Review: Star Trek: The Next Generation – Season 4 Blu-ray

Star Trek: The Next Generation Season 4
Release Date: July 30, 2013
Blu-Ray Disc • 6 Discs
CBS Home Entertainment

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The unenviable task of following the critically acclaimed third season of Star Trek: The Next Generation was never going to be easy, yet somehow when the show returned in September of 1990 it felt fresh, energized and full of new purpose. Season Four saw a gentle shift in tone as executive producer Michael Piller started to steer TNG towards featuring more emotional and often serialized storytelling. Plotlines such as Worf’s discommendation - left hanging in Season 3 - were suddenly picked up and developed into a recurring story arc throughout the fourth year with the burgeoning Duras/Romulan plot hanging over the Federation.

Once again the writers’ room saw its fair share of changes with the departure of mainstays Richard Manning and Hans Beimler and the arrival of familiar Star Trek alums Jeri Taylor (Co-creator, Executive Producer Star Trek: Voyager) and Brannon Braga (Executive Producer, Star Trek: Voyager / Co-creator, Executive Producer Star Trek: Enterprise). The fourth season also marked the departure of everyone's favorite Ensign as fans said farewell to Wesley Crusher with Wil Wheaton bowing out of the series in “Final Mission”, paving the way for a revolving door of different bridge officers taking the conn each week. Much like the third year, storytelling in Season 4 continues to be engaging and thought-provoking with any number of episodes being possible contenders for your all-time favorite Top 10 lists (I only need mention the likes of "Brothers", "The Drumhead", "The Wounded", "Family" and "Qpid").


The first appearance of the Cardassians in Star Trek: The Next Generation - Season Four

Remastering Quality

Many of our readers will already be familiar with the hoops that CBS have been jumping through to remaster Star Trek: The Next Generation into high definition. The show is - in essence - being pieced together as if it had just been filmed, with the original 35mm camera negatives being rescanned and episodes edited together to match the broadcast versions from the 1990s. Because of the scale of such a project, the fourth season was outsourced to post-production company Modern VideoFilm.

After the uneven remastering of the show's second season by HTV-Illuminate, there has been a lot of discussion and speculation amongst fans on whether Modern will match the high quality of CBS Digital's visual effects and compositing work from the first and third seasons. Firstly it should be noted that both parts of "The Best of Both Worlds" and "Redemption" were done wholly by CBS Digital to ensure consistency across those two-parters. Modern Video took care of the 24 episodes sandwiched in between. Thanks to a close working relationship between staff from both companies, the finished Season Four appears to be - on the whole - stylistically consistent with the stunning third season remaster by CBS Digital.

I. Live Action Footage

Locating original film elements for thousands of minutes of a television show as structurally complicated as Star Trek: The Next Generation undoubtedly deserves the label of "needle in a haystack". Sarah Paul, Kiki Morris, Sean Sweeney and the whole film-hunting gang at CBS never give up searching, even when they're against a release deadline. Despite their best efforts, film for a couple of very brief shots in Season 4 couldn't be tracked down and as a result has been substituted for upscaled SD footage in the final Blu-ray presentation. Fans who already picked up April's release of "The Best of Both Worlds" will already be aware of one of these shots - Riker on the battlebridge, engaging with Locutus (see our BOBW Blu-ray review for more information). The second upscaled shot occurs in "The Drumhead" and features a 2 second look at the damaged warp core. It really is so transitory that it's hardly worth the mention (especially as the shot itself is already somewhat "foggy" because of the setting.)

The re-scanned HD live-action footage is yet again a joy to behold. I've waxed lyrical many times about the tremendous boost in resolution, detail, color and contrast yet seeing the dramatic transformation never gets old. The fourth season has always been blighted by strangely uneven color timing in standard definition (both broadcast and DVD). It's only when you compare episodes one after the other (under the same lighting conditions) that you are able to see the dramatic shifts brought about by the inherent limitations of transferring footage at videotape resolution back in the 1990s.


Contrasting the uneven color-timing of TNG's Fourth Season in standard definition (top row) with the newly remastered and freshly color timed high definition Blu-ray (bottom row). The episodes featured, from left to right: "Suddenly Human", "The Loss", "The Wounded", "Clues"

So what's our verdict on the look of an HD Season 4? The stability and consistency in color coupled with the huge boost in detail that high definition offers brings these new transfers tantalizingly close to being perfect.

One of the multitude of benefits brought about by remastering TNG is the ability to finally see the work of the talented designers, artists and craftsmen come alive and appreciate it as it was originally intended. The lavish costumes designed for characters such as Lwaxana Troi, Ardra the Devil, the Cardassians and Guinan (to name but a few) can't fail to impress. Diligently designed sets such as the Courtroom in "Devil's Due" and the Romulan Holodeck in "Future Imperfect" can be admired like never before with details you never even noticed were there becoming visible for the first time in 25 years. It truly is like watching the show for the first time.

Two episodes which immediately jump out over the rest are "Family" and "Qpid" on account of their heavy reliance on shooting on location. The glorious greens of the Picard Family Vineyard in France ("Family") and Sherwood Forest ("Qpid") burst off the screen in high definition. There's such a depth of realism when watching these episodes in high definition, realism which was entirely lacking with the standard definition transfers. I challenge any fan not to be totally amazed at how much detail was in the original 35mm camera negative - every leaf, every blade of grass comes to life and draws the viewer in like never before.


Sherwood Forest comes to life in "Qpid" thanks to the glorious quality inherent in the 35mm film and some top-notch color correction by CBS colorist Marvin Hildebrandt

II. Visual Effects

Undoubtedly the area which comes under most scrutiny from fans, visual effects and compositing make up the largest part of the workload for remastering a show like TNG. As the bulk of visual effects were originally created at videotape SD resolution - planets, transporter effects and the like – had to be recreated from scratch. CBS Digital are a hard act to follow yet Modern have done an admirable job of trying to match the high standards of the third season's remastering. Season Four has undoubtedly benefited from a closer working relationship between the two teams. Max Gabl heads up planet creation again, and gives us some truly spectacular pieces of art with his usual creative flair. Of particular note is the newly created Peliar Zel planetary system from "The Host" - quite a departure from the original version, changing from an incongruous yellow/blue sphere to a lush Earth-like planet with contrasting moons. I inspected all the planets from the fourth season and didn't see anything that I was disappointed by. Brilliant work!


The Enterprise approaches Peliar Zel II and its two moons,
newly created by Max Gabl ("The Host")

On to the compositing of ship scenes, and you'll be pleased to hear that the majority of ship shots have been handled very satisfactorily. Modern have clearly made an effort to reproduce the compositing style of Eric Bruno and his team at CBS Digital in most of their work. While not quite at the (admittedly high) standards of CBS Digital, most of the shots of the Enterprise and other ships look fantastic and really benefit from extra care taken with the compositing. Particular models which stand out include the Nebula-class U.S.S. Phoenix and Galor-Class Cardassian Warhip from "The Wounded" and the Argus Array space telescope from "The Nth Degree". The iconic shot of the Enterprise docked at McKinley Station in "Family" looks fantastic - despite being a little bright, the grandeur of the Enterprise in this shot cannot fail to impress in high definition.


