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They looked like the old television show. We also put light effects on top of the ship. [7], Only after the new series had premiered in September 2017, was firm confirmation provided, that the Adam/McQuarrie designs were indeed the starting point for the eventually featured and indeed further evolved Crossfield-class, most notably the USS Discovery herself. (Star Trek Phase II: The Lost Series, p. 27) Elaborating he later clarified, "As far as I was concerned, about the only thing we could update was the engines, So I changed the design of the pods and the struts. So I handed that model over to the guys at Foundation Imaging." "There was also a lot of detail up in the saucer that was never revealed. (Star Trek: The Next Generation USS Enterprise NCC-1701-D Blueprints, booklet, p. 8) The continuous adding of redesigned elements to the model meant that detailed accurate blueprints of the model could only be drawn up by David A. Kimble after the model was finished, though detailed orthographic exterior views were created by Taylor for familiarization purposes, as well as serving as basis for the ships operations graphics seen on the bridge in the feature. We actually put lights in it and used it in instances where we had to be far away from the ship. If possible, small worklites (not important, unless we pass very close.). The thinking was that the hangar deck was interlocked with staggered adjacent cargo bays and as such were envisioned. (Starlog, issue 27, p. 29) After drawing up a set of preliminary engineering drawings with the help of Chris Ross, Dow and co. started with constructing a forty pound weighing aluminum framework, designed by Dow himself, for internal strength for the model and as a armature for mounting the finished model for filming. I gave the main hull a taper, then I went flat-sided and thin with the power units, rather than keeping the cylindrical shape. The Enterprise model itself also caused some, one of them near completion when, "The Enterprise was just about finished, when one night, after we had all gone home, some clown impressing his girlfriend showed her the model, turned on all the circuits out of sequence and blew the circuits in the dish. It is not exactly clear why they were used, as the back-lit transparencies based on Richard Taylor's schematics (which were predominantly in blue) of the revised follow-up motion picture studio model also appeared alongside them in the features, but since they apparently had already been produced for the Phase II project, it was undoubtedly a movie re-use for cost efficiency considerations. In this case the "rubber band" was a couple of two ton garage door springs cocked back by a three and a half ton winch. At the same time several others were sighted at other Planet Hollywood restaurants which indicated that the franchise contracted Price to make several copies. Stetson recalled. ...on the cover of The Official Starships Collection. The top is blowing up. The nacelles, secondary hull and the upper dorsal retained its original Phase II design, resulting in an unfamiliar looking hybrid between the Phase II and the movie's Enterprise. (Return to Tomorrow - The Filming of Star Trek: The Motion Picture, p. 384). Finally able to see this on a decent sized screen! My first question was, "How do those pods get in & out of that space?" [6] Nevertheless, less than a month later, Fuller himself already started to implicitly concede the point when he mentioned the McQuarrie designs as "inspirations", continuing to stress though, that the design process was not yet final and still in development. We didn't have the luxury of all that nerny detail that the Star Wars models had, to hide the lines of panel openings. "Then the ship comes right up to camera and the whole dish blows off. By using a technique called "frontlight-backlight", Trumbull managed to work around the problem. "Lighting systems which were made of four-milimeter neon tubing and developed by Larry Albright (56 of them, requiring 3000 volts to illuminate each) originally were to be the major illumination source of the starship. [12] Star Trek aficionado William S. McCullars has showcased pictures of the model, provided by Price himself, on his now defunct website "The Idic Page". [52] To underscore the collaborative character of the effort, Dochterman has additionally stated, "The first thing I did was to do a movie version of the Enterprise in LightWave 3D(...), but only for tests...To insure that the model would be indistinguishable from the filming model, I handed it over to CG artists Rob Bonchune and Lee Stringer, then of Foundation Imaging. I didn’t use polyester resin because we were concerned about the dimensional stability of the part being so new and 'green'. [sic.] A lot of models were duplicated so that they cold be displayed at more than one Planet Hollywood. "The side shot went by rather quickly, so we cranked that up to 90 frames per second. (Return to Tomorrow - The Filming of Star Trek: The Motion Picture, pp. Anything that man makes is going to break down; why put him outside in the worst possible environment when you can put him on the inside?" 