An Academy Award-winning designer/artist who has done a ton of work on Trek and is a hardcore fan of TOS just complimented my cosplay and called me perfect goodbye friends I am gone I am dead I can’t move on from this point
STV—Doug Drexler: drive for more Enterprise on Netflix
From Larry Nemecek.com’s Trekland blog, Larry chases down famed Trek illustrator and digital designer Doug Drexler to verify—and explain—why he’s joined the online campaign to urge Netflix to produce a Season 5 of restarted Star Trek: Enterprise. Media and fandom and show delivery are a whole new world from 2005, it seems… are way differen
Did you cry when Firefly was canceled? I did! What if movie professionals had the chance to create fantastic Science-Fiction without cancellation threats from BIG Networks?
I’m working on a film created by legendary sci-fi writer Marc Zicree (Star Trek, Babylon 5, Sliders), special effects wizard Doug Drexler (Star Trek, Battlestar Galactica) and designer Ian McCaig (Star Wars, Avengers) are behind the fastest funded film project on Kickstarter. They’re using crowd-funding website Kickstarter to directly communicate with and enlist the support of fans for their latest project Space Command. Maybe with direct communication, sci-fi fans can rest easy and not have to worry about their favorite shows being canceled.
Me, Mike and Denise have a lot of memories tied up in the DS9 Operations center. We spent a lot of late nights getting it ready for the first episode. It was a real departure. It was the first time that we had ever spent so much time developing the architecture of an alien race. Federation was curvy and round, while the Cardassian design ethic loved angles and corners. Here we are looking toward Sisko’s office, which had a distinctive eye-shaped window, easy to identify on Tony Meinenger’s DS9 station model. The office was intentionally grand by Cardassian standards, and framed with haughty arches. Unlike many of Trek’s command centers, Ops is punctuated with numerous levels and plateaus. This was considered extravagant because it slowed shooting the episodes. Marvin Rush our DP, bought a light-weight easy to maneuver camera crane to help move things along. Ops was notably the first big set where video graphics were used extensively. A departure from the “pola-motion” back lit graphics so prevalent on TNG. In the picture above, we are looking south toward Melrose Avenue and the famous Paramount Bronson gate. Of interest is the fact that the stage wall is only about three feet behind the window in Sisko’s office. The DS9 sets were enormous, and Herman Zimmerman took advantage of [every] bit of the soundstage.