EXCLUSIVE: Star Trek The Next Generation – Season 4 Blu-ray: More HD Preview Images

Last week we posted a small selection of tantalizing HD preview stills from the upcoming release of Star Trek: The Next Generation Season 4 on Blu-ray. With the July 30 release date fast approaching, we're once again putting the spotlight on the gorgeous remastering of Star Trek: The Next Generation with another collection of high definition images from the 4th Season set for our readers to enjoy.

The selection showcases a variety of shots from a number of different episodes, including "Family", "Reunion" and "Galaxy's Child". As usual, we have a full breakdown of the new shots, side-by-side comparisons with the SD DVD and extended analysis on the remastering. Enjoy!

Original SD (DVD) Remastered HD (Blu-Ray)
Many episodes in Season 4 suffered from washed out color due to the limitations of the videotape resolution. The rescanned 35mm camera negative looks vibrant and fresh after being color timed by CBS Digital's Colorist Marvin Hildebrandt. There's some nice bluescreen compositing on display in this shot from "Family", with care taken to reproduce the reflections of Earth in the observation lounge table. Fans can also relax as there's a healthy amount of grain present with little DNR visible.
 
The iconic matte painting of the Picard Family Vineyard in La Barre, France by Illusion Arts' Syd Dutton always managed to amaze me when watching the series on TV and DVD, but remastered in high definition it simply blows me away. The improved color timing of the lush green vineyard and the blue skies gives the painting such a boost in realism. Tiny buildings in the background all of a sudden resolve into an ancient French chateau surrounded by 24th century architecture. Truly breathtaking! ("Family")
 
Certainly the shot which we've received most questions about, the Enterprise docked at McKinley Station in Earth orbit from "Family" has always been overly bright and toy-like in appearance. Modern Video's HD remaster certainly improves over the standard definition copy, retaining the original NASA photography of Earth that was used back in 1990 and giving us some wonderful detail in the model of McKinley Station. However, to my eyes the ship is still a touch too bright and could have really benefited from some more shading and blending to better integrate the Enterprise into the shot and give the shot a greater sense of realism.
 
The trio of Talarian ships from "Suddenly Human" look fantastic composited into this shot. The detailing visible on the models is terrific - tiny little windows can now be distinguished, giving us a better reference to determine a scale for the ships. The vessels' hulls now have a clear texture and configuration which was totally obscured in standard definition. Great work on display here - as well as the other shots of the Talarian ships we've shown (in our previous S4 images article)
 
This shot of Starbase 133 from "Remember Me" was originally reused from Starbase 74 in the first season episode "11001001". Modern Video have taken the original assets from CBS Digital (who remastered Season 1) and thrown in a nice bit of variation in the planet to distinguish both starbases from each other. The new green-hued oceans add an alien feel to the world, a departure from the standard Earth-like appearance. An effective and welcome change!
 
More color timing magic on display! Many of the dimly lit scenes in crew quarters (like this one from "Legacy") would be especially affected by the limitations of standard definition and made even worse on DVD on account of the compression techniques used. This unique shot of Riker's quarters bathed in green lighting looks particularly impressive in high definition with some great color contrast between the flowers on the table, Riker's uniform and the green background. Shots like this are almost as exciting for me to see and compare as the visual effects due to the major improvements in clarity and color timing.
 
This has to be one of my favorite angles of the 4-foot Enterprise model - it has a commanding presence and the rich blue glow of the ship's large arboretum viewports (under the main shuttlebay) really draws the eye. There's some beautiful compositing work on display here from Modern Video as the Enterprise is bathed in a nice amount of shadow, going nose-to-nose with the three Klingon vessels in the episode "Reunion". It's in keeping with the style Eric Bruno and his team at CBS Digital have established for the VFX compositing and a testament to the fact that the two companies worked closely to ensure consistency.
 
Another nice use of blending and shadow to better integrate the often overlit 4-foot Enterprise model into the scene. This shot from "Galaxy's Child" features the original physical model of the spaceborne lifeform built by Tony Meininger shot from three differing angles, and it holds up pretty well! We can make out "veins" on the organisms (or at least some indication of a circulatory system) and some very cool skin textures which are finally visible in HD.
 
A second shot of the rather unique spaceborne lifeforms seen in "Galaxy's Child". The asteroid field in high definition is a reuse of the original element and holds up very well. Yet again I'm impressed with the look of the spaceborne lifeforms in HD - the surface texture on the physical model looks fantastic and really shines on the Blu-ray! "Junior", the younger lifeform in the middle of this shot, was originally created using CGI by Rhythm and Hues. For the remastered Blu-rays, the team have rendered a new Junior and the results are rather convincing!
 

