In 2000 I got to work on a dream project for me... the director’s edition of “Star trek: the motion picture”.  David fein, Michael Matessino and myself realized that, as the project was the augmenting of an iconic film, the key art that had been so connected to the theatrical version would need to be augmented in the same way, so thatconsumers would instantly be able to identify the new director’s edition from the original version... and yet still maintain the feel of the original.  I proceeded to do photoshop augmentation of Bob Peak’s key art (lower right) using the same reference photographs he used for his painting.  The resulting image on first glance seems identical, yet with further study, the augmentation can be easily seen, much like the finished Director’s edition itself.  I also took this opportunity to do a finished painting render of the main title, reworking it very slightly to integrate the “director’s edition” pennant.  the logo sans pennant was the one used in the new opening credits. The first thing I did was to do a version of the movie enterprise in Lightwave 3d.  Here and above you can see my model lit and ready... but only for tests... to insure that the model would be indistinguishable from the filming model, I handed it over to CG artists Rob Bonchune and Lee Stringer, then of foundation imaging.  With the addition of a 3d model by modeler Jose’ perez, the final model is a combination of all our talents. This is an early test of a concept for the new vulcan environment where Spock undergoes his kolinahr ritual.  During visual effects production, I asked effects artist Doug Drexler to come up with a layout and ideas for the vulcan temple and statues, as the early storyboards only showed one angle.  based on the patterns in the ground tiles and the shapes in the vulcan jewelry, we extrapolated a six sided temple with statues at each apex, symbolizing the six stages of the purging of emotion.  (interestingly, v’ger, the ultimate expression of logic, is also six sided.) although the live action footage featured a big flat wall on the other side of the landed tram, my first idea was to open up the scene and make it a little less confined, following mr. wise’s edict of “give it some expanse and scope”  the first attempt was to remove the wall completely and mirror the landing platform. this would have given these live action plates more depth, and enabled us to see some sky in the otherwise set bound shots.  This was dropped as being too time consuming and ultimately unnecessary.  but here is a view of a test. a tiny sequence of un-noticed continuity problems was the space office sequence... the travel pod that mr. scott uses to take kirk to the enterprise in orbit is no where to be seen in the establishing shots.  in this series of shots, it was planned to add it in the spot where it would logically be.  the original shot is on the top, and the added element is on the bottom. in the medium shot, we see the docking bay again, with no travel pod.  Here it is added with the appropriate lighting and texture to fit the original shot.  These first three shots were low on the priority list and were ultimately cut from the list... The final shot in the sequence, however, was glaringly in need of the addition... so I handled doing the shot myself.  Matching the grain and subtle light and coloring of the original plate with the new travel pod digital model was a challenge, but it is one of the shots that most people don’t even realize is changed... which is the ultimate goal. These early concepts of the bridge to the v’ger island were photoshop collage illustrations of the original storyboards... using the frame captures from the original film.  The color pallete and design of the v’ger arms were taken directly from the original story boards. when I had finished my version of the  enterprise in 3d, I naturally wanted to duplicate my favorite shots in my own animations...  click to the left to see a couple of them.