The ONLY 11ft Cage Shot Ever Made!
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- Опубліковано 14 лип 2024
- 🚀 Join Jim from Trek World as we explore the iconic 11-foot model of the USS Enterprise delivered to the Howard Anderson company in December 1964, just after Christmas. This rare footage shows the massive scale of the model and the behind-the-scenes story of its creation for the TV series Star Trek.
🔍 Learn about the two models produced for the series-the 11-foot and the 3-foot models. Discover the unique details and differences between the starboard and port sides, including the missing piece of wood near the deflector dish on the larger model.
🎥 Jim delves into the only full-length appearance of the 11-foot model in the first pilot, "The Cage," and explains how the scene was cut into three distinct sections to create stock footage for future episodes. Explore the technical complexities behind the filming of the first scene and understand why some shots were eventually shelved.
💡 Get insights into the production decisions and cost-saving measures that influenced the use of different models and stock footage throughout the series. Jim's detailed analysis sheds light on the behind-the-scenes magic that made Star Trek an iconic science fiction series.
🖖 Don't miss this exclusive journey into Star Trek history with Trek World! Like, comment, and subscribe for more rare footage and fascinating insights into the Star Trek universe!
⏱️⏱️VIDEO CHAPTERS⏱️⏱️:
00:00:00 - The Making of Star Trek's USS Enterprise Model
00:01:13 - Behind the Scenes: Filming The Original Star Trek Pilot
00:02:38 - Star Trek's Evolution: From Pilot to Final Episodes
#StarTrek #USSEnterprise #BehindTheScenes #StarTrekHistory #11FootModel #HowardAnderson #TheCage #SciFi #Starfleet #RareFootage #TrekWorld #TVProduction #StarTrekFans #SciFiHistory #CollectorItem - Розваги
The photo is not in front of Anderson's effects. That photo is in front of the Production Model Shop in Burbank, California, where the model was built.The Howard Anderson Company, an optical effects studio, was located on Fairfax Avenue.
You are correct! I misspoke when doing the Voiceover. Jim
Don't forget that this is one of three shots Filmation rotoscoped into animation for TAS.
TC1 looks like the move is an optical. The actual physical dolly move looks like a track in, in a straight line towards the saucer with a crane up to get above the saucer, combined with a tilt down to 'look' down onto it, ending on the bridge.
Oh, so that was the 11 footer? I always thought it was the 3 foot one? Wow, that’s awesome to see here.
You can tell the it's the 11 footer because the big difference, other than size, is that the bottom of the saucer on the 11 footer is a nicely tapered cone with the sensor dome at the apex, while the 3 footer's is flat.
It's believed by some that this difference came about due to the fact that the 3 footer was made from solid kiln-dried sugar pine with the parts needing to be turned out on a lathe, and that shape was easier and quicker to make. The 11 footer was molded Royalite plastic so it could be made with the taper seen in the original Matt Jefferies construction drawings.
@@mikedicenso2778Also, the bridge dome looks thicker. I believe it was cut down in size later.
@@BuShips That's a modest difference compared to the very flat saucer bottom. Both had features, like the large main sensor/nav deflector dish, ect.. Another minor difference was the rectangular pieces on the ends of the nacelle cowlings. It was probably why the 3 footer was often photographed or filmed in positions so that the difference couldn't be seen or wasn't obvious.
Later, both models were modified to the "Production Version" when the series was picked up. Those modifications included cutting the bridge dome down in size, removing the spikes on the nacelle caps, adding the balls to the aft cowlings, and changing some of the markings. The 11 footer modifications were more extensive, such as lighting the windows and nacelles, the general hull paint scheme was changed, gridlines stenciled in, and given a weathering effect.
I think between The Cage and WNMHGB they doubled the size of the ship and crew.
Pike complained how he was tired of being responsible for 203
lives. Half the series crew, almost.
@@LesterManley-so3om It was changed from a notational 200 feet when the design was still in development, then when the models were being built for "The Cage", they seem to have been scaled to around 560 feet, and then finally 947 feet, which is what Matt Jefferies shows in the drawings done for the Writers Guide.
The Enterprise didn't have any lights in The Cage. It was greatly modified to have lights shortly after.
Speaking of tas. I'm sure they also rotoscoped the images from pictures of the amt model kits for the enterprise and Klingon ships. They don't look freehand drawn.
In 'one of our planets is missing' a noticed a rear angle shot other enterprise that didn't have to sphere s on the rear of the warp engines so thhis live-action
Continuity error that plagued tos pops up here and there in the animated series.
Very interesting.....
