I love what you've done here. A new FITZGERALD bridge? Sweet. My choice -- Purple turbolift, it adds a sense of ominous stuff to come. That the Fitz ain't your daddy's Galaxy-Class.
Suggestion...what would be slightly amusing would be to see I-Tunes on the display screen in the turbolift just over the officer's shoulder. Maybe a slightly amusing "Holly" from "Red Dwarf" as the computer voice.
To call this a "rough cut" would be the understatement of the century...but, it's up just the same :-) More to come!
EDIT: this cut was a little too rough for my liking so I took it down, there's a new longer clip coming that I think yall will enjoy a little more. I'll post an updated link as soon as it's up!
EDIT: New link! [removed in favor of yet ANOTHER update]
EDIT: This'll be the last preview before I release the final scene, but this time there's no "holes" in the sequence (missing backgrounds, yes). Check it out: http://www.youtube.com/watch?v=o7wkvrr0fTk
EDIT: This'll be the last preview before I release the final scene, but this time there's no "holes" in the sequence (missing backgrounds, yes). Check it out: YouTube - Light Box Test 2
what is this all about? i dont get it.... this is final scene of Spectre of past?
The clip "Light Box Test" is part of another project.
But this isn't the final scene of the movie, just the last time I'll release a teaser for Scene 9 before I release the whole scene. There's LOTS more story to tell yet!
This continues for about fifty seconds past where the other one did (and has a new exterior shot of the two ships chasing each other by the way), and features my second favorite moment of the entire film (the TV Trope of Evil Is Cool coming into play)--believe it or not, Garr actually responds to Reyf's hail with a (deliberately) creepy reply, before sending something very odd to the Fitzgerald. What is it? What does it mean?
More is coming soon, but in the meantime here's some trivia about this scene:
-this scene is the first action scene since the prologue sequence, and was deliberately blocked and shot to stand out from other scenes; the rapid camera motions and banking of the camera emphasize not only the sudden urgency on the bridge, but also the surreal circumstances in which the crew finds themselves
-Prentice's absence is mentioned only once briefly at the beginning of the scene, a quick reminder that the first officer is not aboard the ship; this becomes an important element to the scene later on
-the shots of the ISS Voyager seen on the viewscreen were lit slightly differently from subsequent exterior shots of it and the Fitzgerald together; this was done to give audiences a clear look at the ship in its powered state
-look carefully at the bridge set as the scene progresses; midway through shooting this scene, the director switched from one version of the bridge to another, and some shots of the set clearly come from the old version. The two can be distinguished by subtle differences in the color and intensity of the lights in the turbolift alcoves, above the aft stations, and above the side stations
-interestingly, the number of people on the bridge has decreased sharply by the time of this scene from its first appearance in the departure sequence; in that scene, there were no less than eight extras manning the workstations around the bridge, but from there the number of auxiliary crew progressively decreased. That resulted in a minor dialogue change in this scene--originally, an ensign at the starboard science stations (those to our right as we face the viewscreen) was responsible for the announcement that the Fitzgerald was entering visual range of the ISS Voyager, while another ensign at the port communications station said "No response, captain." Because those extras were removed, the first line was given to the unnamed replacement Ops officer, and "No response" is simply spoken by an off-camera crewmember (presumably Erickson as she is the one who opened the channel to start with)
-the music for this scene is a combination of excerpts from "Retreat" and "The Dish," both from the commercial soundtrack release of Star Trek: First Contact
-Parks' line, "The coordinates match the source of the null reading that Ensign Hargrove picked up; the one that--" deliberately cuts off to leave the audience in suspense at the reason for his sudden panic, particularly given that Garr comes onscreen a split second later
-Garr's initial audio-only reply to Reyf's hail presented some unique challenges to the sound designer, who wasn't sure how Garr should sound. The script describes the transmission as "Garr's creepiest line," but because of its short length and the fact that the reactions of the Fitzgerald crew would be the accompanying visual as opposed to actually seeing Garr's face, the sound designer had to strike a balance between distorting Garr's voice just enough to sound frightening without going too far. In the end, the audio was compressed and a slight echo added to it, interestingly a similar approach to that used by the actual Star Trek production team when manipulating the audio tracks that represented the Borg Collective, a move meant to give Garr a slightly "otherworldly" sound.
