{"id":10438,"date":"2020-09-08T15:25:07","date_gmt":"2020-09-08T22:25:07","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=10438"},"modified":"2021-05-30T17:48:54","modified_gmt":"2021-05-31T00:48:54","slug":"star-trek-then-and-now","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/star-trek-then-and-now\/","title":{"rendered":"Star Trek: Then and Now"},"content":{"rendered":"

A half-century has passed since the starship Enterprise\u00a0<\/em>launched a technological revolution in series TV that’s continued with each new addition to the franchise.<\/span><\/p>\n

by Pauline Rogers \/\u00a0<\/span>Photos Courtesy of CBS Star Trek<\/em> Archive\u00a0\/ CBS Interactive<\/span><\/span><\/p>\n

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On September 8, 1969, Gene Roddenberry <\/strong>began to take television audiences \u201cwhere no man has gone before\u201d with the first episode of Star Trek<\/em>. Who knew his mission to use future environments to explore current problems would spawn eight television \u201creboots\u201d and 13 feature films? Who knew a TV series would be cited as an inspiration by Apple computer co-founder Steve Wozniak, jet-propulsion scientists, and even those working to pioneer non-invasive imaging technology?<\/p>\n

Star Trek\u2019s<\/em> visual origin story begins with its first Director of Photography, Gerry Finnerman, ASC, and industry VFX legends like Howard Anderson, ASC (miniatures, traveling and materialization effects); Linwood Dunn, ASC (optical printers, traveling mattes); and Joseph Westheimer, ASC (special photographic effects); who all helped ready the Enterprise<\/em> for its first mission. It culminates (at least for now) via the use of two million-plus LED lights, used on CBS All Access\u2019 digitally platformed Star Trek: Discovery<\/em>. One can only imagine the challenges of realistically portraying the USS Enterprise\u2019s maiden voyage with older film cameras and lenses \u2013 Arriflex, Bausch & Lomb, and Mitchell systems shooting 35mm Eastman 50T 5291 and 100T 5254. That is some very big and bulky gear employed on (no doubt) very hot sets.<\/p>\n

By the time Star Trek: The Next Generation <\/em>began airing in September 1987 (one of the highest budgeted single-camera shows of its time at $1.2 million per episode), technology had dynamically evolved. The series was still shot on 35mm Eastman 400T 5294, 5295, and EXR 500T 5296, but with Panavision cameras and lenses.<\/p>\n

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Star Trek\u2019s<\/em> visual origin story begins with its first Director of Photography, Gerry Finnerman, ASC, and industry VFX legends like Howard Anderson, ASC (miniatures, traveling and materialization effects); Linwood Dunn, ASC (optical printers, traveling mattes); and Joseph Westheimer, ASC (special photographic effects); who all helped ready the Enterprise<\/em> for its first mission.<\/figcaption><\/figure>\n

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\u201cI remember walking into the pilot [as a Local 600 trainee]<\/strong> to work with [Director of Photography] Ed Brown [ASC] and his team, and literally having my life changed,\u201d recalls AC Maricella Ramirez. Brown shot the pilot and first two seasons for Next Generation<\/em>, and when Ramirez returned later on, Next Generation\u2019s<\/em> Director of Photography, Marvin Rush, ASC, moved her up to 1st AC. \u201cThe shots designed by Marvin, and executed by Operator Joe Chess [SOC], were very complex,\u201d Ramirez adds. \u201cWe were doing masters with very complicated dolly moves, many dance floors, long lenses, sometimes zooming at the same time on the old Panavision 5:1. When we did zooms, they couldn\u2019t look like we were zooming. I was never able to ride the dolly because Joe had to \u2018pretzel\u2019 himself into uncomfortable positions. The Steadicam, which was considered highly specialized at the time, was used only for a specific exterior or an occasional interior.\u201d<\/p>\n

Instead of handheld on the walk-and-talks, Ramirez adds, \u201cwe used a vibration isolator that the Panahead would sit on top of. It isolated the vibrations of the camera, but the stops were hard to handle. We had to have a fourth person, walking with the three of us, and very gingerly lock-off the isolator so the end of the shot didn\u2019t look like Jell-O, bouncing back and forth.\u201d<\/p>\n

There was no remote focus, and the grips were challenged pulling the heavy Hustler dolly on the carpet. \u201cIt looked simple, but it was not,\u201d Ramirez shares.<\/p>\n

