actually, as you said, everyone loves the new show. Everyone loves the old one too.

David Read:
This one has its own story to tell.

James Young:
Don’t get me wrong. But they’re different. They’re different shows.

David Read:
I don’t care for the old one.

James Young:
That’s fair.

David Read:
I’m perfectly willing to go out there and say I’ll swing in the wind and say… No, I don’t like it.

James Young:
That’s fair. I don’t blame you.

David Read:
It is a Star Wars product for television by ILM. What they were able to pull off on that budget was extraordinary.

James Young:
It’s a charm.

David Read:
Especially when you can mirror the image and all of a sudden you have twice the shots of the ships.

James Young:
It’s good.

David Read:
… whatever.

James Young:
I agree. I go and re-watch the new Battlestar because I like it. I haven’t re-watched the old one, so I think that says a lot as well, doesn’t it? We can see where things came from, but I think the new one told its story.

David Read:
That’s it and it’s a good story.

James Young:
Definitely. For better or worse, how it ended, it did a pretty good job for what it set out to do. Stargate in general really did set out and tell the stories it wanted to do. Apart from Destiny, obviously, which got canned, I feel unfairly. I really do hope, back on Destiny, that they do tell that story again and we do get a bit of conclusion on what happens. I’m keeping my expectations realistic for the first season of this new show, ’cause I don’t think in this first season they can answer every question. I definitely do hope that they can make the first season a success to at least build on what made the original SG-1 great and then enable them to do Atlantis-type shows where they can maybe go and do their own thing. I hope that happens.

David Read:
I agree. I’m interested to see what their plan is in terms of… ‘Cause I do believe that it must be 51% new, bare minimum. I also do think that there are gonna be elements in there from the past that are gonna be folded into this that we’re not gonna see coming. At least that’s what I hope. That’s good storytelling.

James Young:
Agreed.

David Read:
It’s like, “I did not see that one coming and I know something about that.” It endears you to the new thing even more. I think that’s one of the things that Picard Season Three did exceptionally well. “Oh my God, it’s the Borg again. Ugh.” But there was so much of that. “Wow, they brought back Ro and they didn’t just throw her away.” There was point to it.

James Young:
Definitely. That’s a good blueprint for me on how to do nostalgia well. Nostalgia is something that has to be used in the right way, I think it has to make sense. With Picard Season Three, whatever people think of the whole, I do think, like you say, Season Three was a good season.

David Read:
I do. I see it as Season Eight of Next Gen.

James Young:
That’s how I see it and I think for a lot of fans, I think we all see that too. I think that if that’s the blueprint that they can give to Stargate at least somehow and make the nostalgia work, but also allow those new characters to breathe a bit too. I certainly don’t want new characters to not feel like they’re not important.

David Read:
You have to give them time. You have to give them opportunities to show their humanity. You can’t make them impenetrable. Otherwise, it’s just like, I don’t relate to that person at all. You have to transpose your humanity onto them in some fashion by watching how they react to a situation. Otherwise, it’s just opaque. The writer has to find a way to allow the audience to connect to at least one character that they can follow.

James Young:
Definitely and Stargate has always done that quite well. Even with Rodney, they managed to make Rodney one of my favorite characters towards the end of Atlantis. At the start of it I was thinking, “Oh, I’m not gonna like this character.” As time went on I was like, “Oh, actually I really love this character.”

David Read:
Had you seen “48 Hours” and “Redemption” from SG-1 at that point?

James Young:
Yes.

David Read:
So, in terms of him growing on you, you weren’t sure if…

James Young:
Yeah and I weren’t too sure. Even Cam in SG-1, I wasn’t too sure at the start, “is this gonna work?” As time went on I was like, “this is actually working really well.” I think Cam and Vala added a good dynamic to that SG-1 era and how they did that I felt was very well placed. They still kept that old SG-1 feel, but they did make it new and they had their own stamp on it but with the same sort of tropes maybe as we saw before, but in a good way. I hope that they can find their feet in the new series much like they did in the old. I’m really interested how they’re gonna do it. Is it gonna be from the SGC? Is it gonna be totally different? Is it still a secret? How have things moved on? It’s been a while now really in terms of time. Honestly, I don’t really have any idea of what they’re gonna do, which is nice actually. I am completely fresh on it. I have no theories whatsoever on what’s gonna happen or how they’re gonna do it.

David Read:
James, what are you gonna do next in terms of Stargate visuals?

James Young:
Stargate visuals. What’s next?