In addition to all 26 original Season 4 episodes, the Blu-ray set comes with a host of newly produced bonus features, including:

  • In Conversation: The Star Trek Art Department
  • Relativity: The Family Saga of Star Trek – The Next Generation (2-Part Documentary)
  • Gag Reel
  • Deleted Scenes
  • Audio Commentaries

I'm sure everyone has seen the trailer many times by now, but just in case you want a re-watch:

Let's hear your thoughts on the new images! McKinley Station yay or nay? How do the Galaxy Child aliens look to you? And what about that beautiful rear-angle shot of the 4-footer in Reunion?

If you haven't preordered the set already, what are you waiting for!? Head over to Amazon with the links below and lock in your copy... it's time to set a course for Season Four!

Order Star Trek: The Next Generation Season 4 Blu-ray today!



Order TNG - "Redemption" Feature Blu-Ray today!

  • Mat Rowe

    Do I spy unsightly matte lines around the ship in McKinley?

    • hypnotoad72

      It’s not bad. We’d have to see it in action, but bad matting comes in the form of “The Search For Spock” in the space dock where both Enterprise and Excelsior often have obvious matte lines – yuck.

      It could be a positioning problem during remastering, but it looks minor.

      Most of these shots look great (barring a few nitpicks) and as the season 2 previews looked far more inconsistent…

      • Simon

        The only reason they have “obvious” matte lines in ST:III is because *all* non-digitally composited bluescreen shots of the ships had them. To get rid of them would render the models transparent. It was a limitation of the technology at the time. Rotoscoping the models by hand would have taken forever. You don’t see them in space shots because (surprise!) they blend into the black of space. ST:VI was the first TREK film to have digital compositing.

        That said I would love for them to digitally recomposite all the VFX for the TREK films as they are doing with TNG remastered, but that would take big bucks and Paramount is in very bad shape right now.

        • Tone

          Could you imagine those films if CBS-D got hold of them and did the same job their currently doing on TNG!!!

          Those films would like like they were shot yesterday!

          As it stands now, those films have been treated very badly by Paramount, as have the fans by being ripped off for one re-release after another, and yet the same awful quality remains…

          Oh well, I can dream about a motion picture series remaster!

    • Ghostface1701

      I was going to say the same thing. That kind of error isn’t really acceptable these days, especially when we have CBS-D’s great work to compare it to.

  • Chris915

    Wooo! Bring it, bring it!

  • MS

    Looks fantastic. Bit worried that we still haven’t seen any shots of the CG alien from Galaxy’s Child though.

    • Mat Rowe

      You can see it in the last screenshot. Bit small to tell how good (or bad) it may be though.

    • hypnotoad72

      ?? There are three of them in one screencap and they look great. Are you referring to the mother creature? That would be nice to see, but how they one-up the original CGI… the child creatures have much texture and color, but the mother section being sliced by the phaser definitely screamed “CGI, HERE I AM!!!” back when I first saw the story in 1991…

      • MS

        The aliens were a mix of physical models and CG. The physical models look great I agree. I’m just curious to see how well the CG recreations have gone, and the fact that we’ve got preview screen shots from this episode with no mention at all of the CG work has me a bit worried. Imagine if we’d had preview shots for Datalore without any mention of the Crystalline entity.

        • mbmarquis69

          The CG work for the C-section and for “Junior” in the remastered is terrible.

  • hypnotoad72

    Crushed black levels aside, these images do look GREAT.

    • Ghostface1701

      There’s no CG in those shots from Galaxy’s Child, they’re physical models.

      • Sykes

        Except for the baby, which is CG.

        • Ghostface1701

          I’m talking about the shots on this page.

          • Sykes

            So am I. The baby is in the last shot.

          • Ghostface1701

            Trekcore’s comment on this thread states that the baby in the shot is a physical model.

          • Sykes

            Well no offense intended to Trekcore, but they are mistaken. Only the four adults were constructed as physical models. The infant was CG.

          • trekcore

            I was a bit vague in my comment – I didn’t realize which shots you were referring to. The shot of the creatures pursuing the 4 footer features only physical models – the same fiberglass model shot from three differing angles.

            The viewscreen shot features “Junior”, recreated in CG.

          • Ghostface1701

            Then I stand corrected. You have to be specific with us nerds, Trekcore! :)

          • Sykes

            Now we just have to wait and see how the bigger, close-up shots of Space-Baby look. ;)

          • Ghostface1701

            Just to let you know Sykes – it wasn’t me who deleted my comment. Even if I’ve made a mistake, I’d rather leave my comment up so people can still follow the conversation.