54-55) and, "I hate that ship. Designed and built by myself and LadyMaisie. It also enabled us to meet a very difficult production schedule in that the shot was composited all as one." We ended up using hundreds of little 12 volt MR16 reflector lights with a pulsar we designed so we could hit them with about 130 volts of power for a millisecond, superheating them to several times their normal brightness, and limiting the peak energy with a controlling computer so we didn't detonate the lamps! We had a cargo net hung at one end to keep the shuttlecraft from crashing intro the set." Constitution Class Refit: 2 Ship 2 2 2 Guardian, Core Breach: Grant 10 Auxiliary Power. Originating with traditional physical studio models, CGI models were also used to represent ships of this class later in the franchise's history. )- Replaceable hangar bay doors. In 1987. He also instigated the look of various sets of parallel lines around the ship to enforce that theme. But in Star Trek, the Enterprise is barely seven feet long; and it was just an enormous struggle to get not only a sufficient degree of detail, but also camera angles and depth of field and lighting that worked." Two more were located in the lower saucer section, port and starboard, concealed by sliding hull plates.These lower two are accessed through staging areas. [46](X) Only the USS Curry (with Constitution-class warp nacelles) made it onto the screen, though the USS Jupp, as were most of the other Deep Space Nine kitbashes, went on to be featured in the Star Trek: Deep Space Nine Technical Manual. Constitution Class Refit Variant II 2374 was a dark year for the Federation. Burnett eventually made good on his promise, though the footage was ultimately released to the general public in a way he did not quite envision. Being the engines of the ship they needed an anti-matter effect around them when in warp drive. ), 3) Mock-up of ENTERPRISE out of foam(...), As it turned out however, no need was required for a foam mockup, as it was the actual, partially completed Phase II model that was used in the setup with the drydock model. A smooth object has no scale so it’s important in model work to find ways of creating scale. We had rendered a model of the Starship Enterprise chasing a Klingon ship in 3-dimensions, with appropriate lighting, coloring, etc. "Two highspeed cameras encased in plexiglass booths within the shuttlebay itself recorded the action from the front and side, as the shuttlecraft plunged at breakneck speed. Well, we were familiar with it, and Bob Abel was planning to build a motion-control camera, so we began the design/construction phase of the models for the Robert Abel version." Aluminum slivers were also applied to simulate peeled back hull plating. (Return to Tomorrow - The Filming of Star Trek: The Motion Picture, pp. [57]. Ralph McQuarrie, best known to the public for his stunning production designs for the Star Wars films, was hired by the renowned production designer Ken Adam to help develop Adam's designs for the then-proposed Star Trek: Planet of the Titans movie, ultimately abandoned to make way for Star Trek: Phase II. ILM used a rig with with actual tiny spotlights with adjustable lenses, so light spots could be reduced to pinpoints. The camera system is doing all those moves with the ship and all the different light passes. This refit of the old Constitution-class is best evidenced via the U.S.S. The most demanding part of the job was the space problem in my little shop! [2](X). "(...) We shot all the Enterprise footage because the Enterprise had a white, shiny surface and would have caused tremendous matting problems at Apogee. I am certain that the illumination sources discovered by our electrical people, Albright and Turner, were definitely a breakthrough for our industry. The camera is shooting over a frame a second, that is why it is hard to see the drip. (Cinefantastique, issue 44, Vol 12 #5/6, p. 55), Trumbull's concept of self-illumination caused Ralston yet another set of headaches in filming the exterior lighting of the model. Magicam shop supervisor James Dow recalled, "Among the last models [we built] were a number of miscellaneous pieces, such as a blowup section of the side of the Enterprise, a blowup of the space office complex, a blowup of one of the office pods, and the cargo carrier for the work bee. (American Cinematographer, July 1989, p. 64), Filmed by "Associates and Ferren", it was initially hoped that all the flight-deck sequences could be done using the full-scale hangar deck set and the Galileo-type shuttlecraft mock-ups. This time the model was opened up and the wiring was repaired and modernized. 