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The Idea
Even the greatest story starts with one simple idea. The inspiration might come from Star Trek: The Next Generation's writing staff, a pitch session or a freelance writer's imagination. When an idea has that special spark, the writing staff holds a story conference to develop the idea into a script. |
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Picture This
The casting department will contact several agencies in the all-important search for the right actor to play a role. Photos, actors' resumes, and tapes of prior performances are all carefully checked. Occasionally, the staff must seek a particular talent required by the script, or a previously used guest star to reprise a role. |
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The P.A. System
Called "P.A.s," the Production Assistants are an invaluable part of the show, and assist in all aspects of production. Being a P.A. is a great way to learn the television industry. |
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Michael Piller, Executive Producer
"In a way, I live in the fantasy world of the 24th Century. I get to explore the universe of ideas with the crew of the U.S.S. Enterprise and comment on the human condition through their voices. As a writer, it's been the most satisfying job I've ever had." |
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Michael Okuda, Scenic Art Supervisor
Star Trek: The Next Generation takes place in the 24th Century, and graphics, under direction of the Scenic Art Supervisor, are an important part of the "look" of this futuristic environment. These graphics include control panels, animated readouts, symbols, signs, and alien writing. Creating these graphics sometimes involves high-tech tools like a personal computer, but Mike says, "We try to find the most efficient tool for each project. Sometimes it's a computer. Sometimes it's as simple as [a] knife and a roll
of black masking tape." |
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On Schedule
The production board is a visual representation of the script. It displays the major elements needed for each scene, and tells what days those scenes are scheduled to be shot. The board is usually broken down by an Assistant Director and then distributed to all departments involved in the production. This board is used to generate call sheets as well. |
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Pre-Production Meeting
Once a script becomes a "final draft" the production team gathers to discuss the individual elements required for filming of the episode. This meeting of the minds includes the director, producers, writers and key department heads. |
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Rick Sternbach, Senior Illustrator
Rick Sternbach, Senior Illustrator on Star Trek: The Next Generation, designs the realistic spacecrafts and props that viewers see in each show. He coordinates his work with the model makers and prop builders to ensure that the colors, logos and designs remain consistent for the various races involved. |
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Stage Walk
Before production begins, the director and department heads will conduct a "stage walk" to discuss camera angles, lighting, set decoration, special and visual effects, needed for a particular set. |
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Dollars and Sense
Each episode of Star Trek: The Next Generation carries its own costs. The budget may increase if the script requires expensive visual effects, construction of new sets or filming on location. |
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Jeri Taylor, Executive Producer
Jeri Taylor, Executive Producer of Star Trek: The Next Generation, says, "My job is to nurture the writers of the show so they can do the best work that they're capable of doing. I oversee the day-to-day writing requirements of the show, and am also involved in casting, post-production and re-writing." |
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Producers' Assistants
Often the busiest people on a production, the producers' assistants act as liaisons between department heads and their respective producers. They must organize and schedule the many crucial meetings that take place for each episode. These invaluable assistants maintain scripts, records and schedules. |
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Casting for Talent
Star Trek: The Next Generation viewers will notice that most of the show's episodes include guest characters. Hiring actors for these roles is the job of a casting director, who consults with the episode's director, producers and writers. Usually, actors are required to audition for a role before they are hired. |
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Following the Script
A television script follows a very specific format. Scene numbers, lines of dialogue and scene directions appear in specific locations on the page. This helps keep continuity among actors and all production departments. |
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Press Kit
Press kits are put together and sent out by all television programs to give basic information about the show to the media. The kit may include pictures and biographies of the cast, character backgrounds and key elements of major plot points. |
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24th-Century Designs
The set design translates the writer's vision into reality. First, the Art Director and Set Designer will create a concept for a set's appearance, often using foam models or miniatures. The final design is drawn as a blueprint for construction. |
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Klingon Arch