-For his subsequent appearances following this scene, pay close attention to Garr's voice when he speaks. Then compare that to the "clean" read heard from Reyf (the two are voiced by the same actor). In comparison, Garr's voice always has a very slight echo or reverb to it. This serves to underscore Garr's unique nature and give him a slight added presence.
-When recording the audio for this particular line, voice actor Brandon Bridges (me) required sixteen takes to produce a satisfactory read of the line. Even though we already saw Garr once in the "present day" at Mellis II and in a brief flash in his lab below, this scene was written to serve as his introduction as Reyf's enemy.
-I'm sneaking this in to see who's paying attention. Is it possible to have a sneak peak at a sneak peak? You be the judge!
-the dialogue between Garrett and Prentice in the shuttle earlier serves as the perfect lead-up for this scene, in that Garrett correctly expresses concerns about Reyf's ability to stay detached. In this scene, the shots are framed deliberately to make the exchange via viewscreen not an exchange between two starship commanders, but an exchange between Reyf and Garr.
-fans have questioned what the significance of the music switching to an "eerie" section during the second half of the exterior shot of the Fitzgerald pursuing the ISS Voyager. Though not explicitly stated in dialogue, the presence of an open starfield in the shot is meant to imply that Voyager is clear of planets and other obstacles, and could escape into warp speed at any moment.
-when Garr appears onscreen, the background behind him is blurred out, but attentive fans will still no doubt recognize the lines of an Intrepid-class bridge, seen from the perspective of the port science station.
-for his appearance in this scene, Braiyon Garr is shown in enlarged form on the Fitzgerald's viewscreen. This means that unlike most character animations, where body motions carry the bulk of the character's emotion and screen presence, the animator had to rely on Garr's face and shoulders to carry his appearance. As a result, extra attention was paid to every nuance of Garr's facial motions on the viewscreen. It will be far more noticeable in later portions of this scene.
-this scene also contains two rare and subtle bloopers: in the first, pay careful attention to the conn and Ops consoles in the tighter shot of the Fitzgerald's viewscreen as Reyf and Garr talk, and you will notice they aren't lit. In the second, pay close attention to the reflections in the five aft stations; you'll notice that in some shots, an image of Beta Reticuli IV can be seen on the reflected main viewscreen.
Bear with me on this, I'm still perfecting that shot of the Fitzgerald chasing Voyager and there's another shot at the end that I'm still working on so it doesn't appear in this clip. But, now you know why Garr is so evil.
Bear with me on this, I'm still perfecting that shot of the Fitzgerald chasing Voyager and there's another shot at the end that I'm still working on so it doesn't appear in this clip. But, now you know why Garr is so evil.
Some more trivia about this scene now that it's up in its (almost) entirety:
-Garr's casual dialogue about the perilous state of Reyf's officers is meant to reinforce what we saw of him in Chellik's office at Mellis II, namely that this is a man who will go to any lengths to achieve his goals, and will do so without hesitation--no matter who gets in his way. This will return as an important aspect of both his personality and plot development later on.
-the dilemma with which Garr presents Reyf in this scene mirrors a similar dilemma presented by Michael Eddington to Captain Sisko in "For the Uniform," when the Maquis leader forces the captain to choose between capturing him or rescuing a shipful of Cardassian refugees. Though Garr says that his ship colliding with the shuttle was an accident, a scene cut for time clearly shows Voyager powering up and then deliberately moving directly towards the smaller ship. In its final form, the scene relies on Garr's characterization to convey this to the audience.
-Garr's method of disclosing that the shuttle is damaged and leaking atmosphere is deliberately oblique, a move by the writers to avoid Garr coming across as too sinister, instead favoring his cool and calculating nature. This was a move that had to be carefully executed, out of fear that Garr's villainous nature would come across as too cheesy.
