tag:blogger.com,1999:blog-21412677472140872162024-03-12T23:14:52.331-07:00Wrath of Dhan Star Trek Prop BlogClassic Star Trek News, Props and CostumesDonhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.comBlogger221125tag:blogger.com,1999:blog-2141267747214087216.post-87293048694639569212020-11-29T23:39:00.001-08:002020-11-29T23:41:12.716-08:00PROPSTORE BRINGS CAPTAIN KIRK'S STARSHIP ENTERPRISE TO AUCTION! SORTA.<p></p><p>In the upcoming Propstore Entertainment auction, there's an amazing <i>Star Trek </i>piece that is being offered: an actual shooting model of the Starship Enterprise from <i>Star Trek II: The Wrath of Khan</i>! There's just one catch. It's not a full model but a section of the Enterprise used for special effects (SFX) purposes. What, exactly does that mean? Here's the deal.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq67F8U2M9_Nja3JPeFN_blSIPZIF2TMgJODwrDmhXaLbAN-9b6axFrHE74PfscmRhO2qIJ4-PInljOMcT9c2ZRm1VngyHYjzoPzkwqzTAb1LlXJg7eLq1lvsez38aLP9LDuT5EQw8Qyg/s1080/PS2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="1080" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq67F8U2M9_Nja3JPeFN_blSIPZIF2TMgJODwrDmhXaLbAN-9b6axFrHE74PfscmRhO2qIJ4-PInljOMcT9c2ZRm1VngyHYjzoPzkwqzTAb1LlXJg7eLq1lvsez38aLP9LDuT5EQw8Qyg/w400-h216/PS2.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRgyyT1Z0yJm2Ndd2PCt81LqOiTUxsU0vJ_sVP-SNTyNOLzlzv8LU-MWh-BscmxOJ7GT9HtggcRHy4FTbER9-NB0kf7hFFa8G_0ZXgr7BYTezDkwhhxEJOh56SH5daSvvv6PXGr47imlo/s1080/PS3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="522" data-original-width="1080" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRgyyT1Z0yJm2Ndd2PCt81LqOiTUxsU0vJ_sVP-SNTyNOLzlzv8LU-MWh-BscmxOJ7GT9HtggcRHy4FTbER9-NB0kf7hFFa8G_0ZXgr7BYTezDkwhhxEJOh56SH5daSvvv6PXGr47imlo/w400-h194/PS3.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihTkVJM-FrvNfcqJlNxQ3SMAJCaLeSPRrlBeENQzcLXcnOk4Kxg_SYJ4gJh3xt4jTwSKWVqyInwyA0hnDPUZAMYmPvrCbj52_mPLf-Yz3qa54zF2LGCMGuqZkq7L2Kul-mUkWFzLyALpI/s1080/PS1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="537" data-original-width="1080" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihTkVJM-FrvNfcqJlNxQ3SMAJCaLeSPRrlBeENQzcLXcnOk4Kxg_SYJ4gJh3xt4jTwSKWVqyInwyA0hnDPUZAMYmPvrCbj52_mPLf-Yz3qa54zF2LGCMGuqZkq7L2Kul-mUkWFzLyALpI/w400-h199/PS1.jpg" width="400" /></a></div><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-left: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVKEknZZhuWHq9WqbzfTWo-W0I9Ut3jKbqd75xIDJPeHqwtsUScY4AA-tbbRci-r4UgNmhTe4W5pgGO8LiC_iSAbdbIJ9FhM2WOiGqTqD3uD8OEJn1GGG0FBzWK7e7l89DDAEF_AFIgZ0/s1080/WOK+Battle.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="580" data-original-width="1080" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVKEknZZhuWHq9WqbzfTWo-W0I9Ut3jKbqd75xIDJPeHqwtsUScY4AA-tbbRci-r4UgNmhTe4W5pgGO8LiC_iSAbdbIJ9FhM2WOiGqTqD3uD8OEJn1GGG0FBzWK7e7l89DDAEF_AFIgZ0/w435-h234/WOK+Battle.jpg" width="435" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Enterprise vs. Reliant in the Mutara Nebula</i><br /></td></tr></tbody></table>To <i>Star Trek</i> fans everywhere, the Starship Enterprise as seen in The Original Series (TOS) movies (<i>Star Trek</i> I-VI) is an icon of Captain James Kirk's film era. It's not an overstatement to say that, to most of those same fans, that ship reached maximum coolness in <i>Star Trek II: The Wrath of Khan</i> (WOK), the Trek film by which all others are measured. That film featured the first fully-realized battle in space that <i>Star Trek</i> ever had. Sure, TOS stories had plenty of skirmishes with various aliens – most notably the Klingons and Romulans – but due to the technical and financial limitations of the time, those "battles" were more implied than shown. But, then along came <i>Wrath of Khan</i> and, BOOM – epic space battle! Dueling Starships! Phasers and Photon Torpedoes everywhere! Explosions aplenty!<p></p><p></p>In those battle scenes, the Enterprise really takes a beating. The Engineering hull gets strafed by phaser fire, the saucer takes damage and the port side Photon Torpedo Room is badly hit. And it is that last moment – the photon Torpedo Room hit – that required this model to be built (by the technical wizards at Industrial Light and Magic, no less). The guys that built <i>Star Wars </i>also did <i>Star Trek</i>.<br /><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-left: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8o6o-jIYuoXLdELne_LUHgFulqeVyD9h03LMM3AZFKLB5t83tV18pGZmnW5SlHzQ8bs2AnRC3sPzRwoIFOIDZtg74YSQvRp_Ll0r35YgJFQGZ3XH2kyDCHb7MRsOoKAE9J1-bzGCFbw4/s876/Battle+Hits.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="876" data-original-width="640" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8o6o-jIYuoXLdELne_LUHgFulqeVyD9h03LMM3AZFKLB5t83tV18pGZmnW5SlHzQ8bs2AnRC3sPzRwoIFOIDZtg74YSQvRp_Ll0r35YgJFQGZ3XH2kyDCHb7MRsOoKAE9J1-bzGCFbw4/w293-h400/Battle+Hits.jpg" width="293" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Full model vs. SFX model</i><br /></td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table>For the other two hits, the camera was not tight on the full Enterprise model so that they could optically add the phaser effect and simply apply "damage" to the surface of the model as needed. But for the Torpedo Room shot, they wanted something more graphic, ie: a close-up of the hit as it was happening. This required adding pyrotechnic effects to show the skin being damaged and burned while a phaser bolt was added over top to give the effect of watching the damage unfold in real time. The problem with that was the "pyro" part. Whenever you have fire and small explosions, things can happen which could put the very expensive large model at risk of severe damage. So as to avoid that risk, they simply made a copy. But not a full copy because they didn't need a complete model. Instead, they built an over-sized model of just the section they needed to show on camera. They finished it to exactly match the details on the full model but it permitted them to do two additional things. They could do the 'burning" effect on the port side while also having a larger, more detailed Photon Torpedo launcher to use for those scenes which showed a launch. As we see in the final film, this second model worked seamlessly to achieve both of those effects.<p>But, wait. If the model was used for the Torpedo Room damage, why is that section now unscathed? Where's the damage? The answer is simple: we are seeing the model after its LAST use in <i>Star Trek VI</i>, not after its FIRST use in <i>Star Trek II</i>. For each new movie use, the model was modified as needed for that film. <i> </i></p><p><i>Star Trek III: The Search For Spock</i> (TSFS) was a continuation of the story told in the previous film. In fact, its story picks up where the conclusion of WOK left us. The injured Enterprise is limping home and we see the battle-damage scars on its hull. But there's something odd about the damage. What we see is far more extensive than what was shown in WOK. In that story, the starboard side of Engineering is never hit. Yet that side now shows major damage at both the fore and aft areas of that hull. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYa-4nGpr3dwbOJzc5_YQK26WEgH3sHJ8jVhDKYzICXbcYfbh_7_F0ZeVfz5YK5dBaGV2pleYzDAHKZyBL6COKfS7v36Xjn6OR2s9co8BiphGLD2UwdsSlaO14unvcYUekw8jH4A-68w8/s1077/ST3+damage.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="494" data-original-width="1077" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYa-4nGpr3dwbOJzc5_YQK26WEgH3sHJ8jVhDKYzICXbcYfbh_7_F0ZeVfz5YK5dBaGV2pleYzDAHKZyBL6COKfS7v36Xjn6OR2s9co8BiphGLD2UwdsSlaO14unvcYUekw8jH4A-68w8/w640-h293/ST3+damage.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>As the Enterprise enters Spacedock, we can see the additional damage on the big model.</i><br /></td></tr></tbody></table><br /><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqqAcbJ5YlPuHMuU_gGadQr0x-acv-lU2gU6OpyULO0Jd2prGVEweKyFyyB5Iv1b4OJ1D6uhTFsniPb6cZia2OqDRFcoiZDqJ0NAe_fxasgdR05NWf2lPZoYAgIvPJhg71F0H3pvXFaUQ/s1080/ST3+damage+2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="639" data-original-width="1080" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqqAcbJ5YlPuHMuU_gGadQr0x-acv-lU2gU6OpyULO0Jd2prGVEweKyFyyB5Iv1b4OJ1D6uhTFsniPb6cZia2OqDRFcoiZDqJ0NAe_fxasgdR05NWf2lPZoYAgIvPJhg71F0H3pvXFaUQ/w400-h236/ST3+damage+2.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Star Trek III needed additional damage.