In addition to the executive producers, a number of former Star Trek crew members joined the new series. Herman F. Zimmerman was recruited as Production Designer/Illustrator, having worked on Trek projects throughout The Next Generation, Deep Space Nine and the feature films.[52] Marvin V. Rush resumed his role as Director of Photography, having been involved with Trek since the third season of The Next Generation. Working with him were Douglas Knapp and William Peets as Camera Operator and Chief Lighting Technician respectively. Both had previously worked on Voyager. Another alumna from the previous series was Louise Dorton, who started in the first season of that show as Set Designer, but joined Enterprise as Art Director.[53][54] Andre Bormanis, a science consultant and writer on The Next Generation, Deep Space Nine and Voyager, was brought on as a staff writer.[55]
The majority of the filming took place on the Paramount Pictures lot in Los Angeles, California. The temporary sets for the show were housed on stages 8 and 9; while the permanent sets including the bridge, engine room and the arsenal were located on stage 18. The engineering set itself was built across two levels with the large warp drive taking up the majority of the space.[40] Stages 8 and 9 had housed sets for the earlier Star Trek series since production was started on the abandoned Star Trek: Phase II during the late 1970s. They were subsequently used for the films Star Trek: The Motion Picture, Star Trek II: The Wrath of Khan, Star Trek III: The Search for Spock and Star Trek IV: The Voyage Home before being used for The Next Generation and Voyager.[80] Stage 18 had not been previously used for the production of any Star Trek series or films.[43]
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During the course of filming the pilot, between 130 and 150 members of staff worked on constructing the sets; this reduced to 20 to 25 crew members when the show went to series. These teams were led by construction coordinator Tom Arp, who had previously worked on Deep Space Nine and a number of Star Trek films in the same capacity. Although a number of episodes required specific sets to be built from scratch, the team would save certain elements to enable them to be reused in later episodes. The production had a warehouse in Burbank to store those pieces while they were not being used.[81] Midway through the third season, from "Exile" onwards, the series started to be broadcast in 1080i high-definition television. Alongside Jake 2.0, it was one of the first two series on UPN to be broadcast in high-definition.[82] The show contains over 4,214 minutes[83] of special effects, dialogue, and other scenes. Although it was broadcast in high definition at 1080i, it was not released on 1080p blu-ray until later. An example of high definition is the 2017 Blu-ray collection of the full series called Enterprise: The Full Journey.[84]
Until the start of the fourth season, the series was shot on traditional film stock. The first three seasons were shot on wide screen 35mm film with and an aspect ratio of 1.78:1, and it was 3-perf Super 35mm film.[84] After Rush began testing a Sony digital camera on the standing sets for two days prior to production on "Storm Front" and demonstrated the footage to Braga and Berman, the decision was made to switch to digital production. Rush felt that the audience would not see a great deal of difference as the footage could be shot in a way to look the same as the earlier seasons; but he felt that filming in high-definition video would be a benefit because of the additional detail that could be seen.[85] At the time, this was cutting-edge for a TV show, allowing the production team improved low-light performance and enabling more shooting compared to chemical films.[86] A Sony HDW-F900 CineAlta High-Definition camera was used, and the recording technology also used Sony' CineAlta 24P, a trademarked name of that company.[86] The decision to move to Sony's technology was a unanimous agreement of the show's three executive producers, and was also supported by the director of photography.[86] Season four's Blu-ray release in 1080p has been praised as sharp and with satisfying color, and the best-looking of the seasons.[87] The fourth season has been released multiple times, and as a combined full-series set in January 2017.[88][87]
Due to the original series' popularity in syndication, Paramount Pictures began to consider making a Star Trek film as early as 1972. However, with 1977's release of Star Wars, Paramount decided not to compete in the science fiction movie category and shifted their efforts to a new Star Trek television series. The Original Series actors were approached to reprise their roles; sketches, models, sets and props were created for Star Trek: Phase II until Paramount changed its mind again and decided to create feature films starring the Original Series cast.[5][6]