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Maricella Ramirez, who started on the Next Generation<\/em> pilot as a trainee, and was moved up to 1st AC by Marvin Rush, ASC, says the shots Directors of Photography Ed Brown, ASC and Rush designed were complex. \u201cWe were doing masters with complicated dolly moves, many dance floors, long lenses, sometimes zooming at the same time on the old Panavision 5:1,” she recalls.<\/figcaption><\/figure>\n

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Next Generation<\/em> was a pioneer for TV VFX, \u201cand they<\/strong> were quite a challenge,\u201d recalls Director of Photography Lowell Peterson, ASC, who operated on the series. \u201cMany of the tricks we came up with, including the use of anamorphic lenses to create optical dolly shots, I still use today to do VFX shots that don\u2019t require expensive roto-ing. Rob Legato [ASC] was on set a lot to help figure out how to achieve VFX without rotoscoping. Many times, it was designing a moving shot so that I could lock-off the Panahead at the moment the visual effect took place. If you look out for this, you can see it during the show.\u201d<\/p>\n

When directors wanted complex long takes, lock-offs had to accommodate multiple VFX moments in a single shot. For example, when two characters were coming out of a turbo lift on the main bridge, where the camera tracked-back in front of them until they stopped on the ramp, the camera was locked-off and they were transported out and an alien character transported in. The camera was unlocked, and it panned the alien 180 degrees across the bridge to the other ramp. Finally, the camera was locked-off again, as Worf fired his phaser at the alien and he disappeared.<\/p>\n

\u201cWe had two working models to support this locked-off economy,\u201d Legato explains. \u201cFirst we would shoot the A-side with the blank set, then walk-on the appearing actors. This was all one take, as we would cue when the other actors in the scene, to ignore them walking and then would react to them appearing. The action would continue, and we would break the camera and pan, lock-off for the next section, and then do the same ritual in reverse. The stationary actors would react to their disappearance, keep rolling, and walk the disappearing actors off and get the clean plate. The camera effect would transport in and pan over, then they would transport out with the camera panning from one end of the set to the other.<\/p>\n

\u201cThe other method was to shoot locked-off with an anamorphic lens \u2013 twice the width to allow us to pan over in post \u2013 and stage something similar but with the ability to pan and scan the frame, and have the camera move be able to pan in mid-effect, instead of waiting for the effect to be over before breaking the frame and panning. A poor man\u2019s version of motion control,\u201d Legato adds.<\/p>\n

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Next Generation<\/em> pioneered VFX (like transporter scene above) for series television.Lowell Peterson, ASC, who operated on the series says “many of the tricks we came up with, including the use of anamorphic lenses to create optical dolly shots, I still use today to do VFX shots that don\u2019t require expensive roto-ing.”<\/figcaption><\/figure>\n

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Star Trek: Deep Space Nine<\/em><\/strong> continued<\/strong> to up the stakes. The pilot ran around $18 million. The main set was two levels and expansive. The show was still shot on film \u2013 35mm EXR 500T 5298 with Panavision cameras and lenses. But now the narrative moved away from the space station and was the first in the TV franchise to use CGI imagery for exterior space shots. The USS Defiant, for example, was the first starship to have a CGI model, although real \u201cmodels\u201d were still used for several episodes.<\/p>\n

The pilot\u2019s opening scene was a single shot, all handheld.<\/p>\n

\u201cIt starts as the ship is in mid-destruction,\u201d Chess describes, \u201cand the captain is trying to free his dead wife from fallen debris, while his shell-shocked young son looks on. The camera is frantic as are the doomed crew. We run through the carnage as the ship is being torn apart and finally arrive at the last escape pod. Following the captain and his son inside, we see the terror in their faces and are slammed again. As they drop in their seats, the camera is vibrating and searching. Then the order is given to eject. The camera jerks with force and then falls dead calm as the pod breaks free from the dying hulk. As the pod shoots away into the quiet of space, the ship explodes in a fireball.\u201d<\/p>\n