A part of the Klingon Homeworld begins construction in the mills of Paramount Studios. This arch, originally conceived by the Production Designer, will be assembled by a construction team under the overall supervision of the Construction Coordinator. Wood construction will be disguised as stone, concrete, steel, or even some new alien alloy! |
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Tricorder Readings
All set action props are built or acquired by the Property Master. Some props used on the show, like the tricorder, are designed by the show's Senior Illustrator. Although 24th-Century tricorders are powered by sarium krellide crystals, their 20th-Century counterparts operate on common batteries. |
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Blueprint for the Future
The Set Designer creates a blueprint for each new set, carefully including all physical dimensions and specifications. The Construction Foreperson then reviews the blueprints before his crew begins to fabricate the set that will bring the script's concept into visual form. |
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Artistically Inclined
The Art Department produces vivid results from the concepts of the Senior Illustrator and Scenic Art Supervisor. Their talents range from producing signs and symbols to creating animated computer readouts. They may also help out in the production of new props such as a medikit or alien tricorder. |
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Bridge Builders
Construction crew painters will prepare any set — even the bridge of a Ferengi ship. The colors and overall appearance are determined by the combined inspiration of the Production Designer. Many new sets actually contain repainted modules used in prior episodes. |
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Virtually Everything
The Production Designer has the challenging job of giving the 24th Century its distinctive look. He is responsible not only for the U.S.S. Enterprise and Starfleet, but also all the alien worlds that the Enterprise visits on its many adventures. Sometimes the Production Designer will reuse existing elements of set pieces by integrating them into the newer sets. For example, the floor on the Borg ship may become the walls of a Klingon room. |
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Decorators in Space
From the relaxed atmosphere of Ten Forward to the austere crew quarters of a Klingon battlecruiser, the dressing for all sets is determined by the Set Decorator. He selects furniture, carpeting and other visual decor, and is responsible for creating just the right "look." The Set Decorator must often buy exotic pieces and have craftsmen on the lot modify them. For example, an Italian design chair may become the latest in Romulan fashion. |
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Bridge Maintenance
The bridge ot the U.S.S. Enterprise requires a talented team of specialists to maintain its illusion of futuristic technology. Beneath the panels and carpets are miles of cables and wiring that must be kept in optimal condition. The lights throughout the starship should always work to 24th-Century standards, unless, of course, the script calls for a power outage! |
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Touch-Ups
Creating the 24th Century on film requires 20th-Century construction skills. Most sets require painting, and even permanent sets, such as Ten Forward, require an occasional touch-up job. Routine maintenance, such as replacement of worn carpet and furniture fabric, is also needed. |
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Worf After Hours
In this image, Commander Worf's quarters are being dressed by a member of the Set Dressing team. This is a standing set that is occasionally redressed to appear as different crew quarters. As the "look" for each crew member's quarters is created, photos are taken from every angle to ensure continuity the next time the set is redressed. |
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Set Lighting
The subtle lights and shadows that give depth to a set are controlled by skilled Set Lighting Technicians. A "dimmer board" manages the brightness of each light, which Is decided upon by the creative efforts of the Cinematographer, Chief Lighting Technician and Director. This board also controls the lights which dim or brighten to "transport" the crew to a new adventure each week. |
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Shuttle Bay Set
The Starship U.S.S. Enterprise may boast three shuttle bays, but Stage 9 at Paramount Studios claims only one. This standing set is regularly redressed to meet the specifications of the current shooting script. The famous shuttle bay doors actually open onto a back lot alley! This area may also be redressed as the holodeck, a cargo hold, a battle bridge, or any large temporary set. |
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Ten-Forward Drinks
Remember when Data poured Scotty a drink and said, "It is green"? It could have been red or blue or had vapor pouring out of it, too! The secret to the alien concoction is a creation of the Property Department which will create a tremendous selection of alien drinks from ordinary fruit juices, water and food coloring. |
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Light It Up
Lighting for a scene may come from any angle. Viewers can often spot a light source by studying shadows in the background. Set Lamp Operators place the lights at a location and angle that is determined by the Chief Lighting Technician and Cinematographer. |
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On the Move
It may look like every episode of Star Trek: The Next Generation features a ditterent set, but in many cases viewers are looking at the same set that has been repainted or modified. Sets often have a modular design so they can be easily disassembled and moved to where they will be needed. In This way, main engineering can turn into an extension of the corridor with just a few wall replacements. |
