Visual effects: frm.
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=== Production ===
=== Production ===
==== Visual effects ====
==== Visual effects ====
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* The visual effects company Robert Abel & Associates (RA&A) was given the assignment to produce the film's visual effects. However, they were unable to provide visual effects that met the producers' requirements. Douglas Trumbull, who was one of the effects supervisors for ''2001: A Space Odyssey'', was brought in as an uncredited consultant (only agreeing to do so as a courtesy to his old friend Robert Wise) in late 1978, before being given primary responsibility for the film's visual effects in {{m|March|1979}} through his own visual effects company, Future General Corporation (FGC). Ironically, RA&A's Con Pederson, who was the second of four visual effects supervisors for ''2001'' (the others were Tom Howard and Wally Veevers) was one of Robert Abel's lead men. Incidentally, it was Trumbull's company, a Paramount subsidiary, that was originally approached for the effects work, but he had to decline as he and his company were knee-deep involved in the post-production of the science fiction classic ''{{w|Close Encounters of the Third Kind}}'' at the time. (''[[Cinefex]]'', issue 1, pp. 4, 6) Consequently, Paramount, stung by his initial rejection and already at loggerheads with its headstrong manager as previously touched upon, withheld funding for a new project, he had lined up and was already in the process of shutting down FGC, as Trumbull clarified, "''I was under contract at Paramount, who began closing down Future General in order to provide my cameras to Bob Abel''s company. At the same time, Bob was already a year into the production, trying to implement a radically new computerized and computer graphics driven process.''" [http://www.foolishearthling.com/files/I&T%20MoCo%20article.pdf] Now the studio was forced to reverse it stance, and getting back the equipment, he initially was forced to surrender to RA&A, Trumbull used the problems the studio were in as leverage to secure a proviso that he would be released from his contractual studio obligations if he accepted. For the work, Trumbull was able to partly reassemble his team he had on ''Close Encounters'', but was forced to let go by the studio less than a year earlier. Trumbull left FGC upon completion of the project.
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* The visual effects company Robert Abel & Associates (RA&A) was given the assignment to produce the film's visual effects. However, they were unable to provide visual effects that met the producers' requirements. Douglas Trumbull, who was one of the effects supervisors for ''2001: A Space Odyssey'', was brought in as an uncredited consultant (only agreeing to do so as a courtesy to his old friend Robert Wise) in late 1978, before being given primary responsibility for the film's visual effects in {{m|March|1979}} through his own visual effects company, Future General Corporation (FGC). Ironically, RA&A's Con Pederson, who was the second of four visual effects supervisors for ''2001'' (the others were Tom Howard and Wally Veevers) was one of Robert Abel's lead men. Incidentally, it was Trumbull's company, a Paramount subsidiary, that was originally approached for the effects work, but he had to decline as he and his company were knee-deep involved in the post-production of the science fiction classic ''{{w|Close Encounters of the Third Kind}}'' at the time. (''[[Cinefex]]'', issue 1, pp. 4, 6) Consequently, Paramount, stung by his initial rejection and already at loggerheads with its headstrong manager as previously touched upon, withheld funding for a new project, he had lined up and was already in the process of shutting down FGC, as Trumbull clarified, "''I was under contract at Paramount, who began closing down Future General in order to provide my cameras to Bob Abel's company. At the same time, Bob was already a year into the production, trying to implement a radically new computerized and computer graphics driven process.''" [http://www.foolishearthling.com/files/I&T%20MoCo%20article.pdf] Now the studio was forced to reverse it stance, and getting back the equipment, he initially was forced to surrender to RA&A, Trumbull used the problems the studio were in as leverage to secure a proviso that he would be released from his contractual studio obligations if he accepted. For the work, Trumbull was able to partly reassemble his team he had on ''Close Encounters'', but was forced to let go by the studio less than a year earlier. Trumbull left FGC upon completion of the project.
* The problems with RA&A resulted in that virtually no visual effects were produced by the time Trumbull was brought in definitively, and he found himself particularly pressed for time, as the studio did not want to deviate from the planned December release. Trumbull, in turn, was therefore forced to sub-contract [[Apogee, Inc.]] in order to divide the workload. Apogee was operated by famed cinematographer [[John Dykstra]], a former protégé of Trumbull, who had coached him on the 1972 science fiction cult movie ''Silent Running''.
* The problems with RA&A resulted in that virtually no visual effects were produced by the time Trumbull was brought in definitively, and he found himself particularly pressed for time, as the studio did not want to deviate from the planned December release. Trumbull, in turn, was therefore forced to sub-contract [[Apogee, Inc.]] in order to divide the workload. Apogee was operated by famed cinematographer [[John Dykstra]], a former protégé of Trumbull, who had coached him on the 1972 science fiction cult movie ''Silent Running''.