The story moves to the bridge, where the series introduces the new (at the time) Enlouva crane and a Power Pod mounted on dolly and track. \u201cWe move from the pit circling around and up, to meet an alien crew member and the chief engineer,\u201d Chess continues. \u201cWe follow them upstairs, through an arch, past a busy crew and again up and through some doors into the captain\u2019s office, where we meet Captain Sisko. Again, one shot, and a small miracle given the tools of the day. The dolly track was built through a small hole in a wall of the elevated set, extending the arm\u2019s travel 30 feet. The arm and bucket pivoted around the set wall time and again with precision.\u201d<\/p>\n

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Deep Space Nine<\/em> was the first in the TV franchise to use CGI imagery for exterior space shots. The USS Defiant (above) was the first starship to have a CGI model.<\/figcaption><\/figure>\n

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The franchise\u2019s fourth installment, Star Trek: Voyager<\/em>,<\/strong> which debuted in 1995, carried on the Panavision\/EXR 500T 5298 tradition. Ramirez says the Local 600 team tested a couple of video cameras, \u201cincluding a Sony, before starting the pilot, probably to aid in the VFX. But, in the end, we continued using Panavision film cameras and Mitchell filters to soften the make-up, as well as white Pro Mists on some episodes to differentiate between locations and the ship.\u201d<\/p>\n

Chess recalls a negotiation scene in which a fight breaks out.<\/p>\n

\u201cOne alien is in a wall-sized fish bowl [green screen, CGI], one is a shapeshifter, [a man in a green suit], one only existed in CGI where we had to leave him open space [a tennis ball on a stick], and another in elaborate SFX make-up and suit completely with animatronics operated by two puppeteers \u2013 and then the weapons came out,\u201d he explains. \u201cPhaser blasts and CGI projectiles. There was also a green screen view-screen showing others involved in the negotiations. And it was all done handheld on a seven-day schedule!\u201d<\/p>\n

Six years later, in September 2001, Star Trek: Enterprise<\/em> debuted. The show began shooting on Kodak Vision 500T 5279, with Panaflex Gold II and Panaflex Millennium XL cameras and Primo and Super Speed 2 lenses, as well as several Cooke lenses. However, by the fourth season, Rush tested Sony\u2019s digital system, and production moved to the CineAlta and Zeiss DigiPrimes. Enterprise<\/em> continued to \u201cgo where others haven\u2019t gone.\u201d<\/p>\n

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Star Trek: Enterprise<\/em> broke new ground as well, becoming one of the first TV shows to shoot in HD. AC Mark Reilly says he was probably “one of the first [AC\u2019s] to pull focus using a monitor at [Rush’s] cart. I would sit with my Preston on an apple box next to Marvin\u2019s [24-inch Apple monitor] as he would say, \u2018Follow the ball.\u2019”<\/figcaption><\/figure>\n

As Enterprise<\/em> AC Mark Reilly notes: \u201cWe were one<\/strong> of the first TV shows to switch over from film to HD, and I may have been one of the first [AC\u2019s] to pull focus using a monitor at Marvin\u2019s cart. Up to that point, I normally worked at the camera with a Preston for flexibility, as we would regularly change camera configurations \u2013 going from handheld to crane. But the new Sony F900, and the improved video monitoring capabilities \u2013 Marvin used a 24-inch Apple monitor \u2013 compared to a video tap on film cameras, was a huge improvement. I would sit with my Preston on an apple box at Marvin\u2019s monitor cart as he would say, \u2018Follow the ball.\u2019 He also liked the ability to tweak exposure or sneak in a zoom with a whisper. Of course, it took some getting used to, but I enjoyed pulling focus on a large screen and immediately knowing if we got the shot. The biggest challenge was learning the new camera menu and systems, and then adapting that for our many shooting modes.\u201d<\/p>\n

Enterprise<\/em> Camera Operator Gary Tachell adds that other new gear was introduced on the show. \u201cWhen the ship gets attacked and is \u2018hit,\u2019 the A-Camera operator\/2nd Unit DP, Doug Knapp (SOC, who passed away in May 2020), shook the camera to simulate the hit,\u201d Tachell shares. \u201cA lot of the scenes on the bridge, where we were on a crane and a remote head, employed Marvin\u2019s set of hot gears. With these tools, we were able to program a customizable shake and trigger it at the exact point of impact. We could even do a variety of motion-control capabilities with the gears.\u201d<\/p>\n