The Nebula-Class U.S.S. Phoenix hangs in space with the Enterprise, composited by Modern Video ("The Wounded")

On the flip-side there are several instances throughout the season of shots which could certainly have used a bit of "extra love". Virtually every shot of the 4-foot model in "The Loss" looked poor to me, overly bright with lackluster compositing and a distinct cartoony-feel to it (excluding the deflector dish closeups). There are a smattering of other shots like this throughout the season but thankfully they are very low in number with "The Loss" being, by far, the worst offending episode.

"Galaxy's Child" is one of those rare episodes of Star Trek: The Next Generation which relied quite heavily on CGI for the creation of "Junior", the spaceborne lifeform. Originally the shots were produced by Rhythm & Hues, the same CG company responsible for the famous Bajoran Wormhole in Star Trek: Deep Space Nine. Sadly a lot of the replacement CG shots in this episode disappointed me, moreso after the spectacular CG creation of the Crystalline Entity in Season 1 by Niel Wray and his team at CBS Digital. The birthing sequence of "Junior" in which the Enterprise uses its phasers to cut out the "baby" looks particularly poor with virtually no grain and a very plastic, cartoonlike appearance. Thankfully, it's brief but it certainly reinforces the importance of working on shots like this far in advance to ensure that they are up to scratch.


The rather cartoonlike birthing sequence, newly rendered using CGI ("Galaxy's Child")

Finally, I must end the analysis of the remastering effort with a special note about the many LCARS computer display animations used throughout the season. The original elements for most (if not all) of the LCARS display screens which were originally inserted in post-production have been lost. This presented the team with an incredible challenge of recreating virtually everything from scratch. When recreation is limited to simply re-entering text on a scrolling display, it may not present too much of a challenge for the remastering team. However, more often than not the LCARS displays contained increasingly complex animations of 2-dimensional (and later 3-dimensional) objects which are incredibly difficult to reproduce from scratch with only SD resolution reference material to go on. Thankfully the results on display in Season 4 are stunning - there is so much attention to detail in these recreated displays that their authenticity with respect to the original versions cannot be questioned. A tour de force for the talented people involved in this difficult job.

All in all, I walk away from Season 4 happy that Modern have done the best they could with their limited time, budget and experience when it comes to remastering something as technically complex as Star Trek: The Next Generation. The result is a polished, quality remaster which will have you returning to your favorite fourth season episodes over and over again to marvel at how good they look in HD.

Bonus Material

I've made no secret about my huge admiration for the work done by Roger Lay, Jr. and Robert Meyer Burnett on the newly commissioned VAM ("Value Added Material") for these Star Trek: The Next Generation Blu-ray releases. The no-holds-barred style of documentary film-making on display in the first three seasons captivated my interest and made Disc 6 the first "must watch" when I receive the new sets through. As I described in my Season 3 review, the guys really ramped things up a gear on the previous set with the stunning Inside the Writers' Room reunion and three-part documentary. Keeping up that level of quality original content season after season was always going to be impossible yet I was still left a little disappointed with the VAM on offer for Season 4.

“Relativity: The Family Saga of Star Trek: The Next Generation” combines two thirty-minute documentaries, “Homecoming” and “Posterity”.

    • “Homecoming” starts off quite strong with writer Ronald D. Moore talking about his deep desire for more arc-based storytelling and the resistance he met from Rick Berman and the higher-ups in the studio. Ron - by far the most engaging speaker in this segment - throws in a few more cute nuggets including how he would hold story meetings with the writers on the Observation Lounge set and the battles he went through to get the script to "Family" approved. There are a few anecdotes from Wil Wheaton about why he left the show (mostly due to the "terrible writing" for Wesley, it turns out) but beyond that, this part of the documentary feels a tad directionless with interviews from Larry Nemecek, Lolita Fatjo, Brannon Braga and René Echevarria edited together with no overriding structure.


Ronald D. Moore

    • “Prosperity” is the strongest of the two parts and features new interviews with most of the primary cast. There are some cute stories from Brent Spiner on how he came to get three roles in one episode ("Brothers") while Jonathan Frakes talks about the Riker/Troi dynamic, Gates McFadden chats about dancing with Data and Michael Dorn gives us insights into Klingon humor. Conspicuously absent is any cast reaction to Wil Wheaton's decision to leave the show. It seems a strange oversight after we've previously had very touching commentary from the primary cast on both Denise Crosby and Gates McFadden's departures. Michael Westmore rounds this off with some interesting talk about the origin of the Cardassians whose shoulder ridges, it turns out, are all down to actor Marc Alaimo's long neck!


Wil Wheaton

“In Conversation: The Star Trek Art Department”: After the previous reunion pieces (Season 2's Cast Reunion and Season 3's Writers' Room Reunion), Robert and Roger decided to revisit Star Trek The Next Generation's Art Department for Season 4, bringing together Herman Zimmerman, Rick Sternbach, Mike and Denise Okuda, Doug Drexler and Dan Curry in a 65-minute special. Fans expecting the same level of engagement from this segment as the superb Cast and Writers reunions are likely in for a disappointment. The dynamic of the Art Department staffers is clearly very different to that of the writers or cast and this directly impacts on the pacing and energy of the piece. Don't get me wrong, there are some touching moments to witness (Herman Zimmerman in particular was a joy to listen to) but much of the time I found myself thinking that an hour was far too long. The piece could comfortably have been edited into a 30-minute special and doesn't hold anywhere near the same re-watch-ability as its predecessors.


The TNG Art Department Reunion (Left to Right: Rick Sternbach, Dan Curry, Mike & Denise Okuda, Herman Zimmerman, Doug Drexler)

Gag Reel: More on-set frivolities from the cast. With the remastering team now seeking out bloopers and outtakes from the original 35mm camera negative, these special gag reels have become a regular feature on the Blu-ray season sets. Sadly this one only runs to 3:34, but the material presented will have you in stitches as per usual. Frakes losing it as he discovers a dead Dr. Soong (Brent Spiner) was particularly standout!


Picard and Riker fall apart laughing in the Season 4 Gag Reel

Audio Commentaries: The set contains two audio commentaries, newly recorded especially for this set.

  • 4x03 "Brothers" with Rob Bowman and Mike & Denise Okuda - NEW
  • 4x07 "Reunion" with Ronald D. Moore, Brannon Braga and Mike & Denise Okuda - NEW

Deleted Scenes: Certainly the highlight of the bonus material on this release. CBS have dug through the archives to unearth a range of deleted scenes from eight episodes! There is some wonderful material here, so much so that we've got a whole separate article dedicate to it. Check out our full breakdown of the deleted scenes included on the 4th Season set!