-In dialogue, Garr indicates that his ship's engines "aren't up to speed yet," preventing him from outpacing the Fitzgerald. Yet, dialogue earlier in the scene very clearly indicates the opposite; the explanation offered by the writers is that Garr is referring to his warp drive, not his impulse engines.
-near the end of the scene, Reyf takes a step forward and appears to step into a shadow. Within the direct context of the scene, this is meant to imply that he's stepped closer to the viewscreen and into an area not as well lit. The subtext of that moment references the fact that by coming closer to Garr--even vicariously via the viewscreen--he's stepping into the darkness that surrounds the mad scientist.
-There was disagreement among the writing staff regarding what Garr should say as he signs off. "On the contrary, Gaius, it is over" was never questioned, but rather his final word; "qa'PLA," "Farewell," and "For you" were all considered before the writers eventually chose "adieu," an in-joke referring to the French origins of Jean-Luc Picard, upon whom the character of Gaius Reyf is based
-The scene ends with an exterior shot of the Fitzgerald at impulse, presumably moving back towards Beta Reticuli IV. Several alternate shots were considered for use there, mostly shots of the Fitzgerald tractoring the damaged shuttlecraft into its shuttlebay. These were all eventually scrapped because they could not be made to work well with the Fitzgerald's third warp nacelle. The plot element of the damaged shuttlecraft will be revisited later in the story.
-The exchange between Reyf and Garr very clearly sets up a personal animosity between them, something which is explained several scenes later.
Almost finished with the next scene, but in the meantime, since audience participation ISN'T just for game shows, I have a question:
An upcoming scene features a quick montage sequence (all I can say is that Garr is the focus and it's set on board the ISS Voyager), and I'm at odds over what music to put with it. The top three contenders are:
1. "Pretend We're Dead," by L7 (because Garr faked his death)
2. "Cosmic Castaway," by Electrasy (because Garr's essentially exactly that)
3. "Turn, Turn, Turn!" by The Byrds
-the music cue heard during the introductory shot of the Fitzgerald is a slowed-down version of the Enterprise theme heard at the beginning of "Detaching/Separation," from the commercial soundtrack release of ST:TNG, "Encounter at Farpoint." The piece was slowed down deliberately to bring a somber air to the coming scene
-this scene features the first appearance of the Fitzgerald sickbay. Notice that only a small portion of the set is actually seen, and where possible shots are framed to deliberately avoid showing areas where cluttered instrument trays might be seen. This was a necessary step since at the time this scene was produced, the sickbay set had not been fully prepared for shooting. Among the props that are visible are diagnostic terminals from the USS Voyager, a VOY-style desktop terminal, and a duplicate of a circuit tray from Reyf's ready room.
-note that the biobeds around sickbay bear a much stronger resemblance to their Star Trek VOY counterparts than to what had appeared in TNG. This was a move designed to show that the Fitzgerald is a state-of-the-art vessel, with all the trimmings one might expect of the mid-2370s.
-like their first meeting in Reyf's quarters, the exchange between Reyf and Prentice in this scene serves to reinforce the fact of the two men being close friends, even if their rapport isn't of the same level as the one between Picard and Riker
-though very brief, this scene serves to deliver two critical pieces of information: first, that Garr's claim of having collided with the shuttlecraft was neither fictional nor exaggerated, and second, to provide a plausible reason for removing Garrett from play. An original draft of the script played out the previous scene very differently, with Garr instead attacking and disabling the vessel belonging to the survey team (mentioned in Reyf's conversation with Chellik) as they passed by one of the system's gas giants. In that version of the scene, Reyf was given the choice of allowing not two but two hundred people meet an agonizing fate as the science vessel was crushed in the planet's atmosphere. In that version, Garrett would have remained active but simply relieved of duty in the coming scenes; by effectively redshirting him, the writers avoided the potential pitfall of portraying him as incompetent and allowed him to return to duty shamelessly at the end of the film.