          • Sykes

            No sweat, Ghostface. We cool. :)

          • trekcore

            We had a few troubles with the commenting system yesterday and things being flagged as spam. I can’t find a log of it being deleted by a mod, so hopefully it’s a glitch! Please tell me if it happens again

  • AR

    In the last shot with the ravioli-creatures, is the changed little one in the middle CG?

    • hypnotoad72

      They’re all CG and were back in the day. If the people that made them kept the original models and re-rendered, they look great. If the original f/x were shown on a monitor, filmed, and then edited on VT in 1990, they still look great.

      • Ghostface1701

        Well, the article says the shots here used physical models. I thought they were all CG too, but you can clearly see surface detail now that wouldn’t have been possible with CG of the time. There were some CG shots though, and I can’t wait to see those (they’ll have to be re-rendered, CG model assets always seem to get lost).

        • trekcore

          Yes. The creatures in the shots are not CG. The phaser-birth sequence was re-created in CG for the Blus

          • AR

            But what about the little one in the last screenshot? It looks very different compared to SD and seems to have a smoother texture than the other three.

          • MS

            Well, it has just been born!

          • mbmarquis69

            I think when in motion, “junior” was always CG.

    • Ghostface1701

      By the way – “Ravioli-creatures”? That’s all I’m going to be able to call them now :)

  • Ghostface1701

    The FX shots are a great improvement from the season 2 work, but there’s a few things that bug me.

    With the McKinley shot, as well as the matte lines, I think the cover’s missing from the model’s lower mount point (it’s in the middle of the secondary hull’s phaser strip). Fixing that would’ve been nice.

    In the Observation Lounge scene, I don’t think Earth’s reflection should be that blurry, and the compositing really makes those PADDs on the table look like they’re hovering.

    I get the feeling, if CBS-D had done the work, they would’ve touched-up the matte painting so the background could’ve looked more realistic. It’s still a lovely painting though.

    But, I’m nitpicking, and I probably won’t notice most of this when I’m watching the episodes. I hear there’s a thing called “story”!

    • archer9234

      Yeah. The model was using the Drive section mount point for that shot. Since the Saucer one was blocked by Mckindley. That never really bugged me we could see that. I say just pass it off as Warp Core repairs. The mounting area is in the same area the Core ejection blast door is.

      • Ghostface1701

        Ah, yes. I was getting the D’s mount point confused with Voyager’s, which is the phaser array. Warp core repairs, that matches with what we hear in The Drumhead, I like it! :)

        • archer9234

          LOL yeah. Aways try to shrug off goofs like this :P. It makes your head less hurt.

      • Chris915
    • jon1701

      Fantastic catch on the mount point. Never would have spotted that.

    • vincanss

      I honestly haven’t the foggiest what I’m looking for in terms of this missing cover, I see no differences from the sd to hd version in terms of anything on or around the ship. Are we saying this wasn’t ‘fixed’ on the original sd shot?

      • Ghostface1701

        Look at the lowest point on the ship in the HD shot. It should follow the curve of the engineering hull, but it curves inward instead. What you’re seeing is one of the mounting points used for filming. Certain parts of the model have panels that can be removed (the other one I know of is the main shuttlebay). Usually they mount the ship out of sight of the camera, but in this case, the McKinley model is blocking the upper mounting point. Here’s a shot of the model on it’s mount: http://images.wikia.com/memoryalpha/en/images/f/f9/1701d-model1.jpg

        In the SD version, you can’t really tell (although watching the ep now, I can). They could get away with it at time, but this isn’t the first time the upgrade to HD has highlighted things that have needed to be fixed (matte paintings, and hull markings in reversed shots).

        • Chris915
        • vincanss

          Ok I see it now, thanks for the deeper explanation. I think this was disguised more on the sd as seems to curve in like that as well suggestive of a missing piece of ship. I can’t fault MV too much on not adjusting it though. As for matte lines, I wouldn’t care if I didn’t realise CBS-D resolved these sorts of issues, but basically I for one won’t be looking out for them.

        • Picard

          No no, the ship was damaged in the borg fights and the repairing hasn’t finished jet – that’s what it is man ;)

  • Allen Williams

    Unlike HTV which seemed to fail at all the effects shots, modern video is hit and miss. McKinley is a miss, but not as bad as HTV. That shot of the 4ft enterprise facing the klingons, that looks great though. I didn’t think it was possible to get the 4ft to look that good.