Putting an interesting spin on post-Season 3 VAM was always going to be challenging for a show like Star Trek: The Next Generation which, after the third season, was a well-oiled machine, smoothly sailing through safe ratings territory and churning out one solid season after another. If anything, my main issue with the fourth season set's VAM is that it feels rushed. The usual "special touches" of behind-the-scenes photos, footage, sketches, visual effects compositing breakdowns (the different model passes) and archival interviews are mostly missing here. The documentary feels like it lacks direction and the absence of any real reaction to Wil Wheaton's departure (from either the primary cast or - more importantly - the writers and producers) was a disappointment.

Hopefully Season Five will see Roger and Robert returning to the high standards they established in the releases of Seasons One through Three. In the meantime, Season Four's VAM isn't a total write-off, just don't be expecting quite as much excitement as you've seen before.

The Bottom Line? I don't find any reason to hesitate recommending you pick up TNG's Fourth Year on Blu-ray. The episodes are sublime, the remastering is more than enough to draw your appreciation and there's a nice collection of bonus material both new and old for you to feast on once you're done. A great release!

- Written for TrekCore.com by Adam Walker, July 23, 2013

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



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



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

  • Pablo

    Great review, and I am looking forward to getting my copy in the post next week! But, I do have to say that I sincerely hope that if DS9 will be re-mastered in the future they will keep it all in house at CBS Digital. Season 4 on the whole seems to be great, but both seasons that have been completed by other studios other than CBS have brought about reviews with a 4 star grading on TrekCore, whilst CBS completed seasons have garnered 5 stars. Dissapointing that there is a lack of consistency but nonetheless looking forward to this. That said, keep it all in house for future instalments of the franchise being re-mastered.

  • Stefan Haynes

    So in summery: significantly better remastering than season 2, but markedly weaker VAM.

    I think I can live with that :).

    A shame about the birthing, though.

    • KaineMorrison

      What shame?

  • archer9234

    I do have a few grips with some effect shots. But most are just fine. I really like the alien head in barcleys episode. And the shot of the sensor array. They did a really good job on recreating Geordi’s visor when he was brainwashed.

  • BrianRoskamp

    I’ve had a feeling the VAM was going to be pretty weak for this season, from the announcement nothing really sounded interesting, except for the Art Department reunion. It sounds like this release will be pretty “meh” compared to what we’ve had in the past. I’ll definitely be picking it up on day one, but I’m hoping the last 3 seasons see an improvement overall.

    • http://www.scream-movie.net/ Charles Petrosky

      They need to put the good VAM on the weaker seasons. ;-)

      • Stefan Haynes

        Then I expect the seventh season to have The Greatest VAM EVAR ;).

        • Chris915

          I thought Season 7 had a lot of great episodes…

          • Stefan Haynes

            It wasn’t a total wash or anything; in fact, I even really liked the much-maligned Gambit far more than most people. I just found a few too many episodes to be more soap-y than usual and without the rich character arcs of something like DS9 to make them work. This was probably due in large part to the addition of Jeri Taylor to the writing team, who was herself a veteran melodrama TV writer (who admittedly would go on to do great work in Season 4 of Voyager). IDK. Apples and oranges, I guess.

            Plus, season 7 was home to the execrable Sub Rosa… *vomits*

          • Chris915

            I’ve seen Sub Rosa once or twice…

            I thought it was alright.

          • pittrek

            I LOVE Sub Rosa. The “family” episodes were what I found boring

          • Neill Stringer

            I also liked Gambit, I thought it was a lot of fun.

            Not my all time favourite but it was cool seeing Picard getting more action as ‘Galen’ and I loved Data being in comand of the Enterprise and disciplining Worf for his attitude and doing the Picard Maneuveur.

          • http://www.scream-movie.net/ Charles Petrosky

            Season 7 was brilliant fun for the 7 and 8 year old me! :-) I thought Genesis, Phantasms, and Masks were all creepy and cool. Parallels was a lot of fun too.

            As an adult though I see it as a preview for the silly and repetitive/bland future that awaited: Voyager and Enterprise.

        • hypnotoad72

          To me, season 7 is more inventive and more sci-fi driven than season 6 (or, often, season 5.) It does feel burnt out at times, but there are far more eps in season 7 that I rewatch compared to 5 and 6 combined… but YMMV. What you like is what counts, which is why all of these sets are being released. For the customers/fans.

  • BrianRoskamp

    I think it’s also worth noting the Rhythm & Hues were also the ones who created the “Klingon Encounter” film for Star Trek: The Experience.

  • Simon

    “Frakes loosing it”

    Arrrgh! Why can’t people spell “lose” anymore without inserting an extra “O”? Are they teaching that in schools now? I haven’t been in school for a couple decades now so I would like to know why so many people can’t spell this simple word anymore. We’ve had shows like LOST and THE BIGGEST LOSER on television. They weren’t “LOOST” or “THE BIGGEST LOOSER”.

    What is going on?

  • Kirk2Picard

    Lack of consistency from season to season is a let down. Still a day one purchase though.

    • Captain Japan

      Although, to be fair, the original had WAY more consistency issues than this new remastering. As someone else posted a while ago, if CBS wanted consistency they should have gotten a supervisor to go to the different facilities to ensure everything was done the same way.

      • hypnotoad72

        True. There are times when remastering fixed issues in the originals. Even in season 2! Still, comparing black crush to color timing, I prefer black crush in terms of “if we have to have one problem, may it be this one” as opposed to color timing. Teal nacelles or lighting layers misplaced or put in out of alignment are hard to beat in that regard…

  • SFSeries&Movies

    Thanks for the great review, looking forward to it!

  • Matt_Cardiff_UK

    – Duplicate!

  • Matt_Cardiff_UK

    Further to your comments about the LCARS displays – I had no idea the original elements were lost – however I did notice straight away how clean and sharp they are. Here’s a shot from ‘Remember Me’ – great review by the way TrekCore. PS – no idea why it posted the image twice – can someone remove one please?

    • BrianRoskamp

      It seems like the previous seasons they’ve had the original graphic components for the majority of the shots. Either that or they did some spot-on recreations, with the exception of a few where they took artistic liberties (usually to hide flaws or in-jokes).

      • Matt_Cardiff_UK

        I hope most of the flaws and in-jokes were left in – they are part of the charm of the show. I still want to see the guy chewing gum in Unification.

        • BrianRoskamp

          In the first three seasons several of them were removed. The EAS reviews point out a number of them: http://www.ex-astris-scientia.org/observations/tng-r.htm

          • Matt_Cardiff_UK

            Shame they didn’t think to digitally change the direction the arrow is pointing in ‘Final Mission’ (which bursts off the screen in colour and clarity – again well done Modern VideoFilm). Picard, Wesley and Captain Dirgo still walk off in the wrong direction! lol

          • New Horizon

            Don’t worry, the arrow will look better in motion. ;)

          • Stephen Daniels

            I did laugh at that as Picard made a song-and-dance about his arrow, then marched off in the wrong direction!