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Push a Button
The console readouts such as those seen at each station on the bridge of the U.S.S. Enterprise are the work of the talented staff in the Art Department. These may be static panels which are backlit, or scrolling displays generated by computer. |
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Making It Up
An actor's makeup — from simple changes in skin tone to dramatic special effects appliances — begins with a supervisor's design. Although the result must comply with the script, the Makeup Supervisor is often free to introduce his own creative ideas. This is not an easy task since Star Trek: The Next Generation often requires "new" aliens for each episode. |
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Face Molding
In order to create the prosthetic pieces and full-face masks used on Star Trek: The Next Generation, a mold is taken of the part of the actor's face that will have the appliance affixed to it. Molds are typically made of plaster, although some are made of latex to allow an intricate appliance to be removed. |
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Primordial Worf
In the episode "Genesis," Worf mutates to a primordial form. The pre-historic Klingon mask he wears was created by taking a mold of Michael Dorn's ("Worf") stunt double. |
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Space Clothes
In the 24th Century, Starfleet's uniforms are made by repli-cators, but in the 20th Century, costumes are still created by experts using sewing machines. Today's skilled seamstresses are called upon to assemble unique costume designs for this one-of-a-kind television show. |
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Electronic Makeup
The Makeup Department is sometimes called upon to create molds or masks that will never actually be worn by an actor. Several episodes have featured the android Data's disconnected head, which was based on a mold of the actor's face and then sculpted into the prop. Electronic components are then added to "flesh out" the character, often showing parts which would be difficult to reproduce on a live model! |
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Don't Make a Move
Creating a mold for a mask has been known to make an actor very uncomfortable, and can take several hours. The actor must remain still while the latex hardens, and can't even so much as scratch! Thankfully, some masks may actually be assembled from several partial molds taken in separate sessions. Even blinking can be hazardous since the eve opening can get stuck shut! |
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Alterations
Once finished, the show's costumes are delivered to the Wardrobe Department for fitting on the performers. Certain costumes, like Starfleet uniforms, already exist in all sizes and require only minor alterations. Naturally, guest characters may require more modifications of costumes, which may never be worn again. |
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Behind the Mask
The brilliant creativity of the Makeup Department was illustrated by their work for the episode "Genesis" in which several characters mutated. Lieutenant Barclays spider-like appearance was a mold carefully sculpted and painted by a makeup artist. |
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Fabrics and Designs
Costumes are an integral part of the look and feel of the 24th Century, yet they must be created out of 20th-Century materials. The designs reflect the Costume Designers vision for the future, but the costumes must also be practical enough to be easily and inexpensively assembled, but not recoanizable. |
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Hair-Raising Duties
A Hair Stylist usually stands by on the set at all times to attend to final touches. Working under the tremendous heat of stage lighting, actors' makeup and hair can get mussed. To keep production going, it's critical that the appropriate experts be at hand, so that the bridge or the U.S.S. Enterprise doesn't reflect either a 100°F or rainy day. |
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Future Face
This dramatic alien mask was used in one of the last episodes of Star Trek: The Next Generation. A mold will often be painted, then have wigs and other appliances glued to it. Unique aliens typically wear a mask specially made for one actor, such as the one seen here. Often the hair of an alien can pose as much of a design challenge as the prosthetic design! |
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The Well-Dressed Alien
Costumes typically begin as a design sketch. They may be based on specific descriptions in the script or left to the Costume Designer's imagination. It's not unusual for a design to go through several test fittings and alterations betore a final design is approved. |
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Worf's "Look"
Fans who have watched Star Trek: The Next Generation since its premiere know that Worf's appearance has evolved quite a bit over the years. Although he first wore his hair quite short for a Klingon, he now wears a long ponytail. |
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A Call to Action
Each day during filming, a schedule is created for the next day's shoot from this timetable, a call sheet is written and distributed to cast and crew. The call sheet lists which actors will be needed for filming, and notes any props, special effects or other equipment that will be required. While waiting for their call, actors often pass the time in trailers located conveniently outside the sound stage. An Assistant Director or a Trainee will knock a the door to signal the actors when they're needed. |
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Did He Say That?
