@homer: you're on the right track, but the roles aren't quite right. You're close though!
@Rusty: yeah, these are still "filler" voices; I'm petrified of doing rewrites before I can get a full draft of the movie finished, so I'm holding off recording with my actors and actresses until it's done and everyone says they like it. I HAVE done the recording with the actress playing Dr. Falwell, but only because her role was deliberately written as a small one and she only shows up one more time in the entire movie (a nod to the de facto "guest star" role that Gates McFadden often had as Dr. Crusher).
IAâm glad I didnAât offend you with my opinions. I play with animation and modeling, but I make my living writing, so it was nice to finally have something to contribute.
Yes, the central question is raised very clearly during Chellik's transmission.
I actually hinted at shortening the Reyf / Falwell corridor scene with my statement about Billy Wilder. I didnAât want to call it out directly, because I could sense the literary foreshadowing that was taking place, and it has that AâwriterAâs favoriteAâ feeling to it.
And yes, I think the shuttle scene is very important. From the dialogue examining the central question, to encountering the ISS Voyager, to the Aâraising the stakesAâ aspect of incapacitating Garret. Besides, without that shuttle mission, weAâd never see that really cool mess hall shot!
IAâm looking forward to seeing a relatively unseasoned captain facing Klingon blustering. It should be quite funny, and another opportunity to develop Reyf. Every obstacle a character faces is an opportunity for development by the way they respond to that obstacle.
Again, youAâve displayed very sound story telling. And ultimatelyA⦠isnAât that what has set Star Trek apart for the last half century?
The android creation makes me think of Rayna from TOS's "Requiem for Methusalah." Wonder if this sucker was built for the same reason.
I've never seen the episode in question, but according to the episode summary on Memory-Alpha.org, the Rayna android was built as a companion for an (almost) immortal man named Flint, to be his perfect companion for all time.
Not quite what Garr had in mind when building our blonde-haired, blue-eyed, silver-armed friend. Her purpose to this story should make a lot more sense after the upcoming scene in sickbay.
I've been continuing the design on the Junior Officers' Guest Quarters, and I've decided on a layout; Instead of pulling a TNG and using those godforsaken Wild Walls to make the space look 1/4 its actual size, this layout has the entire area open, so you can see from one end right to the other. (I'll bet you never knew that the "back door" to the set opened into the alcove with the turbolift, and the "side door" opened into the corridor next to the holodeck, did you?)
In any case, I've finished about 2/3 of the design work on this set, but still to be constructed is Data's desk (since for the scene in question it's serving as Data's quarters--hence the lack of a bed). We never really got a good look at the one from his quarters in Nemesis, so there's no "modern day" template to go by. Equally obvious is the fact that I can't use the one from TNG (too 1980s). So...let the custom-design work begin. I've got a few ideas, so with luck it won't take too long to hash out something.
On a related note, while these are meant to be Data's quarters on another starship, there's a few touches planned that will definitely connect us to established TNG continuity. For one, I've located a set of paintings that are "homages to the captains of starships Enterprise," which will take the place of the oil paintings on the walls (only one of which you can see from this angle). I'm also planning on putting a replica of his infamous "squares" painting (not sure of its proper name, but it's the artwork made of perpendicular lines that was always in his quarters on the Enterprise-D, last seen and presumably destroyed in Generations) on the set as well.
Anyways, what do you guys think of this so far? Believable as the guest quarters on a Galaxy-class starship?
very nice especialy that chair or whatever is called in english but i think tehre si too much light on the flower on the table.... And i must say, i study architecture, and if i was the one who design quarters i will be use grey color, but your design is better... Nice color combination, but can you post ground plan please im glad to consulting with you if that chair is in bad or good position.
I just found this thread and watched the first 6 parts. Absolutely amazing what you managed to do with Poser and Bryce. Proof that story and pacing mixed with some nice camera work and lighting go a very long way. Looking forward to seeing the rest, you have me hooked!
Here's a bird's-eye-view of the set, as well as some more down-to-earth shots. See what you think!
First, here's the overhead. You can get a good look at the overall design of the set. For the most part, this could pass as a modern design, except the octagonal room near the "side door" that leads out to the holodeck. (And trivia enthusiasts might be interested to know that on TNG, that half of the set doubled as the ship's morgue, and later, as the room Worf was recovering in after the container fell on him; on VOY, that set appeared in "Non Sequitor" as Harry's drafting room; the large schematic display was placed just inside the main door next to the replicator).
Here's the same shot as before, looking across the living area towards what I call the "front door" (since it served as the main entrance when this set was used for Worf's, Data's, and Barclay's quarters). Note the photo on the wall next to the door--Picard, Kirk, Sisko, and Janeway, along with their respective starships.
Here's a reverse angle shot, looking into Data's work area. Note the portrait of a young Montgomery Scott on the wall leading into the reading area, and the replica of Data's "squares" artwork on the wall. And of course, there's his new desk. The design is based very closely on the design from TNG, but updated to reflect the tastes and touches introduced in Insurrection and Nemesis (but still needing a base, I know--I can't decide what kind of base this should have). Isn't that gold metallic finish just too cool? (By the way, the LCARs are all from Insurrection, hence the blue cast to them)
Another look at the back half of the set. The intent there was to show that Reyf and company knew of Data's fondness for works of classic literature, hence the presence of a whole shelf full of actual hardcopy books. That area was meant to be used as a place where Data could sit and enjoy reading a classic volume (obviously forgetting that Data's probably read them all and, therefore, memorized them). Note the portrait of an aged Montgomery Scott and the Enterprise-A by the door, and the sextant below it.
The idea of having so much empty wall space above the chairs doesn't seem right, but I don't want to just throw more pictures gratuitously around the set, so I'd appreciate any suggestions you guys might have.
i think the space above the chairs look fine. But my only nit pick is that these are supposed to be standard guest quarters, so they wouldn't be customized for each guest. so where's the bed?
and since this ship isnt the enterprise, or a ship meant to be a famous ship, why would they have paintings of Scott, or the other captains? It would just be saying, "this ship isnt famous, but here are some ships that are, you still wanna be on here?" So i think that making the quarters more standard, would make sense.
i think the space above the chairs look fine. But my only nit pick is that these are supposed to be standard guest quarters, so they wouldn't be customized for each guest. so where's the bed?
and since this ship isnt the enterprise, or a ship meant to be a famous ship, why would they have paintings of Scott, or the other captains? It would just be saying, "this ship isnt famous, but here are some ships that are, you still wanna be on here?" So i think that making the quarters more standard, would make sense.
A Galaxy-Class starship probably has 2 dozen guest quarters, perhaps more. It would not be difficult at all to customize a single unit for a visiting senior officer, and with command-level access to a starfleet replicator, they can easily set one up with little fuss, which would make it much more comfortable.