        • archer9234

          There are some jokes in S3. I forgot what episode where. But Read the screens, there is some text dialogue.

          • hypnotoad72

            The Bonding was one of them; the original SD was harder to read, but looked more official. The HD version had obvious in-jokes, which drives down the scene…

    • archer9234

      There has to be production notes and or artwork archived for the screen animations. They do a excellent job matching the text. When it’s far too blurry to read from the SD versions.

      • Matt_Cardiff_UK

        Agreed – the subspace bubble animation is great!! A really nice little touch to the original greyish blurry version. Well done Modern VideoFilm. You’re not up there with CBS-D, but fine job so far.

  • Chris915

    Aside from the fuchsia bussards in some shots., it looks awesome.

  • Chris915

    The only problem I see with the CG mother creature is the strong bump mapping…

    • hypnotoad72

      It might fare better in motion… the original CGI was cartoony as well (circa 1991).

      • Chris915

        Probably.

  • BrianRoskamp

    Is this the shot where the Romulan hologram fades out? http://tng.trekcore.com/bluray/images-s4review/review15.jpg

    Tamolak looks like he was (poorly) photoshopped into the scene.

    • Chris915

      Yes, that’s when “Tomalak” ends the Enterprise simulation.

    • New Times

      If I recall, in that shot a lot of characters fade out one-by-one. What catches my eye the most is Worf staring at nothing…but I’m assuming that’s the way it was shot.

    • hypnotoad72

      Looks a tad oversaturated as well, but I’m counting no less than 5 layers (Riker/Romulan, Troi, Picard/Data, Worf, and the background with the rest.) Even in SD, lighting mismatches could reveal the (complex) effects so seeing this montage is not a drawback… most of it does reside on how it was filmed originally. Fantastic effort, especially for the day…

    • kobachi

      Given the context, couldn’t that be considered intentional?

  • Chris915

    Interesting little fact…
    http://tng.trekcore.com/bluray/images-s4review/review7.jpg

    That’s who played “Bub” in the 1985 version of George Romero’s “Day of the Dead.” ;)

  • Jaylow

    I was surprised to see a review for Season 4 already… I was getting used to each season being released near a theater event… the last being Best of Both Worlds.

    I was like… “WHAT! They didn’t do an theater event for season 4!”

    But then I thought about it… the Best of Both Worlds episodes were from Seasons 3 and 4… so I guess that’s what they did.

    I tried to find some information online… but no one is really talking about it.

    So I guess I just want someone to confirm it for me… the last event pretty much covered Seasons 3 and 4?

    Thanks!

    • BrianRoskamp

      TrekCore has confirmed on Facebook, Twitter and forums that there is no theatrical event, but I don’t think they wrote an article. There is definitely not an event for S4, and likely none for the future seasons as well.

      • http://www.scream-movie.net/ Charles Petrosky

        I think “All Good Things” is a good candidate for a theatrical event. I’d definitely go see it.

        • MplsMike

          Other than “All Good Things” the only other viable two-parter that I think is remotely theater-worthy is “Unification.” I hope that at least gets a separate release with new Leonard Nimoy/Denise Crosby interviews.

    • Allen Williams

      By that logic they shorted us an episode. It was 2 episodes for seasons 1 & 2. BOBW is a 2 episodes, so we’re short 2 episodes now. With that said, I wasn’t looking forward to redemption in theaters. I don’t know what I would have liked to see, but that wasn’t it. Maybe the one where Geordi get’s brainwashed and Q’Pid.

  • Jaylow

    I mean… was there ever any mention of it when the Best of Both Worlds show went on… I mean… they only showed extras at the event for Season 3… right?

    • BrianRoskamp

      No, S3 was the feature length cut of BOBW and the extras. BOBW was the S3 event, they’re simply not planning on doing any more theatrical events.

  • Rob Parks

    Great Review!!! One question though, who is the redhead command officer that troi is talking to in the 19th picture?

    • Chris915

      Kim Braden, she later played Picard’s “wife” in the Nexus from Generations.

      • Rob Parks

        Thank you!!! #AutisticStarTrek

  • Chris915

    Only other really “meh” compositing issue is here:
    http://tng.trekcore.com/bluray/images-s4review/review28.jpg

    With the blue on the warp engines… blended poorly with the background…

    • Stefan Haynes

      I agree the nacelle looks like rubbish, but I’m too distracted by how beautiful everything else looks to care or even notice.

      • Chris915

        haha. Yea, I imagine in motion this shot will be awesome!

      • hypnotoad72

        The color timing isn’t too far off and, TBH, there’s a weird artistic quality to that screencap that NOTHING in season 2 could match.

        How much of it is the remastering vs original film quality is up for debate and some of it does look like poor compositing (the deflector dish is cringe inducing) and yet it’s not as bad as season 2 – maybe it looks more crisp being the reason…

    • Mat Rowe

      Looks like they desaturated the hull and lights.

  • Chris915

    One other issue with the CG shot, is if they added an ambient occlusion pass to the shot, that could be the cause of the white edge around the mother creature, they rendered out the composite of the mother creature then put it over stars, thus causing that white edge… see first link, in my example.

    However, if they composited it with the stars… it shouldn’t cause that black edge against the stars… see my second image link… only change is I enabled my star layer background…

    https://fbcdn-sphotos-e-a.akamaihd.net/hphotos-ak-ash4/1071591_560964303963840_1842513732_o.jpg
    https://sphotos-a.xx.fbcdn.net/hphotos-ash3/1075537_560964307297173_755030130_o.jpg

    Again, just guessing.

    • archer9234

      Maybe it was some render error. It could be a weird alpha channel mistake. Combustion could of just screwed up where the preset cut out was. I’ve had some pre animated lower 3rd graphics have a dumb black edge on them for no reason. Just because the Alpha in the video didn’t want to work right.

      • Chris915

        Hmmmmm, yes, I don’t use Combustion, lol.

        They haven’t updated it in a while, the latest version is 2008, according to Wikipedia.

  • Jamie Jackson

    I just bought Star Trek TNG season 4 on Blu-Ray and it does not play on my blu-ray player… I have all 3 other seasons and they all work fine (and still work), but this one will not play. I’m unsure if they’ve included some kind of new firmware requirement, but since my player has no new firmware, I’m a bit worried. I guess I won’t find out if it’s just me for another week when it releases in the rest of the world… (Australia here.)

  • Matt_Cardiff_UK

    The opening shot for ‘Devil’s Due’ is awful! It’s not motion caused blurring – it’s…just…blurred? The planet in this episode looks pretty tatty too. Glad it’s not an episode I will miss watching.

    • Stefan Haynes

      Any chance you could post a screenie of the planet too?