    • Chris915

      Even the McKinley shots is amazing, to me, I can’t wait to see these in motion, only 10 days to go. :D

      Yea, at first I thought that shot of the Enterprise facing the Vorcha was done by CBS Digital, haha.

    • Stefan Haynes

      You DO realize that the McKinley shot is meant to be bathed in sunlight, right?

      • Allen Williams

        At first glance it looks good, but Its got Matte lines and the enterprise is missing part of the ship. Not to mention the contrast doesn’t look right either.

        • vincanss

          The matte lines are on the SD version, which makes this a faithful HD update. I’m fairly sure it’s the last thing most people will care about in influencing their purchasing decision though.

          • Chris915

            Yea, but with the newer technology for keying, etc. it shouldn’t be there, but it’s the way Image G shot things as Justin Olson explains above, using frontlight-backlight matting approach similar to how The Motion Picture was shot, it wasn’t shot against bluescreen.

            http://www.youtube.com/watch?v=Q_742tObnu8

      • Tone

        Sunlight is teal coloured??? Oh I see, you must have forgotten that your shades were still on!

        • Justin Olson

          If you’re suggesting MVF altered the color of the ship in this shot, that’s not correct. It is what it is.The base hull color of the four-foot miniature was a lighter blue, almost white-gray, but otherwise it used the same colors of the six-foot model. In the words of Andrew Probert, “[V]ery subtle shades of blues and greens.” See the color chart here:

          http://en.memory-alpha.org/wiki/Galaxy_class_model#Establishing_the_color_for_the_Galaxy-class

          http://24.media.tumblr.com/tumblr_mamltpASBk1rzu2xzo1_1280.jpg

          • Tone

            Can’t you see the difference in colour between the DVD shot and the Blu-Ray shot? Seriously???

            You’re also forgetting that CBS-D started the trend of making the model work take on some of the colouration of the environment in which it’s supposed to be in, thus the model is being coloured in nearly every shot of the ship.

  • Stefan Haynes

    Well, these look pretty much amazing. My hat goes off to the fine folks at Modern Video; hope they get to spearhead DS9 or Voyager in HD if those ever get around to happening.

    • Tone

      No, just no…

      DS9 and Voyager need CBS-D, as well as an CGI animation house/expert. I’ve not seen any evidence of HTV or MV being capable of such a large scale and complex CGI undertaking. I would also hate to see them attempt it, as their work so far has not exactly “blown the warp core”!

    • Stephen Daniels

      Very disappointed to see they have screwed-up the at-warp streaming starfield reflections shots. When you see the starfield reflected on a table (such as the one in the observation lounge in the closing scene of The Wounded), the reflected stars are going the wrong way. It’s not only this episode that they got that wrong.

      It’s a particular shame as the original FX people were always so proud of this small detail that they got RIGHT.

    • Stephen Daniels

      Very disappointed to see they have screwed-up the at-warp streaming starfield reflections shots. When you see the starfield reflected on a table (such as the one in the observation lounge in the closing scene of The Wounded), the reflected stars are going the wrong way. It’s not only this episode that they got that wrong.

      It’s a particular shame as the original FX people were always so proud of this small detail that they got RIGHT.

  • Mike Jones

    Very happy with the work MV have done from what I’ve seen so far, there maybe some slight teething issues in early episodes but I’m genuinely impressed by how well they matched the FX material to CBS-D’s visual style.

  • archer9234

    Every time I saw Mckindley station I kept thinking it was a CGI station. Because it was badly over lit. I think the guys who decided on the shot to have the Enterprise blown out by the sun. But it does still look too bright. I don’t get why it has matte line issues. That should of not happened. Everything else is pretty much perfect.

    • Justin Olson

      There are several reasons why this shot may have matte line issues. One is the age of the elements (now 23 years old). Even though all the separate passes were exposed on the same roll of film, there can be differential shrinkage between them and their registration is now off (they no longer line up perfectly). CBS-Digital had all sorts of problems with this in Seasons 1 & 3 and had to have one of their artists re-track affected elements and correct for any distortion.

      Second, Image G used a frontlight-backlight matting approach, not bluescreen compositing, so the mattes weren’t derived from the same beauty pass you’re looking at in the shot like ILM did with the pilot. Starting in Season 3, they switched from a white backdrop to a faster approach with a bright orange backdrop lit with ultraviolet tubes and the ship in silhouette during a separate matte pass… so while the camera movement is identical, the matte pass is in fact a completely different piece of film.

      And third, compositing the ship over a bright background like a photograph of the Earth with lots of clouds can reveal matte lines whereas comping over a black space backdrop would easily hide them.