@luriv2422 That's true for the D7 that they were rotoscoped or traced for reference from the AMT model kit.
However, the Enterprise is clearly traced or rotoscoped off of footage of the 11 foot model. The lack of spheres on the nacelle end cowlings doesn't mean it's an AMT model, it means that it was of the 11 foot model in its "Second Pilot" version that was done for "Where No Man Has Gone Before". Among the many changes from The Cage to WNMHGB, the cowlings where modified from plain to having vent grills painted on them. The hemispheres were only added for the Production Version after the series was green lit. In the TAS scenes you're talking about, you can also see that the bridge on the ship has the big dome, which neither the 3 footer nor the AMT model kit had.
Can that bridge shot be used to settle the debate about how the bridge is aligned relative to the turbolift shaft bump on the model?
My personal belief is that the shot settles the debate once and for all. It is the only “cutaway” shot ever done in the series. However, people still love to argue and they chose to ignore the clip and ponder otherwise. Jim
@@TREK-WORLD I can’t make out the detail on my phone screen; which way does that shot settle the debate?
The bridge faces forward, it is not offset. Both "The Cage" zoom in shot and Kirk looking into the shrunken Enterprise in "Requiem for Methuselah" all are evidence it faces forward. The same for when the ship rocks when it is hit and the crew are thrown in the direction of the jolt.
The whole thing got started long ago because Franz Joseph decided the bridge was offset and placed it that way for the Star Fleet Technical Manual and the Booklet of General Plans so that the turbolift oriented to the cylindrical structure on the back of the saucer, rather than just provide space for the turbolift car to slide off to (which there is plenty of room).
@@mikedicenso2778In addition, the person (Gary Kerr) that was the advisor for the TOMY 1/350 model decided to face the bridge forward, which I agree with. Although there really isn’t the room for laterally moving elevator pods, I prefer to think of that as the reason for the offset external bump. The truth is that the offset elevator doors were to allow the cameras to shoot people coming and going without Kirk being in the way. They just didn’t care or notice that the exterior bump didn’t match up.
@@BuShips The diameter of the outer shell (approx. 40 ft/12 m) leaves a corridor of about 2 meters between the bridge interior (33'/9 m) and accounts for about a meter deep of console hardware.
In the 1973 Animated Series, the bridge has two (only visible in a few scenes) turbolift doors; the original one and one to the left side of the main viewscreen. That means there is room, especially since there is no cylinder on the exterior for the other lift.
It was odd of FJ to offset the bridge with that much room to play with, especially since he included a small restroom and an emergency gangway in his bridge plans for the SFTM and BGP.
Those nacelle covers look red. Can you go into detail how the Smithsonian came to the conclusion they were orange? Do you know what film stock that photo used?
Hi Pete! The photo appears to be from Where No Man has Gone Before, as that would have been the highest quality original available to them. However, the photo is oversaturated. Which makes it great for thumbnails, but not so accurate. One of the two wooden nacelle caps is still in the hand of the Smithsonian; and has been shown and photographed on several occasions. So the color would be whatever the original pain color was - Gary Kerr could probably quote it from memory. The other nacelle cap is in the hands of a private collector. Jim
@@TREK-WORLD Awesome. I also wrote that question before I got to the part where you said those were painted wood, and were later replaced with translucent plastic for the lighting. So I guess the red look in this photo is moot for the color question.
The original wooden domes were airbrushed red using india inks, while the Production version domes were frosted white on the outside and airbrushed a light translucent amber or orange on the inside. Inside of that was a rotating 12 ribbed frame and then a disc with several red, blue, and green Christmas lights with pieces of mirror mounted around them. All of them were spun up with heavy duty motors in opposite directions to create the iconic effect of the nacelle bussard domes.
@@Nowhereman10 weren’t the original dome structures lost by the time the Smithsonian got it, having been replaced by flashing red domes for a previous exhibition, meaning they had to guess the colours and structures of the originals from watching old clips and B&W photos, though?
@@Lumibear. There were plenty of color photos as well as the raw film clips of the FX scenes, some of which were never seen onscreen in their entirety, or never seen at all. We even have some great color shots of the model when it was on display at the Golden West College in 1972 that unequivocally show the domes were orange. The GWC photos are the last known photos of the original domes before they disappeared sometime between that exhibition and the delivery to the Smithsonian.
They also had the original notes and receipts from Richard C. Datin (read his book), and others that describe the work done on the models.
Finally, it was confirmed by the reappearance of the 3 footer model which still has its original paint and had been altered by Datin to reflect the changes made to the 11 footer.