The Script Supervisor checks spoken dialogue for accuracy, matching dialogue with action, the timing of shots and scenes. He rehearses with the actors, making sure that their memorized lines match their dialogue in the script. The Script Supervisor will also time the dialogue in each scene to track the running time of an episode as it is shot. Often this person will also note hand placement, body language and gestures during dialogue for the sake of consistency. |
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Conference Call
In this scene, the Camera Operator and the Visual Effects Producer confer about an upcoming shot. The camera is "locked down" to remain absolutely still. An anamorphic (widescreen) lens is mounted on it. With this lens, a post-production "pan and scan" will be used to create the illusion of camera movement. |
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Standing In
Your favorite scene in last week's episode may have lasted only a few seconds, but it could very well have taken several hours to prepare. In setting up a scene, non-speaking actors called "stand-ins" substitute for regular cast members. The director takes this opportunity to decide on how he or she will stage the action. Stand-ins observe the performing actor's rehearsal then mimic their movements while the airector determines camera positions and cinematic style. |
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On Your Mark…
Near perfection is required from every crew and cast member to make а scene work. Each actor, such as Michael Dorn ("Worf"), consults with the Director of Photography to determine his or her precise "marks" — the locations where the actor should stand to stay within the view of the camera. Meanwhile, the Script Supervisor must remind the actor of the dialogue required in the scene and report if the lines are misspoken during a take. |
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On the Set
Star Trek: The Next Generation boasts some of the most elaborate indoor and outdoor sets in the history of television. Stages 8 and 9 house permanent sets, such as the Bridge and Ten Forward, Stage 16 is used primarily for "planetary sets" or large sets (like a Romulan city or a Nottingham Castle). Other unique scenes are shot on additional sound stages, out on the back lot or on location. |
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Behind the Door
Fans of the original Star Trek television series may know that the show's automatic opening doors were the inspiration for today's modern sliding doors. But to this day, the doors on the set are actually opened by a special effects person pulling a cable to make them part. In fact, some of the funniest moments behind the scenes at Star Trek: The Next Generation occur when the timing on the doors is not quite right and someone doesn't make it in (or out) of a room! |
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Touch-Up
Although actors arrive for a scene with their makeup and wardrobe already completed, it's not unusual for them to require touch-ups as filming continues throughout the day. Stage lights are very hot, and actors' perspiration can cause makeup to run. Although Jonathan Frakes (*Riker") wears little makeup, Brian Bonsall ("Alexander") requires constant attention to his Klingon prosthetic. |
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Space Veterans
In this picture, Patrick Stewart ("Picard") confers with director Les Landau about an upcoming scene. Mr. Landau has directed some of the most popular episodes of Star Trek: The Next Generation. Among his well-known credits are the episodes "Sarek," "Deia Q," "Sins of the Father." "Unification Part I" and "Family." |
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For the Record
When an actor is not wearing a "remote" microphone, traditional means are called upon to record their dialogue. Their words are picked up by a microphone attached to a "sound boom," a long pole maneuvered over the actors while they speak. In scenes with rapid movement, the Sound Boom Operator may use a device resembling a retractable fishing pole to quickly follow the actors around the set. The operators must be careful not to drop the boom too low or else the microphone might appear on camera! |
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Slated for Duty
The Second Camera Assistant performs the hallowed Hollywood tradition of "banging the slate," clapping the marker board just before "Action" is called to help synchronize audio and video. But this person has other important jobs too, from loading the film stock into the camera magazine and tracking the amount of film used (and how much is left), placing actors' marks on the floor, to ordering camera equipment as needed. |
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Direct Action
Just as a captain coordinates all activities aboard his ship, so too does a director provide the necessary vision and guidance to steer a television episode. An especially talented director leaves a distinctive mark on his work. a creative style that establishes his or her reputation in the entertainment industry. |
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Utility Sound
The Sound Utility person is an additional assistant often needed during filming. Occasionally, this individual may substitute for the Sound Boom Operator. Or, while a Sound Boom Operator maneuvers the boom, the utility person might keep cabling out of the way, operate a second boom or monitor the recording equipment. |
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Rick Berman, Executive Producer
"In looking back at the last seven years, the greatest satisfaction I get is knowing that I played a part in putting together a team which includes players like: Michael Piller, Jeri Taylor, David Livingston and Peter Lauritson. These are extraordinarily talented people whom I plan to be associated with for many years and many Star Trek projects to come." |
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Merri Howard, Line Producer
The Line Producer is an essential link between the production company and the studio, and the key person responsible for overseeing budgeting, scheduling, hiring of crew personnel, monitoring of dailies, coordination of insert and second units, and the creation of special events. It's like being the 1st officer of the U.S.S. Enterprise only there's more responsibility! "As the journey continues for me with Star Trek" says Merri Howard, "I look forward to being part or the creative process that will no doubt go on into the 24th Century." |
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Sounds about Right
While the Sound Boom Operator records a scene, the Sound Mixer oversees all live recording and playback on the set. The mixer listens to all the sound picked up by various microphones in a scene and then creates a balance among them. While trying primarily to record spoken dialogue, the mixer filters out extraneous sounds that either don't belong in a scene or detract from the quality of the voice recordings. |
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David Livingston, Supervising Producer
"My job as Supervising Producer entails beating up on directors when they go over schedule. However, my avocation is directing, which entails hiding from producers when I go over schedule. l attend the production meetings where I always seem to be the bad guy. But when the writers want a hundred klingons for a battle and we can only afford an insert of a klingon boot — someone has to break the bad news. I also go to the casting sessions. Borgs are the toughest to cast because there are so few of them on Earth, and most are not very good actors." |
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A.D.