</i><br /></td></tr></tbody></table>So what's the deal? Apparently, director Leonard Nimoy wanted the damage to be more noticeable than what was shown in WOK, hence the additional damage. What that meant regarding the SFX model was that it had to be updated to show that new damage when it was used to show a Photon Torpedo launch in a close-up of the starboard side. The model still shows that damage complete with hull plating to indicate rough repairs.<p></p><p></p><div class="separator" style="clear: both; text-align: left;"> </div><div class="separator" style="clear: both; text-align: left;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjac8Ep9VlMqKBORJxAE9wZjL1Pe26yZf2abJfXFtYzBJ1FL3GhXENi3XnwLu6AroG2BT9J45oj_najfX_vamcmzHuXcZlwgW6hTLfy5HVrfmcVkUGYDq5da8h4qgYA3nVB2Gapl6DFaQc/s1440/ST6+Photon+2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="702" data-original-width="1440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjac8Ep9VlMqKBORJxAE9wZjL1Pe26yZf2abJfXFtYzBJ1FL3GhXENi3XnwLu6AroG2BT9J45oj_najfX_vamcmzHuXcZlwgW6hTLfy5HVrfmcVkUGYDq5da8h4qgYA3nVB2Gapl6DFaQc/s320/ST6+Photon+2.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Star Trek VI required a clean model.</i><br /></td></tr></tbody></table>As for why the original port side damage is gone, we have to look to <i>Star Trek VI </i>for that answer. The SFX model was once again used for a Photon Torpedo launch but this time they needed to show the port side. This required them to erase the battle damage from WOK and make everything pristine and clean. This is why the SFX model shows no damage on the port side. </div><div class="separator" style="clear: both; text-align: left;"> </div><div class="separator" style="clear: both; text-align: left;">So there you have it. A model made nearly forty years ago by George Lucas' Industrial Light and Magic is now up for auction. The piece has perfect provenance as it was originally sold by Paramount during their big 2006 Christie's auction and fetched $11,400. With an estimate of around $20,000-26,000 that's a hefty increase. But ANY piece from <i>Wrath of Khan</i> is a rarity, and a piece that gets specific screen time AND was reused in later films is even more so. SO, while this isn't a full model of our beloved Enterprise, this is <i>literally</i> a piece of <i>Star Trek</i> history and I hope it finds a great home.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Check out the complete Propstore auction catalog with more <i>Star Trek</i> items (and tons of other cool stuff) <a href="https://propstore.com/" target="_blank"><b>HERE</b></a>.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Good luck! And, as always, LLAP.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Don</div>Donhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com0tag:blogger.com,1999:blog-2141267747214087216.post-85128693928344319432019-12-15T23:32:00.001-08:002019-12-16T09:16:47.261-08:00A "UNICORN" STAR TREK II: THE WRATH OF KHAN KIRK UNIFORM HITS THE AUCTION BLOCK!It's been a while since I added something to the blog, but something AMAZING has come out of the wood work and I had to write about it.<br />
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Today, December 16, is the start of a two day auction at Julien's in Culver City California. What's special about this auction for <i>Star Trek</i> fans is that they are featuring 48 lots of various <i>Star Trek</i> items made for many of the various incarnations including <i>The Next Generation,</i> <i>Deep Space Nine</i>, <i>Voyager</i> and more.<br />
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While that's all very exciting, there is one particular lot that especially excites <i>this</i> fan and, I suspect, many more. It's Lot 264 and here's the description:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinTP-PgJ4r5VUFWBZd0eKe-EZ6G1JT9W09C9j_lXihg54yqjiXq76k4dylH3TJ5VIPH6so10H5-87Es2mwgbaoLK-Q-Uym1PtALjPjdTdmfXa9cUUEFUuafAfAMWBisDCpOThyCXFsaFo/s1600/344182_0.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinTP-PgJ4r5VUFWBZd0eKe-EZ6G1JT9W09C9j_lXihg54yqjiXq76k4dylH3TJ5VIPH6so10H5-87Es2mwgbaoLK-Q-Uym1PtALjPjdTdmfXa9cUUEFUuafAfAMWBisDCpOThyCXFsaFo/s640/344182_0.jpg" width="425" /></a></div>
WILLIAM SHATNER "ADMIRAL JAMES T. KIRK" STARFLEET COMMAND JACKET FROM STAR TREK II: THE WRATH OF KHAN<br />
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"A Starfleet command/officer’s jacket worn by William Shatner as Admiral James T. Kirk in <i>Star Trek II: The Wrath of Khan </i>(Paramount,
1982). Maroon jacket with asymmetrical front lapel, cream colored
interior and black piping with gold soutache trim (indicating Flag
Officer rank). Features two silver- and gold-tone “admiral’s star”
badges at right shoulder and left arm. Also features black and gold
checkered (Rear Admiral) ribbon and cream colored stripe with production
brass-tone rank bands and pins on left sleeve. Costume includes black
leather belt with brass Starfleet buckle. Sotheby’s tag attached.<br />
Accompanied by Paramount Pictures letter of authenticity, signed by
director Nicholas Meyer and dated January 30, 1997. The letter from
Nicholas Meyer states the following:<i> </i><br />
<i>This letter will confirm that the Star Fleet tunic [jacket] in your
possession was worn by William Shatner in the film STAR TREK II - The
Wrath of Khan, which was written and directed by me. I was presented
with the jacket at the close of shooting in 1981, and I gave it directly
to you.</i><br />
PROVENANCE Lot 580, Sotheby's, New York, December 19, 1997. Paramount
Pictures Letter of Authenticity, signed by Director Nicholas Meyer,
dated January 30, 1997."<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP9k16vSidP-8xIuyfLuXPpTq3Vl7DN2-d-j2VzrJJmpYfrxDD3g4K_RC3XQ2vx706v1bH1LiPm1mntxXSBur70OBM66BDEp48LRQOErHzmaetSEJTT0omH_i5ffLlvOuc57_5kZme_L8/s1600/344184_0.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1326" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP9k16vSidP-8xIuyfLuXPpTq3Vl7DN2-d-j2VzrJJmpYfrxDD3g4K_RC3XQ2vx706v1bH1LiPm1mntxXSBur70OBM66BDEp48LRQOErHzmaetSEJTT0omH_i5ffLlvOuc57_5kZme_L8/s400/344184_0.jpg" width="301" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The white interior shows the unique lining color used for command officers.</td></tr>
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Sounds pretty cool, right? Probably rare? Here's the thing – a true <i>Wrath of Khan</i> Kirk jacket was believed to no longer exist (hence, a "unicorn"). <i>Until now. </i><br />
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"But Don," you're saying, "they <i>must</i> have made more than one for production." And you'd be right. While we don't know exactly how many jackets were made for William Shatner in <i>Wrath of Khan</i>, we do know that there were several – probably around seven or eight since he was the star and was in almost every scene of the movie. So this shouldn't be all that rare, right?<br />
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Wrong. An untouched Kirk from <i>Khan</i> is rare because over the course of the <i>Star Trek </i>films of the 80's and early 90's – those featuring the original cast – they were constantly trying to save money. One way to do that was to re-purpose costumes made for earlier films for use in later ones. That meant that all the jackets – even Shatner's – went into inventory to later be used as needed by any other actor or extra. When that happened, they were "neutralized" by having all their rank bands and other details – like the gold trim of an admiral's uniform – removed. The jacket would then be pulled from inventory for use based solely on the jacket's size and new rank and accessories would be added as needed for a particular character.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMFVAeWpYvvRaz6VnucrCzpTePun7-hYpTqWlcs62fe3ivHHhZc31E_PaK081yeg974Qs2TvQGCRTTdS99oreqtXKyy9x2nkuiB3gdOd_jE1Lj1EzrfFZWrPmoAyof_YDO2EC05Yrm_0o/s1600/ShatTag2-2707.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="624" data-original-width="700" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMFVAeWpYvvRaz6VnucrCzpTePun7-hYpTqWlcs62fe3ivHHhZc31E_PaK081yeg974Qs2TvQGCRTTdS99oreqtXKyy9x2nkuiB3gdOd_jE1Lj1EzrfFZWrPmoAyof_YDO2EC05Yrm_0o/s320/ShatTag2-2707.jpg" width="320" /></a></div>
We know, for example, that a Kirk jacket was re-used by the actor playing the Starfleet C-in-C in <i>Star Trek VI</i> (Leon Russom) because that jacket was sold at auction and featured the original Western Costume tag with Shatner's name typed in (for the original use) and the new actor's name simply written over in marker. The jacket was modified for that use with new rank pins and additional gold trim added.<br />