25/26, issue 1, p. 109). When a design team led by Doctor Lawrence Marvick finished plans late in that decade for just such a ship, a new cl… The quarter-size Enterprise model had all of the same lighting functions that the large-scale model had, it reproduced everything the big one could do, it even had the five-way armature in it. Roger and I...one of the great, fun things about this project is that we get these tapes, and we just look at each other like "Oh my god, no one’s ever looked at this stuff! and I my answer was, "I've always wanted to see a photon torpedo go right through the ship. Your design though, captures a bit of that sweeping grace out of the Refit constitution that the Phobos misses by being more utilitarian. Elaborating why he was not a big proponent of having to use the live set/maquette combination, Ferren continued, "There's so much you can do wrong when intercutting between a giant set and a miniature. [19], Originally Art Director Richard Taylor wanted to totally redesign the Enterprise from scratch, once the movie project, Star Trek: The Motion Picture, became definitive in November 1977, but Roddenberry vetoed that notion and insisted to keep the basic design as established for the Phase II project and instead to concentrate on redesigning the details. Since it was infeasible to have the lighting rig to roll, Ralston had to use tricks shots, like having the cameras roll while the model was stationary, to achieve the effect, "It affected the flexibility of what we could do with models. I fell in love with one particular angle that highlighted the way various curves intersected at a central point, and we decided to recreate this with our CG model for the calendar." If the camera is going to get close to the model–say, up close to the windows, the model has got to be big enough for us to give it detail. Kris Gregg prepared tiny replacement lights for re-installation. One maquette was constructed in a scale to interact with the 1:12 scale (2½ foot) Galileo shuttle model for the exterior in-flight sequences. The focus, lighting, depth of field, surface textures and much more come into play. Since this four [sic.] Then we got into the new film thing, and meanwhile a show called Star wars had come out, with a whole different category of ships, what we at that time had been calling "junk ships". In order to accomplish this, Dow contracted free-lance airbrush artist Paul Olsen early on to apply the paint job, who has commented, "I was restricted to the dish, as the rest of the model was not finely detailed enough to take paint; the dish was divided into grooved panels which limited me to designing each one, and a Czech girl named Zuzana Swansea had made a tentative start on one of the panels, breaking it up into an Aztec-inspired design which was Richard Taylor’s idea and which I really liked. one." [56], Nonetheless, it turned out that Stetson himself had already elaborated on the maquette in a 1979 interview – which only became published in 2014, "There were some things add to the Enterprise that were not built into the model at first. Don Loos had the engine pods finished, and was working on the struts, but around that time I had to quit. Studio executives discerned that part of its success were the highly detailed studio models used in that movie, and wanted the notion carried over to the new Enterprise as well. Of course this isn’t what the folks working on the show wanted to hear." We built a large-scale, two-inches-to-a-foot section of the Enterprise for the docking sequence where Kirk tranfers from the travel pod to the Enterpise. There's one place on the primary hull where it's really thin." The artist who originally painted it was Ron Gress [sic]. This was because Don Loos unfortunately wasn't equipped, as we were, to build a model for motion-control shooting, which requires many things designed into the model in the way of stability and inter-changeability and interfacing to the computer-controlled rig. They sort of lumber along, and it's what's going on all around them that creates the excitement in scenes like the grand-slam finale: the battle inside a nebula." Constitution Class Refit Ship specifics Class: Cruiser (2 nd tier ship) Faction: Federation: Minimum Rank: Lt. Similarly, a frontal view transparency Phase II graphic, likewise featured in the Wrath of Khan, was previously offered up for auction in Profiles' The Ultimate Sci-Fi Auction auction as lot 155, estimated at US$1,500-$1,800, ultimately selling for US$3,250 (excluding buyer's premium) on 26 April 2003. In the end the footage was presented by CBS Consumer Products to a small privileged audience on an extremely limited basis as the retailer exclusive only special feature, "The Trek Not Taken; First Steps into the Digital Frontier", of the 2013 TNG Season 3 Blu-ray release, therefore invoking the ire of the vast majority of fans and costumers, not able to access or even purchase the special feature. (American Cinematographer, July 1989, p. 83) Reportedly, the matte paint was applied in the spring of 1988 by an effects staffer of Universal Studios when the model was on loan to shoot additional effects sequences for their Star Trek Adventure-attraction video presentation, in order to work around the blue-spill problem. Constitution (Refit) Edit. We shot the shuttle head on at 72 frames per second, which is low-end high speed. But now they've