Tachell notes that Rush even \u201cbrought in a Sony FX1 prosumer to test as an Eyemo-type crash camera. \u201cWe had a scene where we were blowing up a shuttle pod, and we placed it in a crash-cam position, wide and close to the explosion,\u201d he adds. \u201cWe were all pretty amazed at how well such an inexpensive camera could perform.\u201d<\/p>\n

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Rush says he felt it was his responsibility to promote people (like Next Generation\u00a0<\/em>1st AC Maricella Ramirez, above, with director Winrich Kolbe looking through eyepiece)\u00a0<\/em>on a regular basis. “<\/em>The best\u00a0part of working for so many years on Star Trek,” Rush describes, “was to\u00a0watch my friends get to have their dreams as I have had mine.\u201d<\/em><\/figcaption><\/figure>\n

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\u201cStar Trek<\/em> for me was always something special,<\/strong> something to be cherished and protected,\u201d says Rush. \u201cMost science fiction is dystopian in nature. Not Star Trek<\/em>. Gene Roddenberry\u2019s vision was more hopeful, more aspirational. It had integrity. My job as cinematographer was to keep this in mind when lighting and shooting. I wanted the light to come from honest sources and to maintain that source integrity as much as possible. Flashy and showy decisions were not chosen. Instead the story circumstances would always drive the look for both lighting and camera.<\/p>\n

\u201cI also felt it was my responsibility to promote people on a regular basis,\u201d Rush adds. \u201cMy criterion was when I noticed that someone had reached a zenith in their current position then I needed to find a way to give them a bit of a shove forward. Sometimes they were reluctant at first. I explained it this way: \u2018You can\u2019t get any better in your current role because you are almost perfect. If I don\u2019t promote you, then after a while you will get bored … then complacent … then finally bitter. Then we both will be unhappy.\u2019 To counter their apprehension, I made a promise. \u2018While you are learning the new job, I won\u2019t ask you to do something you are not ready for. I will cover you until you are there!\u2019 This was the best part of working for so many years on Star Trek<\/em>. To watch my friends get to have their dreams as I have had mine.\u201d<\/p>\n

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Star Trek: Discovery<\/em> was the first digitally platformed series in the franchise.\u00a0Glen Keenan, CSC says new technology and set construction created even more advancements. “It took only 20 weeks to build the Enterprise<\/em> bridge (above),” Keenan relates. “We have three dimmer-board operators, and more than two million LED lights throughout the set.” Photo by Russ Martin (IATSE Local 667)<\/figcaption><\/figure>\n

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By 2017, and with the move to CBS All Access, <\/strong>the Star Trek<\/em> TV franchise was fully digital. \u201cWe were challenged to shoot this new show, Discovery<\/em>, as if it were a feature,\u201d explains Director of Photography Glen Keenan, CSC. \u201cDue to the advancement in technology and set construction, we had several new tools at our disposal. As an example, it took only 20 weeks to build the incredible Enterprise<\/em> bridge. Since we have the sensitivity of the digital medium, we were able to use programmable LED lighting and dimmer-board technology to bring the bridge to life. Discovery<\/em> used three dimmer-board operators, and I know it sounds unbelievable, but we had over two million LED lights throughout the set.\u201d<\/p>\n

Keenan adds that with the rise of small digital HD cameras, like the Blackmagic Pocket Cinema system, his team was able to mount the cameras on actors and within the sets for various scenes, which in turn connects the audience to the characters.<\/p>\n

\u201cAnd to aid our focus pullers, they can use tools like the Preston Light Ranger focus system to help them remotely pull focus on complicated sequences,\u201d Keenan adds.<\/p>\n

\u201cToday, the shows can be even more engaging,\u201d says Director of Photography Philip Lanyon, who has worked on Discovery<\/em> and Star Trek: Picard<\/em>, which debuted in early 2020. \u201cTechnological restrictions have traditionally been a huge help to story and often where we find the most creativity. Conversely, new tech can drive story and vice versa. I just find that it shouldn\u2019t take the front seat. Sci-fi is more engaging when technology is used to support the story instead of letting spectacle for the sake of itself take the lead.<\/p>\n

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Director of Photography Philip Lanyon, who has worked on the digitally platformed Discovery<\/em> (above) and Star Trek<\/em>:\u00a0Picard<\/em>, says using VFX and CGI are game-changers. \u201cThe VFX magicians are so good at dealing with any problem,” Lanyon says. “It allows directors and DP\u2019s to focus on the story.” Photo by John Medland (IATSE Local 667)<\/figcaption><\/figure>\n