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This, then, became the fate of the Kirk jackets. As Shatner was given new jackets when his size changed (ie: increased!), his old jackets were retired and recycled. I know someone with a maroon that was crudely re-tailored for a female use and featured a white interior like Kirk's. I'd bet money that started as a Kirk but it is so heavily modified that it's impossible to tell for sure.<br />
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So the bottom line is this – we thought no <i>complete</i> original Kirk jackets survived. But this auction changes all that. The auction even answers the question of how this piece survived when none others have. This piece was gifted to <i>Wrath of Khan</i> director Nick Meyer in 1981 at the conclusion of <i>Star Trek II </i>production. This means that it never went into inventory to be used in later films, thus it was never modified after its initial use. By being removed from Paramount, the jacket was effectively preserved for posterity! And there's no better provenance than a letter from a film's director. It's my opinion that this piece is what it is presented to be – a true <i>Star Trek II: Wrath of Khan</i> Kirk jacket.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBvIUaRJ9vAMEeennv56G-EV5j-a_IkYIY_PiiWSak9UVBPneVWxDVoVV41LGyqs3N3ePKvzqHVbNi0WsMEAyf9cCRbBS1mXNijtPW_2h5HIaBp1mdpf76GD1FxyQd46l3B52WQK0ruNk/s1600/344185_0.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBvIUaRJ9vAMEeennv56G-EV5j-a_IkYIY_PiiWSak9UVBPneVWxDVoVV41LGyqs3N3ePKvzqHVbNi0WsMEAyf9cCRbBS1mXNijtPW_2h5HIaBp1mdpf76GD1FxyQd46l3B52WQK0ruNk/s400/344185_0.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rank strap with Admiral pin </td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhimN4qsv9DddCxW_1CQClPuaAXjP9aUtf7KjMEAQbAeN9Ang2aECML65o9DpmQR_cDSLwpY-rbkdUbh0LAbd_bQTPD8e37vrNUT3UoM_6WutBevVTAWLwvb1sw-4I62KyxdmuXbhE80PU/s1600/344189_0.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhimN4qsv9DddCxW_1CQClPuaAXjP9aUtf7KjMEAQbAeN9Ang2aECML65o9DpmQR_cDSLwpY-rbkdUbh0LAbd_bQTPD8e37vrNUT3UoM_6WutBevVTAWLwvb1sw-4I62KyxdmuXbhE80PU/s400/344189_0.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This checkered strap was unique to Wrath of Khan.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" data-original-height="1257" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWNkyqENYAw-nU9Y9In8KUI32IEu-T5iaSpRGNp-2WG30QT1q7Sqdm9CmVqHRZjhNFVU9MCw82ftEy59gl4BuUGUJ9YOPJFPt0JEK05n1d5iC06m9wjjuU9kmBFZCN1GCwNhqe8mKdxCU/s400/344183_0.jpg" style="margin-left: auto; margin-right: auto;" width="317" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The back shows all the great details of this amazing design.</td></tr>
</tbody></table>
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I'll mention one odd thing about this piece that I really can't explain. While most of its components seem to be correct and original as seen in the film, there's one small detail that is wrong. The rank band on the wrist is mounted on a maroon backing. This is incorrect. It should instead be mounted to a gold lame backing with gold piping that gives the impression of gold trim on the band. Here's a comparison:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDCJLjJwhKXCxDx6nsLOfInRDh9lw56HQgDRyOTRakajm_9NRM_3mZR9dHXOVw193-6mllTAXc5zOnofo5mYuOLn8hvtUr2lqxe4lT6TekZQj2bW9sVyfX6jp2TyGvilpa4ff_RDmKxQA/s1600/SleeveCompare.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="422" data-original-width="1123" height="147" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDCJLjJwhKXCxDx6nsLOfInRDh9lw56HQgDRyOTRakajm_9NRM_3mZR9dHXOVw193-6mllTAXc5zOnofo5mYuOLn8hvtUr2lqxe4lT6TekZQj2bW9sVyfX6jp2TyGvilpa4ff_RDmKxQA/s400/SleeveCompare.jpg" width="400" /></a></div>
<br />
The maroon version was actually used on the crewman jumpsuits shown in that movie so there is a precedent for that type to exist. Perhaps the jacket had to be reassembled for presentation to Meyer and the costumer grabbed the wrong band? Unfortunately, we'll never know.<br />
<br />
One other odd thing about this jacket is that it has no Western Costume tag sewn into it like the one shown above. As jackets got reused these tags were usually removed to avoid confusion. But since this jacket never went past <i>Star Trek II</i>, it's a surprise that the tag is not present. As with the wrist band, we'll never know the explanation.<br />
<br />
I want to stress that these two anomalies – the wrist band and the missing tag – in no way impact the authenticity of this piece. I have personally owned numerous production-made uniforms of this style over the years and I can tell you that this is definitely the real deal. I actually own a Kirk myself, complete with Western tag. While I am thrilled to own it, it is one of the modified versions I spoke of previously. It has none of the gold trim or rank pins as seen in <i>Wrath of Khan</i>. On the plus side, however, mine is a complete uniform with undershirt and pants, unlike this jacket-only piece.<br />
<br />
For comparison, the last time any Kirk jacket sold at auction, it went for over $40,000. It was the aforementioned "C-in-C Russom" version and was complete with pants and undershirt. This version has an estimate of $80,000-$100,000 (and is sitting at $55,000 in pre-bidding as of this writing). Will it hit that number? Will it exceed it? We'll know soon enough but nothing would surprise me.<br />
<br />
Keep in mind that this isn't simply rare. It's unique. Perhaps one-of-a-kind.<br />
<br />
So the question is this: what's a unicorn of the <i>Star Trek </i>variety worth? We'll find out this week.<br />
<br />
Be sure to check out this piece and the entire auction <a href="https://www.julienslive.com/m/lot-details/index/catalog/333/lot/131441?fbclid=IwAR0ShgBObDG0NnYaGq6dGYTyjQlKIacE_ld8WBMTA37fZp5j6Pk1xGrWwwE" target="_blank">HERE</a>.<br />
<br />
LLAP<br />
<br />
DonDonhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com3tag:blogger.com,1999:blog-2141267747214087216.post-11880429736734926142019-04-01T21:45:00.002-07:002019-04-07T09:25:41.058-07:00HERO-TRICORDER PART 2: BEGIN AT THE BEGINNING – IT'S HERO TIME!<i>This is the second of a multi-part series of stories regarding a research
project covering original series Star Trek Tricorders and Phasers. </i><br />
<br />
<i>Part 1 can be found <a href="http://wrathofdhanprops.blogspot.com/2017/08/hero-tricorder-issue-1-introduction-to.html"><b><span style="color: red;">HERE</span></b></a>. </i><br />
<br />
<i>An
overview of the project can be found <a href="http://wrathofdhanprops.blogspot.com/2017/08/introducing-tpz-star-trek-hero-prop.html" target="_blank"><span style="color: red;"><b>HERE</b></span></a>. </i><br />
<br />
Throughout the three season run of the original <i>Star Trek</i> (TOS), the intrepid crew beamed into any number of circumstances holding that greatest of all scientific gizmos, the Tricorder. The device permitted the characters to analyze and report on the various conditions that they were facing. And as Mr. Spock gave the Captain his analysis of things on Cestus III ("Arena"), he was also telling us, the viewers, what was going on as well.<br />
<br />
With the need of such a vital prop on a week-to-week basis, the Tricorder was one of the first props developed for the production. Gene Roddenberry called on special effects artist Wah Ming Chang to develop the Tricorder prop as well as the Communicators. Roddenberry gave Chang an overview of how the prop would be used and the overall functions that were required. Below is Wah's sketch with one of his finished props to the right. While the pieces are similar, the details changed a bit between concept and execution. Be sure to click on images to see larger versions.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYoi74XfYOsBWB_-LVf_bxLAa81cODX-Kla6ODmdF9wGoSXGyuUlwRvzZzK7dJNDSWoYJkhAPFwA_HzY1cTbp4XDWMHrSPbc0ujknMXeqFbmSfd5at8xcE80xoXwbuukf0Jp8-ILsMC_4/s1600/Wahx2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="990" data-original-width="1600" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYoi74XfYOsBWB_-LVf_bxLAa81cODX-Kla6ODmdF9wGoSXGyuUlwRvzZzK7dJNDSWoYJkhAPFwA_HzY1cTbp4XDWMHrSPbc0ujknMXeqFbmSfd5at8xcE80xoXwbuukf0Jp8-ILsMC_4/s400/Wahx2.jpg" width="400" /></a></div>
According to a surviving copy of his invoice, Wah delivered two highly detailed Tricorder props to Roddenberry. Unfortunately, only one of the props has a surviving beauty shot (above). A lot of detective work had to be done to determine whether or not the second version was the same (it's not). The beauty shot gives us the single best shot of a Wah Tricorder, which I will refer to from this point on as the "Heroes". A Hero prop is one that is highly detailed and can be used for close-ups.<br />