Assistant Directors (often called A.D.'s) are asked to perform various detail-oriented tasks for an episode's director. There may be a First A.D., a Second A.D. and even a Second Second A.D.! A.D.'s participate in all phases of on-set production, and the best A.D.'s will anticipate a directors needs. |
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Master of His Universe
The Property Master's crucial responsibility is to coordinate the use of props in filming. Not only must needed props be delivered to the set on time, they must also fit the description of items called for in the script. Most important of all, they must work! Props may come from studio storage, be designed by the Art Department or even bought at retail outlets, and modified to fit their futuristic environment. |
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Focused on His Work
The First Camera Assistant is responsible for ensuring that all the technical elements are exactly correct for each shot. This assistant makes sure that the focus remains sharp throughout, which isn't easy, since the focal length of a lens changes whenever the camera or subiect is moving. Naturally, this is taking place almost constantly in any given scene. |
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Infinite Diversity
Where else but on the Paramount lot could one find an American Indian joining two Cardassians for a coffee break? Visitors to the set are often treated to these strange spectacles. One common sight is that of an alien carefully slurping his lunch through a straw so that his makeup prosthetics won't be damaged. |
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Get a Grip
The job title for "Grips" is taken from their function — they're always gripping something and moving it! There are many different types of grips. One vital type is a Dolly Grip, who is responsible for smoothly moving a rolling camera and steering it in the direction required to properly film a scene. |
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Lights! Camera! Action!
Sometimes what the camera doesn't pick up during a scene tells a story of its own. Although in this picture the only actors you see are Jonathan Frakes ("Riker"), Michael Dorn ("Worf") and Marina Sirtis ('Troi"), others may be watching nearby. Often actors who are standing by, but aren't in that particular scene, may take off their costume jackets or overshirts. The untold story: costumes car be very warm for the actors under stage lights! |
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They Also Serve…
Many scenes aboard the U.S.S. Enterprise require the presence of Starfleet crew members to create the appearance of a fully staffed ship. These "extras" — actors hired to do group scenes — wait until called upon to walk through the backaround of a scene. Sometimes, a few are given directions to perform specific tasks. These actions help enhance the illusion of reality. |
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The Keys to Success
Key Grips perform a very special function on the set. They place devices called flags, cutters or light diffusion to control the use of illumination. The same lighting must cover actors in the foreground and background, so the light must be balanced appropriately. |
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All This for Me?
When viewers are watching at home, they're often totally unaware of the tremendous number of crew and equipment behind the camera when a scene is being recorded Jonathan Frakes (*Riker") seems to have been surrounded! Considering its many cast and crew members it is fortunate that the Star Trek: The Next Generation star is like a close-knit family. |
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Art and Craft
The term "Craft Service" refers to the crew member providing meals on the set. Since filming sometimes lasts longer than twelve hours a day, craft service may be the only food available during late work. While craft service caters to a wide variety of tastes, they also provide the basic food staples of any film set — coffee and doughnuts! |
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Roll with the Punches
Without a doubt, stunt actors are charged with the most physically challenging roles on any set. These men and women work with the Stunt Coordinator to choreograph fights, falls and other hazardous performances. Stunt professionals playing the roles of the regular cast must resemble the actors so the viewere won't see the difference. |
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What About This Angle?
