From the bridge to the shuttlebays, from the transporter room to crews' quarters, this. While the camera angles in TWOK are better, the lighting is far more dramatic in SFS most of the time, with splashes of color instead of walls of color. The Star Trek: The Next Generation Technical Manual, written by Rick Sternbach and Michael Okuda, the technical advisors to Star Trek: The Next Generation, provides a comprehensive schematization of a Galaxy-class starship. Look at TWOK and SFS, which don't have huge changes in the bridge between flicks, outside of some extra burn marks. But usually lighting does 'color' the issue somewhat. I WOULD say that the VOYAGER bridge was the richest looking, so the colors chosen there (as seen in video interviews AND on the show) were only embellished by lighting, not defined by them. Star Trek The Next Generation: Technical Manual by Rick Sternbach is available now for quick shipment to any U.S. Maybe TNG did too and I don't know? (I've only seen TNG broadcast, never rented the discs.) As an illustrator, he worked alongside Mike Minor to design control panels and signage for The Motion Picture. Click to expand.I agree with the lighting notion affecting the sets, but in terms of what the new TNG DP did, wasn't that more in the nature of adding diffusion, softening stuff up? The really nice edges you get by originating on film were blurred, making the whole thing look more video-mushy to me, which kind of defeats the purpose of shooting on 35mm to start with.ĭS9 seemed to suffer from this too, but on DVD (as opposed to broadcast), it wasn't so bothersome. Rick Sternbach first joined Star Trek in April 1978.

Star Trek by Rick Sternbach