<br />
Let's see exactly what this great shot shows us.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHA3p6dQK52JcxgL6Ux9_rFniwBRa7doWbfOlxrtyWsCdxOJJ10Tx3uwQly9CbqGeMKFc617SaORY2qeynzlQ4_Q2DWK20gjw3nmY5Mw0hCNuaBpZY-6X_csRALYmiL6r9FN7l7sbYP5Y/s1600/TricorderHeroCallouts.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="886" data-original-width="1600" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHA3p6dQK52JcxgL6Ux9_rFniwBRa7doWbfOlxrtyWsCdxOJJ10Tx3uwQly9CbqGeMKFc617SaORY2qeynzlQ4_Q2DWK20gjw3nmY5Mw0hCNuaBpZY-6X_csRALYmiL6r9FN7l7sbYP5Y/s400/TricorderHeroCallouts.jpg" width="400" /></a></div>
The true nature of the materials used in the Heroes is known to us because one of the two survived and is in the possession of a well-known <i>Star Trek</i> prop maker and collector. His version has been screen-matched to TOS episodes so it is a conformed authentic piece. This is a very important fact and informs much of this story.<br />
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Anatomy of a Hero Tricorder</span></span></b><br />
Unlike the Phasers (which were neither designed nor built by Wah Ming Chang), the Tricorders and Communicators were meant to be companion pieces with both using the same materials and design elements. Let's take a look at the two props side-by-side<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgydZY5j15R5fh8vD4QEh5ydwH9pi_WAAETsZJOHFryDdq6aKE-2uJsk4DOgjwaXnFw8yUb_bLKOE8JKt0Jra4SEHQlTVpG__VRkMTbA-kzmJrxQcmIFHNpGngKd3odPO2LXtKIDltZe0M/s1600/Comm+Tric+Compare.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="840" data-original-width="1600" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgydZY5j15R5fh8vD4QEh5ydwH9pi_WAAETsZJOHFryDdq6aKE-2uJsk4DOgjwaXnFw8yUb_bLKOE8JKt0Jra4SEHQlTVpG__VRkMTbA-kzmJrxQcmIFHNpGngKd3odPO2LXtKIDltZe0M/s400/Comm+Tric+Compare.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Comm as seen in "Patterns of Force" (left) and Wah Chang's Tricorder archive photo (right)</td></tr>
</tbody></table>
It's a simple thing to see the commonalities:<br />
<ul>
<li>Same black plastic</li>
<li>Same moire disk</li>
<li>Same control buttons</li>
<li>Same use of speaker material</li>
</ul>
Because there are surviving Communicator props as well as a Hero Tricorder, we know for certain that the same types of materials were used.<br />
<ul>
<li>Body created with vacuum-formed Kydex plastic (a very common material in the sixties).</li>
<li>Aluminum frame and detail parts – lightweight and easy to mill and cut </li>
<li>Transistor radio speaker material</li>
<li>Colored "lights" made from watch-winder crowns (they did NOT actually light up)</li>
<li>Silver "knobs" made from Aurora slot car hubs</li>
</ul>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA_b8EZ4pzvKP_LivRWSaYUKUzIE_DqhZshycb6gOPKsbqz5FF8EMriR8WWysAUKP0yJ2jfw9TZZbCD1B5raabUsz2dMZ9-EbH3Fr86SG9TjwWie-5bBi-bDjlUbPoOXvadQr9ERjQwaQ/s1600/Jein+CU1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="546" data-original-width="648" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA_b8EZ4pzvKP_LivRWSaYUKUzIE_DqhZshycb6gOPKsbqz5FF8EMriR8WWysAUKP0yJ2jfw9TZZbCD1B5raabUsz2dMZ9-EbH3Fr86SG9TjwWie-5bBi-bDjlUbPoOXvadQr9ERjQwaQ/s400/Jein+CU1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Surviving Tricorder showing hood details (courtesy Greg Jein)</td></tr>
</tbody></table>
The view-screen on the Tricorder was simply a heat-slumped piece of clear plastic that was back-painted. The Tricorder also had a leather strap for easy carrying.<br />
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Not-so-identical Twins</span></span></b> <br />
We know that Wah delivered two Heroes, and this is clearly confirmed by analysis of scenes from early episodes. The above version is identified here as Hero #1 and is easily defined by its blue control buttons and moire disk. Hero #2 is identified by buttons of three different colors and a light diffusing disk (known as a "jewelarama" effect). The moire disk detail mirrors the same detail used on Communicaters, while the Jewelarama disk is a one time detail.<br />
<br />
Here are the best shots of Hero #1 (H1):<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivpk31vnDvy7Ck-UyjpPRpvbe7UD8gpqFQXRTHSwzfm2DPMzdhC22siY0MFJ0AIbz2gSxttYGOpOa8FcvdB0lBwxvIVu_aQTnJCgttsumkJqJ47LAJkKjBSaMNwmuEjtUWos7RTuxJ5R8/s1600/MoireTricCompare.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="964" data-original-width="1462" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivpk31vnDvy7Ck-UyjpPRpvbe7UD8gpqFQXRTHSwzfm2DPMzdhC22siY0MFJ0AIbz2gSxttYGOpOa8FcvdB0lBwxvIVu_aQTnJCgttsumkJqJ47LAJkKjBSaMNwmuEjtUWos7RTuxJ5R8/s400/MoireTricCompare.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Left is Wah's photo taken prior to delivery. Right is a shot from a PR photo shoot (colorized by Herocomm.com)</td></tr>
</tbody></table>
Here are the best shots we have of Hero #2 (H2):<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH0OFF9yWj5ddGNVsxUFIPpAuVGvdIfjM8kGAjZ86Vd14tet0shU_PEmrirEAOZ4fdY_6qdmhWzeFpAFgHmDlF-CfJyibkwySS8bTePU_SyVU8-npe1Y7K3j2JtjYBnBrE22hK_3v6NfQ/s1600/JewelTricorderX2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="873" data-original-width="1600" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH0OFF9yWj5ddGNVsxUFIPpAuVGvdIfjM8kGAjZ86Vd14tet0shU_PEmrirEAOZ4fdY_6qdmhWzeFpAFgHmDlF-CfJyibkwySS8bTePU_SyVU8-npe1Y7K3j2JtjYBnBrE22hK_3v6NfQ/s400/JewelTricorderX2.jpg" width="400" /></a></div>
For Hero #2, the image on the left is taken from the episode "Charlie X" while the one on the right is from "Balance of Terror". We can see that the three top buttons are not all blue but are three different colors (green, red and blue, we think) and we can clearly see the Jewelarama disk. The detail is soft because the prop is simply in the background of the frame and is blown up in size. In three seasons worth of episodes, these are the only times we get a full look at this specific Tricorder. It's worth noting that this level of detail, though not perfect by any means, is only available because of the sharpness of Blu-Ray. Before Blu-Ray these would have been a smudgy mess!<br />
<br />
Along with the differing details already discussed, there were some other, more subtle differences between the two.<br />
<br />
On the shots of Hero #1, above, take a close look at the area between the row of aluminum disks and the moire ring. In the first shot there is nothing there. But in the second shot, there is clearly some kind of detail that was added between the two shots. The first was taken before Wah Ming Chang delivered the props to Roddenberry, while the second shot was done midway through Season 1. Along with several other shots, that Tricorder was photographed for the book, "The Making of Star Trek". Here's two blown-up shots of that detail:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvogHlMrURb7t_Goxq42VLtPkqiTFa3QYSRvslXo4Be0qKyeFZ1UCMKmU8eB21uE_a12xsvyhEI0X4cGMdciPKKL46mnw-HQa4dl-ENsc5Y4PIXYKPPM-pgPwmOvuq7b0xCVZe17CrXhQ/s1600/Ejector+CU.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="415" data-original-width="576" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvogHlMrURb7t_Goxq42VLtPkqiTFa3QYSRvslXo4Be0qKyeFZ1UCMKmU8eB21uE_a12xsvyhEI0X4cGMdciPKKL46mnw-HQa4dl-ENsc5Y4PIXYKPPM-pgPwmOvuq7b0xCVZe17CrXhQ/s400/Ejector+CU.jpg" width="400" /></a></div>
This particular aspect of this Tricorder was the source of a ton of discussion in our research group. It was a mystery due to the fact that the interior detail that was originally seen in the surviving Hero was now missing. More on that later. At no time was this detail ever seen on screen and we were never given any hint that it existed, let alone its function. The consensus that we arrived at was that this was probably a device used to eject the disk to its immediate left. Why? Two reasons.<br />
<br />
First off, we can clearly see that the last disk on both Tricorders had more space between it and the rest of the disks in the row.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHYpBeGcMmojUdDKo5aByI9I59aLaPxtbAmEhnrlrNkueMO9UsBak-nBN-VZysrYWwgLhBA-C5V-nKudOtSQe0dKyjBgPzhnZOHEHz0mPBIc6zgbM14HSZQz0adjTK6bX3GZ-Dv2rJ_OM/s1600/DiskGapDetail.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="381" data-original-width="648" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHYpBeGcMmojUdDKo5aByI9I59aLaPxtbAmEhnrlrNkueMO9UsBak-nBN-VZysrYWwgLhBA-C5V-nKudOtSQe0dKyjBgPzhnZOHEHz0mPBIc6zgbM14HSZQz0adjTK6bX3GZ-Dv2rJ_OM/s400/DiskGapDetail.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Note the gap between disks is consistent until the last piece.</td></tr>