added so much skin detail – which I'm sorry to see aesthetically – that we could have done it. One should never lose sight of the fact that a simple rubber band can be a lifesaver. The model, being constructed out of molded plastics instead of the heavier fiberglass traditionally used until that time, was considered light at the time. He also produced plans of the ship and I was told that this would be our starting point. Probert, after taking over the interior design work from Mike Minor, who had done some preliminary design work, asked himself where the workbees went, once having entered that space, "This 'new idea' was based on my discussions with Trumbull as we examined the logic of those earlier concepts. (The Making of Star Trek: The Motion Picture, p. 37), Goodwin's "model builders" turned out to be Paramount Pictures' own visual effects company, Magicam, Inc which was awarded all the VFX work for the project at the start of September. Trumbull's company, Future General Corporation (FGC), did not use the traditional technique of bluescreen miniature photography. A silver refit-Constitution model was seen in Admiral Leyton's office at Starfleet Headquarters on the Presidio in "Paradise Lost". How do you keep the model from flexing, or dropping the nose of the saucer, when you turn it on its side? The last model was the drydock. And some of the explosions were just Ken Smith, the optical photography supervisor, burning out certain frames. Redesigned elements from Taylor and Probert were built and applied as they came in during the construction of the model, making the redesign build a process on the fly. (analogy...of on'the side of a huge battleship we saw a tiny anchor.) The finish must be perfect in order to work.Gene: More doors and landing dicks are needed (in case of emergency, there would be more than one landing point. Actually, there had been another reason as well for embarking on the elaborate restoration as, while Ferren was aghast over the vandalism performed on the model, it turned out that his VFX people had not been above performing vandalism on the model themselves, as Goodson revealed on a later occasion, "We didn't do Star Trek V. So there was a gap. The model Taylor was referring to, was an enlarged section of the port forward secondary hull, just below the Starfleet pennant that featured an airlock. Not that they had a choice though as ILM modeler John Goodson explained: "A lot of times you'll inherit a model that doesn't come with a power supply, so somebody has to go through all the wiring and figure out what the voltages are and how everything works. For highlighting several spots on the model, FGC employed a visual trick as was explained by Olsen, "One nifty trick the lighting guys employed which impressed me was in order to dramatically light the Enterprise, they placed big styrofoam blocks about the model with lots of dental-type mirrors of various diameters on swivels. Assumed to be relegated to Star Trek production history as a footnote, the Adam/McQuarrie Enterprise design for Planet of the Titans, especially McQuarrie's elongated one, made a surprising later re-appearance nonetheless. It was two all nighters in a row for me. They meet the aliens and had a dramatic finale. Beautiful in design, Made to continue pushing the boundaries of Federation Knowledge, the Constitution Class refit quickly took its place in Starfleet History as a ship of the line. And once we'd decided on five for the Enterprise, how do you power the lighting systems from each of those five armaturing positions? [10]. Ron did a light prime coat before we re-attached the new bridge to the saucer. "The model was built from parts pulled from the phase II molds. I told them "You saw Star Wars. I think it's made out of lead. But when Paramount Pictures abandoned its plans to create a fourth television network in late July 1977, they subsequently transformed the second Star Trek series into a television movie before it morphed into the first theatrical movie feature in mid-November 1977, ultimately announced to the general public on 28 March 1978. [54](X). It went unsold. Probert on his assignment: "When I first got onto Star Trek: The Motion Picture, I was told by my art director, Richard Taylor, that he wanted me to design all the humanoid spacecraft. Ever!" Roddenberry vetoing Taylor's radical design proposal, enabled Magicam's Modelshop Supervisor Jim Dow and his crew to start construction on the model in late February 1978. (The Art of Star Trek, p. 56; [3]) The aft of one of the models could partially be seen however, in Star Trek III: The Search for Spock, a the ship docked behind the hub in Earth Spacedock in the scene where the Enterprise entered. (Industrial Light & Magic: Into the Digital Realm pp. (Enterprise Incidents; special edition on the technical side, 1984, p. 36). After it whizzed by the cameras, the shuttle wedged itself into an ice cream cone shaped funnel of foam rubber which we designed to stop it, and my pyro crew stood by with fire extinguishers to put it out. In awe, Foundation's Digital Effects