      • archer9234

        If I was on the team I would of tried to cut more of the edge off and feathered to fight the matte line issue. I had a feeling this shot was using the orange screen technique.

        • Justin Olson

          Perhaps they tried that and it made the edge of the ship look too soft or transparent — it’s always a trade-off. I suppose we’ll have to just wait and see how CBS-D handles it in “All Good Things…,” since it’s just the same shot in reverse outside the shuttlecraft window.

          http://tng.trekcore.com/gallery/albums/s7/7×25/allgoodthings0173.jpg

          • Chris915

            Yea, you can kinda see the fading here:
            http://tng.trekcore.com/hd/albums/1×15/11001001_hd_534.jpg

            Of course, in motion it’s hardly noticeable.

          • archer9234

            I kind of thought of that too. After looking at the matte lines. Mckindley’s spider arms above the saucer could of caused weird matte edge issues if they tried a bit of a fade. It’s just a really awkward shape I guess.

          • Tone

            I never realised just how bad that shot looks! Talk about busy and cramped!

  • New Horizon

    I think I’m about 95% sold on Season 4 now. The matte lines are a bit of a disappointment on McKinley station. as well as the blue spill from some of the previous shots we’ve seen….but if the majority of the Season looks like the good stuff we see here, it should be worth a purchase.

  • Matthias Currat

    Wow, a lot better than Season 2 … they have my approval to do Season 6 as well and of course CBS can do Seasons 5 and 7, this will be hot.

    • New Horizon

      It was reported a few weeks ago that CBS is handling all of the remaining seasons….5,6 and 7.

      • vincanss

        It was? Not on trekcore?

        • archer9234

          Yeah. It’s never been directly covered. But CBS-D is handling all remaining seasons. 4 is the last outsourcing.

          • Matt_Cardiff_UK

            Thank Spock for that!

        • trekcore

          We did indirectly confirm it on our Facebook and Youtube channels, but I haven’t got around to putting an article together about it. Yes, CBS Digital are hoping to handle the bulk of seasons 6 and 7.

          • Matthias Currat

            That is even better of course! However, I have to give Kudos to the outsourced house that did Season 4 so far, it looks by far a lot better than Season 2, I am very pleased.

  • archer9234

    I just realized the starfield in the Talarian picture matches the original. I thought all starfields had to be redone with ILM stars photos. But never photographed a actual star background after the pilot. What made this shot special to have filmed one?

    • Chris915

      The title credits are the same way, there are original star elements in there too.

      In this shot, for example:

      http://tng.trekcore.com/hd/albums/1×01/farpoint_hd_013.jpg

      If you compare the original SD to HD…

      Even in the Season 3 credits, some of the original star elements are used…

      • archer9234

        Yeah. I knew the pilot/openings had shot star passes and in certain enounter episode shots. Like the planet flyby’s. It’s just odd that this random moment in s4 had a field that could be used.

        • Chris915

          Well, even SD you can see the difference between those stars and the stars seen in earlier seasons…

          Really bad multi-color effect:
          http://tng.trekcore.com/gallery/albums/s1/1×21/arsenal000.jpg

          Versus, the shot from Suddenly Human:
          http://tng.trekcore.com/bluray/images_s4preview2/tngs4-preview-suddenlyhuman-sd-large.jpg

          • archer9234

            That’s not what I meant. The stars are mostly done on video level only. Only the pilot episode stuff and openings had shots done by actually filming a real starfield pass on camera. It’s just really odd that they shot a real starfield during season 4. When they where cramped for time doing all the work. I’d like to know what determines them shooting real stars on film VS doing it later in video.

          • Justin Olson

            Here is a video which explains all that:

            http://www.youtube.com/watch?v=1mE6JHfKuc4

          • archer9234

            You know I have the 20th anni set. And watched the bonus DVD a million times. I guess I just forgot this info lol. Now it makes more sense. The bigger the camera movement the more reason to shoot a starfield pass.

          • Chris915

            Well, I personally like the new stars, according to Season 1 bonus features, some of the stars wobble and jitter, etc. and aren’t “scientifically correct.”

  • Picard

    Was the “junior” cgi done by cbs-d or mv?

  • natan

    So CBS will do all remain seasons? Maybe working on it they speed up the whole process. Others series a bit closer?

    • Tone

      To be honest, I don’t want them to speed up the process, not at the expense of quality anyway.

      I wished that CBS-D had done the whole of TNG, as they just do quality work, and put a touch of love into what they are doing. Everybody else that has touched this project just look like amateurs, to be honest.