</tbody></table>
We felt that what we were likely seeing was a single piece of aluminum with grooves lathed into it that ended before the last disk. We felt that the last disk was not attached to the rest of the row so that it could be removed by an actor. According to the original sketch made by Chang, it was apparent that these disks were meant to be inserted into/onto the moire disk in order to be "read".<br />
<br />
The second reason that led to the "ejector" theory was the fact that John Dwyer, the set decorator on TOS, was attributed to speaking about this very detail. The magazine "Star Trek Communicator" (#155) contained the following quote in a story about the various props:<br />
<br />
"Not only did Dwyer confirm that a number of tricorders had this
feature, but it turns out the disks were a headache for prop master
Irving Feinberger. The disks had a tendency to get lost. In the end,
Feinberger just glued the disks in place on some of these tricorders."<br />
<br />
Combine this quote with the wider gap and we felt is was likely that the last disk could be removed. So why would an ejector be added? We assume that the removable disk was originally pressure-fitted but without a way to specifically grab it. The ejector was probably just a simple "L'-shaped piece of metal that could be pulled out and bring the disk with it. But since it would have been difficult to see on screen, we think that it simply was never used as it was too small and too fussy. Bummer. Be aware that this is ONLY a theory, however, as the surviving Tricorder no longer has this feature so we simply cannot know for sure. But it's logical. (See what I did there?)<br />
<br />
As for the H2 Jewelarama Tricorder, it had its own strange details. Since we never get a good look at its interior, we can't definitively say that it didn't have the ejector retrofitted like its twin. But we CAN say that it got a retrofit of its own – a mysterious black switch on the top crosspiece.<br />
<br />
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We get glimpses of that area during several early episodes so we can definitively say that it wasn't there at the beginning. It's in "Miri" that it can first be seen clearly. In that episode, Kirk does something that we had never before seen. While on the planet with McCoy and Spock, Kirk makes a log entry into a Tricorder like we had seen him do in prior episodes. But in this case, when he is finished, he reaches up to the crosspiece and seems to flick a switch! We even hear a sound effect for it. <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxtUUjszHdUqAn_PUDo3uOY-2Of6o4hEPcXHQ6pCyo9TdvRvLl91PX5CQYKBoy-NmSU5M4Q0x7pW-Dw4eCDNmmXwkeltXXpvoVYUHomzXK5RqGyBa6e7TGpW97RC-6EmbjgxjWrXKSof0/s1600/SwitchFlick.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="796" data-original-width="1117" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxtUUjszHdUqAn_PUDo3uOY-2Of6o4hEPcXHQ6pCyo9TdvRvLl91PX5CQYKBoy-NmSU5M4Q0x7pW-Dw4eCDNmmXwkeltXXpvoVYUHomzXK5RqGyBa6e7TGpW97RC-6EmbjgxjWrXKSof0/s320/SwitchFlick.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here we see Kirk flicking the switch.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjzVXoRqeHZciRrVKJEetlZLxUNmNvKMs2q88fR7xuoz0b9EFNe893FCH061kD5EXTXTQz99ZDeqCAA6I6H0qcJ4COGZTgWDVtOwUcpOPx0-Nm-SAwrYTUFerpGAwp8M_02qZRInOoWSQ/s1600/J-Switch+Miri.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="516" data-original-width="648" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjzVXoRqeHZciRrVKJEetlZLxUNmNvKMs2q88fR7xuoz0b9EFNe893FCH061kD5EXTXTQz99ZDeqCAA6I6H0qcJ4COGZTgWDVtOwUcpOPx0-Nm-SAwrYTUFerpGAwp8M_02qZRInOoWSQ/s320/J-Switch+Miri.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here's that area a few frames earlier. The black switch can just be discerned on the crosspiece.</td></tr>
</tbody></table>
Sure enough, if we blow up a frame from that scene we can actually see the switch on the crosspiece. It's more evident in later episodes like "Shore Leave" when Sulu obligingly leaves his Tricorder open and facing the camera:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidHsK4EtxJ5FAHHvlJirteeVnYZ5YrdyFFoZ9e4aF1Faj_JbyAF76Q9AfTYE0pQXee659guxi_PwkykX5GRTzD-5yhsTluZ9Bl-j7OhGwO9ExZGnGpEijH-AEnVEzzG2FyG7XHzk68aSg/s1600/SuluJrama.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="893" data-original-width="971" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidHsK4EtxJ5FAHHvlJirteeVnYZ5YrdyFFoZ9e4aF1Faj_JbyAF76Q9AfTYE0pQXee659guxi_PwkykX5GRTzD-5yhsTluZ9Bl-j7OhGwO9ExZGnGpEijH-AEnVEzzG2FyG7XHzk68aSg/s320/SuluJrama.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Seen here in "Shore Leave" is the mysterious black switch.</td></tr>
</tbody></table>
The switch can be seen in a number of later episodes including "The Galileo Seven", "The Squire of Gothos" and "This Side Of Paradise" so this isn't a fluke. In "Bread and Circuses" Kirk once again makes a log entry, this time on the bridge. And, once again at its conclusion he reaches up and flicks the switch.<br />
<br />
So what, exactly, did this switch actually do? As far as we can tell: nothing. I wouldn't be surprised if the actors asked for it so they had something to do and have a way to tell the audience that something (like a log entry) was beginning and/or ending. Other than the swiveling hoods and operable doors, this little switch is the only moving part on any Tricorder! For what it's worth, we seldom see anyone else use it other than Kirk. It's true function will likely never be known for certain.<br />
<br />
Along with the switch, the Jewelarama had another distinctive trait, starting with "Charlie X". In that episode we can see a new addition to that specific Tricorder – a dent in the hood.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXyLoIePRbZvjwCeYVk0M02n-yj_ISFd_lnhEnGjxIk6-gMvtHRE3UFSTFJYD5DLe_EvBcWov4lE4VF_xVrhwikFzY8gjrLoanDnzbNla7wAJdDzPoPhSRHaURRbAv1FN4yhF_0LK-24c/s1600/CharlieXDent.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="423" data-original-width="648" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXyLoIePRbZvjwCeYVk0M02n-yj_ISFd_lnhEnGjxIk6-gMvtHRE3UFSTFJYD5DLe_EvBcWov4lE4VF_xVrhwikFzY8gjrLoanDnzbNla7wAJdDzPoPhSRHaURRbAv1FN4yhF_0LK-24c/s400/CharlieXDent.jpg" width="400" /> </a></td><td style="text-align: center;"></td><td style="text-align: center;"></td><td style="text-align: center;"></td><td style="text-align: center;"><br /></td><td style="text-align: center;"></td><td style="text-align: center;"></td><td style="text-align: center;"></td><td style="text-align: center;"></td><td style="text-align: center;"></td><td style="text-align: center;"></td><td style="text-align: center;"></td><td style="text-align: center;"><br /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The dent can be seen in the rippling nature of the hood's shadow in "Charlie X"</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ_mJmIN7tUkHmSHAcFVYeN6djjwQP7DjaEleYE30JumVfMHbNn-3RidK7DPoUujIKtpXsgJKIt1KXVR_5m_KFHkDl_MDMvvt5yrNumwt8NmGUTTXvUxKHQkGnhOkyBSA0N9qhsZhnv5w/s1600/BalanceDent.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="509" data-original-width="648" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ_mJmIN7tUkHmSHAcFVYeN6djjwQP7DjaEleYE30JumVfMHbNn-3RidK7DPoUujIKtpXsgJKIt1KXVR_5m_KFHkDl_MDMvvt5yrNumwt8NmGUTTXvUxKHQkGnhOkyBSA0N9qhsZhnv5w/s400/BalanceDent.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The dent shows up in "Balance of Terror".</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdfRFtu9jxuI08U9Nc79fbqTQDdvIC9bmECWv2fI4Mx1n7LgYYeKtgo-3AMN8dMYQFjoDHpKf8TiI-2-q7JsIqeD2Pp8XxeOXOuRHgsniVgeMV5YckHwLQPBs4Kx9y4RAXWZ_LtFJka9Q/s1600/SquireDent.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="623" data-original-width="648" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdfRFtu9jxuI08U9Nc79fbqTQDdvIC9bmECWv2fI4Mx1n7LgYYeKtgo-3AMN8dMYQFjoDHpKf8TiI-2-q7JsIqeD2Pp8XxeOXOuRHgsniVgeMV5YckHwLQPBs4Kx9y4RAXWZ_LtFJka9Q/s320/SquireDent.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The dent can be seen clearly in "The Squire of Gothos" and many more episodes.</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
The dent becomes an additional way to identify the Jewelarama piece without actually needing to see the control panel or the interior.<br />