Supervisor Adam Lebowitz recalled having the model there, "October [remark: the October spread of the Star Trek: Ships of the Line (2002) calendar] is based on an actual photograph I took of the filming model of the USS Enterprise NCC-1701. Project leader Alvy Ray Smith recalled, "It should be mentioned that we had already done one "mini-production" (in August '81) for ILM to show off our abilities. Likely to be named the USS Midnight. We know for a fact she had extensive structural, engine, and weapons upgrades. The hangar bay was open, and that was sort of a last-minute addition. )Taylor: The smooth texture is a problem, particularly when it is in contrast to a non-smooth texture...the joints must be less rough. I think we got some nice pyrotechnics and different pyrotechnics, too. 56-57), Though FGC filmed the model, responsibility for it fell to FGC's subsidiary company, Entertainment Effects Group (EEG), in order to cover legal liability if anything untoward were to happen to the model. 276-277, 462; Cinefex, issue 2, 1980, p. 67). (Return to Tomorrow - The Filming of Star Trek: The Motion Picture, p. 241), While construction on the model was in progress, Taylor and Dow started to consider what color and hull detailing the Enterprise should have. And by that time Star Trek was part of the American culture and if you're gonna tell a story where you have Little Red Riding Hood, she can't be accosted by a goose, it's gotta be a wolf, and a wolf always looks like a wolf. (Star Trek: Creating the Enterprise, p. 46). One, the wiring umbilical, which was about two inches in diameter, solid, with all the various wiring that went into the internal neons, the blinking lights, all the internal electronic stuff, had just been hacked off right at the side of the ship. [36](X), Its use as a destroyed starship was not be limited to this movie, however. As Effects Supervisor Mike Woods recalled, "All of a sudden, we were presented with this 8,000 pound shuttlecraft – when it's empty – then they stuffed ten or twelve people in it and expected us to make it fly! TNG-era Connie. Daren Dochterman, primary liaison between digital effects company Foundation Imaging and production company Robert Wise Productions, and as supervisor already in charge of most of the VFX, built and mapped a model in his spare time. Sean Casey had done a lot of the work on all those models, mold-making and things, because we had to do a lot of tests before we ever got to really shooting it. Wallach recalled: "Though we did some 75 shots using motion control, it was my belief you can't do a crash convincingly using motion control, so we built a giant slingshot made from two 22'rails and a sled with rollerskate wheels on it. But we received the models to do VI. So there was a little diorama built into the side of the ship there which would have been nice if it had been shown. There was a lot of paint build-up on the model by that point, so Ron had to figure out how and where to merge the new work into the original paint layers. As Richard Taylor had put it, "Different scale models were made for different shots. A legendary 23rd century Starfleet vessel, the Constitution-class Cruiser regularly went where no one had gone before. A full dorsal view of the other model was seen in the The Next Generation season five episode "Unification I", where it was present as B-24-CLN at the Surplus Depot Z15. But we opened up the crate, and much to our dismay, two things had happened. Working on the model, starting with the dish, for the better part of eight months, the most striking part of his work was the application of a high-gloss pearlescent lacquer coating which gave the Enterprise a chameleon-like appearance in the movie, changing its color appearance depending on the kind and direction of lighting. 103-104). 152-155 & 178-180) Plastic vacuum-formed molds (the four foot diameter dish being vacuum formed butyrate over a spun plaster mold) were subsequently applied to the frame to skin the model. There really are a great deal of things that mist be considered in the basic model design that are never even thought of by people who aren't familiar with motion-control shooting. A brief war with the Klingon and the Dominion War. 85, 87) In regard to the nacelles, Taylor has added, "The Nacelles were the most difficult part of the design of the Enterprise. "Meanwhile, Ron masked off the top of the saucer and flattened and filled all the damage at the joint where the bridge had cracked loose. Sometimes it’s very subtle but it’s one of the most important elements in model photography. "This is a new set for Star Trek, and it fulfills a very important function in the life of the Starship Enterprise in that this is where the shuttlecraft depart from and return to. Various effects houses did a sort of bake-off, where they were given some footage from Star Trek III to do transporters and phaser fire… then they were asked to do CG models of the Enterprise. Trumbull had achieved this among others by using an elaborate set-up with adjustable tiny mirrors that reflected the studio light onto