I pasted a link above to Paramount's Stage 9, which along with Stage 8, served as the home to all the TNG sets during its run
I've finished writing and recording the audio for the scene, "Chat with the Klingon General." I will freely admit that this is one of those wonderful, "we added this at the last minute" scenes you hear about in every Star Trek venture (remember that scene from "Way of the Warrior," when Quark and Garak were talking about root beer? that was one too!). So I will put an asterisk on this one that, if you guys don't like it as presented, we can change it. I think I did a decent job working in classic Klingon-ism without going over the top, and also making Reyf squirm a little. I hope to have this scene up tomorrow (it's a fairly simple one so it shouldn't take long to produce), so with luck you'll be able to see it and comment soon. You'll see how this takes us right into the scene with Data.
oh man, one nitpick, i think that space between chair and table is too tight, but i cantfound better looking positon for that chair...and about the bed...bed can by easily added to the center of the big room with two arm chair..it could looking very cool if you play with details :-) i hope i will see the view with bed :-) nice work :-)
This is the completed cut of "Garr's Emotions," followed by "Chat with a Klingon." I'm a little dubious about the latter, so let me know what you think!
"Garr's Emotions"
-The true purpose of this scene is to begin to give the audience some context through which to view Garr's actions; thus did the choice of the song for this scene become an important element, and a subject of repeated remakes for this scene. Eventually, the song "Wherever You Will Go" was selected because of its emotional connotation and for the meaning of its lyrics, as well as having already been featured as part of "Trek" history, albeit in an obscure way, as the background music for an early "Enterprise" promo. Among other candidates: several mixes of "Blue (Da Ba Dee)" by Eiffel 65 (including a special instrumental version), "Forever" by Chris Brown, "Cosmic Castaway" by Electrasy, and several mixes of "Turn, Turn, Turn" by the Byrds, in addition to the original selection, "Pretend We're Dead" by L7.
-the exterior shot of the ISS Voyager that opens the scene is reminiscent of a similar shot first seen near the end of "The Caretaker Pt.2" (VOY 1x02), in which the USS Voyager and the Maquis ship are approaching the Array just before the battle with the Kazon
-the LCARs graphic seen behind Garr on the Operations display is a re-use of the "forward navigation" graphic seen in the Enterprise-D battle bridge in "Best of Both Worlds Pt.2"
-In large part, the design of the ISS Voyager turbolift reflects that which is seen in "Author, Author" (VOY 7x20), with the darker lighting scheme and altered colors. Also note that the back wall of the turbolift features a starship MSD similar to that seen in the TOS and later TNG movies
-the exterior shot of the ISS Voyager that appears after the slow zoom in to Garr's face is a long cut of a similar shot first seen in "The Caretaker Pt.1" (VOY 1x01), in which the USS Voyager and the Maquis ship enter orbit of the Ocampa homeworld
-for the shot of Braiyon Garr entering the cargo bay, the lighting levels in the corridor outside the door were deliberately increased to make Garr seem brighter just before entering the bay. Similarly, the levels of light coming from the unseen device were deliberately increased to bring some life to the scene. The pattern of light playing across the walls and across Garr's face is implied to be coming from a series of blue lighting tubes.
-the shot of the USS Fitzgerald that begins the next scene is a re-use of a similar shot of the Enterprise-D first seen in the opening of the second-season episode "The Child." Due to lighting issues, the ship and the planet were rendered separately, then composited together to form the completed image.
-the Klingon general seen on the viewscreen during this scene was provided by 3DGladiators.com. Note the mak'leth in his hand.
-the inflections for the character of the Klingon general (who will be named as General Varak in the following scene) were based in large part on those of J.G. Hertzler for his performance as General Martok. And like the vocal tracks for Michael Dorn's Worf in "Star Trek: Nemesis," the pitch of the the vocal recordings for the Varak character were artificially lowered in pitch to make the Klingon seem more fierece
-the suspicion and hostility demonstrated by Varak in this scene is appropriate given the time frame during which this scene is set; in the year 2375, tensions with the Klingon Empire were peaking and would soon erupt into a war over the Klingon occupation of several planets in the Arkanis sector
-the bridge of the Klingon ship as seen behind Varak is the Bird of Prey bridge available at 3DGladiators.com. For its appearance as Varak's bridge, the set was flipped ninety degrees so that a wall of monitors rather than a much less interesting doorway would be seen behind him.
-this scene serves as an important turning point for Gaius Reyf as a character. Until now, we've had no real frame of reference by which to judge Reyf's performance, other than the evaluations of Data and Troi. This scene gives us a more familiar element--the Klingons--for Reyf to test himself against. Although we join the conversation at its midpoint, it's clear by that point that Reyf has managed to incite the anger and suspicion of the Klingon general, as well as cause the other to see him as little more than a coward. In seeing how Reyf responds, we learn how Reyf responds to challenges, that though clearly inexperienced, he is capable of (eventually) meeting challenges as they appear. After this, we're still left with the feeling that Reyf is unseasoned, but now we know that he remains cool under pressure, and that he is able to adapt to difficult situations in the best tradition of Starfleet captains
-it is worth noting that all three key elements fans associate with the Klingons appear in this scene: in addition to the bladed weapons, we also see the concept of Klingon honor, the infamous "Klingon laugh," and the phrase "today is a good day to die," last heard in "Star Trek: First Contact"
-this scene also begins to address another lingering question many fans have had about Garr, namely how he was able to sneak around and break into fourteen supposedly secure facilities without being seen; in this scene, we definitively rule out the possibility that he might have obtained a Klingon cloaking device (and while the possibility remains that he might somehow be using a Romulan device instead, the audience is meant to assume that this is not the case since the Fitzgerald crew doesn't even bring it up)
-Varak's use of the word "kah'plakt" is a reference to a similar term used by Kang in the DS9 episode "Blood Oath" as he states his unwillingness to kill The Albino as he sleeps
-Varak's final word, "qa'PLA," is the Klingon exhortation for "success" and has been heard numerous times since its first utterance in "Star Trek III: The Search for Spock"
-immediately after the channel closes, Reyf pinches the bridge of his nose in what is widely accepted to be a standard human gesture to indicate stress. This is a small touch meant to humanize Reyf as a character, reflecting the stress the audience would likely be feeling in similar circumstances
A few problems: Firstly, why does garr need such a massive ship, it should be nearly impossible for a single person to fully control a ship meant for a crew of 150. Something along the lines of the Defiant would seem more logical, designed for a crew of about 30.
Secondly, why does he go about it alone? surely someone like him can attract a few other renegades, quietly. They dont need to be kept fully in the loop, but it appears to be highly unlikely that he can build a ship the size of voyager, AND his android AND his time machine alone, all in the space of a few years. It makes it difficult for me to suspend my disbelief, and im a "willing audience member". Great animation tho, cheers!
A few problems: Firstly, why does garr need such a massive ship, it should be nearly impossible for a single person to fully control a ship meant for a crew of 150. Something along the lines of the Defiant would seem more logical, designed for a crew of about 30.