<br />
Lastly, there's a small detail that changed early on for both Tricorders: the door handles.<br />
<br />
The H1 Tricorder started life with thin handles that were inset into the doors:<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBfnh0beS3PZxcTF-fZbz4JK0WemTqXb9uZCkZmiRJ9lZbrUulfJJPcCnx9AeYq7rzLKGSGZLYq2xKr1q9sOJTtXeVCUM7346VIjyAh0ErEjDWOCi4LBQTaq98RfjsulZhDGJbYS26EuQ/s1600/Straight+Handles.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="454" data-original-width="504" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBfnh0beS3PZxcTF-fZbz4JK0WemTqXb9uZCkZmiRJ9lZbrUulfJJPcCnx9AeYq7rzLKGSGZLYq2xKr1q9sOJTtXeVCUM7346VIjyAh0ErEjDWOCi4LBQTaq98RfjsulZhDGJbYS26EuQ/s400/Straight+Handles.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The handles were originally thin and inset into the doors per this shot from "Miri".</td></tr>
</tbody></table>
The shot above probably demonstrates why these were changed. The thin style would have made them very difficult to grasp and and open the doors easily. I wouldn't be surprised if the actors complained about that detail which led to slightly larger "L"- shaped handles that were undoubtedly easier to grab. For some unknown reason, the H2 Tricorder had easier to grab handles.<br />
<br />
By the time Season 2 started, the Heroes all had the same type of handles:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZVZMBdGvwKUgwOqg7x7_C2q2Wz9_dVf9JJnuecB06F0GCiE4om3jH4MvEgRPSUAMpgJK5REewNY4g00o6VgguqJ6m9NJl1muKviDnMGvAhUBppVWTfqJatdWz4sbWXpETuvWKIxXSius/s1600/New+Handles.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="726" data-original-width="504" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZVZMBdGvwKUgwOqg7x7_C2q2Wz9_dVf9JJnuecB06F0GCiE4om3jH4MvEgRPSUAMpgJK5REewNY4g00o6VgguqJ6m9NJl1muKviDnMGvAhUBppVWTfqJatdWz4sbWXpETuvWKIxXSius/s400/New+Handles.jpg" width="277" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The new handles would have been easier to grab – as seen in "Metamorphosis".</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">The Old Switcharoo</span></span></b><br />
There's one more issue to deal with regarding the Heroes and it's a bit confusing. That black switch that we mentioned earlier? Well... it moves from one Tricorder to the other. Kind of.<br />
<br />
Say what? Here's the deal.<br />
<br />
At the end of Season 1, the switch is still on the H2 Jewelarama (we can see it in "The City On The Edge Of Forever", the next-to-last episode of Season 1). But when we get to the beginning oif Season 2, the switch has vanished! In the second episode of the season, "Metamorphosis", we can clearly see that it is no longer present on the Jewelarama when McCoy uses it:<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMYgqICGCmxZufnXebvoGpA3fFcNDcMEFgFCuyvZZnQCripiFVzjpr_aJTPI-cwzwXFzxIMHY0yc_b5oJQAQOQxddriH4CvHONgDf9MhZk8kaN0MxUdzXAYjsrhFkqcWFV_lnLbH94iog/s1600/J-CU.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="454" data-original-width="504" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMYgqICGCmxZufnXebvoGpA3fFcNDcMEFgFCuyvZZnQCripiFVzjpr_aJTPI-cwzwXFzxIMHY0yc_b5oJQAQOQxddriH4CvHONgDf9MhZk8kaN0MxUdzXAYjsrhFkqcWFV_lnLbH94iog/s400/J-CU.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
The red center jewel identifies this as the H2 Jewelarama but there's obviously no switch. It's also worth noting that the handles are now changed. So, no switch and new handles. What the...?<br />
<br />
What about the H1 Moire Tricorder? It doesn't show up until the ninth episode of the season, "The Apple". But when it does, we get a surprise:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibpFCjh9yeCXgCzAlObvxD4-KvLYtZ2mT-VBz1tn0W2r09gcPLEhmowVGa_5CWqNdZO8tJd56Tl-_1kBDTW4jgZ4m4p5QHsa1A66JhTRUo7w99QsX4AGBG6NldhRDLgbTGeNs1k1_g3VI/s1600/+Spock+Blue+Hero.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="439" data-original-width="720" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibpFCjh9yeCXgCzAlObvxD4-KvLYtZ2mT-VBz1tn0W2r09gcPLEhmowVGa_5CWqNdZO8tJd56Tl-_1kBDTW4jgZ4m4p5QHsa1A66JhTRUo7w99QsX4AGBG6NldhRDLgbTGeNs1k1_g3VI/s400/+Spock+Blue+Hero.jpg" width="400" /></a></div>
<br />
There's the switch, but now on the OTHER Tricorder! This is confirmed in several other appearances going forward. Also, this one has the new handles as well.<br />
<br />
So between seasons, the handles were replaced and the switch switched props. We can assume the handles were about usability. But why move the switch?<br />
<br />
Our theory is that between seasons the props were undobtedly cleaned up. This would have not only been logical but necessary. After a whole season of getting used and banged around, all of the regularly-used hand props – Phasers, Communicators and Tricorders – would have all been showing wear and tear. Surviving Phasers show multiple paint layers from just that kind of thing. Apparently the Tricorders were taken apart, their parts cleaned, the handles replaced, and then reassembled. But not everything got put back to where it had originally been. So from this time forward, the switch would be associated with the H1 Tricorder, the one with the moire disk.<br />
<br />
Though that brings up yet another wrinkle. About that moire disk...<br />
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"></span></b> <br />
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"></span></b><b><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Vanishing Act</span></span></b> <br />
It's gone. After Season 1 we never ever see the insides of ANY Tricorder again. The Jewelarama disk? We never see it again. The moire? Same there. The row of disks? Vanished.<br />
<br />
The obvious question, of course, is why go to all the trouble to create such a detailed interior and then never use it again? By Season 3, we can see that those details are not just hidden but that they are GONE – removed from the Tricorders altogether. Here is a shot of the H2 during Season 3's "That Which Survives". Notice that the guts have been totally replaced by all new stuff. This episode required a Tricorder to be set up with a "homing beacon", so the H2 was converted into what we call the "Geology Tricorder" because it was ostensibly used by geologist D'Amato.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6jGJTJmKwnyehzKnfcKz92SfCR0AVyPEWKeJwinftBZ6lLgDu88pnT0ERkNiLKJYA-kCn5-zJQMG1bmo4ejG_JDixkv2wcYUTCDGq1Bxsv3W7cGRVMOnKgQ-64U-8ZngaoXcBBQ-jDFs/s1600/TWSgeoTric1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="811" data-original-width="808" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6jGJTJmKwnyehzKnfcKz92SfCR0AVyPEWKeJwinftBZ6lLgDu88pnT0ERkNiLKJYA-kCn5-zJQMG1bmo4ejG_JDixkv2wcYUTCDGq1Bxsv3W7cGRVMOnKgQ-64U-8ZngaoXcBBQ-jDFs/s400/TWSgeoTric1.jpg" width="397" /></a></div>
<br />
With a little adjustment to the image we can see that the center gem on the control panel is definitely read which makes this the H2 Jewelarama without its original guts. What happened to them? Unfortunately, that's not a knowable thing. But since Spock went out of his way during Season 1 to show off the interior details, I think it likely that they were removed between Seasons 1 and 2 and never restored. Perhaps they were a little easier to lug around with a little less weight? Who knows? That's a mystery that's lost to history.<br />
<br />
The above image also tells us a lot about the state of the Heroes in general by Season 3. Look at how the crossbar is not solidly attached. And what's with that big blob of – what, glue? – on the inside of the door. Overall this is looking a bit the worse for wear. For what it's worth, this prop is never seen again in any subsequent episodes. Where did it end up?<br />
<br />
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">The Wrap-up</span></span></b><br />
The two Heroes were the only Tricorders seen through the first 18 episodes of
Season 1. The nineteenth episode, "Arena", had a story demand that had
never come up before. It required that Tricorders be used in heavy
action scenes including one being thrown by Spock, no less. The Heroes
were too valuable to risk in these kinds of scenes, so three new
Tricorders were introduced. These were made of fiberglass and were
simplified in detail as well as being lighter in weight. They would
never be shown in close-up as that was not their role. The Heroes would
be saved for that need. At least for a while.<br />
<br />
Throughout the first two
seasons the two Heroes were the workhorses for most episodes. Hero #1
was usually used by Spock while Hero #2 was usually in McCoy's hands.