      • Matt_Cardiff_UK

        Planet shot as requested. Don’t get me wrong – everything else in this episode live action wise, plus quite a few effect shots, looks great! It’s weird – the angle of approach of the Enterprise in the opening shot is not one I’ve seen before. It looks better than the 4 foot model – the contrasting colours are richer – I’d swear this was a CGI shot gone slightly out of sync? I have no idea – but it just looks ‘off’. I’m not ‘planet bashing’ either really – just not too impressed.

        The planet shots in Final Mission are absolutely stunning though (see second image). In fact, Final Mission as a whole is beautiful to watch from start to finish – brings back fond memories of the first time I saw season one remastered, and at the same time, seeing this on TV for the first time, how impressed I was with the quality of the two stories and effects.

        I’d go out on a limb here and say Modern VideoFilm have impressed me so far – I still don’t want them involved in future projects solely because CBS-D are the masters at their own game…and I really want to buy a consistent remastering of DS9 and VOY -.but damn – MVF has done well here.

        • Chris915

          Not that bad, it’s the bright glow elements on that first shot of the 6 footer that really stand out to me compared to CBS Digital.

        • Stefan Haynes

          Thanks! Yeah, I definitely see what you’re saying.

          Remember that this is Modern Video’s (gah, could their name BE any more generic?) maiden voyage. It wouldn’t surprise me if future Trek remasterings were of equal quality to CBS-D’s.

          • Chris915

            From my understanding, the planets are Max Gabl’s…

            However, looking at Modern Video’s website, they’re not new to Star Trek.

    • Chris915

      It doesn’t seem like it’s the same Enterprise shot as this, of course minus the warp stars:

      http://tng.trekcore.com/gallery/albums/s4/4×03/brothers000.jpg

      • Rocket Racoon

        Is that possibly a shot where the original elements were never found? I’m sure that one was used over and over again in the series…what was used for that Enterprise previously, in this remastering?

        • Chris915

          It’s possible the elements in the SD shot I posted were never found, it’s possible they’re using the same elements that are used to compose the Enterprise in this shot:

          http://tng.trekcore.com/gallery/albums/s4/4×01/bestofbothworldstwo240.jpg

          • Matt_Cardiff_UK

            Ooooh! Well spotted – that’s the same angle of approach I think?

          • Chris915

            Yea, seems like it.

      • Matt_Cardiff_UK

        Does anyone know how the warp star effect was created?

        • New Horizon

          Slit scan or some such thing?

          • Justin Olson

            Yes, it’s basically slit scan, or streak photography if you like. You keep the shutter open on the film camera and move the starfield (or camera) and the light streaks. They changed the color of the light with colored gels to give it the rainbow or color spectrum effect.

            Here’s a video of Douglas Trumbull explaining the slit scan process:

            http://vimeo.com/41747091

          • Neill Stringer

            I think slit scan was what they used to do the Tom Baker era Doctor Who title sequence?

        • Chris915

          I don’t know, I’ve been trying to find that out myself, lol.

    • Justin Olson

      This is the same alternate take that was used in BOBW, I believe. I think what’s going on here is that, due to the window pattern not matching the 4-foot miniature, they rendered a window pass using their CG model because they couldn’t locate the film element. They have that telltale stepped motion blur that you get in Lightwave… it doesn’t look the way you’d expect a filmed window pass to look. Notice how the deflector blur is smooth? That clearly is original.

      • BrianRoskamp

        I believe it’s been said before that if they’re missing any of the seven or so passes needed to recomposite the entire shot, they replace it with an entirely CG shot, because it would be so difficult (nearly impossible?) to get a CG layer to match up with the physical film elements.

        However, I could be wrong and this could have been an early attempt and doing just that, or this could just be the new CG model.

        • Justin Olson

          I’m leaning in that direction because the window lights on the saucer just don’t line up at all and, again, they look weirdly step-blurred.

          And the reason why I don’t think it’s entirely CG is the robust shape of the secondary hull and the deflector dish. It has a distinctly 4-footer look to it, and apparently all they have is Tobias Richter’s model (which is based on the more graceful lines of the 6-footer) and we know they didn’t change the proportions of that CG model, just the bump maps and textures. So I think we can be fairly sure that the majority of what we’re seeing in the above images is the 4-foot filming miniature.

          • archer9234

            It’s motion blurr. Simple as that. They aren’t going to pain painstakingly match windows on the model. They would just use CGI. Way faster than trying that.

          • Justin Olson

            Again, 24fps photographic motion blur shouldn’t look like that (step-blurred). So the windows are either from the CG model or there’s some kind of really poor frame rate conversion going on — 30fps to 24fps. Also, the window pattern itself doesn’t seem to match the one on the 4-foot miniature. This is how the real-world motion blur should look, i.e. each window completely smooth:

            http://tng.trekcore.com/hd/albums/1×01/farpoint_hd_024.jpg

            http://tng.trekcore.com/hd/albums/1×24/wellalwayshaveparis_hd_054.jpg

          • archer9234

            Yes you reminded me. There is a FPS conversion going on. Dan Curry shot his motion control shots at a higher framerate than normal. This is what’s probably going on. There was a article or one of the bonus features, I can’t remember, a while back where they said he liked going at 34fps.

          • Smarty Pants

            Ahem…this was another model shot that was discovered to replace the one that was never found (and shows up several times in the season). Sometimes they used this one, and sometimes it was the CG ship supplied by CBS. This one (which I still prefer to the CG ship) was a MUCH shorter length originally, so some timewarping was necessary…causing the motion blur you’re seeing.

          • Justin Olson

            Ok, I see. Timewarping instead of frame rate conversion. Changing the framerate didn’t make much sense anyway as Rob Legato shot all of his stuff at 24fps and this is apparently a Legato shot.

          • Matt_Cardiff_UK

            Damn you guy knows your stuff! The blur is definitely exaggerated in a screen shot, as opposed to the video – but it don’t look right either way. Interesting to read your technical comments about how these things can happen.

          • Chris915

            I don’t know, in the Season 5 trailer, there is a shot using the (albeit heavily modified) CG model and it’s rocking!

          • archer9234

            That’s a new model. The old CGI one was crap. They where probably building it while S4 was being done.

          • Chris915

            Well, it’s almost a completely new model, there are still parts of Tobias’ model in there.

            I wouldn’t go that far, the old one was created by Tobias Richter of The Light Works.

            http://www.youtube.com/user/tlwtobiasrichter

            He does the FX for the Star Trek: New Voyages/Phase II fan series.

          • archer9234

            Yeah. But at the end of the day, the old CGI models textures where bad. They in no way matched the 6 foot model. The neck was the worst part. And I don’t blame his ability. I blame the limited time him and his model team probably had to do it. I am happy that the new CGI model, it basically is. Is perfect.

          • Chris915

            Well, the textures we saw in the weren’t the textures Tobias created for his Enterprise D, as Tobias created the textures more like the Generations refurbishment.