  • Matt_Cardiff_UK

    I have to say – making the 4-foot model less over-lit definitely adds realism and clarity to the shots. The whole of the season seems quite ‘dark’ to how I remembered it. But that’s fine – on the projector in a dark room – it’ll look stunning.

  • Tone

    Oh dear, the shot of McKinley Station looks awful. I’m pretty sure NASA have some amazing new photos of earth taken from space with very nice digital cameras now. This shot of Earth just looks it’s age, kinda like an old-school, low detail slide being projected, but unfortunately not only that, the VERY visible matte lines round the Enterprise, and god-awful lighting & colouration on the models (why is the Enterprise green???)help make this whole shot look half-assed and rushed.

    The shot of Riker and the other officer looks great, until you look at the awful reflection of the Earth on the table. Pay attention to the objects that are on the table, and the way the reflection is way over blurred, and looks odd and “painted” around the PADD’s. Again, this uses the awful 1980’s looking slide from NASA. We have all seen some incredible shots from NASA over the last few years, why could they not have found one of those to use? It would have looked stunning, and just what the crew of the Enterprise would really have been seeing out the windows!

    The colouration of Starbase 133 looks way too blue, it should be much less colourful, more grey with a hint of green from the planet (which for some stupid reason could not have been re-created!)

    But on the whole, thank god it’s better work than the hack job Dan Curry supervised on season 2. But I think if it was not for CBS-D doing the framework, this season would have been almost as awful as the “job” done on season 2.

    • Mat Rowe

      I received my copy of S4 today and have gone over a couple of episodes focusing on the VFX shots. All I have to say at this point echos that of your opening statement: Oh dear.

      • trekcore

        I wouldn’t say “Oh dear”… I would say by and large they’ve done a good job. There are a few shots that could have used a bit more polish (in “The Loss”, for example) but overall I’m very happy!

        • Mat Rowe

          I’m sure they have, but again they just haven’t taken as much care as CBS-D would have. What are your thoughts on the opening shot of the Enterprise from ‘Drumhead’? I’d put that one on par with the probe launch from season 2.

          • Justin Olson

            Isn’t it just the same alternate take CBS-D used in BOBW II? Should be the same in “Brothers” too.

          • Tone

            You’re telling me they have grainy model work, superimposed over a brand new CGI background??? Oh serious shades of HTV!!! No wonder CBS-D did the conform and live action colour correction, it seems nobody else has a clue how to do any of this stuff!

            Just think that without CBS-D laying the foundation, it would have been as bad as the work HTV Illuminate did on season 2.

            I really don’t understand the decision to use the 2 foot model. It is an abomination in HD. I think it should have been replaced all the 2 footer shots with the new CGI model, after all, the shots that use the 2 foot model tend to be fast paced, and not full-screen, so the use of the CGI model would only have looked much better, and far more in keeping with the larger model.

      • Tone

        Hey, please share any other VFX screenshots you want!

        • trekcore

          Working on the S4 review now, there will be plenty in that :)

          • Neill Stringer

            Is it a great set, can’t wait for it.

          • Tone

            Really can’t wait for your review! You guy’s ARE Star Trek!

          • Rob Parks

            Can’t wait for the reviews!! I use your review for the VFX and the blu-ray.com one for the video and audio. YOU GUYS ARE AWESOME!!!! Keep up the good work! btw, how long before the review is published?

          • trekcore

            Hey Rob! Should be tomorrow (Tuesday)!

    • Chris915

      I think the shot looks awesome, can’t wait to see it in motion.

      Green? It looks more blue to me.

      I agree with the reflection, but it’s not that big of a problem for me.

      Yea, I think it’s magnitudes better than Season 2 and I’m dying for July 30th to get here.

      • Tone

        I edited my post to say teal, instead of green. Look teal up in google image search, then look at the Enterprise.

        I have a professional colour calibrated monitor here, so YMMV.

        And yes, I’m looking forward to getting the Blu-Ray too!

        • Chris915

          Well, it seems to be a teal on the bluer end of the spectrum…

          I don’t even know what my screen’s color calibration is… it’s whatever it is right out of the box… my monitor is an Acer S201HL.

    • trekcore

      The McKinley shot looks terrific in motion – the matte lines are virtually invisible in the moving shot. This is a case where a still frame doesn’t do the finished remastered shot justice

      • Tone

        Yeah, motion always helps with this kind of shot, but I still don’t understand how you can get matte lines when you are using pure digital image composition?

        All in all, it’s a big improvement over what happened with season 2, so I’m grateful for that.