Secondly, why does he go about it alone? surely someone like him can attract a few other renegades, quietly. They dont need to be kept fully in the loop, but it appears to be highly unlikely that he can build a ship the size of voyager, AND his android AND his time machine alone, all in the space of a few years. It makes it difficult for me to suspend my disbelief, and im a "willing audience member". Great animation tho, cheers!
This one's covered by the Rule of Cool, I've always thought the Intrepid was one of the best designs for a "modern day" Trek ship, large enough to have all the comforts you'd want from a Galaxy-class ship (i.e. holodecks), while still being small enough to handle alone without sacrificing things like science labs. In short, the "in-universe" justification is that the Intrepid is large enough to be powerful and versatile, but still small enough that one person--theoretically--could handle it all by himself if he had to.
As far as how Garr built up all the resources we've seen, the explanation for that is coming up in the very next scene (I know I said that it was coming up right after "Garr's Emotions," but the scene with General Varak had to come first), which will see Reyf paying a visit to Data to ask that very question. In the same scene, we're also going to touch on what made Garr choose the Intrepid over the other five ships whose plans he stole (we'll finally learn what the other five were by the way).
Stay tuned, I'm going to write the scene with Data tonight and make some last-minute modifications to the set, and then hopefully get a jump on putting it together sometime tomorrow. We're going to start getting some answers very soon!
Unless this Klingon never fought side by side with humans during the Dominion War, I highly doubt he would call a human "mere".
I would also let him laugh more exuberant, instead of the understated laugh, nearly a chuckle. And that isn't just voice acting; it's also the animation. Let him lean all the way back and laugh fully out loud.
This one's covered by the Rule of Cool, I've always thought the Intrepid was one of the best designs for a "modern day" Trek ship, large enough to have all the comforts you'd want from a Galaxy-class ship (i.e. holodecks), while still being small enough to handle alone without sacrificing things like science labs. In short, the "in-universe" justification is that the Intrepid is large enough to be powerful and versatile, but still small enough that one person--theoretically--could handle it all by himself if he had to.
As far as how Garr built up all the resources we've seen, the explanation for that is coming up in the very next scene (I know I said that it was coming up right after "Garr's Emotions," but the scene with General Varak had to come first), which will see Reyf paying a visit to Data to ask that very question. In the same scene, we're also going to touch on what made Garr choose the Intrepid over the other five ships whose plans he stole (we'll finally learn what the other five were by the way).
Stay tuned, I'm going to write the scene with Data tonight and make some last-minute modifications to the set, and then hopefully get a jump on putting it together sometime tomorrow. We're going to start getting some answers very soon!
Rool of Cool doesn't work in the face of extreme unrealism. its a trope for a reason While the ISS Voyager is undoubtedly cool, its too unrealistic in my opinion. His henchmen could simply be other starfleet outcasts who went renegade with him, and while he is paranoid, no reason to trope it up, he trusts a few people because A:, they are loyal to him, and B: They get paid a lot. Its a simple writing inclusion. I just dont see it as possible for a single person, no matter how smart, to run something the size of voyager singlehandedly. The defiant is small enough that while i would imagine it difficult, its still possible.
i'm sorry, but the music at the beginning just doesnt fit, none of the selections for this scene that were posed do... they dont feel like star trek at all....
"Wherever You Will Go," the original proposed theme for Enterprise (hence why it was actually included in the original trailers for the show) doesn't fit?
If you don't like the one I picked, what alternative would you suggest given the tone of the scene?
Star Trek has never done this exact type of thing so I'm having to make this up as I go along. In addition to the pop selections I tried, I also tried out some instrumental pieces that didn't even come close to making the grade.
Trust me when I say that as strange as "Wherever You Will Go" might feel, it's not nearly so weird as some of the other ones we could've wound up with.
I was thinking about something last night that was asked a few pages ago, namely if I was planning to wait to make changes until the first full cut is finished.
The answer is, yes and no. That clear things up? Actually, there's some things that I'm Just Ignoring until the first full cut is finished (for fear of getting caught in a Dan Brown; attention to detail is great for World Building, especially since in a movie like this it can help you avoid the wrath of Conspicuous CG, but when you're halfway in, it wouldn't do to go back and get stuck reworking something small from the first ten minutes of your film).
I know that probably seems like the worst Hand Wave in history for some of the glaring Special Effects Failures we've had so far (walk cycles, anyone?), but fixes ARE planned.
And I've gotten some private messages about some What Happened to the Mouse? moments (mostly directed at the dark-haired engineer that Lieutenant Erickson has "plans" with in the Engineering scene). I can say quite definitively that there are no instances of The Kudzu Plot at work here, nor was that just a Mind Screw for Commander Ronston or the beginnings of a Love Dodecahedron (TNG exhausted that with its years of Troi-Worf-Riker). I can also say that we didn't just throw that in for its Trivial Pursuit value.
That's a plotline that we're going to adopt as our C-story (do you get the feeling that this is turning into a Jigsaw Puzzle Plot on you?), but I don't want to get into much more detail than that. Just trust me when I say that I'm doing my best to avoid the dreaded Something We Forgot moment at the end, and the rewrites that would imply.
(Long story short: you'll see Ensign Mitchell again)
That reminds me, there was a comment made about the Backstory. A few scenes from now, I'm planning on using The Watson to give us a little more of the Reyf and Garr backstory, but there's a lot that I'm saving for The Confrontation Between Good and Evil that happens later on. I've written some things as Noodle Incidents, things that we allude to but don't actually describe (a necessity in a story like this that's already got a lot of Exposition), so even when all is said and done there'll still be some mystique to Garr's character.
With all that said, here's a list of some things I'm looking at changing and/or fixing in the final cut.
Prologue
-adding lip synch for ALL the characters in the prologue
-fixing the lighting on the Daystrom bridge when it reverts to condition green (it doesn't look right on Captain Mantell to me)
-adjusting the light on Garr in his runabout to look more realistic
Five Years Later...