            He started the Enterprise D model in May 2011 and finished it in July 2011… which is about average for Tobias Richter.

            Here’s the model when Tobias got done with it, before it was used and altered in the remastering, because to my understanding, he didn’t originally model it for the remastering.

            https://fbcdn-sphotos-b-a.akamaihd.net/hphotos-ak-prn2/1072629_562785527115051_1238225317_o.jpg

            https://fbcdn-sphotos-h-a.akamaihd.net/hphotos-ak-prn2/1074572_562786777114926_1889363377_o.jpg

          • Justin Olson

            It’s not crap, not at all. As Chris indicated, the new one is built upon Tobias Richter’s model that was used in S1-S4. From what I understand, the base mesh is largely the same one Tobias modeled. In the comments for the article about the Season 5 trailer, Rommel Calderon says that the majority of their updates were new textures (the most apparent one being a bump map that reproduces the raised hull paneling of the 4-foot miniature) and lighting.

            Just search for comments by Rommel in the article below:

            http://trekcore.com/blog/2013/06/star-trek-the-next-generation-season-5-blu-ray-trailer-arrives/

          • archer9234

            Why not use the CGI one all the time then. Since they did it some of the time. They need to be consistent.

          • Chris915

            The shot used to replace the 4 footer in the shot Matt_Cardiff_UK posted about, is another 4 footer shot that is used in BOBW Part II…

            You can see it here:
            http://tng.trekcore.com/gallery/albums/s4/4×01/bestofbothworldstwo240.jpg

          • Chris915

            I always wondered how the got different levels of motion blur on the exact same shot…

          • Justin Olson

            I think it’s two different shots. Same motion control camera path, same lighting, but a faster pass with more blur.

          • Chris915

            Ah.

    • Mike Jones

      A request if you please Matt if you have the Season 4 set, there’s a variation of this shot were the Enterprise drops out of warp. Could you post a screencap of that shot, The only usage of it I can think of is in Data’s Day about 37:20 in.

      It was replaced by a CGI effect in the sampler blu ray, quite curious to see how it was handled in the boxset.

    • smashing3000

      The blurred Enterprise shot isn’t just confined to Devils Due, it’s been in three episodes I’ve watched so far over the first two discs, highly disappointing.

      • Matt_Cardiff_UK

        I counted two myself – but I don’t doubt your word. I’ve finished watching S4 now and am happy with the results for my favourite episodes – but also thankful that CBS-D will finish the rest of TNG-HD.

        • smashing3000

          Are they going to offer a disc replacement for episodes with this blurred shot? At £60 a box set I demand higher attention to detail.

          • Matt_Cardiff_UK

            A re-issue? No chance mate!

          • smashing3000

            The blurry enterprise shot is in at least 5 episodes I’ve counted so far, it’s pretty bad that something that costs so much can have errors like this.

  • mjdavid

    Does anyone know … will the Season Five preview be available on the Season Four Blus?

  • James

    Comparing the screenshots of the DVD and Blu-ray of Galaxy’s Child CGI birthing sequence the Blu-ray doesn’t look so bad and is a huge improvement over the original CGI on the DVD:

    • Stefan Haynes

      This was never brought into question; even 90% of the visual effects deem “thoroughly bungled” by half the internet for the Season 2 blus were an upgrade over the original broadcast versions. The question is and has always been: are these visual effects as good as they could have been (the obvious standard for this metric being CBS-D’s work)? This particular effect of the alien birth lacks the polish that I think CBS would have brought to the table, but I *do* think the vast majority of the VFX I’ve seen so far in this season are up to snuff.

      I actually like Modern’s transporter effects far more than CBS’s, FWLIW.

      • Matt_Cardiff_UK

        I agree – having now watched all the episodes, with the exception of some matt lines showing up, some shoddy planets and the obvious lack of polish that CBS-D brings, Modern VideoFilm has done rather well. The whole season has been colour balanced nicely throughout, grain is less noticeable, and even the four foot Enterprise looks stunning. Look at some of these very pretty screenshots from ‘In Theory’

        I maintain I want CBS-D to remaster everything else though – MV are good though. Fair play. :-)

        • Caroline

          AND keep in mind Modern had (from what I’ve read) half the time that CBS did to complete a whole season. I’ve been really impressed by what I’ve seen so far, and hope they’re the go-to house if CBS ever needs help with future Star Trek restorations.

          • Matt_Cardiff_UK

            Nothing quite matches CBS-D though – it’s by far the best – seasons 1 and 3 stand out in a way seasons 2 and 4 don’t. I think TrekCore and most people would agree – CBS-D should handle everything – no need to rush it – we’re all still going to buy the end result aren’t we?

          • archer9234

            Yeah, But CBS wants TNG over with as fast as possible. They really care about the TV licensing money they can make. So they end up rushing everyone. We’d be just getting season 3 right now and not season 4.

          • Matt_Cardiff_UK

            That would have suited me just fine! We’d have ended up with a better S2 if that were the case…

          • hypnotoad72

            Fine by me; the difference in time amounting to one season by now wouldn’t have hurt too many, and there are a number of fans that do appreciate season 2, despite what the populists claim to demand.

        • vincanss

          Well CBS-D ‘are’ handling the rest of the seasons, so that’s ok then! :)

          • hypnotoad72

            I thought season 6 was still being done outside of CBS? Which is sad, of the even number seasons, season 6 is (IMHO) the least entertaining…

          • New Horizon

            We’ve been told CBS-D is handling the rest.

          • hypnotoad72

            Thanks!

            Definitely looking forward to the remaining seasons, without having to worry if there’s going to be an inconsistency, many inconsistencies, screw-ups, etc. Pity about seasons 2 and 4, which deserve better, but they are not total shambles (esp. season 4…)

            6 may be the weakest overall, but a number of episodes are still top-notch…

        • hypnotoad72

          Seasons 1 and 2 used cheaper film, hence more grain…

          What I’m seeing so far is very good overall, some f/x scenes are in fact quite gorgeous (but I know some issues will manifest and it sounds like Modern had a very tight schedule as well), but I’d swear the episodes look too dark quite often – was there a new lighting director? Or just too much contrast tightening in the remastering process?

          Either way, MV is doing far better than season 2′s folk (color timing is more important than black crush) and far better than the SD release, but part of me does wish CBS would have done all seven seasons…

          • Matt_Cardiff_UK

            They are definitely darker – we’ll see how much so when TrekCore do their legendary comparison videos. I watched ‘Nth Degree’ and the darkness suits the episode (I’m sooo pleased MV didn’t screw up my favourite episodes, including ‘Remember Me’ and ‘Final Mission’ which were are all so beautifully rich and vibrant). The whole season feels like it should be watched in a dark room.

            The issues you refer to are there – I’ve spotted lots of matte lines, poor planet renders, blurry/stepping CGI, very shaky effect shots (like the pulling out from McKinley station shot) – you can see the matte lines wavering in an out. I think it’s down to the stretching of different elements or something?