        • Chris915

          Well, according to what I’ve read, Image G didn’t use the typical green/blue screen shooting, they used front light/back light… like was done for The Motion Picture.

          • Tone

            Still not much excuse considering all compositing is being re-done in the digital domain.

          • Chris915

            Possibly, but I can live with the matte lines… watching the episodes, I’ll probably hardly notice… of course, in some shots by CBS Digital, you can see where they tried to hide the matte lines, but gave a faded look to the edges of some things…

          • Tone

            Yeah, true! I just appreciate the extra effort CBS-D go to when they are the ones doing the work, and get dissapointed when I see poor work on the screen.

            I think it’s important to get TNG done right, simply because I really don’t think we will see this kind of effort made again, and what is done now, will be with us for a very long time, possible forever. That’s why I’m so disappointed with the p**s poor work Dan Curry’s HTV Illuminate/Illuminate Hollywood did on season 2. It sticks out like a sore thumb compared to every other series of TNG that has been re-mastered since.

          • Chris915

            Agreed.

          • New Horizon

            I also agree. McKinley Station should have been a major ‘money shot’ if you know what I mean. Given the tools available today, there really doesn’t seem to be much excuse for leaving the matte lines intact. It looks better than HTV would have done, but still a slight disappointment considering it just needed a little extra love to really pop.

          • New Horizon

            I can’t remember, is the station ever seen again later in the series? Just wondering if we’ll see a CBS-D version later?

          • Justin Olson

            All Good Things…

          • Chris915

            Yup, All Good Things, so we won’t see it until next year.

          • slog

            Dude, un-bunch your panties and wait until you see the full shot, in motion. THEN decide how much “love” it got, or how much it “pops”.

          • New Horizon

            My panties are not bunched at all…you’re interpreting something that isn’t there. I’m simply saying that the matte lines could definitely have been removed with a little extra care, and the lighting given a little extra push as well…because it’s a rather nice establishing shot. It’s one of those shots that MV could have used to really showcase their talent and how good the work of the next gen artists look using modern tools.

            Certainly not saying it looks bad, but it does lack that little extra something that I feel CBS-D would have given it.

            The whole ‘in motion’ argument was made many times over the lead up to Season 2…I don’t think motion helped Season 2 all that much.

            Like I said earlier though, Season 4 is looking more and more like a solid enough purchase. Unless something horrid turns up, I’ll be buying it.

          • Justin Olson

            Actually, the “in motion” explanation makes sense. TrekCore said above that the matte lines are all but invisible during the majority of the shot and that the still doesn’t do it justice. So, it certainly sounds like the matte doesn’t begin to appear until the very, very end, because the shot starts in close and pulls away. That seems plausible.

          • Tone

            Matte lines aside, I just can’t get over the terrible colouration of the scene, and that awful NASA slide, my PS3 music player has a better looking Earth. A real wasted opportunity.

          • archer9234

            You PS3 wasn’t made in 1990. Any material that’s in HD, regardless when it was made, is used.

          • Tone

            Have you even watched one episode on Blu-Ray??? Max Gabl has been replacing planets in just about every episode, including planets that have actually used recent NASA photography, so they have the relevent permissions to use modern photography, I’m just simply stating that this was a issed oppertunity. After all, that picture is pretty damn boring, it’s 98% blue with lots of cloud.

          • archer9234

            There’s a reason. 99% of the planets were never done in HD. So they have to do it. Only on very rare occasions. I can only think of Saturn and Earth in BOBW PT II where they had to make a new one for them. I like also how you’re complaining about a real photo. Shot in real space.

          • Tone

            And I can’t see the point trying to argue the point with you anymore.

          • Captain Japan

            Haha, dude, calm yourself. The shot looks much better than it did originally, and is using what I assume are all the original elements. Is that not the purpose of this project? Since some of the planets WERE replaced with brand new ones, I’m assuming that decisions were made regarding which ones needed to be swapped out.

          • Tone

            Sounds like the same crap that was being said when season 2 was just being released.

            Why don’t you keep your trollbait to yourself.

  • Stefan Haynes

    For everyone bemoaning the outsourced FX houses and laying the blame entirely at HTV/Dan Curry and MV, there was an illuminating post in an earlier article on Trekcore that I think is exceedingly relevant here. While it’s unconfirmed that the originator of the post is indeed a former employee of MV, there’s really little reason to doubt him.

    He (Gooey) wrote: “Part of the quality issues with season 2 stem from the reduced money and timeframe CBS gave to HTV (not to mention a lack of direction from CBS-D). Instead of having over a year to play with the material and come up with what looked best (like CBS-D had), HTV had 6 months or so, and were not being NEARLY enough.