-adding some more cuts of Chellik's office during the 20-second intro pan
-making the smoke in the Mellis II corridor look more realistic
-fixing Garr's walk cycle
-fixing the lighting on Garr and Chellik in that scene to look more believable
-fixing the ending of the scene to make it a little more interesting than simply looping the end with Garr and Chellik cocking their heads at each other
The Next Generation
-making the area around DS9 a little busier (more work bees, runabouts, etc. in the area)
-fixing Reyf and Falwell's walk cycles
-trimming the dialogue there so the scene is shorter
-fixing the door labels so they don't all have the same room number
For the Young/Call from Mellis II
-trimming and/or eliminating Prentice's visit to Reyf's quarters and leaping right into "there's an urgent message for you"
-changing the angle for Chellik's screen image so he and Reyf aren't both on the right-hand side of the frame
-adjusting the light levels on Reyf during the comlink so he's lit consistently from one shot to the next
-fixing the infamous "arm crossing" blooper
-fixing Reyf's eyebrows in the shot where he stands up
-trimming and reworking the dialogue as we've previously discussed
Departure
-fixing the bridge crew so that we see Garrett instead of Data at Ops until the appropriate time
-adding in the missing bridge plate for the launch sequence dialogue (and fixing Reyf's eyebrows there too)
-making sure that EVERYONE has rank pips
-updating the shots of the bridge to reflect the "final" design seen later
-redoing the launch sequence exterior shots (with the exception of the saucer closeup and the wide shot with the Nebula-class in the foreground, I hate the shots that are there now); there's a particularly egregious error where in one of the shots you can clearly see "USS Enterprise NCC-1701-D" on the saucer section
-come to think of it, all the exterior shots of the Fitzgerald need to be redone so that we only have one version of the model in use (right now we see three of them on screen, and there's a fourth one that we haven't seen yet; this fourth one is the "final" version and I want them all to be consistent)
Crew Briefing
-fixing the "fat streaks" bloopers in the warp stars
-fixing the "big keypad/little keypad" blooper involving the keypads next to the briefing room viewscreens
-fixing the depth-of-field blur mistakes
Approaching Beta Reticuli IV
-adding in missing bridge shots
-updating existing shots to reflect the "final" design we'll see later
-fixing the issue with Erickson's boots overlapping with her feet (notice that in some of these shots as well as later shots, you can see her feet through her boots)
-again, fixing motion shots to replace Data with Garrett
Into the Caves
-updating the exterior shots of the lab with something a little more impressive than the blocky structure we see now
-making sure EVERYONE has a combadge
-fixing issues with Erickson's uniform overlapping with her shoulder
-fixing Erickson's hair color and the camera motion in the final shot
Transporter Lock
-Beta Reticuli looks AWFUL in the background of this shot and on the viewscreen
-I'm also going to animate Garrett and Prentice at the end of the scene so that they both look back towards the viewscreen instead of continuing to stare at each other
The Caves Pt.2/Into the Lab
-the color for the haze in the shots outside the door are inconsistent from one shot to the next, as is the appearance of the caves; this will be fixed
-Erickson's hair color in the shot as the lab's door opens
-Reyf's missing combadge in the "crew walk" scenes
-the issue with Erickson's boots again
-also, Erickson's trousers are a lighter color than the others, and it shows in the green light of the lab
Strange Readings
-replacing the old Fitzgerald model with the newer one
-adding Ensign Hargrove (tactical replacement) into background shots where she's missing)
-updating bridge shots to reflect the "final" design seen later
Shuttle Mission/V'Ger Flyover
-tweaking the background sound of the shuttle so it doesn't loop quite so obviously
-fixing the lighting in the shuttle cockpit so the glare from the aft lights isn't quite so intense
-fixing Prentice's "key tap" motions to be more believable
-fixing the character motions so that when they swivel in their chairs, they're not so "stiff necked"
-fixing the simultaneous "OMG" reaction shots as Prentice and Garrett look at each other
-fixing the infamous "shifting clouds" blooper behind the ISS Voyager in the first three shots
-replacing the last two shots of the sequence with new ones, as the ones that are there just don't work (the fly-under is the worst offender, and in comparison the final wide shot looks awkward to me)
-adding in a shot outside the windows for Garrett's line "that hull could probably survive a trip through a sun"
-adding key noises for when Prentice initiates red alert (and working on the light changeover)
Garr's Lab/A Strange Discovery
-adjusting the opening shot to increase its creepy factor (will probably involve a camera dolly from behind a dark object)
-making Reyf's entrance into the side lab a motion shot instead of one with a locked camera
-giving Reyf a closeup for his reaction to Erickson's find
-adding in missing background plates behind Ronston and Reyf
-show Erickson sweeping the area with her phaser to justify her sudden sighting of Garr
The Starship Chase
-replace the Fitzgerald model with the newer version
-add in missing bridge plates where necessary
-update shots of Reyf so that his eye color is consistent (instead of oscillating between light and dark brown)
-show Ronston's entrance as well as Erickson's
-replacing the shot of the two ships chasing each other with a more dynamic shot
-fixing Garr's dialogue so that the echoes don't occasionally just drop off
-fixing the overly bright lighting on Reyf when he turns around to speak to Ronston
-fix Parks' "key tap" motions to be less fluid and more realistic
-replace the shot of the Fitzgerald reversing course towards the moon with a better shot
Medical Report
-replace the exterior shot with the newer Fitzgerald model
-fix Reyf's walk cycle as he enters
-fix the aforementioned transparency issue with Prentice's legs and the biobed
-fix the final zoom-in to Prentice so that the background doesn't look as pixellated
-in the corridor, show the sickbay door closing again after Prentice exits into the corridor
Distinguished Guests
-fix the first shot of the Enterprise-E dropping out of warp with better lighting and a better-looking Beta Reticuli IV
-fix the scale issues between the Enterprise-E and the Fitzgerald
-fix the introductory pan of the transporter room to fix Reyf's "treadmill walk"
-fix the transparency issue with the transporter chief and the console
-animate the transporter chief in the background
-slow the trio down as they walk the corridor towards the turbolift
-change "8" to "08" on the turbolift door
-fix the scene blocking so that Reyf isn't centered (the Rule of Thirds)
-lengthen the cutaway showing Troi's amused reaction to Data's rambling and Reyf's reaction
The Enterprise Departs/Engineering
-fix the exterior shot so the audience doesn't get motion sickness from the camera following the Fitzgerald
-redo the intro pan of this set so that it looks the same as the later static shots
-change the door signage so that they don't all say "23947"
-fix the transparency issue when Erickson and Ronston stand up (notice that you can see their legs *through* the pool table)
-show Ensign Mitchell (the girl Erickson has "plans" with) a few times throughout the scene so her introduction isn't quite so much a shock at the end
Counseling
-fixing Reyf's walk cycle in the corridor
-again, change the door signage to something different than "23947" on deck 12
-replace one of the cutaways of the chess board with a depth-of-field shot with it in the foreground and Reyf visible behind it
-fix Troi's dialogue so that the word "life" isn't cut off
Garr's Nightmare
-fix the tracking on the first shot so the top of Garr's head isn't cut off
-fix the "negative" flash so that we only see
's eyes, not her whole face
-add necessary details on the "water fountain" next to the mess hall doors
-adjust the camera motion for
's corridor walk so it's smoother
-replace the background plate of the ISS Voyager bridge to fix the "green glass" blooper (notice that all reflections seem to have a green tint to them)
Reyf's Emotions
-fix the "disappearing circuit holder" blooper
Prentice's Investigation
-update the shot of the entryway powering up to reflect the silver door
-include a wider shot as Prentice and Erickson talk
Garr's Emotions
-fix the phasing glitch on Garr's phaser
The Klingon General
-fix the "3D screen" gag (shots from the side that depict General Varak from that angle as well) so that Varak's head isn't quite so close to the top of the viewscreen
-fix Varak's "hearty laugh" so that he leans back farther
-make the Negh'Var look nastier in the final shot
-fix the signoff for this scene so that it's not as bad a jumpcut
its good to know that you know about 3d screen ..it was disturbing... so but i dont like the music L7 was better .... better atmosphere...but i like the way you rebuild te scenes with garr...i will be very pleasent if you try to do the same clip with L7 and post it ..... please, please
Just so you guys don't think I forgot about you, I just wanted to touch base and let everyone know what's going on! This scene with Data is turning out to be a tough one to write, a lot tougher than I thought. Not because there's not enough to say, but because there's a lot that it feels natural TO say that we can't stick in yet because it's not time. I'm working diligently to achieve a good balance between what we know, what we suspect, and what we learn, it's just not there yet. (It's a classic case of Mr. Exposition versus The Law of Conservation of Detail; I'm trying to balance our need as The Audience to understand what's going on, with our need as The Viewers to be entertained, and I'm developing a fear that we're having too much exposition and not enough action).