For decades, the bridge of the U.S.S. Enterprise has been one of the most famous sets used in television and movies. Its circular design and creative placement of duty stations has given directors the opportunity to continually explore the set for new and interesting camera angles. |
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Red Alert
Much like the red alert signal on the U.S.S. Enterprise, the red light is a call to action for security personnel. The guards protect Paramount property and the actors, they also halt passing traffic when the red light flashes to cut down on any ambient noise that might be accidentally recorded by sensitive sound equipment. |
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On the Set
When you watch an episode of Star Trek: The Next Generation keep in mind that, although you may see only Michael Dorn (*Worf") and one or two characters on the screen, behind the camera are many skilled crew members turning an illusion into reality. This card shows scenes from the episode "Journey's End." |
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Peek-A-Blue
You may have heard of "blue-screens," which are large backgrounds commonly used to create special visual effects. In this scene, Patrick Stewart ("Picard"), Michael Dorn ("Worf") and Marina Sirtis ("Troi") stand on a blue-screen set performing a scene in "Journey's End." |
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Fan Mail
Star Trek: The Next Generation receives close to one thousand pieces of fan mail per week. Mail is received from locations throughout the country and around the world, including England, Canada, Zimbabwe, Israel and Tasmania, just to name a few. As the fan mail is received, it is sorted and reviewed by Production Assistants. Every piece of fan mail is read and is considered very important to the producers of the series. |
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Costumes, Captains and Klingons
The Set Costumer is always standing by during filming to maintain the actors' wardrobes and attend to any last-minute unforeseen mending or cleaning. 24th-Century clothing is not supposed to have zippers or snaps, but 20th-Century costumes do, providing a challenge for the Set Costumer to assure that these "antiquated" fasteners don't appear on screen. |
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Operating Room
The Camera Operator leads a team of specialists. Together, they are responsible for recording a scene on film. The Camera Operator constantly inspects the camera's view. Is a microphone dipping into the shot? Are there unwarranted shadows or reflections? It may also be necessary to pan or tilt the camera, making the position a physically challenging job. |
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All-Star Lineup
In this rare shot, the "director's chairs" for the regular cast of Star Trek: The Next Generation are placed in a row. The names inscribed on these chairs have become legendary to fans around the world and represent well-respected actors in the entertainment industry. Few television shows can boast, as Star Trek: The Next Generation can, of keeping the cast together for over seven years. |
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Effective Visuals
The Visual Effects Producer uses storyboard illustrations as the basis for creating miniature and animated special effects. On the front is a matte painting created on a computer console. The painting may be used with a blue screen film of actors to create the illusion that the characters are standing on the surface of an alien world. |
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Room For Fun
The Special Effects Room, located adjacent to the main sets, is used by the special effects teams as their "laboratory" in which to prepare the various elements of that episode's effects. All sorts of electronic gadgetry are stored here with lighting and wiring materials that are used to create dazzling illusions on stage. |
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Galaxy-Class Effects
An orange screen is used here instead of a blue screen to matte in a background effect. The reason? If the camera's subject contains blue, those contents would disappear into the effect so another color must he used in the screen. Several models exist of the U.S.S. Enterprise at lengths of two, four and six feet. |
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A Model Employee
The spacecraft depicted in Star Trek: The Next Generation are usually highly detailed models built by experienced craftspeople. The vessels' movements during filming are controlled by a computer, which is why the model is designed for mounting to a motion-control rig. Frequently-used models may include blinking lights or moving parts. |
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Enterprising Effects
Although it seems that the U.S.S. Enterprise is speeding across the galaxy at Warp 9, in reality it remains motionless while a computer-controlled camera tracks past the model. A blue or orange screen is typically placed behind the model, so that starfields or other effects can be matted into the shot. |
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Pyrogenesis
This explosive display of pyrotechnics occurs in the episode "Genesis," when the U.S.S. Enterprise fires on an asteroid. The filmed scene may actually comprise several layers of shots, including the asteroid miniature and the recorded explosion. These effects are usually filmed offsite at a special effects company, like Image G. |
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An Explosive Scene
Some special effects are created right on stage instead of during the post-production period. These may include explosions, smoke or fog, or unusual lighting effects. The Special Effects Supervisor usually uses a remote control device such as an electrical switch or button to activate the effect — trom a sare distance of course. |
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Peter Lauritson, Producer
Peter Lauritson is the producer in charge of post-production. Explains Peter: "This includes film transfer to videotape, editing, sound effects, digital effects, music, sound mixing and final delivery of the finished episode. I have a very talented staff of fourteen people who help make all this happen." |