            Buuuut – I ain’t complaining – the episodes that stood out for me before just look and sound stunning now. I’m still all for CBS-D finishing up the project on their own, and to continue with DS9/VOY. But MV have done really, really well. Gorgeous doesn’t even come close sometimes….shivers up the spine instead kinda result.

          • hypnotoad72

            I’d just watched Nth Degree as well, and Galaxy’s Child (two of my faves) – there does appear to be black crush, often but inconsistent, and it is bothersome but nowhere near as bad as how badly season 2 was dealt.

            I’ll admit that the darker tone does suit the story, and the f/x were sublimely handled…

            Can’t wait to get to Remember Me as well… and the rest. I know they won’t be perfect, but my prediction is season 4 is a win despite the nitpicks. It would take a lot to outdo season 2 as “worst remastered season”…

          • Matt_Cardiff_UK

            I had a look on Google and it seems like there are 3 possible reasons for the Black Crush. 1) Poor Transfer 2) LED TV / Monitor 3) Poor Colour Timing

            Apparently, if you get a new OLED TV, the details lost in those murky dark areas start to come out. But then – it could be just the transfer – maybe MV do it differently…maybe the season was darker anyway? Who knows – maybe it’ll be different again with the 4K transfer in a possible future?

            Anyway – here’s a little spoiler and some DVD/Blu Ray comparison images from Remember Me to whet your appetite. Note the slight purple colour to the powered down nacelles. Just as it should be Captain…

            PS: TrekCore – I’m not trying to do your job – honest! :-p

          • hypnotoad72

            I’m glad I didn’t go OLED. :)

            The transfer was probably good (colors are solid and detail is VERY sharp…) So I’d say it was a color timing issue, or goofing up with the contrast levels and creating the black crush.

            With some LCD sets, looking at an angle does improve on the black crush issue somewhat, but who’d want to recalibrate their sets? :)

            And, yeah, season 4 does have some conceptually dark moments (“Night Terrors” in particular), and those episodes benefit from the artificial darkness imposed.

            Looking forward to 4k in a decade’s time but, regardless of season 4 (and a lot of season 2), the HD releases beat the snot out of the original SD releases – no question. :)

            I am so watching “Remember Me” – the tweaks and enhancements look AWESOME. Thanks!

          • Matt_Cardiff_UK

            You’re welcome – they are pretty good. Even the people walking through the docking port corridor have been enhanced. It looks like either a) the original elements have been cleaned and repositioned so that you can see the tops of people’s heads b) the shot was recreated by actors mimicking the original, or c) new CGI. Like the back of the Enterprise in the opening credits where you see people walking about in the windows.

            Either way – it’s the little touches like that, that makes me really appreciate the collaboration between CBS-D and MVF.

          • Stefan Haynes

            Remember that Modern Videofilm worked ONLY on the VFX/compositing of season 4; if the episodes are incorrectly dark or have black crush (I personally haven’t come across this yet, but I’m nowhere near as far as you are through the season), the blame for that lies solely at the feet of CBS-D.

    • archer9234

      The DVD version had better alien texture. The puzzle piece alien bottom looks better.

      • Sykes

        Maybe, but it doesn’t match the look of the practical model. The CG one (for better or worse) is a closer match.

  • Patrick

    This is kinda off topic, but it would be cool, for future VAM, to include a cg “sizzle reel”, like they did for TOS-R S1. See here: http://trekmovie.com/2009/04/21/review-star-trek-the-original-series-season-1-blu-ray/

    It would be so cool to have like 15-30 min (or even longer, please!) of 1080p Enterprise-D action… almost like what they did for “The Evolution of the Enterprise”, but MORE! Seriously, though, I’d buy that!

  • James

    I think Modern VideoFilm have done a cracking job here, especially given the time constraints. I’d be more than happy if this company worked on future Trek Blu-Rays. Incidentally, I picked up the original movies on blu-ray the other day for the princely sum of £15. I’m pretty glad that’s all I paid as the transfers are really shoddy – my DVD copy of the Final Frontier showed more detail and had way less DNR. Does Trek Core know if there are any plans to make the fans pay for yet another Trek box-set by remastering/transferring these movies properly for a future release?

    • archer9234

      Paramount has been a dick towards the movies. And so far they aren’t letting up with them. They can’t even be bothered to release the director cuts for TMP, ST II, and VI. They rather just lower the prices on the sets to get people to buy them. And we’re talking limited work on 2 and 6. TMP they gotta redo the DC shots though. They don’t even have all the DVD bonus features. They took out the text commentaries.

      • James

        I guess they’re going to milk as much as they can from the fans and then re-issue them later in some sort of ‘special collectors edition’. I’d love it if the Directors Cut shots could be reproduced at 720 or 1080 because I think that they add so much to the movie. TMP is under rated in my opinion. Speaking of the movies, I’m disappointed with the Into Darkness extras – no gag reel :(

        Also, I wish Paramount would pony up a couple of million to allow Shatner to realise STV as he originally intended.

        • archer9234

          Yes. ST V could benefit with the rock creature scene. Too bad Goldsmith isn’t alive. It be great if he could also score the restored scene.

          • vincanss

            you seriously base your buying habits on inclusion of gag scene reels? These are often no more than 5 mins long!?

          • archer9234

            Look, Into Darkness was a poor film. It was a boring retread of Star Trek II and Space Seed. Bonus features are the only redeeming thing. This has less stuff compared to ’09. Making it a not buy for me.

  • Neill Stringer

    Season 4 is excellent so far. Noticed though they put 1991 copyright on some episodes which should be 1990. But what I have seen so far has Modern Video more or less consistent with CBS-D. Great set.

    • BrianRoskamp

      S4 was the 90-91 season, so it may not be the same as the DVDs, but it’s still technically correct. The case has the 1991 copyright date as well.

  • KaineMorrison

    Target gas a deal where if you buy both Season 4 and Redemption you get $10.00 off!

    • archer9234

      That’s actually a good deal.

      • KaineMorrison

        Got it for $61.00 at Target yesterday. I went on my lunch break. They had 2 Copies of Season 4 and 3 Copies of Redemption before I bought mine!

  • Connor

    I did find a mistake Trekcore: in Brothers, when Riker, Worf, and Geordi beam down to the planet, their heads can still be seen on the top reflection of the transporter pad. Barely caught it, I just so happened to pause at the instant.

    • BrianRoskamp

      Was this present in the DVDs?

      • archer9234

        Yeah. The code on the monitor had the numbers incorrect in the original broadcast. I haven’t checked if the remaster retains this goof yet.

        • Stefan Haynes

          Note that Brian was responding to Connor, not Matt_Cardiff.

          • Connor

            No, not present in the DVDs. But it’s whatever, like I said, wouldn’t have even noticed if it wasn’t for me pausing. I was just hoping trekcore could let someone know and get it fixed.