We're about to get plunged into some scenes analyzing exactly how much of an EvilBadassCard Carrying Villain, and Insufferable Genius to boot, that Garr is (and anyone who was paying close attention during the talk with Troi can probably guess at what else is in store for his character), so the last few scenes have been deliberately Lighthearted.
By the way, I've gone back and reconditioned the model of the Fitzgerald that I'm using, and I've settled on a Final version of the ship, which you should start seeing with the very next set of exteriors due to show up. You'll be able to pick this one out by its registry number: NCC-85106-A.
Oh, by the way--I'm definitely going to change the Title Sequence. It's going to be longer, for one thing (full-length version of the Voyager rock remix), and is going to feature some of my best and sincerest attempts to create some Scenery Porn. I can also tell you that some Easter Eggs are planned for the new opening.
Meantime, on the subject of the scene with Data, this is a good opportunity to deliver information, but I want to know what You Guys are more concerned with at this point: Data's theory on what Garr's up to with the stolen equipment, or how Garr managed to seemingly Do the Impossible (the base, the android, and the ship, all by himself in just five years). Either of those conversations could eat up a whole scene by itself, and I don't want to Waste A Perfectly Good Explanation on something you guys aren't interested in.
I like the opening credits. It shows the Federation as still getting out there, doing their job of "exploring strange new worlds, new civilizations", essentially staying true to TOS' original intent/vision. But I'm hoping to see more 'split screen' credits (a-la "Dallas", the 80's drama,) as there are more voice actor credits added toward the finished product. On one side of the split screen: Explosions, the captain's yacht is docking or deploying, ships stretching out to warp & dropping from warp, et al. In the second side of the split screen, it shows the specific character / credit in a 'close-up' during a quieter moment.
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@Rusty: yeah, these are still "filler" voices; I'm petrified of doing rewrites before I can get a full draft of the movie finished, so I'm holding off recording with my actors and actresses until it's done and everyone says they like it. I HAVE done the recording with the actress playing Dr. Falwell, but only because her role was deliberately written as a small one and she only shows up one more time in the entire movie (a nod to the de facto "guest star" role that Gates McFadden often had as Dr. Crusher).
Yes, the central question is raised very clearly during Chellik's transmission.
I actually hinted at shortening the Reyf / Falwell corridor scene with my statement about Billy Wilder. I didnAât want to call it out directly, because I could sense the literary foreshadowing that was taking place, and it has that AâwriterAâs favoriteAâ feeling to it.
And yes, I think the shuttle scene is very important. From the dialogue examining the central question, to encountering the ISS Voyager, to the Aâraising the stakesAâ aspect of incapacitating Garret. Besides, without that shuttle mission, weAâd never see that really cool mess hall shot!
IAâm looking forward to seeing a relatively unseasoned captain facing Klingon blustering. It should be quite funny, and another opportunity to develop Reyf. Every obstacle a character faces is an opportunity for development by the way they respond to that obstacle.
Again, youAâve displayed very sound story telling. And ultimatelyA⦠isnAât that what has set Star Trek apart for the last half century?
I've never seen the episode in question, but according to the episode summary on Memory-Alpha.org, the Rayna android was built as a companion for an (almost) immortal man named Flint, to be his perfect companion for all time.
Not quite what Garr had in mind when building our blonde-haired, blue-eyed, silver-armed friend. Her purpose to this story should make a lot more sense after the upcoming scene in sickbay.
I've been continuing the design on the Junior Officers' Guest Quarters, and I've decided on a layout; Instead of pulling a TNG and using those godforsaken Wild Walls to make the space look 1/4 its actual size, this layout has the entire area open, so you can see from one end right to the other. (I'll bet you never knew that the "back door" to the set opened into the alcove with the turbolift, and the "side door" opened into the corridor next to the holodeck, did you?)
In any case, I've finished about 2/3 of the design work on this set, but still to be constructed is Data's desk (since for the scene in question it's serving as Data's quarters--hence the lack of a bed). We never really got a good look at the one from his quarters in Nemesis, so there's no "modern day" template to go by. Equally obvious is the fact that I can't use the one from TNG (too 1980s). So...let the custom-design work begin. I've got a few ideas, so with luck it won't take too long to hash out something.
On a related note, while these are meant to be Data's quarters on another starship, there's a few touches planned that will definitely connect us to established TNG continuity. For one, I've located a set of paintings that are "homages to the captains of starships Enterprise," which will take the place of the oil paintings on the walls (only one of which you can see from this angle). I'm also planning on putting a replica of his infamous "squares" painting (not sure of its proper name, but it's the artwork made of perpendicular lines that was always in his quarters on the Enterprise-D, last seen and presumably destroyed in Generations) on the set as well.
Anyways, what do you guys think of this so far? Believable as the guest quarters on a Galaxy-class starship?
First, here's the overhead. You can get a good look at the overall design of the set. For the most part, this could pass as a modern design, except the octagonal room near the "side door" that leads out to the holodeck. (And trivia enthusiasts might be interested to know that on TNG, that half of the set doubled as the ship's morgue, and later, as the room Worf was recovering in after the container fell on him; on VOY, that set appeared in "Non Sequitor" as Harry's drafting room; the large schematic display was placed just inside the main door next to the replicator).
Here's the same shot as before, looking across the living area towards what I call the "front door" (since it served as the main entrance when this set was used for Worf's, Data's, and Barclay's quarters). Note the photo on the wall next to the door--Picard, Kirk, Sisko, and Janeway, along with their respective starships.
Here's a reverse angle shot, looking into Data's work area. Note the portrait of a young Montgomery Scott on the wall leading into the reading area, and the replica of Data's "squares" artwork on the wall. And of course, there's his new desk. The design is based very closely on the design from TNG, but updated to reflect the tastes and touches introduced in Insurrection and Nemesis (but still needing a base, I know--I can't decide what kind of base this should have). Isn't that gold metallic finish just too cool? (By the way, the LCARs are all from Insurrection, hence the blue cast to them)
Another look at the back half of the set. The intent there was to show that Reyf and company knew of Data's fondness for works of classic literature, hence the presence of a whole shelf full of actual hardcopy books. That area was meant to be used as a place where Data could sit and enjoy reading a classic volume (obviously forgetting that Data's probably read them all and, therefore, memorized them). Note the portrait of an aged Montgomery Scott and the Enterprise-A by the door, and the sextant below it.