-this scene also reinforces something demonstrated in the previous one: specifically that Garr is both willing and able to make attacks on his opponents personal in nature, which is itself an attempt to show the audience why Reyf is so afraid of him--Garr's ability to make intricate plans ahead of time, and tailor his tactics to the specific obstacles and people he expects to meet, make him seem almost undefeatable
-in dialogue, Commander Prentice refers to "Dr. Finley" expecting Garrett to recover, while in the second scene aboard the Fitzgerald, Reyf clearly refers to the ship's doctor as "Dr. Falwell." This is correct, as Dr. Falwell was stated to have left the ship just before it was called away from Deep Space Nine, and was not able to return in time. Finley, though never seen on camera, is implied to be Falwell's assistant, not unlike the infamous Dr. Selar from TNG.
-Dr. Finley is named after the fictional doctor in the EMH's family holodeck program in "Real Life" (VOY), who vainly attempted to help the EMH save the life of his holographic daughter.
-the scene contains a rare instance of a door in Star Trek re-opening after closing partway due to someone else walking through it. This was last seen in the opening scene of "Time Squared" (TNG). In an interesting blooper, the door is left open until the camera cuts away; in the next shot of that part of the corridor, the door is simply closed, with no "hiss" sound effect to indicate its closure.
-the exchange in the corridor demonstrates another important aspect of Gaius Reyf's personality: namely that he isn't afraid to admit defeat and ask for help when needed. His willingness to acknowledge his own inexperience is a testament to the fact that he is actually a good leader, knowing his own limits and unwilling to risk the lives of his crew to save his own ego.
-the music track that begins when Reyf says "I know just where to get it" is the end of "Total Logic," from the commercial soundtrack release for "Star Trek: The Motion Picture." The accompanying shot is one of the rare instances in Star Trek when we get to see a starship dropping out of warp.
-the shot of the Enterprise entering orbit alongside the Fitzgerald gives us our first true sense of the size of the Fitzgerald. Though the size of the Enterprise-E differed among the three films in which it was featured, it can be assumed that is has an average thickness of 26 decks. It looks approximately one-third the size of the Fitzgerald in this shot, making the Fitzgerald slightly larger than a "regular" Galaxy-class starship.
-exactly how to show the Enterprise entering orbit alongside the Fitzgerald became a subject of intense angst by the director. The chief problem arose from the challenge of featuring the two ships as well as the planet in a single shot, and even in a shot with an extremely wide aspect ratio, it's still a lot of material to show at the same time. And, more than that, is the existing problem that the Fitzgerald and the Enterprise only look good from certain angles, and it was a challenge to find a perspective from which they both looked good.
We'll chalk that up to these shots being the equivalent of test shots You're right, the Fitzgerald in that final shot is a good example of upscaling (a term most commonly used to refer to the practice of deliberately making an object appear much larger than it otherwise should; they did this a lot with the 1701-D and with the Deep Space Nine station)
But in my defense, the Fitzgerald is described as being "slightly larger" than your standard-issue Galaxy-class starship (it's not mentioned in dialogue but in the script notes it's described as having "55 decks"). That's no excuse for having one that looks like it should have 84 though 'twill be fixed, eventually.
It's interesting to note that these two shots of the 1701-E and the Fitzgerald were rendered literally over a year ago, long before those particulars about the Fitzgerald had been worked out. The important thing is, do you like the way we introduce the 1701-E?
yeah it reminds me of a tng stock footage, with an entrance the ent-e made in nemesis to that one planet with b-4
maybe as a solution you could add a quick shot with the ent-e closer to the camera to make it seem like the enterprise flew too far past the fitzgerald
i attached a sample image, even tho its of a regular galaxy, it would work the same... funny in an attempt to try to find a lighting scheme that would work i found one to that similar of a best of both world stock shot
I know there's scale issues with the 1701-E, and the problem you mention is simply a transparency glitch that I fixed after this scene was rendered. I didn't want to take the time to make a proper transparency map for that biobed, I was that eager to get this piece up. Not to worry, that's been fixed already
not bad! I like the intro of the sovvy, but it should be waay bigger; in perspective it should appear slightly smaller than the fitzgerald, although in actuality it may even be a bit smaller than that, its still mighty huge. If i had to guess, your about to introduce Cmdr Data, unless this takes place after nemesis?
the android from TNG, he appears in all the TNG Movies as well. Played by Brent Spiner.