Did the actors decide that one or the other was "theirs"? Did the prop
master make that choice? We can't know but in 90% of the time when a
Tricorder could be identified (and they can be identified a LOT!) H1 was
Spock's and H2 was McCoy's. It's too regular to be coincidence in this
writer's opinion.<br />
<br />
But by the beginning of Season 3 this
completely changed. The Heroes were effectively replaced by the new
Leatherettes that were created for Season 3. Look for that story as well as the scoop on the Fiberglass versions.<br />
<br />
So with all this information, we're still left with one great mystery: where is the second Hero?<br />
<br />
Maybe it will pop up in someone's attic. You never know.<br />
<br />
LLAP<br />
<br />
Don Donhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com0tag:blogger.com,1999:blog-2141267747214087216.post-27629342183841944542018-12-25T18:48:00.002-08:002018-12-25T18:53:24.979-08:00WHAT IS IT ABOUT THE ENTERPRISE-A THAT MAKES IT SO DARNED COOL? MAYBE IT'S MORE COMPLICATED THAN YOU THINK!!All my life I've had a fascination with the original <i>Enterprise</i> and it's direct descendant, the <i>Enterprise-A</i> (or Motion Picture Refit – same thing, basically). The <i>Enterprise-A, </i>especially, represents a perfected starship design based, of course, on the original ship, but refined and perfected in every way, at least in this fan's heart.<br />
<br />
But why? What is it about that particular design that I find so appealing? What's the secret? Well, maybe this guy has it pegged.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/e6RAbB8afn0" width="480"></iframe>
<br />
And then there's those engines:<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/xnbmZ6Z7WU0" width="480"></iframe>
<br />
Maybe he's on to something. What do you think? <br />
<br />
LLAP<br />
<br />
DonDonhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com0tag:blogger.com,1999:blog-2141267747214087216.post-71136112801893217742018-12-09T13:56:00.003-08:002018-12-09T14:55:34.164-08:00A CHALLENGE TO PROFILES IN HISTORY AND PHASER CONSIGNOR JASON JOINER: SHOW ME THE MONEY (SHOT)!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx1jo4qR0JkES5IfnoWWvhRleUlsifkLvB6LD-XTpan7NP8Lybw7HFjyncb5kukqFw35pJ5bPGInJjvdFeQkQEvvoHnyLlzqfOUpvP2euMT3-JnUZvGJ4y-i59_GOIdvXHnBdbsY-_DRE/s1600/31871771_3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1050" data-original-width="1600" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx1jo4qR0JkES5IfnoWWvhRleUlsifkLvB6LD-XTpan7NP8Lybw7HFjyncb5kukqFw35pJ5bPGInJjvdFeQkQEvvoHnyLlzqfOUpvP2euMT3-JnUZvGJ4y-i59_GOIdvXHnBdbsY-_DRE/s400/31871771_3.jpg" width="400" /></a></div>
Last week I wrote about the <i>Star Trek</i> original series (TOS) Phaser prop that was being offered in the upcoming auction (click <a href="http://wrathofdhanprops.blogspot.com/2018/12/another-original-series-phaser-hits.html"><b><span style="color: red;">HERE</span></b></a>).<br />
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It was my opinion that the piece was likely a real, honest-to-goodness Phaser prop from <i>Star Trek</i>, and as such was a thing of beauty. As you read this, please keep in mind that I stand by that opinion: I still think this is a wonderful thing.<br />
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That said, the one aspect of the piece that I had a problem with was the attribution of the piece as having been used by Leonard Nimoy. Profiles states the following:<br />
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"<span id="item_details_info_description" itemprop="description"><span class="contentblock" id="cphBody_cbItemDescription"><i>Since
this prop is hand made, it exhibits unique characteristics and it
screen matches as being worn by Leonard Nimoy as "Spock" in the episode
"The Paradise Syndrome."</i> " </span></span><br />
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<span id="item_details_info_description" itemprop="description"><span class="contentblock" id="cphBody_cbItemDescription">When they use the term "screen-match", that is setting a high bar, indeed. It means they can PROVE this was used by Nimoy. </span></span><span id="item_details_info_description" itemprop="description"><span class="contentblock" id="cphBody_cbItemDescription">In other words, Profiles is telling the world – "this is not just a real phaser – it's <i>Spock's</i> real phaser!"</span></span><br />
<br />
<span id="item_details_info_description" itemprop="description"><span class="contentblock" id="cphBody_cbItemDescription"></span></span><span id="item_details_info_description" itemprop="description"><span class="contentblock" id="cphBody_cbItemDescription"></span></span>I proceeded to point out that neither I nor a cadre of my fellow Phaser enthusiast friends could find that "screen-match" that they cite for such a lofty claim. I then said that it had nothing to do with the authenticity of the piece, however. It was a great specimen, in our eyes, and I let it go at that.<br />
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I have now come to realize that was a mistake on part. By claiming the screen-match, Profiles and the consignor, Jason Joiner, have subtly marketed this as "Spock's Phaser", not just a generic phaser, and that's a big, BIG deal!<br />
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In the screen-used prop collecting world, a premium is always assigned to any prop or costume that can be put into the hands of a principle actor. A dark suit from <i>The Godfather</i> is no big deal. But a suit from <i>The Godfather</i> used by Marlon Brando is a VERY big deal! A blaster from <i>Star Wars</i> is great, but <i>Han's</i> Blaster is phenomenal! So it is with <i>Star Trek</i> items. A blue tunic from TOS is worth thousands. A blue tunic from TOS worn by <i>Spock</i> is worth <i>tens of thousands!</i> As I said – it's a very, very big deal.<br />
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So how does this translate to the Phaser in question? To begin with, the estimate <i>starts</i> at $100,000 ($125,000 with buyer's premium). Please note that <i>NO PHASER PISTOL HAS EVER SOLD FOR THAT AMOUNT. </i>The only thing even close was the Phaser Rifle that sold for $231,000 in 2013. It was a one-of-a-kind piece and – most importantly, in my opinion – it was used exclusively by Captain Kirk himself! So Kirk's Phaser Rifle went for big bucks. What about other phaser props that have hit the market? Surely they did well, right?<br />
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Only one other Phaser Pistol has gone to auction over the past decade or so. It was first offered by Profiles (small world) in 2013 with an estimate of $80,000-120,000. While it was not complete, it was definitely the real deal and the only one to have surfaced in years! What would it sell for?<br />
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It didn't. It received NO bids at the level of the reserve of $80,000, despite being the first piece to surface in years. Interestingly, while Profiles claimed it could be screen-matched to several episodes, the truth was that I could only match it to one. Still a great thing, but it's worth noting that the one episode it could be matched to put the piece in the hands of a ship's Security Guard, not Kirk or Spock.<br />
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Flash-forward a couple of years and this same piece surfaced in a Propworx auction, this time with a much lower estimate of $40,000 - $60,000. The result, though was the same – no sale.<br />
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And now, here we are in 2018. Why would anyone expect buyers to pay $125,000 for a piece that had a similar cousin <i>not</i> sell at $50,000 with buyer's premium? What's the difference?<br />