The idea of having so much empty wall space above the chairs doesn't seem right, but I don't want to just throw more pictures gratuitously around the set, so I'd appreciate any suggestions you guys might have.
What do y'all think?
and since this ship isnt the enterprise, or a ship meant to be a famous ship, why would they have paintings of Scott, or the other captains? It would just be saying, "this ship isnt famous, but here are some ships that are, you still wanna be on here?" So i think that making the quarters more standard, would make sense.
They know Data doesn't need a bed.
I definitely like the fusion of the TNG and Voyager styles.
I pasted a link above to Paramount's Stage 9, which along with Stage 8, served as the home to all the TNG sets during its run
-^-Star Trek: New Worlds-^-
I've finished writing and recording the audio for the scene, "Chat with the Klingon General." I will freely admit that this is one of those wonderful, "we added this at the last minute" scenes you hear about in every Star Trek venture (remember that scene from "Way of the Warrior," when Quark and Garak were talking about root beer? that was one too!). So I will put an asterisk on this one that, if you guys don't like it as presented, we can change it. I think I did a decent job working in classic Klingon-ism without going over the top, and also making Reyf squirm a little. I hope to have this scene up tomorrow (it's a fairly simple one so it shouldn't take long to produce), so with luck you'll be able to see it and comment soon. You'll see how this takes us right into the scene with Data.
Stay tuned!
well that would explain why garak's makeup looks incomplete.
YouTube - Specter v10 Scenes24-25.mp4
This is the completed cut of "Garr's Emotions," followed by "Chat with a Klingon." I'm a little dubious about the latter, so let me know what you think!
"Garr's Emotions"
-The true purpose of this scene is to begin to give the audience some context through which to view Garr's actions; thus did the choice of the song for this scene become an important element, and a subject of repeated remakes for this scene. Eventually, the song "Wherever You Will Go" was selected because of its emotional connotation and for the meaning of its lyrics, as well as having already been featured as part of "Trek" history, albeit in an obscure way, as the background music for an early "Enterprise" promo. Among other candidates: several mixes of "Blue (Da Ba Dee)" by Eiffel 65 (including a special instrumental version), "Forever" by Chris Brown, "Cosmic Castaway" by Electrasy, and several mixes of "Turn, Turn, Turn" by the Byrds, in addition to the original selection, "Pretend We're Dead" by L7.
-the exterior shot of the ISS Voyager that opens the scene is reminiscent of a similar shot first seen near the end of "The Caretaker Pt.2" (VOY 1x02), in which the USS Voyager and the Maquis ship are approaching the Array just before the battle with the Kazon
-the LCARs graphic seen behind Garr on the Operations display is a re-use of the "forward navigation" graphic seen in the Enterprise-D battle bridge in "Best of Both Worlds Pt.2"
-In large part, the design of the ISS Voyager turbolift reflects that which is seen in "Author, Author" (VOY 7x20), with the darker lighting scheme and altered colors. Also note that the back wall of the turbolift features a starship MSD similar to that seen in the TOS and later TNG movies
-the exterior shot of the ISS Voyager that appears after the slow zoom in to Garr's face is a long cut of a similar shot first seen in "The Caretaker Pt.1" (VOY 1x01), in which the USS Voyager and the Maquis ship enter orbit of the Ocampa homeworld
-for the shot of Braiyon Garr entering the cargo bay, the lighting levels in the corridor outside the door were deliberately increased to make Garr seem brighter just before entering the bay. Similarly, the levels of light coming from the unseen device were deliberately increased to bring some life to the scene. The pattern of light playing across the walls and across Garr's face is implied to be coming from a series of blue lighting tubes.
-the shot of the USS Fitzgerald that begins the next scene is a re-use of a similar shot of the Enterprise-D first seen in the opening of the second-season episode "The Child." Due to lighting issues, the ship and the planet were rendered separately, then composited together to form the completed image.
-the Klingon general seen on the viewscreen during this scene was provided by 3DGladiators.com. Note the mak'leth in his hand.
-the inflections for the character of the Klingon general (who will be named as General Varak in the following scene) were based in large part on those of J.G. Hertzler for his performance as General Martok. And like the vocal tracks for Michael Dorn's Worf in "Star Trek: Nemesis," the pitch of the the vocal recordings for the Varak character were artificially lowered in pitch to make the Klingon seem more fierece
-the suspicion and hostility demonstrated by Varak in this scene is appropriate given the time frame during which this scene is set; in the year 2375, tensions with the Klingon Empire were peaking and would soon erupt into a war over the Klingon occupation of several planets in the Arkanis sector
-the bridge of the Klingon ship as seen behind Varak is the Bird of Prey bridge available at 3DGladiators.com. For its appearance as Varak's bridge, the set was flipped ninety degrees so that a wall of monitors rather than a much less interesting doorway would be seen behind him.
-this scene serves as an important turning point for Gaius Reyf as a character. Until now, we've had no real frame of reference by which to judge Reyf's performance, other than the evaluations of Data and Troi. This scene gives us a more familiar element--the Klingons--for Reyf to test himself against. Although we join the conversation at its midpoint, it's clear by that point that Reyf has managed to incite the anger and suspicion of the Klingon general, as well as cause the other to see him as little more than a coward. In seeing how Reyf responds, we learn how Reyf responds to challenges, that though clearly inexperienced, he is capable of (eventually) meeting challenges as they appear. After this, we're still left with the feeling that Reyf is unseasoned, but now we know that he remains cool under pressure, and that he is able to adapt to difficult situations in the best tradition of Starfleet captains
-it is worth noting that all three key elements fans associate with the Klingons appear in this scene: in addition to the bladed weapons, we also see the concept of Klingon honor, the infamous "Klingon laugh," and the phrase "today is a good day to die," last heard in "Star Trek: First Contact"
-this scene also begins to address another lingering question many fans have had about Garr, namely how he was able to sneak around and break into fourteen supposedly secure facilities without being seen; in this scene, we definitively rule out the possibility that he might have obtained a Klingon cloaking device (and while the possibility remains that he might somehow be using a Romulan device instead, the audience is meant to assume that this is not the case since the Fitzgerald crew doesn't even bring it up)
-Varak's use of the word "kah'plakt" is a reference to a similar term used by Kang in the DS9 episode "Blood Oath" as he states his unwillingness to kill The Albino as he sleeps
-Varak's final word, "qa'PLA," is the Klingon exhortation for "success" and has been heard numerous times since its first utterance in "Star Trek III: The Search for Spock"
-immediately after the channel closes, Reyf pinches the bridge of his nose in what is widely accepted to be a standard human gesture to indicate stress. This is a small touch meant to humanize Reyf as a character, reflecting the stress the audience would likely be feeling in similar circumstances
Secondly, why does he go about it alone? surely someone like him can attract a few other renegades, quietly. They dont need to be kept fully in the loop, but it appears to be highly unlikely that he can build a ship the size of voyager, AND his android AND his time machine alone, all in the space of a few years. It makes it difficult for me to suspend my disbelief, and im a "willing audience member". Great animation tho, cheers!