    • Matt_Cardiff_UK

      What about the code Data uses to lock the Enterprise’s computer? I need to check, but I think the code on the screen is still different to the one Data tells it.

  • Stephen Daniels

    A very fair review of the extras (which is all I’ve watched so far). I was really looking forward to the Art Department piece, and was left feeling very let down indeed. This is a TNG Blu-ray extra, and they spend most of the time talking about two other shows.

    I would have loved to hear more from Rick, Mike and Herman about the early prep work for TNG, how the sets were built, how the panels were designed and constructed, but most of what I heard was them going on about that space station, and the NX01. It may be because Doug is (bless him; he’s a great guy) the dominant personality in the group, and he wasn’t in the Art Department for TNG – he’s a DSN & Enterprise guy at heart. An opportunity missed, sadly.

    • archer9234

      Yeah. I did like all the info they talked about. But this was for TNG. I was like: Why are they talking about DS9 and Enterprise?

  • archer9234

    Really enjoying season 4. It has its issues here and there. But it was handled with decent care. Its really nice to finally read a lot of the monitor text. And even see things that I couldn’t make out in the background. Feklar’s hair had a red strip. Never noticed that. The warp ship they where building, in First Contact. There’s a 3D model of it rotating on a back monitor.

  • archer9234

    Thanks to the blooper reel. We get to see another problem with reframing the series to 16:9. Granted, film itself has a bigger area than 4:3. But, in the later seasons, like here in Season 4. They setup the panavision cameras with the 4:3 aperture lens frame. Even when unmatting the film. Your only going to see as much as this hole allows.

    • Mat Rowe

      Speaking of “The Wounded”, there’s a shot near the end where Capt. Maxwell is looking out his window at the Enterprise. Firstly, the static shot of the 4 foot Enterprise has been replaced by a discolored static shot of the 6 footer. Doesn’t look that great.

      Also in the same shot, in the original they have managed to keep a great deal of Maxwell’s reflection in the glass when they keyed out the bluescreen, and the color is good. In the remastered episode the reflection is all but gone, and what is there is still blue.

      http://tng.trekcore.com/gallery/albums/s4/4×12/thewounded244.jpg

      The more I’ve been watching this set the more it is disappointing me. All but missing bussard passes, CG with no grain added to make the 35mm elements blend in and poor attention to detail. CBS-D handles this project like a labour of love. The two external companies seem to have been approaching them as ‘just a job’ and it’s really disappointing. S4 isn’t as lacklustre as S2 but it’s still nowhere near the level of the CBS-D seasons.

      • Guest

        Here’s a shot of the HD one for comparison.

        • Matt_Cardiff_UK

          Nice spot Mat – I didn’t pick that up when watching that episode. CBS-D wouldn’t have missed it. Anyone else pick up any glaring problems with S4? I’m struggling to complain about it even though I don’t want MV to do any more work. The awful CGI ‘stepping’ issues have cropped up a few times, plus the odd dodgy planet, matte lines, and what you’ve picked up…but on the whole it’s not a bad job is it?

          • archer9234

            It’s not a bad job. It’s just them rushing. CBS again didn’t give them enough time. It shows where they had time to do good shots. Like when the ENT enters the sytherians star system. I’m betting this episode was put together earlier in the schedule. That’s perfect. But then you have all these deadline shots. Color balance issues with the bussard collectors is a main issue. Blue screen color balancing was also ignored most of the time.

          • Matt_Cardiff_UK

            The Enterprise entering Sytherian space – on a projector, in 7.1 sound, is one of the most stunning bits of TNG ever made!

          • archer9234

            A really minor nitpick is some of the updated monitor graphics. Some of them where a bit too cleaned up, or too newish. Rather than sticking to their original designs. The enterprise diagram, while its fading away in in Crusher’s universe is one. It’s not a complaint. But just something I’ll always notice.

          • Matt_Cardiff_UK

            I think TrekCore said somewhere in this thread that most if not all the monitor graphics had to be redone because the original elements could not be found. I’m quite happy with them actually…they are more 24th century, rather than 20th – without going overboard. The Enterprise diagram now shows the correct number of decks in the saucer section, so I’m happy with that too.

          • archer9234

            A really minor nitpick is some of the updated monitor graphics. Where a bit too cleaned up, or too newish. Rather than sticking to their original designs. The enterprise diagram, while its fading away in Crusher’s universe is one. They went with a 2D diagram. But the original was a simple 3D one. It’s not a complaint. But just something I’ll always notice.

          • Matt_Cardiff_UK

            Tell you what though – they left in the initials of Bob Justman, Herman Zimmerman, DC Fontana, etc :-)

          • archer9234

            I totally forgot about those lol.

          • Mat Rowe

            As TrekCore mentioned in their review, the scene of the baby breaking out of the mother in ‘Galaxy’s Child’ is shocking. The CG is poor and jarring when viewed with the live action footage. If you’ve ever seen cg pre-visualisation storyboards that are used to map out a shot with basic movement, that’s what it looks like. The movement of the child is jittery and awkward and it just stops once it’s out rather than continuing to move out of frame. The original CG work from the early 90′s was better. Poor effort by MV.

          • Matt_Cardiff_UK

            Agreed – I’ve seen that one now and it looks terrible. Poor effort indeed. Also – how the ‘stepping’ issues got past quality control is beyond me. On the whole, I’m pleased with MV’s attempts, but still feel strongly that CBS-D should not contract out any more work.

          • Mat Rowe

            I’d be happy to wait a few extra months for them to properly handle each release in-house.

      • archer9234

        A shot of the HD one for comparison.

  • tnpir4002

    One oddity I noticed: in “Brothers,” just after Data forces the evacuation of the bridge, all the lights flashing are blue, indicating an environmental alert. Yet, in a single wide shot just before the scene changes, all the lights flashing are red. I went back and checked the original episode on DVD, and this blooper wasn’t present. One wonders how this new blooper unique to the BD release came to be.

  • Mark Benjamin David

    I know this is an old post, but, somebody please tell me how I can make a big complaint, please? I finally splurge and start my STNG blu-ray collection with season 4 and the longest special feature: “In Conversation: The Art Department – A look at some of TNG’s most-iconic designs, complemented by fresh interviews with…” these guys needed a director to keep them on the subject of Next Gen, I mean, seriously, this was recorded, they could have paused and said something to them…they went way off track and talked more about DS9 than anything, OMG, I am not a DS9 fan, but, more importantly, this is a NEXT GENERATION special feature, I would expect them to talk about STNG season 4, or, at the very least, other seasons of STNG, but, this was ridiculous, I could not relate to what they were talking about because I don’t watch DS9, I just don’t like it. This is quite annoying.

    again, someone please tell me where I can complain, they better not have screwed up other seasons, and there is one left not completed yet, I hope they will hear that I am NOT happy, don’t do this again!!