    The big issue is the lack of a central VFX Supervisor, who would conceivably go to the different vendors and make sure the look was consistent. That’s how most major vfx projects work…but in this case, for whatever reason, no such person was hired.

    I worked at Modern while they were doing season 4, and knew several of the people involved. They expressed A LOT of frustration about the lack of direction from CBS…and the occasional hostility when it came to getting elements from them. They were also put on a crazy turnaround schedule. They were big TNG fans though, and from what I’ve seen people will be very happy with the results…even if it doesn’t “measure up” to the favored children at CBS. I got the impression that CBS-D was using this as a prestige project (they’re not well-regarded otherwise), and it wouldn’t actually serve their purposes if another company’s work looked as good (or better) than theirs.”

    • Captain Japan

      Wow, makes sense. I can understand that this project is walking a fine line between being faithful to the original version…AND satisfying fans who want everything to look better/flawless. And if HTV didn’t get any kind of technical direction from CBS, no wonder their stuff looks so different. Even the somewhat extreme DNR they seemed to do on a lot of vfx shots, they wouldn’t have done if they knew from CBS what the surrounding footage looked like.

    • hypnotoad72

      Thanks for reposting that.

  • Matt_Cardiff_UK

    Guess who’s got Season 4 a week earlier than release again? :-) I foresee a weekend of HD TNG – ohhh right!

    • Tone

      Have a great Trek weekend! I live in Denmark, and I wont be getting my copy for at least a week after the official release date. Amazon sucks if your in mainland Europe.

      • Matt_Cardiff_UK

        Already watching ‘Family’ – those matte lines are barely noticeable, although it does waver slightly as the shot pulls out. Although that damn grain is back, it’s not excessive like S2 – so far.

        • Captain Japan

          I thought the complaints in season 2 were regarding the LACK of grain in a lot of the vfx shots? The grain is on the film itself, and de-graining it would soften the image.

          • Matt_Cardiff_UK

            No – it’s not that. I learnt from comments on this site that something called DNR is used to remove grain – which makes it grainier? I think? Not sure – not a techie. I remember in season 1 that the darkest of shots and the blackest of blacks was as smooth as the sharp contrasting whites and colours. There was no ‘grain’ or ‘noise’ to speak of as such. It was beautiful. Season 2 was overly ‘DNR’ed’ is that the phrase? I just don’t like noise/grain in dark/black shots – I know it’s film and I know it’s unavoidable. But still – it annoys me. When I see it in other old movies and TV shows I don’t care. Maybe season 2 is still too fresh in my mind?

          • Shane Nokes

            DNR is removal of grain and artifacts. It’s Dolby Noise Reduction. It’s used to cover up grain or scratches.

            The problem is that companies get a little overboard with it at times, and it makes the picture look fake, flat, or blurred.

            Grain is detail…so if you’re seeing grain that’s normally a good thing.

          • Tone

            DNR simply stands for Digital Noise Reduction… Kinda like using the blur tool in Photoshop, but it’s more selective, and is supposed to preserve image detail. It can if used very sparingly, but it is almost always used way too much. It can make things look waxy and fake.

          • Shane Nokes

            Correct. I’m not sure why I said Dolby. Must have been a brain fart moment since I do occasional audio work.

          • Tone

            Hehe, I’m sure that Dolby would have loved the patent on the use of DNR on film stock! But I think I will now always think of it as Dolby Noise Reduction from now on! ;-)

          • Matt_Cardiff_UK

            But doesn’t excessive DNR actually create more noise?

          • Tone

            Nope, the more DNR the less noise gets through.

            No DNR = noisy picture

            High DNR = smooth and noiseless, but will suffer from lack of high detail, and actors with a “waxy” apperence

          • Matt_Cardiff_UK

            So – and sorry to go back to season 2 again – why were people saying excessive DNR had been used, when I could I could would horrendous grain. I know about different film stocks having a different effect on this. It’s not important – just curious.

          • Tone

            The complaints about S2 were that HTV only used DNR on VFX shots, so that you could easily tell when a shot contained VFX elements, as they contained almost no grain at all, compared with the pure live action shots.

            The other thing is that S2 was filmed using stock that was quite prone to grain, so many shots had rather a lot of grain in them, this was corrected from S3 onwards by using different film stock.

          • Matt_Cardiff_UK

            Ahhh – thank you for the clarification.

          • archer9234

            Perfect shot that shows horrible DNR, in S2, is when Wesley says bye to his light bulb girlfriend. That looked like junk.