(Cmdr=Commander). You did bring in the Enterprise-E specifically, and not just any old Sovereign class ship, right? (odd, i dont remember you building a Sovvie bridge, did you?)
Posts
To call this a "rough cut" would be the understatement of the century...but, it's up just the same :-) More to come!
EDIT: this cut was a little too rough for my liking so I took it down, there's a new longer clip coming that I think yall will enjoy a little more. I'll post an updated link as soon as it's up!
EDIT: New link! [removed in favor of yet ANOTHER update]
EDIT: This'll be the last preview before I release the final scene, but this time there's no "holes" in the sequence (missing backgrounds, yes). Check it out: http://www.youtube.com/watch?v=o7wkvrr0fTk
what is this all about? i dont get it.... this is final scene of Spectre of past?
YouTube - Specter v9 Pt 9 Hi Res Preview
The clip "Light Box Test" is part of another project.
But this isn't the final scene of the movie, just the last time I'll release a teaser for Scene 9 before I release the whole scene. There's LOTS more story to tell yet!
This continues for about fifty seconds past where the other one did (and has a new exterior shot of the two ships chasing each other by the way), and features my second favorite moment of the entire film (the TV Trope of Evil Is Cool coming into play)--believe it or not, Garr actually responds to Reyf's hail with a (deliberately) creepy reply, before sending something very odd to the Fitzgerald. What is it? What does it mean?
Watch the clip...and stay tuned for more!
This is fantastic!
-this scene is the first action scene since the prologue sequence, and was deliberately blocked and shot to stand out from other scenes; the rapid camera motions and banking of the camera emphasize not only the sudden urgency on the bridge, but also the surreal circumstances in which the crew finds themselves
-Prentice's absence is mentioned only once briefly at the beginning of the scene, a quick reminder that the first officer is not aboard the ship; this becomes an important element to the scene later on
-the shots of the ISS Voyager seen on the viewscreen were lit slightly differently from subsequent exterior shots of it and the Fitzgerald together; this was done to give audiences a clear look at the ship in its powered state
-look carefully at the bridge set as the scene progresses; midway through shooting this scene, the director switched from one version of the bridge to another, and some shots of the set clearly come from the old version. The two can be distinguished by subtle differences in the color and intensity of the lights in the turbolift alcoves, above the aft stations, and above the side stations
-interestingly, the number of people on the bridge has decreased sharply by the time of this scene from its first appearance in the departure sequence; in that scene, there were no less than eight extras manning the workstations around the bridge, but from there the number of auxiliary crew progressively decreased. That resulted in a minor dialogue change in this scene--originally, an ensign at the starboard science stations (those to our right as we face the viewscreen) was responsible for the announcement that the Fitzgerald was entering visual range of the ISS Voyager, while another ensign at the port communications station said "No response, captain." Because those extras were removed, the first line was given to the unnamed replacement Ops officer, and "No response" is simply spoken by an off-camera crewmember (presumably Erickson as she is the one who opened the channel to start with)
-the music for this scene is a combination of excerpts from "Retreat" and "The Dish," both from the commercial soundtrack release of Star Trek: First Contact
-Parks' line, "The coordinates match the source of the null reading that Ensign Hargrove picked up; the one that--" deliberately cuts off to leave the audience in suspense at the reason for his sudden panic, particularly given that Garr comes onscreen a split second later
-Garr's initial audio-only reply to Reyf's hail presented some unique challenges to the sound designer, who wasn't sure how Garr should sound. The script describes the transmission as "Garr's creepiest line," but because of its short length and the fact that the reactions of the Fitzgerald crew would be the accompanying visual as opposed to actually seeing Garr's face, the sound designer had to strike a balance between distorting Garr's voice just enough to sound frightening without going too far. In the end, the audio was compressed and a slight echo added to it, interestingly a similar approach to that used by the actual Star Trek production team when manipulating the audio tracks that represented the Borg Collective, a move meant to give Garr a slightly "otherworldly" sound.