This one's covered by the Rule of Cool, I've always thought the Intrepid was one of the best designs for a "modern day" Trek ship, large enough to have all the comforts you'd want from a Galaxy-class ship (i.e. holodecks), while still being small enough to handle alone without sacrificing things like science labs. In short, the "in-universe" justification is that the Intrepid is large enough to be powerful and versatile, but still small enough that one person--theoretically--could handle it all by himself if he had to.
The "real world" justification is, as I said, a textbook application of the Rule of Cool. Aside from the ISS Voyager being a Cool Starship, we're setting Garr up as the Badass Mad Scientist, an Evil Genius with an Evil Plan (who, Just Between You and Me, doesn't have to rely on an Evil Laugh for his coolness). Unfortunately, Truth in Television teaches us that we are quite often done in by our own Evil Minions, and since we're setting Garr up as the type who would fear Chronic Backstabbing Disorder like The Plague, he wouldn't take the risk of letting a Lovable Traitor in on his scheme to help him. His way would be to suspect anything and everything around him, and the last thing he would do would be to allow a potential Double Agent access to his resources.
As far as how Garr built up all the resources we've seen, the explanation for that is coming up in the very next scene (I know I said that it was coming up right after "Garr's Emotions," but the scene with General Varak had to come first), which will see Reyf paying a visit to Data to ask that very question. In the same scene, we're also going to touch on what made Garr choose the Intrepid over the other five ships whose plans he stole (we'll finally learn what the other five were by the way).
Stay tuned, I'm going to write the scene with Data tonight and make some last-minute modifications to the set, and then hopefully get a jump on putting it together sometime tomorrow. We're going to start getting some answers very soon!
I would also let him laugh more exuberant, instead of the understated laugh, nearly a chuckle. And that isn't just voice acting; it's also the animation. Let him lean all the way back and laugh fully out loud.
Other than that, it's good.
i'm sorry, but the music at the beginning just doesnt fit, none of the selections for this scene that were posed do... they dont feel like star trek at all....
rant off
very excited to see new stuff!
If you don't like the one I picked, what alternative would you suggest given the tone of the scene?
Star Trek has never done this exact type of thing so I'm having to make this up as I go along. In addition to the pop selections I tried, I also tried out some instrumental pieces that didn't even come close to making the grade.
Trust me when I say that as strange as "Wherever You Will Go" might feel, it's not nearly so weird as some of the other ones we could've wound up with.
The answer is, yes and no. That clear things up?
I know that probably seems like the worst Hand Wave in history for some of the glaring Special Effects Failures we've had so far (walk cycles, anyone?), but fixes ARE planned.
And I've gotten some private messages about some What Happened to the Mouse? moments (mostly directed at the dark-haired engineer that Lieutenant Erickson has "plans" with in the Engineering scene). I can say quite definitively that there are no instances of The Kudzu Plot at work here, nor was that just a Mind Screw for Commander Ronston or the beginnings of a Love Dodecahedron (TNG exhausted that with its years of Troi-Worf-Riker). I can also say that we didn't just throw that in for its Trivial Pursuit value.
That's a plotline that we're going to adopt as our C-story (do you get the feeling that this is turning into a Jigsaw Puzzle Plot on you?), but I don't want to get into much more detail than that. Just trust me when I say that I'm doing my best to avoid the dreaded Something We Forgot moment at the end, and the rewrites that would imply.
(Long story short: you'll see Ensign Mitchell again)
That reminds me, there was a comment made about the Backstory. A few scenes from now, I'm planning on using The Watson to give us a little more of the Reyf and Garr backstory, but there's a lot that I'm saving for The Confrontation Between Good and Evil that happens later on. I've written some things as Noodle Incidents, things that we allude to but don't actually describe (a necessity in a story like this that's already got a lot of Exposition), so even when all is said and done there'll still be some mystique to Garr's character.
With all that said, here's a list of some things I'm looking at changing and/or fixing in the final cut.
Prologue
-adding lip synch for ALL the characters in the prologue
-fixing the lighting on the Daystrom bridge when it reverts to condition green (it doesn't look right on Captain Mantell to me)
-adjusting the light on Garr in his runabout to look more realistic
Five Years Later...
-adding some more cuts of Chellik's office during the 20-second intro pan
-making the smoke in the Mellis II corridor look more realistic
-fixing Garr's walk cycle
-fixing the lighting on Garr and Chellik in that scene to look more believable
-fixing the ending of the scene to make it a little more interesting than simply looping the end with Garr and Chellik cocking their heads at each other
The Next Generation
-making the area around DS9 a little busier (more work bees, runabouts, etc. in the area)
-fixing Reyf and Falwell's walk cycles
-trimming the dialogue there so the scene is shorter
-fixing the door labels so they don't all have the same room number
For the Young/Call from Mellis II
-trimming and/or eliminating Prentice's visit to Reyf's quarters and leaping right into "there's an urgent message for you"
-changing the angle for Chellik's screen image so he and Reyf aren't both on the right-hand side of the frame
-adjusting the light levels on Reyf during the comlink so he's lit consistently from one shot to the next
-fixing the infamous "arm crossing" blooper
-fixing Reyf's eyebrows in the shot where he stands up
-trimming and reworking the dialogue as we've previously discussed
Departure
-fixing the bridge crew so that we see Garrett instead of Data at Ops until the appropriate time
-adding in the missing bridge plate for the launch sequence dialogue (and fixing Reyf's eyebrows there too)
-making sure that EVERYONE has rank pips
-updating the shots of the bridge to reflect the "final" design seen later
-redoing the launch sequence exterior shots (with the exception of the saucer closeup and the wide shot with the Nebula-class in the foreground, I hate the shots that are there now); there's a particularly egregious error where in one of the shots you can clearly see "USS Enterprise NCC-1701-D" on the saucer section
-come to think of it, all the exterior shots of the Fitzgerald need to be redone so that we only have one version of the model in use (right now we see three of them on screen, and there's a fourth one that we haven't seen yet; this fourth one is the "final" version and I want them all to be consistent)
Crew Briefing
-fixing the "fat streaks" bloopers in the warp stars
-fixing the "big keypad/little keypad" blooper involving the keypads next to the briefing room viewscreens
-fixing the depth-of-field blur mistakes
Approaching Beta Reticuli IV
-adding in missing bridge shots
-updating existing shots to reflect the "final" design we'll see later
-fixing the issue with Erickson's boots overlapping with her feet (notice that in some of these shots as well as later shots, you can see her feet through her boots)
-again, fixing motion shots to replace Data with Garrett
Into the Caves
-updating the exterior shots of the lab with something a little more impressive than the blocky structure we see now