David Read:
Over the horizon through the clouds, as it were.

James Young:
We have got through the clouds. I’ve certainly got the darts coming through the clouds and going to Atlantis, so that should be out probably by the end of the week.

David Read:
So, “Siege Part Two.”

James Young:
“Siege Part Two.” That should be by the end of the week, hopefully, fingers crossed. I’m trying to work out how to do the flares and a close-up of the city and sort of keeping the clouds look good.

David Read:
For the record, I’ve asked James to reproduce…He’s already done Dakara for us. The first episode that he did the opening and the ending for was Christopher Judge Part Three. Joe Flanagan was a combination of Brice Ors, IBREC and James Young Venture Pictures. This next one is gonna be for an Atlantis cast member. I asked for two sequences from the “Siege Part Two.” Two shots. One of them is “let’s follow the perspective of the darts as they come into the atmosphere to attack Atlantis.” We’re flying in formation with them and the end of the shot is the flares launch and all hell breaks loose. Then there is a shot for the end credits that I would love to use, which is, we’re not on the ground level of one of the piers, but we’re in mid-upper levels with a lot of the struts diagonally shooting over the head. You’ve got the clouds getting hit with light from the rail guns and the darts flying through. It’s a stationary shot that I love from “Siege Part Two.”

James Young:
It’s a pretty good one.

David Read:
I get goosebumps thinking about it. You’re gonna see about bringing those elements to life.

James Young:
I wanna try to. I’m gonna try to. That’s definitely one that’s been on my back burner for a while. It was interesting that you asked for that one, ’cause it’s been one I’ve been trying to figure out how to do and do it justice. In 3D, the volumetrics, so the clouds and things like that, can sometimes be a challenge in scenes to make them look good ’cause that’s sort of where a lot of your GPU power is going. So, definitely, learning to make my volumetrics a little bit better and try and bring that scene to life. I’m gonna enjoy doing that one. It’s been one I’ve been trying to do for a while so it’s given me a good excuse to actually really dive into it and make it work. I hope I do it justice ’cause that’s one of my favorite episodes too.

David Read:
I trust that you’ll pull off something cool.

James Young:
It’s honestly one of my favorite episodes actually, thinking about it. “Part One” was the end of Season One, then…

David Read:
No. “Part Two” was the end of Season One, then “Part Three” was the beginning of Season Two.

James Young:
That was it. I remember when that came out and the wait for the next season. That was probably one of my most anticipated seasons, I think, because of that ending. It was such a fun show, Atlantis. I’m still so excited that Stargate’s coming back again. I thought the franchise was dead, honestly. I thought it was, “Right, I’ve had my time. It was good fun. Let’s all be nostalgic about it.” I thought they all say something new is gonna come and it never did. I thought, “Oh, fantastic.”

David Read:
It was just a question of when. I always knew it was gonna come back. That’s why I created Dial the Gate, is that sooner or later, they’re gonna do this thing. I wanna make sure that when the tsunami comes along, we can crest the tsunami rather than being absolutely sucked in by it. You can’t keep something like this down forever.

James Young:
No, definitely.

David Read:
You can bring it back and you can destroy it really easily. It was never a question of them not bringing it back and taking another swing on the mound. We’re in that phase now of, “Oh my God, it’s coming. What’s it gonna be?” With a couple of exceptions, everyone is really excited to have it back.

James Young:
I would say so. I think it’s been positive and that’s nice as well. In general, within the Stargate fandom, it’s been pretty positive. You get a few here and there who wanna hate on anything. Most people seem pretty excited. When I talk to people about it and they message me or reply to a thing, everyone seems pretty excited it’s coming back. We all want it to be good, as we all want everything to be. We want something well thought out and good. With the original team on the case, I’m feeling, “OK, you’ve got the original guys here who made what we loved before. They can do it again.” I put faith in them before, I’ll put faith in them again.

David Read:
Look, when they were all younger, they were doing 40 hours of television a year and now we are asking them to do 10 hours of television in two years.

James Young:
They can do it.

David Read:
They’ve got to.

James Young:
They can do it. I have faith in it, I really do. It was really smart how they dropped the news with the guys coming on to talk about it; that was really good optics. That was a good decision from them. From a fan perspective, that was a really good thing to do, rather than giving us a poster or something, Actually getting the guys to come and talk about it was genius, that was a really good idea. As a fan, I was definitely reassured from that and that definitely did what they wanted to do.

David Read:
Absolutely. James Young, Venture Pictures. Where can we find you, buddy?