-For his subsequent appearances following this scene, pay close attention to Garr's voice when he speaks. Then compare that to the "clean" read heard from Reyf (the two are voiced by the same actor). In comparison, Garr's voice always has a very slight echo or reverb to it. This serves to underscore Garr's unique nature and give him a slight added presence.
-When recording the audio for this particular line, voice actor Brandon Bridges (me) required sixteen takes to produce a satisfactory read of the line. Even though we already saw Garr once in the "present day" at Mellis II and in a brief flash in his lab below, this scene was written to serve as his introduction as Reyf's enemy.
-I'm sneaking this in to see who's paying attention. Is it possible to have a sneak peak at a sneak peak? You be the judge!
-the dialogue between Garrett and Prentice in the shuttle earlier serves as the perfect lead-up for this scene, in that Garrett correctly expresses concerns about Reyf's ability to stay detached. In this scene, the shots are framed deliberately to make the exchange via viewscreen not an exchange between two starship commanders, but an exchange between Reyf and Garr.
-fans have questioned what the significance of the music switching to an "eerie" section during the second half of the exterior shot of the Fitzgerald pursuing the ISS Voyager. Though not explicitly stated in dialogue, the presence of an open starfield in the shot is meant to imply that Voyager is clear of planets and other obstacles, and could escape into warp speed at any moment.
-when Garr appears onscreen, the background behind him is blurred out, but attentive fans will still no doubt recognize the lines of an Intrepid-class bridge, seen from the perspective of the port science station.
-for his appearance in this scene, Braiyon Garr is shown in enlarged form on the Fitzgerald's viewscreen. This means that unlike most character animations, where body motions carry the bulk of the character's emotion and screen presence, the animator had to rely on Garr's face and shoulders to carry his appearance. As a result, extra attention was paid to every nuance of Garr's facial motions on the viewscreen. It will be far more noticeable in later portions of this scene.
-this scene also contains two rare and subtle bloopers: in the first, pay careful attention to the conn and Ops consoles in the tighter shot of the Fitzgerald's viewscreen as Reyf and Garr talk, and you will notice they aren't lit. In the second, pay close attention to the reflections in the five aft stations; you'll notice that in some shots, an image of Beta Reticuli IV can be seen on the reflected main viewscreen.
More Specter of the Past coming very soon!
Part 9 is up!
Bear with me on this, I'm still perfecting that shot of the Fitzgerald chasing Voyager and there's another shot at the end that I'm still working on so it doesn't appear in this clip. But, now you know why Garr is so evil.
Watch and comment!
Wrong URL, Eagerly waiting the right one though
Sorry, I wasn't even paying attention
YouTube - Specter v9 Pt 9 Hi Res
-Garr's casual dialogue about the perilous state of Reyf's officers is meant to reinforce what we saw of him in Chellik's office at Mellis II, namely that this is a man who will go to any lengths to achieve his goals, and will do so without hesitation--no matter who gets in his way. This will return as an important aspect of both his personality and plot development later on.
-the dilemma with which Garr presents Reyf in this scene mirrors a similar dilemma presented by Michael Eddington to Captain Sisko in "For the Uniform," when the Maquis leader forces the captain to choose between capturing him or rescuing a shipful of Cardassian refugees. Though Garr says that his ship colliding with the shuttle was an accident, a scene cut for time clearly shows Voyager powering up and then deliberately moving directly towards the smaller ship. In its final form, the scene relies on Garr's characterization to convey this to the audience.
-Garr's method of disclosing that the shuttle is damaged and leaking atmosphere is deliberately oblique, a move by the writers to avoid Garr coming across as too sinister, instead favoring his cool and calculating nature. This was a move that had to be carefully executed, out of fear that Garr's villainous nature would come across as too cheesy.