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\u201cFor Picard<\/em>, we use the ALEXA MINI paired with Cooke 2\u00d7<\/strong> Anamorphic Special Flare glass and a variety of LED and traditional sources,\u201d Lanyon continues. \u201cMy favorites are the Kino 850 with a Chimera as a soft key and LiteGear\u2019s LiteMat 4 as fill. For the ship, we use Area 48s, SkyPanels, and rainbow tubes. This gives us a ton of control over color and levels. On the Borg sets, we use 20K Mole projectors as Sun rays and a lot of LED strips within the cube itself.\u201d<\/p>\n

Lanyon says he\u2019s amazed just how much Star Trek<\/em> has grown through the years, all while adapting to the different technologies. \u201cOne of the things that have made the biggest difference for us is the use of VFX and CGI,\u201d he describes. \u201cThe VFX magicians are so good at dealing with any problem, it allows directors and DP\u2019s to focus on the story.\u201d<\/p>\n

Lanyon cites one creation on Picard<\/em> that is of special interest. \u201cIt\u2019s called the \u2018warp core\u2019 on the La Sirena\u00a0<\/em>spaceship,\u201d he explains. \u201cIt\u2019s an interactive part of the story and allows us to incorporate some beautiful lighting effects. Its creation can be attributed to a great collaboration between the art department and lighting. We use simple LED space lights for the design, and they work well in such a confined wall in front of a fire lane. We used the fire lane as extra depth as you can see through the fins of the space lights to the other side. We lit the back wall of the fire lane with Color Force strips and bounced it off silver pebble. It worked beautifully and became the centerpiece of the ship.\u201d<\/p>\n

Lanyon says the warp core outputs the equivalent of 35,000 watts, and with modern digital sensors, \u201cwe have such tremendous dynamic range and soft highlight roll-off, we could just keep going brighter and it kept looking better \u2013 more flare, beautifully wrapped backlight,\u201d he concludes.<\/p>\n

Befitting Rodenberry\u2019s essential message of exploration in the service of humanity, installment eight in the TV franchise, Star Trek: Strange New Worlds<\/em>, is next up for CBS All Access. Set in the years before Captain Kirk\u2019s leadership of the USS Enterprise<\/em>, with Christopher Pike (Anson Mount) in command, aided by Science Officer Spock (Ethan Peck) and Number One (Rebecca Romijn), the show promises to carry on Trek\u2019s<\/em> technological evolution. And given new tools like virtual sets, large-format cameras, and new lens design, Finnerman, Anderson, Dunn, Westheimer, and company, who invested years helping TV \u201cgo where no man has gone before,\u201d would be proud.<\/p>\n

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IATSE production team from The Next Generation<\/em> Pilot. L to R: Gaffer Richard Cronn, 1st AC Ed Brown, Jr., 2nd AC Greg Luntzel (holding slate), Operator Lowell Peterson, Key Grip Brian Mills, Camera Trainee Maricella Ramirez, Director of Photography Ed Brown, ASC. \/ Courtesy of Lowell Peterson, ASC<\/figcaption><\/figure>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

A half-century has passed since the starship Enterprise\u00a0launched a technological revolution in series TV that’s continued with each new addition to the franchise. by Pauline Rogers \/\u00a0Photos Courtesy of CBS Star Trek Archive\u00a0\/ CBS Interactive   On September 8, 1969, Gene Roddenberry began to take television audiences \u201cwhere no man has gone before\u201d with the first episode of Star Trek. Who knew his mission to use future environments to explore current problems would spawn eight television \u201creboots\u201d and 13 feature […]<\/p>\n","protected":false},"author":2,"featured_media":10456,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2,9],"tags":[],"class_list":["post-10438","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-specials"],"acf":[],"yoast_head":"\nStar Trek: Then and Now - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/star-trek-then-and-now\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Star Trek: Then and Now - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"A half-century has passed since the starship Enterprise\u00a0launched a technological revolution in series TV that’s continued with each new addition to the franchise. by Pauline Rogers \/\u00a0Photos Courtesy of CBS Star Trek Archive\u00a0\/ CBS Interactive   On September 8, 1969, Gene Roddenberry began to take television audiences \u201cwhere no man has gone before\u201d with the first episode of Star Trek. 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