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The Voices of Space
A "looping" session is technically called "automated dialogue replacement," or ADR. On the front card picture, actor LeVar Burton ("Geordi") listens to a recording of his voice. Director Jonathan Frakes is positioned at the console with the ADR staff to monitor the session's proaress. |
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Directorial Debut
On the front card image, Gates McFadden, ("Dr. Crusher") directs her first episode of Star Trek: The Next Generation, and works with the series' editing staff weeks after the completion of principal photography. The back card image features an editor at work at his console to assemble the film, which is then presented for final revisions and approval. |
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Musical Scores
Episodes of Star Trek: The Next Generation feature a rich musical score performed by an orchestra as large and talented as those found on motion picture productions. A rotating staff of composers pen the music for each episode, inspired by watching a rough cut of the film. Dennis McCarthy's score for "Unification Part 1" won an Emmy award. |
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Fine Tuning
ADR sessions, or "looping," not only re-record the actors' voices, but other sounds important to a scene In the front card picture, a "foley" artist records the closing of a book to replace the sound originally performed by Gates McFadden ("Dr. Crusher"). Foleys also record other sounds such as glass breaking or footsteps. |
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Compositing Bay
You won't find the Compositing Bay anywhere on the U.S.S. Enterprise, but it's a very important location if you want to "paint" the phaser effects into a shot. It's also used for transporter, defensive shields, and many other stunning visual effects. |
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Director and Composer
Any episode is a collaborative effort, not just of technical effects, but also of the artists' moods, expressions and interpretations of the script. In this image, composer Jay Chattaway conducts the orchestra for the recording of his score for the episode "Sub Rosa" and confers with director Jonathan Frakes. |
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It's All in the Timing
In post-production, an assistant must perform the arduous task of cataloguing and inserting timing cues for music and sound effects. These cues are used during editing so that all the elements — visuals, spoken dialogue, music апd sound effects — can be perfectly matched. |
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The Adventure Continues…
After seven years of duty, the U.S.S. Enterprise heads for its next mission — not to Utopia Planitia, but to Industrial Light and Magic in Northern California. This six-foot model will be used to film visual effects for the first Star Trek: The Next Generation movie, scheduled for release at the end of 1994. Live long and prosper! |
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Play It Again
Although lines of dialogue are recorded live on the set, actors also report for "looping" sessions. This second recording is used to replace dialogue that was distorted because of background noise or other distortions. The performers watch the filmed scene on screen while they speak their lines once again. |
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Checklist A - Front |
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Checklist B - Front |
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Checklist A - Back |
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Checklist B - Back |
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Collector's Edition |
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Collector's Edition
Inside Box |
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Collector's Edition
Certificate |
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Gold Edition |
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Gold Edition
Inside Box |
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Gold Edition
Certificate |
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Platinum Edition |
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Platinum Edition
Inside Box |
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Platinum Edition
Certificate |
| SV1 |
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The U.S.S. Enterprise |
SV1
Back |
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Back of Card |
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| SV2 |
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Romulan Warbird |
SV2
Back |
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Back of Card |
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| SV3 |
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Klingon Attack Cruiser |
SV3
Back |
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Back of Card |
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| SV4 |
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Cardassian Galor Warship |
SV4
Back |
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Back of Card |
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| SV5 |
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Independent Borg Ship |
SV5
Back |
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Back of Card |
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SkyVision Instructions |
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Back of Card |
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SkyVision Stereoscopic Viewer
and Instructions |
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Brass Collector's Pin |
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Enterprise 1701-D Hologram Card encased in Lucite |
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Bonus for purchasing all three sets. Also available direct and through promotional sales |
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Sell Sheet Front and Back |
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Sell Sheet Inside |
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Press Release |
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