* Apogee was entrusted with the opening Klingon scene, the digitizing of Epsilon IX station scene, the wormhole mishap sequence, the ''V'Ger'' approach scenes and the ''V'ger''-probe on the bridge scene. Part of their responsibility was, under the supervision of [[Grant McCune]], having their model shop build a number of [[studio model]]s for the film, including a two-foot articulated [[EV suit#Thruster suit|thruster suit]] puppet, three models of the [[Epsilon IX station]] (an entirely original Apogee design), interior and exterior sections of ''V'Ger'' (for which [[Gregory Jein]], and his team was brought in), as well as extensively modifying Magicam's [[D7 class]] [[D7 class model|model]] for it to become the [[K't'inga class model|''K't'inga''-class model]]. All other effects were the purview of FGC. (''[[Cinefex]]'', issue 2, pp. 50-72)
* Apogee was entrusted with the opening Klingon scene, the digitizing of Epsilon IX station scene, the wormhole mishap sequence, the ''V'Ger'' approach scenes and the ''V'ger''-probe on the bridge scene. Part of their responsibility was, under the supervision of [[Grant McCune]], having their model shop build a number of [[studio model]]s for the film, including a two-foot articulated [[EV suit#Thruster suit|thruster suit]] puppet, three models of the [[Epsilon IX station]] (an entirely original Apogee design), interior and exterior sections of ''V'Ger'' (for which [[Gregory Jein]], and his team was brought in), as well as extensively modifying Magicam's [[D7 class]] [[D7 class model|model]] for it to become the [[K't'inga class model|''K't'inga''-class model]]. All other effects were the purview of FGC. (''[[Cinefex]]'', issue 2, pp. 50-72)
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* {{d|26|July|1978}}: Make-up artist [[Fred Phillips]] shaves Persis Khambatta's head in preparation for her role. (''The Making of'', p. 6) The act is recorded and later included in the [[Star Trek documentaries| documentary]] ''[[The Making of Star Trek: The Motion Picture (documentary)|The Making of Star Trek: The Motion Picture]]'' and in the special feature "A Bold New ''Enterprise''" on the 2001 [[Star Trek: The Motion Picture (The Director's Edition)|''Star Trek: The Motion Picture'' (The Director's Edition)]] [[DVD]] release.
* {{d|26|July|1978}}: Make-up artist [[Fred Phillips]] shaves Persis Khambatta's head in preparation for her role. (''The Making of'', p. 6) The act is recorded and later included in the [[Star Trek documentaries| documentary]] ''[[The Making of Star Trek: The Motion Picture (documentary)|The Making of Star Trek: The Motion Picture]]'' and in the special feature "A Bold New ''Enterprise''" on the 2001 [[Star Trek: The Motion Picture (The Director's Edition)|''Star Trek: The Motion Picture'' (The Director's Edition)]] [[DVD]] release.
* {{d|1|August|1978}}: Stephen Collins is signed for the role of Decker. Decker is the final primary character to be cast. The passed-over Robinson is yet to return to the ''Star Trek'' franchise. (''The Making of'', p. 6)
* {{d|1|August|1978}}: Stephen Collins is signed for the role of Decker. Decker is the final primary character to be cast. The passed-over Robinson is yet to return to the ''Star Trek'' franchise. (''The Making of'', p. 6)
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* {{d|7|August|1978}}: Principal photography begins with Scene 64 featuring Sulu and Chekov and taking place on the bridge set on Stage 9, where the camera pans the set, right before Admiral Kirk's arrival, is the first scene filmed. William Shatner and Nichelle Nichols are on hand to shoot their respective Kirk and Uhura scenes later that day. The cast find their new Starfleet uniforms, newly designed by Robert Fletcher, uncomfortable to wear and generally dislike them. Due to fatigue, a close-up on Shatner's face is postponed to the following day, constituting already the very first shooting schedule delay. Photography is started without the benefit of a completed script, which is still lacking an ending. Writing and re-writing of script drafts will continue unabated over the course of the subsequent months. (''The Making of'', pp. 1-7, 57; ''[[Star Trek Movie Memories]]'', pp. 102, 104)
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* {{d|7|August|1978}}: Principal photography begins with Scene 64 featuring Sulu and Chekov and taking place on the bridge set on Stage 9, where the camera pans the set, right before Admiral Kirk's arrival, is the first scene filmed. William Shatner and Nichelle Nichols are on hand to shoot their respective Kirk and Uhura scenes later that day. The cast find their new Starfleet uniforms, newly designed by Robert Fletcher, uncomfortable to wear and generally dislike them. Heeding the performers complaints, Fletcher will completely redesign the uniforms for the subsequent movie outings. Due to fatigue, a close-up on Shatner's face is postponed to the following day, constituting already the very first shooting schedule delay. Photography is started without the benefit of a completed script, which is still lacking an ending. Writing and re-writing of script drafts will continue unabated over the course of the subsequent months. (''The Making of'', pp. 1-7, 57; ''[[Star Trek Movie Memories]]'', pp. 102, 104)