-In dialogue, Garr indicates that his ship's engines "aren't up to speed yet," preventing him from outpacing the Fitzgerald. Yet, dialogue earlier in the scene very clearly indicates the opposite; the explanation offered by the writers is that Garr is referring to his warp drive, not his impulse engines.
-near the end of the scene, Reyf takes a step forward and appears to step into a shadow. Within the direct context of the scene, this is meant to imply that he's stepped closer to the viewscreen and into an area not as well lit. The subtext of that moment references the fact that by coming closer to Garr--even vicariously via the viewscreen--he's stepping into the darkness that surrounds the mad scientist.
-There was disagreement among the writing staff regarding what Garr should say as he signs off. "On the contrary, Gaius, it is over" was never questioned, but rather his final word; "qa'PLA," "Farewell," and "For you" were all considered before the writers eventually chose "adieu," an in-joke referring to the French origins of Jean-Luc Picard, upon whom the character of Gaius Reyf is based
-The scene ends with an exterior shot of the Fitzgerald at impulse, presumably moving back towards Beta Reticuli IV. Several alternate shots were considered for use there, mostly shots of the Fitzgerald tractoring the damaged shuttlecraft into its shuttlebay. These were all eventually scrapped because they could not be made to work well with the Fitzgerald's third warp nacelle. The plot element of the damaged shuttlecraft will be revisited later in the story.
-The exchange between Reyf and Garr very clearly sets up a personal animosity between them, something which is explained several scenes later.
An upcoming scene features a quick montage sequence (all I can say is that Garr is the focus and it's set on board the ISS Voyager), and I'm at odds over what music to put with it. The top three contenders are:
1. "Pretend We're Dead," by L7 (because Garr faked his death)
2. "Cosmic Castaway," by Electrasy (because Garr's essentially exactly that)
3. "Turn, Turn, Turn!" by The Byrds
I wanted to see what you guys might think?
YouTube - Specter v9 Pt 10 Hi Res
Part 10 is up! This is just a 90-second piece, but a necessary filler. You'll see why when you watch it
(BTW: the end of this clip contains Specter's first Crowning Music of Awesome moment)
-the music cue heard during the introductory shot of the Fitzgerald is a slowed-down version of the Enterprise theme heard at the beginning of "Detaching/Separation," from the commercial soundtrack release of ST:TNG, "Encounter at Farpoint." The piece was slowed down deliberately to bring a somber air to the coming scene
-this scene features the first appearance of the Fitzgerald sickbay. Notice that only a small portion of the set is actually seen, and where possible shots are framed to deliberately avoid showing areas where cluttered instrument trays might be seen. This was a necessary step since at the time this scene was produced, the sickbay set had not been fully prepared for shooting. Among the props that are visible are diagnostic terminals from the USS Voyager, a VOY-style desktop terminal, and a duplicate of a circuit tray from Reyf's ready room.
-note that the biobeds around sickbay bear a much stronger resemblance to their Star Trek VOY counterparts than to what had appeared in TNG. This was a move designed to show that the Fitzgerald is a state-of-the-art vessel, with all the trimmings one might expect of the mid-2370s.
-like their first meeting in Reyf's quarters, the exchange between Reyf and Prentice in this scene serves to reinforce the fact of the two men being close friends, even if their rapport isn't of the same level as the one between Picard and Riker
-though very brief, this scene serves to deliver two critical pieces of information: first, that Garr's claim of having collided with the shuttlecraft was neither fictional nor exaggerated, and second, to provide a plausible reason for removing Garrett from play. An original draft of the script played out the previous scene very differently, with Garr instead attacking and disabling the vessel belonging to the survey team (mentioned in Reyf's conversation with Chellik) as they passed by one of the system's gas giants. In that version of the scene, Reyf was given the choice of allowing not two but two hundred people meet an agonizing fate as the science vessel was crushed in the planet's atmosphere. In that version, Garrett would have remained active but simply relieved of duty in the coming scenes; by effectively redshirting him, the writers avoided the potential pitfall of portraying him as incompetent and allowed him to return to duty shamelessly at the end of the film.