James Young:
You can find me on Instagram at venture.pictures and then you’ll find my links and then my bio from there to sort of X, YouTube, or basically everywhere else I post stuff. Largely I post on Instagram and I post on YouTube occasionally when I have a landscape video.

David Read:
There we go. This is tremendous to have you.

James Young:
Thank you.

David Read:
I’m thrilled that we’ve been able to go through and take a look at some of your stuff.

James Young:
It’s fun, man.

David Read:
I’m constantly turning around and finding something new that you’ve done. It’s like, “Wow, that is really cool.”

James Young:
Thank you. Dude.

David Read:
Keep on trucking. I’m thrilled to be collaborating with you.

James Young:
Yes, same. Thank you.

David Read:
I don’t think that everything that’s on Dial the Gate has to be photorealistic. I wanted to do that for a while to show people, “Hey, this is what this channel is capable of in terms of connecting with artists.” Now I’m at a point where I want to bring more people into the tent. It’s like, “OK, you’re doing this thing over here. As long as it looks cool and I can see the talent coming through and the love of the — I don’t wanna say IP — the love of the show coming through, I wanna share that with my audience.” So, thank you.

James Young:
Absolutely, dude. No, that’s absolutely fine. That actually is a nice ender. When that passion shines through, it doesn’t have to be the best. Go and look at all your old shows you all love. The VFX is probably good to today’s standards and we still love that and we still re-watch that and we still think that’s fantastic. I think the passion, if it shines through, then people gravitate to it. If you have passion for it, do it.

David Read:
James Young with Venture Pictures. Thank you so much, brother, for coming on. My name is David Read with Dial the Gate. You’re watching The Stargate Oral History Project. Tomorrow is our 400th episode and Teryl Rothery, Dr. Janet Fraiser, is returning for her first time since Season One of our show. I am thrilled to have Teryl bath… That was not a Freudian slip. I swear, Teryl. I’m thrilled to have Teryl back. God. We’re gonna have a good time with her. I have to thank so many people who have been involved in making this season a reality for me. There are so many people who make this series possible now. Lead Archivist Jakub Olejarz, he has been doing the Lord’s work with the transcriber team. There are a ton of them now pulling this thing together. We were at 52% in terms of completion for the transcript backlog. If you wanna join the transcript team, we have a tool that helps you get through an hour’s worth of content in approximately two hours now if you really know what you’re doing after you get yourself up to speed. He’s tremendous. Ian Bernardo, he is building something extraordinary with Heliopolis, that’s all I will say. Martin McClean is helping him as well. Martin has also designed half of the things that you see behind me here. Antony Rawling, Lead Moderator, the dude is extraordinary. He also posts my unlisted-to-public live streams before they go liv, and that’s something I don’t even have to think about anymore. I’m so thankful to him for that. I’ve got Kevin Weaver, who is heading up our chapter time codes team. I’ve got Tilemachos Kopanos, who’s my lead video editor. Lead colorist Jethro Randall, he’s doing some amazing work. Visual effects lead Matt Eagle SG Wilson. Graphics and animation, Brice Ors. I could go on and on with these folks. Jonathan East. You know what? I have not given Jonathan enough praise. He created something really cool for me here that I have not shown a lot. The fact of the matter is I got out of practice doing it and that was this. We call it a call to action. This is where we invite you to come and play with us. Look, if you like Stargate and you wanna see more content like this on YouTube, it means a lot if you do click that Like button. It makes a difference with the show and continues to help us grow our audience. If you’ve got a Stargate friend out there, consider giving this episode to them as well, sending it their way. If you wanna get notified about future episodes, click Subscribe. If you click the Bell icon, you’ll be notified the moment a new video drops and you’ll get my notifications of any last-minute guest changes. That’s what we have for you on Dial the Gate. There’s a lot of content coming out. I’m trying to do 20 episodes in 20 days; I’m on track right now to do that. Alexis Cruz, Skaara, is joining us this weekend. I’ve spoken with Pierre Bernard, who is known through his Recliner of Rage segments on Conan and also, he appeared in Season 8 and Season 10 of SG-1 as well. We’re gonna be getting him back to hear his thoughts on the new series. If he still thinks that Stargate SG-1 is way better without Dr. Daniel Jackson, we will have to wait and see. There’s a lot heading your way. My tremendous thanks to my team who pull off this show week in and week out; really appreciate everyone’s work. My name is David Read for Dial the Gate. I appreciate you tuning in to check us out and I will see you on the other side.