Two decades after the first IndependenceDay invasion, Earth is faced with a new extra-Solar threat. But will mankind's new space defenses be enough?
The initial layout of the 'Moon Tug' for a studio presentation at Twentieth Century Fox marked Johannes' first concept art and set design collaboration with Roland Emmerich. Tasked with following in the sizable footsteps of the acclaimed original film's designers, Oliver Scholl and Patrick Tatopoulos, Johannes and his team at WIDESHOT Entertainment dedicated several years to working across Los Angeles, Albuquerque, and Vienna to make substantial contributions to this design-heavy blockbuster.
In "ID:R“, the Moon Tug took center stage alongside the Alien mothership as the primary design focus. This "space forklift," a standout among the human space fleet, serves as the home base for the two heroic space truckers, Jake and Travis: It is the vessel through which they embark on their mission to save the world beyond the Moon and the Earth. The challenge lay in giving it a clunky, industrial aesthetic while ensuring it became the iconic human spaceship of the show. At the heart of its design is a giant central track ring housing two enormous legs, essential for its standing and carrying capabilities. Positioned on opposing sides of the ring are the front and rear cockpits of the potato-shaped ship, nestled within the robust design element of the ring.
'ID:R' stands as a design epic, weaving together intricate worlds beyond the mere world-building of the Alien Invaders. Within it lies another realm entirely, one of artificial intelligence, alongside the enduring human world, set two decades post the near-destruction wrought by the Aliens from 'Independence Day 4ever'.
Meeting this creative challenge required exploring diverse style directions to address the myriad design tasks: from crafting the imposing mothership and alien space vessels to the enigmatic AI spheres and the amalgamation of resurrected world and alien fusion technology within the human race.
Concurrently with production designer Berry Chusid's work at ABQ Studios in Albuquerque, NM, Johannes undertook the design and construction of several additional sets. Notably, the design and construction of the colossal Area 51 hangar, primarily designed for VFX, with only a gate and briefing area constructed as physical sets. Additionally, in a studio located in Los Angeles, Johannes helmed the design and construction of another significant set: the Alien Fighter cockpit, paying homage to the great H.R. Giger.
Towards the end of post production, Johannes collaborated with the French VFX studio BUF Compagnie to create the main title sequence. Drawing inspiration from a Marvel dream sequence, the concept depicted a mesmerizing light speed space travel, culminating in the unveiling of a dynamic 3D animated title font.
