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Would you mind sharing some rough timings on the project (ie. concept, design, production) to help give an idea of how long things take to produce?In television, especially if you are creating work to be used by the actors, you do not have a lot of time to break down the script and generate new designs. We had to work smart, so we established style guides that outlined the design language for the various ships and sets, and that allowed us to develop a concept, design and animate the screens, and get it approved and sent to playback so they could test it on set. Often turn-around would only be a day or two.

There are several talented people on the motion graphics team on The Expanse. Since the show relies heavily on screens to display story elements, the team is larger than a typically scifi show. I had the pleasure of working with Sumeet Vats, Victor Mare, Chris Ouimet, Robert Nowacki, Walter H. May, Colin Graham, and Nick Melia. Our team also worked closely with Naren Shanker as well as the rest of the art department, Ty Franck would also get involved when he was available. Honestly, I have not known a showrunner to be as invested in the motion graphics as much as Naren was on the Expanse, and it made for a great experience.

The great thing about the Expanse was that the Production Designer, Toni Ianni, was keen on having real interfaces for the actors to interact with as much as possible. This meant that we had the opportunity to build functional interactive screens as well as screens that were triggered by on-set playback. While we tried to give the actors practical screens whenever possible, there were times when a screen couldn’t be completed in the allotted time – either because the story points were not yet worked out, or the animations and timing were just too complex, so a lot of work is also done in post.

At the end of the day though, the design needs to support the storytelling first. The screens are far from being perfect, the team put a lot care and passion into them. I learned a great deal on The Expanse, and I was happy that I was able to bring a lot of my training, knowledge, and experience to the show.

The machines sat empty in the dark. Only a single light was on when Anne and Ed entered. A lone searcher was staring at the Other planet1, his face half-swallowed by the viewer, and the empty banks of blank screens2 sloped into the room’s vague emptiness.

______At its peak, the Institution for the Study of Extraterrestrial Life had employed 264 fully trained researchers at the banks of screens. The mania for the Other had gripped the world, and every school devoted a class a week to its study. Universities all over the world had Other departments. Biologists handled the various pockets of life discovered in the rest of the universe, slimes mutating fiercely but drably on dozens of freezing or burning hells. The Other was its own field. The similarity had come as an existential shock to the earth. A planet 1,564 light-years away had forests that were not dissimilar to Earth’s forests. They had animals that were not that unlike the remaining animals on Earth. And they had the Others, who lived in cities, with streets, or in villages, or in tribes, just like us. The Others wore clothes. They fell in love. They wrote books. They kept time. They had laws. The odds of two worlds being conjured by chance at such similar points in their development—the Other was roughly at Earth’s 1964—had to mean something. The anthropic principle was considered proven. The universe could only exist under conditions in which ourselves and the Others were there to witness it. Those were the days when children, like Anne when she was a kid, wore pajamas with patterns of glublefrings gamboling among the tzitziglug trees, and everybody called it The Yonder. But all novelty eventually wears off. The natural market for the shock of recognition is perishingly small.

Anne wanted to look a bit more closely. She reached down and her screen went blank. She had zoomed too far. She pulled up with a clenched fist and an elbow curl, and she was among the clouds above the mountains. The fire of the tribe’s torches made a red9 and blue dot in the center. She pushed down slowly, adjusting. She had asked one of her dissertation supervisors what it was like working on the screens and he had told her it was like being an impotent god, and the description was precise. Delicately, tentatively, Anne focused on the face of the Other woman holding a spear. Sometimes a gallack might not come to light for hours, and when it did, it offered maybe three seconds of its purple-streaked skull bone for a strike. The Otherwoman’s eyes had narrowed sharply in concentration, her eyes small, even for the eyes of the Others, who had no nasal bridge, and whose button noses, like tiny dogs, were considerably more powerful than a human nose. A horrific violence lurked in her gaze.

The various LCD Panel blocks are a great way to add a human touch to a ship or base by displaying useful images or text. For LCD configuration and usage, see LCD Surface Options.

LCD Panels need to be built on a powered grid to work. Without power, they display an "Offline" text. While powered without having a text, image, or script set up, they display "Online".

All LCD Panels and LCD surfaces work with the same principle: They are capable of displaying dynamic scripts, or few inbuilt static images accompanied by editable text. Access the ship"s Control Panel Screen to configure LCD Panels or LCD surfaces; or face the LCD Panel block and press "K".

A Text Panel, despite its name, can also display images. On large grid, it is rectangular and does not fully cover the side of a 1x1x1 block. On small grid it is 1x1x1, the smallest possible LCD block in game.

On large grid, you choose the Text Panel when you need something that has rectangular dimensions that make it look like a wall-mounted TV or computer screen. If you want to display images, this one works best with the built-in posters whose names end in "H" or "V" (for horizontal or vertical rotation). On Small grid, you place these tiny display surfaces so you can see them well while seated in a cockpit or control seat, to create a custom display array of flight and status information around you.

Corner LCDs are much smaller display panels that typically hold a few lines of text. They don"t cover the block you place them on and are best suited as signage for doors, passages, or containers. They are less suitable for displaying images, even though it"s possible. If you enable the "Keep aspect ratio" option, the image will take up less than a third of the available space.

These huge Sci-Fi LCD Panels come in sizes of 5x5, 5x3, and 3x3 blocks, and can be built on large grids only. These panels are only available to build if you purchase the "Sparks of the Future" pack DLC.

This LCD panel can be built on large and small grids. The transparent LCD is basically a 1x1x1 framed window that displays images and text. It is part of the paid "Decorative Blocks Pack #2" DLC.

What is special about them is that if you set the background color to black, this panel becomes a transparent window with a built-in display. In contrast to other LCD Panels it has no solid backside, which makes it ideal to construct transparent cockpit HUDs, or simply as cosmetic decoration.

While configuring an LCD Panel, the GUI covers up the display in-world and you can"t see how the text or images comes out. In the UI Options, you can lower the UI Background opacity to be translucent, so you can watch what you are doing more easily.