* {{d|8|August|1978}}: The second-unit film crew moves to Yellowstone Park and starts filming the planet Vulcan sequence. Director Wise and performer Nimoy, for his first Spock sequences, join them shortly, and the sequence will take three days to film. (''The Making of'', p. 173)
* {{d|8|August|1978}}: The second-unit film crew moves to Yellowstone Park and starts filming the planet Vulcan sequence. Director Wise and performer Nimoy, for his first Spock sequences, join them shortly, and the sequence will take three days to film. (''The Making of'', p. 173)
*{{d|16|October|1978}}: The crew gathering sequence for Kirk's mission briefing on the just completed recreation deck set on Stage 8 is shot. Assembled are 300 extras of which 100 males and 25 females are notable ''Star Trek'' fans, like [[Bjo Trimble]] and [[Denise Lynn Okuda|Denise Tathwell]]; the others are Screen Extras Guild performers, with an additional number of production staff affiliates like Susan Sackett and Millicent Wise. The shooting concludes the following day and the extras are released with a few exceptions for an additional shot on the overhead catwalk. (''Starlog'', issue 32, pp. 57-58)
*{{d|16|October|1978}}: The crew gathering sequence for Kirk's mission briefing on the just completed recreation deck set on Stage 8 is shot. Assembled are 300 extras of which 100 males and 25 females are notable ''Star Trek'' fans, like [[Bjo Trimble]] and [[Denise Lynn Okuda|Denise Tathwell]]; the others are Screen Extras Guild performers, with an additional number of production staff affiliates like Susan Sackett and Millicent Wise. The shooting concludes the following day and the extras are released with a few exceptions for an additional shot on the overhead catwalk. (''Starlog'', issue 32, pp. 57-58)
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==Links and references==
==Links and references==
=== Credits ===
=== Credits ===
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The writing completed before the movie premiered, Sackett has added a provisionary end credit roll for the movie in her book, pp. 217-221, which differed from that as ultimately featured. While cast and primary production staff were featured as projected, there were some noticeable differences; several title descriptions were changed and especially amongst production staffers there were inclusion that were previously not considered whereas others that were initially, were now excluded. A very noticeable example of the latter, was future Star Trek alumnus Rick Sternbach, who now missed out on an official credit for the Motion Picture as a consequence. Where applicable an annotation is made.
;All credits
;All credits
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*[[Montgomery Doohan]] as a [[Unnamed USS Enterprise (NCC-1701) personnel#Rec deck crewmembers|science division crewmember]]
*[[Montgomery Doohan]] as a [[Unnamed USS Enterprise (NCC-1701) personnel#Rec deck crewmembers|science division crewmember]]
*[[Walt Doty]] as an [[Unnamed USS Enterprise (NCC-1701) personnel#Rec deck crewmembers|''Enterprise'' crewmember]]
*[[Walt Doty]] as an [[Unnamed USS Enterprise (NCC-1701) personnel#Rec deck crewmembers|''Enterprise'' crewmember]]
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*[[John Dresden]] as a [[Starfleet]] [[security]] [[officer]]
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*[[John Dresden]] as a [[Starfleet]] [[security]] [[officer]] (slated for credit as "Security Officer")
*[[Scott Dweck]] as a [[Unnamed USS Enterprise (NCC-1701) personnel#Rec deck crewmembers|Vulcan science division crewmember]]
*[[Scott Dweck]] as a [[Unnamed USS Enterprise (NCC-1701) personnel#Rec deck crewmembers|Vulcan science division crewmember]]
*[[Don Fanning]] as a [[Unnamed USS Enterprise (NCC-1701) personnel#Zaranite officers|Zaranite ''Enterprise'' crewmember]]
*[[Don Fanning]] as a [[Unnamed USS Enterprise (NCC-1701) personnel#Zaranite officers|Zaranite ''Enterprise'' crewmember]]
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* [[Alexander Lepak]] - Percussionist
* [[Alexander Lepak]] - Percussionist
* [[Michael Lynn]] - Costumer
* [[Michael Lynn]] - Costumer
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* [[Dan Maltese]] - Set Designer
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* [[Dan Maltese]] - Set Designer (slated for credit as "Set Designer")
* [[William Mass]] - Costumer
* [[William Mass]] - Costumer
* [[Lisa Morton]] - Gregory Jein Inc.: Model Maker
* [[Lisa Morton]] - Gregory Jein Inc.: Model Maker
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* [[Don Pennington]] - Gregory Jein Inc.: Model Maker
* [[Don Pennington]] - Gregory Jein Inc.: Model Maker
* [[Charlie Schram]] - Makeup Artist
* [[Charlie Schram]] - Makeup Artist
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* [[Rick Sternbach]] - Production Illustrator
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* [[Rick Sternbach]] - Production Illustrator (slated for credit as "Illustrator")
* [[Rick Stratton]] - Lab Technician: Makeup Department
* [[Rick Stratton]] - Lab Technician: Makeup Department
* [[William Sully]] - Illustrator
* [[William Sully]] - Illustrator