-making sure EVERYONE has a combadge
-fixing issues with Erickson's uniform overlapping with her shoulder
-fixing Erickson's hair color and the camera motion in the final shot
Transporter Lock
-Beta Reticuli looks AWFUL in the background of this shot and on the viewscreen
-I'm also going to animate Garrett and Prentice at the end of the scene so that they both look back towards the viewscreen instead of continuing to stare at each other
The Caves Pt.2/Into the Lab
-the color for the haze in the shots outside the door are inconsistent from one shot to the next, as is the appearance of the caves; this will be fixed
-Erickson's hair color in the shot as the lab's door opens
-Reyf's missing combadge in the "crew walk" scenes
-the issue with Erickson's boots again
-also, Erickson's trousers are a lighter color than the others, and it shows in the green light of the lab
Strange Readings
-replacing the old Fitzgerald model with the newer one
-adding Ensign Hargrove (tactical replacement) into background shots where she's missing)
-updating bridge shots to reflect the "final" design seen later
Shuttle Mission/V'Ger Flyover
-tweaking the background sound of the shuttle so it doesn't loop quite so obviously
-fixing the lighting in the shuttle cockpit so the glare from the aft lights isn't quite so intense
-fixing Prentice's "key tap" motions to be more believable
-fixing the character motions so that when they swivel in their chairs, they're not so "stiff necked"
-fixing the simultaneous "OMG" reaction shots as Prentice and Garrett look at each other
-fixing the infamous "shifting clouds" blooper behind the ISS Voyager in the first three shots
-replacing the last two shots of the sequence with new ones, as the ones that are there just don't work (the fly-under is the worst offender, and in comparison the final wide shot looks awkward to me)
-adding in a shot outside the windows for Garrett's line "that hull could probably survive a trip through a sun"
-adding key noises for when Prentice initiates red alert (and working on the light changeover)
Garr's Lab/A Strange Discovery
-adjusting the opening shot to increase its creepy factor (will probably involve a camera dolly from behind a dark object)
-making Reyf's entrance into the side lab a motion shot instead of one with a locked camera
-giving Reyf a closeup for his reaction to Erickson's find
-adding in missing background plates behind Ronston and Reyf
-show Erickson sweeping the area with her phaser to justify her sudden sighting of Garr
The Starship Chase
-replace the Fitzgerald model with the newer version
-add in missing bridge plates where necessary
-update shots of Reyf so that his eye color is consistent (instead of oscillating between light and dark brown)
-show Ronston's entrance as well as Erickson's
-replacing the shot of the two ships chasing each other with a more dynamic shot
-fixing Garr's dialogue so that the echoes don't occasionally just drop off
-fixing the overly bright lighting on Reyf when he turns around to speak to Ronston
-fix Parks' "key tap" motions to be less fluid and more realistic
-replace the shot of the Fitzgerald reversing course towards the moon with a better shot
Medical Report
-replace the exterior shot with the newer Fitzgerald model
-fix Reyf's walk cycle as he enters
-fix the aforementioned transparency issue with Prentice's legs and the biobed
-fix the final zoom-in to Prentice so that the background doesn't look as pixellated
-in the corridor, show the sickbay door closing again after Prentice exits into the corridor
Distinguished Guests
-fix the first shot of the Enterprise-E dropping out of warp with better lighting and a better-looking Beta Reticuli IV
-fix the scale issues between the Enterprise-E and the Fitzgerald
-fix the introductory pan of the transporter room to fix Reyf's "treadmill walk"
-fix the transparency issue with the transporter chief and the console
-animate the transporter chief in the background
-slow the trio down as they walk the corridor towards the turbolift
-change "8" to "08" on the turbolift door
-fix the scene blocking so that Reyf isn't centered (the Rule of Thirds)
-lengthen the cutaway showing Troi's amused reaction to Data's rambling and Reyf's reaction
The Enterprise Departs/Engineering
-fix the exterior shot so the audience doesn't get motion sickness from the camera following the Fitzgerald
-redo the intro pan of this set so that it looks the same as the later static shots
-change the door signage so that they don't all say "23947"
-fix the transparency issue when Erickson and Ronston stand up (notice that you can see their legs *through* the pool table)
-show Ensign Mitchell (the girl Erickson has "plans" with) a few times throughout the scene so her introduction isn't quite so much a shock at the end
Counseling
-fixing Reyf's walk cycle in the corridor
-again, change the door signage to something different than "23947" on deck 12
-replace one of the cutaways of the chess board with a depth-of-field shot with it in the foreground and Reyf visible behind it
-fix Troi's dialogue so that the word "life" isn't cut off
Garr's Nightmare
-fix the tracking on the first shot so the top of Garr's head isn't cut off
-fix the "negative" flash so that we only see
-add necessary details on the "water fountain" next to the mess hall doors
-adjust the camera motion for
-replace the background plate of the ISS Voyager bridge to fix the "green glass" blooper (notice that all reflections seem to have a green tint to them)
Reyf's Emotions
-fix the "disappearing circuit holder" blooper
Prentice's Investigation
-update the shot of the entryway powering up to reflect the silver door
-include a wider shot as Prentice and Erickson talk
Garr's Emotions
-fix the phasing glitch on Garr's phaser
The Klingon General
-fix the "3D screen" gag (shots from the side that depict General Varak from that angle as well) so that Varak's head isn't quite so close to the top of the viewscreen
-fix Varak's "hearty laugh" so that he leans back farther
-make the Negh'Var look nastier in the final shot
-fix the signoff for this scene so that it's not as bad a jumpcut
We're about to get plunged into some scenes analyzing exactly how much of an Evil Badass Card Carrying Villain, and Insufferable Genius to boot, that Garr is (and anyone who was paying close attention during the talk with Troi can probably guess at what else is in store for his character), so the last few scenes have been deliberately Lighthearted.
We've got this scene with Data, before we rejoin the ISS Voyager to ride shotgun with Garr for a few minutes (it starts as a Villain Out Shopping moment, before delving back to seeing Garr as The Devil in Plain Sight), and then back to the Fitzgerald for a quick sympathy scene with Ronston over his Epic Fail with Erickson, including a Fan Service moment with her and Ensign Mitchell. (Parallels with Garr, anyone?)
Then, we follow him down to sickbay for some work with the android, and just as we start to make progress...in comes The Distress Call (because In Space, No One Can Hear You Scream!)
I sense Plot Twists ahead...
Stay tuned
By the way, I've gone back and reconditioned the model of the Fitzgerald that I'm using, and I've settled on a Final version of the ship, which you should start seeing with the very next set of exteriors due to show up. You'll be able to pick this one out by its registry number: NCC-85106-A.
Oh, by the way--I'm definitely going to change the Title Sequence. It's going to be longer, for one thing (full-length version of the Voyager rock remix), and is going to feature some of my best and sincerest attempts to create some Scenery Porn. I can also tell you that some Easter Eggs are planned for the new opening.
YouTube - Specter v10 New Title Sequence Test 2
Babylon 5, Season 4 opening