CBS announced on September 28, 2011, in celebration of the series' twenty-fifth anniversary, that Star Trek: The Next Generation would be completely remastered in 1080p high definition from the original 35mm film negatives. The original show was edited and post-processed in standard definition for broadcast, as were all the show's visual effects (e.g. all exterior shots of the Enterprise, phaser fire, or beaming fade-ins and -outs). For the remaster almost 25,000 reels of original film stock were rescanned and reedited, and all visual effects were digitally recomposed from original large-format negatives and newly created CGI shots. The release was accompanied by 7.1 DTS Master Audio. Michael Okuda believes this is the largest film restoration project ever attempted.[86] The process of making high-definition versions of the series was an extraordinarily labor-intensive ordeal that cost Paramount Pictures over $12 million. The project was a financial failure and resulted in Paramount deciding very firmly against giving Deep Space Nine and Voyager the same treatment.[87]
Star Trek: Enterprise was the TV show launched following the conclusion of Star Trek: Voyager and was set 100 years before TOS and 200 years before TNG, in addition to including some soft reboot elements with an all new cast. Some episodes connected to TNG directly including guest stars by Brent Spiner and connections to the events in TNG's fictional universe. The three-episode story arc consisting of "Borderland", "Cold Station 12", and "The Augments", with a Soong ancestor portrayed by The Next Generation regular Brent Spiner provides some backstory to Data's origins. Also, the Enterprise episode "Affliction" helps explain the smooth-headed Klingons that sometimes appeared, a retcon that helped explain this varying presentation between TOS, TNG, and the films.
Star Trek would not return to television as a show for over 12 years, until the debut of Star Trek: Discovery initially on CBS but thereafter exclusively available on the Internet service CBS All Access (Netflix internationally) at that time. The film franchise was rebooted in 2009, essentially a grafted on fork off of the timeline known in Star Trek: The Next Generation. That movie contains an event from the TNG timeline, which is the destruction of Romulus and the flight of Spock's special ship to the time fork. In the Star Trek franchise, witnessing the events of time shenanigans is a common plot device.
Star Trek: The Motion Picture is a 1979 American science fiction film directed by Robert Wise and based on the television series Star Trek created by Gene Roddenberry, who also served as its producer. It is the first installment in the Star Trek film series, and stars the cast of the original television series. In the film, set in the 2270s, a mysterious and immensely powerful alien cloud known as V'Ger approaches Earth, destroying everything in its path. Admiral James T. Kirk (William Shatner) assumes command of the recently refitted Starship USS Enterprise, to lead it on a mission to save the planet and determine V'Ger's origins.
On October 8, 1976, Bryant and Scott delivered a 20-page treatment, Planet of the Titans, which executives Barry Diller, Jeffrey Katzenberg and Michael Eisner liked. In it, Kirk and his crew encounter beings they believe to be the mythical Titans and travel back millions of years in time, accidentally teaching early man to make fire. Planet of the Titans also explored the concept of the third eye.[8] With the studio's acceptance of this treatment, Roddenberry immediately stopped work on other projects to refocus on Star Trek, and the screenwriters and Isenberg were deluged with grateful fan mail. Isenberg began scouting filming locations and hired designers and illustrators. Key among these were famed production designer Ken Adam, who said, "I was approached by Gene Roddenberry and we got on like a house on fire"; he was employed to design the film. Adam hired artist Ralph McQuarrie, fresh off the yet to be released Star Wars. They worked on designs for planets, planetary and asteroid bases, a black hole "shroud", a crystalline "super brain", and new concepts for the Enterprise, including interiors that Adam later revisited for the film Moonraker and a flat-hulled starship design (frequently credited to McQuarrie, but which McQuarrie's own book identifies as an Adam design[22]). McQuarrie wrote that "there was no script" and that much of the work was "winging it".[22] When that film folded after three months for Adam and "a month and a half" for McQuarrie,[23] their concepts were shelved, although a handful of them were revisited in later productions.[24] 2ff7e9595c
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