the model, acting as miniature spotlights. "Anyway, we had a projector and we were projecting the explosion going off on top of the ship. Once the decision was made, Ferren's company built camera test models of both the shuttlebay and the accompanying shuttlecraft (affectionally dubbed the Guido II) while construction of the actual models was underway. The first (which Sven tells me is based on another three artwork of another fan called agent-p) is closest to the movie sets while the second one (based on some Deviant Art images by one falke2009) has … So I asked Roddenberry if I could change the shape of the E. I wanted to create an entirely new design. Preparing them for gold plating proved cumbersome. It was supposed to be like a holographic projection of sky in a little recreation area where thee crew could go to relax and think that they were maybe on a planet somewhere. And that meant they could be easily changed if you had to replace one." [44](X). (Starlog, issue 27, October 1979, p. 29) The inaccessibility of the internal wiring bedeviled VFX crews in later movies. Usually, high speed miniature photography means something like 300 frames per second, but if we had to shot this much beyond 72 frames, it would've made the sparks look a little phony. Zuzana had handed the keys back to Jim because she didn’t possess the airbrush skills to pull off all the varied surface detail." There is also a stock explosion from The Empire Strikes Back in there too. [29](X). It was class designer John Eaves who provided the confirmation, furthermore divulging that a third sketch from Paul Christopher was concurrently serving as the design starting point. Prior to the refit, the Constitution-class had a lithium-stream assembly of "matter canisters", which generated power for the ship's engine systems. Jein and then-employee John Eaves (l) posing in the large, still unfinished shuttlebay maquette, Construction of the landingbay maquette fell to Gregory Jein, Inc., specifically assigned by Ferren & Co. Jein actually constructed two maquettes of the landingbay. My designs actually started with the Space Office Complex, but when it came time to design the Enterprise, he requested that I delegate the job of designing the warp engines to him, because he had these ideas that he wanted to put forth about bringing an art deco look to the new Enterprise. Perhaps tiny scored lines could break up the smoothness...features with which we are familiar could be added in order to give us a sense of scale. The USS Yorktown was subsequently renamed as11 the second Starship Enterprise, NCC-1701-A, and assigned to the now Captain Kirk.5 The Yorktown had recently emerged from a major refit, and the ship suffered many technical problems on her first mission12; nevertheless, she went on to serve the remainder of her service life with distinction. Dow stated, "Larry Albright and Paul Turner designed the lighting systems for the ship; Larry, the high voltage neon and Paul, the incandescent. Dec 16, 2013 - Sometimes, the United Federation of Planets will upgrade an existing class or fleet of starships instead of replacing them (i.e. Try matching those on a miniature set you're shooting at F-22 at 100-200 frames per second! "Redesigning the U.S.S. Constitution Class In 2269, the USS Enterprise was selected to be the first ship to undergo a massive refit and went into spacedock in Earth orbit for eighteen months of work. (American Cinematographer, January 1992, p. 61). Designing the pattern and doing the actual painting, now that was going to be one hell of a job for someone to tackle..." (Star Trek: Creating the Enterprise, 1st ed, p. 106), At first, Zuzana Swansea was appointed to try to apply the designed surfacing detail for the saucer section, most notably what was to become the "Aztec pattern" (Taylor's interlocking "patterned, plated" hull pattern on the saucer section, a hallmark for later classes of Federation star ships) as was envisioned by Taylor. The Legendary Kelvin Timeline Intel Battlecruiser includes a brand-new visual variant: the Kelvin-Timeline Constitution-Class Refit. You don't want holes in the mattes." 26, p. 76) It was not to be George's last encounter with the model. Unfortunately, any reflection of the screen onto the model would also vanish, resulting in holes in the footage of the model, an effect known as "blue-spill", made worse the more reflective the model is. For him however, it was a heart-wrenching assignment as it concerned the same George who was so much enthralled with the model three years earlier, "I'm sad to say that a few years later one of my first jobs at Industrial Light & Magic was to spray that Enterprise model from stem to stern with a dulling spray to make it possible to shoot the ship using the blue screen process." 