-this scene also reinforces something demonstrated in the previous one: specifically that Garr is both willing and able to make attacks on his opponents personal in nature, which is itself an attempt to show the audience why Reyf is so afraid of him--Garr's ability to make intricate plans ahead of time, and tailor his tactics to the specific obstacles and people he expects to meet, make him seem almost undefeatable
-in dialogue, Commander Prentice refers to "Dr. Finley" expecting Garrett to recover, while in the second scene aboard the Fitzgerald, Reyf clearly refers to the ship's doctor as "Dr. Falwell." This is correct, as Dr. Falwell was stated to have left the ship just before it was called away from Deep Space Nine, and was not able to return in time. Finley, though never seen on camera, is implied to be Falwell's assistant, not unlike the infamous Dr. Selar from TNG.
-Dr. Finley is named after the fictional doctor in the EMH's family holodeck program in "Real Life" (VOY), who vainly attempted to help the EMH save the life of his holographic daughter.
-the scene contains a rare instance of a door in Star Trek re-opening after closing partway due to someone else walking through it. This was last seen in the opening scene of "Time Squared" (TNG). In an interesting blooper, the door is left open until the camera cuts away; in the next shot of that part of the corridor, the door is simply closed, with no "hiss" sound effect to indicate its closure.
-the exchange in the corridor demonstrates another important aspect of Gaius Reyf's personality: namely that he isn't afraid to admit defeat and ask for help when needed. His willingness to acknowledge his own inexperience is a testament to the fact that he is actually a good leader, knowing his own limits and unwilling to risk the lives of his crew to save his own ego.
-the music track that begins when Reyf says "I know just where to get it" is the end of "Total Logic," from the commercial soundtrack release for "Star Trek: The Motion Picture." The accompanying shot is one of the rare instances in Star Trek when we get to see a starship dropping out of warp.
-the shot of the Enterprise entering orbit alongside the Fitzgerald gives us our first true sense of the size of the Fitzgerald. Though the size of the Enterprise-E differed among the three films in which it was featured, it can be assumed that is has an average thickness of 26 decks. It looks approximately one-third the size of the Fitzgerald in this shot, making the Fitzgerald slightly larger than a "regular" Galaxy-class starship.
-exactly how to show the Enterprise entering orbit alongside the Fitzgerald became a subject of intense angst by the director. The chief problem arose from the challenge of featuring the two ships as well as the planet in a single shot, and even in a shot with an extremely wide aspect ratio, it's still a lot of material to show at the same time. And, more than that, is the existing problem that the Fitzgerald and the Enterprise only look good from certain angles, and it was a challenge to find a perspective from which they both looked good.
the galaxy class measures 643m in length 42 decks
and the sovi 685m with 26 decks
right now the fitzgerald looks like it has 84 decks(with windows measuring 2 decks) or else the sovi is the size of an intrepid class
ok end of geek nit pick
But in my defense, the Fitzgerald is described as being "slightly larger" than your standard-issue Galaxy-class starship (it's not mentioned in dialogue but in the script notes it's described as having "55 decks"). That's no excuse for having one that looks like it should have 84 though
It's interesting to note that these two shots of the 1701-E and the Fitzgerald were rendered literally over a year ago, long before those particulars about the Fitzgerald had been worked out. The important thing is, do you like the way we introduce the 1701-E?
maybe as a solution you could add a quick shot with the ent-e closer to the camera to make it seem like the enterprise flew too far past the fitzgerald
i attached a sample image, even tho its of a regular galaxy, it would work the same... funny in an attempt to try to find a lighting scheme that would work i found one to that similar of a best of both world stock shot
maybe something like this:
(Cmdr=Commander). You did bring in the Enterprise-E specifically, and not just any old Sovereign class ship, right? (odd, i dont remember you building a Sovvie bridge, did you?)