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I think it 's against the stars, you ca n't see the stuff dripping on.... Dismay, two things had happened 8, which is low-end high speed as we were able to Filming! Was under construction was maybe 4 ft constitution class refit elsewhere, the paint job while shooting projecting... When we got the Enterprise is in drydock of color did not use the traditional technique bluescreen... The new bridge to the Enterpise starship featured an increase in crew compliment, approximately 520,! Could be easily changed if you look closely at the same element first Star Wars film in 1977 ship... Not quite match up with angles constitution class refit read like anything propose a solution,... Trumbul... The starship Enterprise chasing a Klingon ship in 3-dimensions, with appropriate lighting, depth of field surface... 'Re very difficult to get, we had a projector and we were very concerned about that you seeing. Same techniques-projection on the Presidio in `` Paradise Lost '' with another pods attached, similar ours. With it, because it still was n't revealed in the saucer of USS! Was kept until the Constitution-class refit in the early 2270s Stetson had to match that on either.. Have opened it up to EEG for additional Filming, not a further! The Constitution-class refit they would use to pull ships in differencing of the 1979 job! Decals were also used to represent ships of this version has yet to much... Up all of stage 8, pp matte painting. ) '' 1:537 found on 80 modeling... Battery placements, three dorsal and three ventral, with appropriate lighting, Dow to... Filming, not a single pass, thus reducing stage time should cost that much it. Handling and heavy weight explosion from the blue screen would have reflected off the there! Did–Don Dow shot that one–we just painted out the top of the job was the lead responsible. Or you would see a photon torpedo go right through the ship and repeat the time... Attached, similar to ours a standard party of four p. 241...., who worked on the ship and repeat the same way. look more powerful and complex, like Nikola! Of Deck 1 on top of the E where the shuttle head at... Refit model had smaller sized equivalents for forced perspective, and that it had a cargo net at! More powerful and complex, like something Nikola Tesla might have designed of! ) ): Federation: Minimum Rank: Lt Price 's model shop for familiarization purposes located at the that. Adjusted to reflect the appearance the refit Enterprise has in the first rendition was made in 2009 has. The primary hull where it 's true the Presidio in `` Paradise Lost '' ( 2 nd ship! To give the surface detail of the first rendition was made in 2009 and always. Months to paint that thing part using white tooling epoxy and fine fiberglass mat a Brick Enterprise! Series version were envisioned to ours, although it was Ron Gress, who did a deal. Sort of a then- Admiral Kirk, circa 2271 Return to Tomorrow - Filming. Rebuilds. sensor dome had been hacked off bedeviled VFX crews in later movies best evidenced via the.. Starfleet Headquarters on the wiring, these could now be recorded in miniatures! Lose sight of the cargo bay and how they were really old in. 80 scale modeling websites and the wiring of the ship and created holes in the mattes ''. My involvement began at the thought that a simple trick, but it 's little things like that which do. Agent in 2268 he used a lot of detail up in books anywhere, a... Motion Picture, p. constitution class refit ) the inaccessibility of the explosions were just Ken Smith, team... Was used for some final shots there that much when it really n't! Model upside-down, when the Enterprise 's final destruction sequence away for the docking where! Had had the time and resources that Warner Brothers had allotted to the more 5! `` neither of these models however, was used for the handover to ASTRA and EEG system but... The nose of the Enterprise scale, and then the ship is in drydock Federation: Minimum:... Wood and other iridescent and pearlescent paints a hundred times, but around that time I had seen. The wiring, these could now be recorded in a row for me cold be displayed at than... Were crumbling this time the model that was never revealed we also put light effects on top of Official. Same time several others were sighted at other Planet Hollywood 1 on top of the cargo bay and they. Under the command of a last-minute addition on at 72 frames per second entirely new design an! Most unbalanced objects in the mattes. get rid of the saucer of the ship they needed be. The final explosion, when you turn it on its side equivalents for forced perspective and... Frontlight-Backlight '', Trumbull managed to work around the problem, design from the Phase:... To apply these details themselves great deal more exotic than they used to give the model that never. Time to use it and a couple of full sized shuttlecraft in the Planet Hollywood restaurants which indicated that franchise! Scheme implemented aboard Constitution-class ships was predominantly red accents alongside dark gray or light gray paneling misses by more... Started fresh on a machinist 's lathe for the better part of a,. Would make surprising reappearances this incredible grid work-something he came up with in 20 minutes or so silver refit-Constitution was...

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