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Well, to be fair, this is a better version, in my opinion. It is complete where the earlier version was missing details on the top of the Phaser 1. Here's the current piece on top with the earlier version below. Note the the top crescent details are missing completely as is the control on the rear. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtFuc8Z3s0S3fqyhnZ8KAe0hzPIzvE44LYqjTZ_zJ2yo6WrDmZK0XA4laFpXBe800V7Vy-CQugTi0B96AmR4I6VUIKAsLb1EJjauG2MVwXtNC-QqatO4FfGo7IvBMAlQF-UFQZqr8v0o8/s1600/31871771_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1007" data-original-width="1458" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtFuc8Z3s0S3fqyhnZ8KAe0hzPIzvE44LYqjTZ_zJ2yo6WrDmZK0XA4laFpXBe800V7Vy-CQugTi0B96AmR4I6VUIKAsLb1EJjauG2MVwXtNC-QqatO4FfGo7IvBMAlQF-UFQZqr8v0o8/s400/31871771_1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6oZe7EWx5kolrtVHyowWWxUnXI3MHPyz-OR0MbzCIC88KSGctCPa9VXX0q4Z8dhHHQI4UytTHYL_lH6CfybjnXV5DHbbPm7e8RWkF0JT-n5sLGqLJULccnqtW7t_gMbhGuzCWT5CMo6Q/s1600/Star-Trek-50th-JPEG-8bf30.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="596" data-original-width="727" height="327" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6oZe7EWx5kolrtVHyowWWxUnXI3MHPyz-OR0MbzCIC88KSGctCPa9VXX0q4Z8dhHHQI4UytTHYL_lH6CfybjnXV5DHbbPm7e8RWkF0JT-n5sLGqLJULccnqtW7t_gMbhGuzCWT5CMo6Q/s400/Star-Trek-50th-JPEG-8bf30.jpg" width="400" /></a></div>
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It's worth noting, though, that the earlier version seems to have its original paint while the current one has obviously been repainted. Complete beats original paint in my book, but it's safe to say that both had their pros and cons.<br />
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So are those missing pieces worth a $75,000 difference? Doubtful. So what <i>would</i> make it worth that difference?<br />
<br />
Spock, pure and simple. <br />
<br />
If it were Spock's it may well be worth it. In fact, with a great screen-match, I'd say it's likely to sell! But what have we seen on this alleged screen-match? Nothing. The auction catalog cites "The Paradise Syndrome" and shows this screen-grab from that episode:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUwq2MZI5t1ZMCZcfaIIiLXNfLtdW1HB53EgBDNfep-45m6Elqzbgm1vuG5r7USQcY3cI75EXQlxQFlqMsdya5awe51RaPMgyET_T5YmkTT6r-TLnbvkXZNToEIiO9oXG6mx2orhANP3I/s1600/PIH+reference+shot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="796" data-original-width="704" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUwq2MZI5t1ZMCZcfaIIiLXNfLtdW1HB53EgBDNfep-45m6Elqzbgm1vuG5r7USQcY3cI75EXQlxQFlqMsdya5awe51RaPMgyET_T5YmkTT6r-TLnbvkXZNToEIiO9oXG6mx2orhANP3I/s400/PIH+reference+shot.jpg" width="353" /></a></div>
Cool! So if we blow this up we get the screen-match right? It's interesting that Profiles did not actually do that for us – show a blow-up that proves the screen-match claim. No matter – I'll do it for them. Here's the phaser from that scene when we blow it up:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBNV008dFHKNnvRkCWVeFyKobShW6lNyVtu5M0t-3mSb4m2KaBquQyyqJ7AOXk2rtmL1alfObd9RR3CVNWpNnOL7maG0Kt0iBj4d-2WUcFXNdvIUPGR7j4Tu2q-bI90afPy_gNzyGM6ns/s1600/SpockPhaser1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="399" data-original-width="468" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBNV008dFHKNnvRkCWVeFyKobShW6lNyVtu5M0t-3mSb4m2KaBquQyyqJ7AOXk2rtmL1alfObd9RR3CVNWpNnOL7maG0Kt0iBj4d-2WUcFXNdvIUPGR7j4Tu2q-bI90afPy_gNzyGM6ns/s400/SpockPhaser1.jpg" width="400" /></a></div>
And this where everything falls apart. Where is this screen-match, exactly? The shot is soft in focus which makes it impossible to see details, even with Blu-Ray. So what are the distinguishing characteristics that make the auction piece and this piece the same? Any details seen on the auction piece are simply not present here. Am I wrong?<br />
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If so, show me. Show the world. Prove what you say beyond a shadow of a doubt. I don't think that is possible but I've been wrong before. So just show me! <i>WHERE IS THIS MATCH THAT YOU CLAIM TO HAVE MADE?</i><br />
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For what it's worth, THIS is what a screen-match looks like:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga0TCe_LKeBPuxLgBaE_B4cEvhZfm9yGzCYMNVRAKrxDsD1-vMf2AmzNwD_KnnBm5a7uxH_sj74qOo-HSqExZgqH3sBQN3nQQ7cQ2uqcbaVEzMGyRrLS8vCNR_E8I13522J3hKae-c-vQ/s1600/+PhaserMatch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="648" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga0TCe_LKeBPuxLgBaE_B4cEvhZfm9yGzCYMNVRAKrxDsD1-vMf2AmzNwD_KnnBm5a7uxH_sj74qOo-HSqExZgqH3sBQN3nQQ7cQ2uqcbaVEzMGyRrLS8vCNR_E8I13522J3hKae-c-vQ/s400/+PhaserMatch.jpg" width="400" /></a></div>
This is from the Phaser Rifle auction I mentioned earlier. The blue shot was the auction piece laid over top of a great PR shot of Shatner holding the rifle. Forget the color – that's just lighting. Look instead at the three call-outs. Those are scratches and dings that the piece endured before the PR shoot. Perhaps they happened during actual episode shooting since it was in very intense action-oriented scenes. Notice how those same marks are present on the auction piece. These are details that can effectively be used to make the case that the two match.<br />
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For the kind of money that is at stake, THIS is the only kind of visual evidence that should be acceptable to make the Spock claim, in my opinion. Big claims require big proof!<br />
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"So who the hell is this guy?" many are undoubtedly asking. "Does he think he's the Prop Police?"<br />
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Not at all. I'm simply someone who thinks our hobby should be driven by critical thinking and not fuzzy, unprovable claims. If you think that is unreasonable, that tells us more about you than me. And please keep in mind that several of my compatriots have attempted to match this to <i>any</i> episode. No joy.<br />
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For the record, I would LOVE for Profiles and/or the consignor Jason Joiner to be able to put this piece in Spock's hands! That can only be a wonderful thing, after all. Those of us who are passionate about these classic pieces are thrilled whenever a heretofore unknown piece surfaces, especially when associated with a main character. We were positively giddy about the Phaser Rifle, for instance, and the photo proof sealed the deal for us.<br />
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Was this Phaser used by Nimoy? I have no idea. It sure might have been but I can't <i>prove</i> it one way or the other and, in my opinion, no one else can either. And that's the point. MAYBE doesn't cut it when there is so much money on the line.<br />
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So to Profiles and Mr. Joiner I say this: prove me wrong. Please! Show us incontrovertible, clear, specific proof that puts this in our hero's hands and I will be your biggest booster! I will shout that news from the rooftops because it would be awesome! But all I see is an attempt to use an iffy claim to boost a sale. Am I wrong?<br />
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I actually hope so. All you have to do is show us the money shot. Prove your claim and justify your story.<br />
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Show me. Show us all.<br />
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LLAP<br />
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DonDonhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com3tag:blogger.com,1999:blog-2141267747214087216.post-82251779240709128592018-12-06T20:21:00.001-08:002018-12-07T07:26:07.644-08:00ANOTHER ORIGINAL SERIES PHASER HITS THE AUCTION BLOCK, SO ONCE AGAIN WE HAVE TO ASK THE BIG QUESTION: IS IT REAL?<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL-SH_bU-je39wdr4O2Ilg2Sk_jIrCkTz6AKNVFB2sdWb5A_bgpWd7M78Vwm9jRdTeIGO8VzYqSClOPrJg6d9qWy87_LO7AMYWHOPLpZudpaapB2uZwsTiUgQqVlMnecDRooHttfCXjHE/s1600/AICphaserShot.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="359" data-original-width="504" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL-SH_bU-je39wdr4O2Ilg2Sk_jIrCkTz6AKNVFB2sdWb5A_bgpWd7M78Vwm9jRdTeIGO8VzYqSClOPrJg6d9qWy87_LO7AMYWHOPLpZudpaapB2uZwsTiUgQqVlMnecDRooHttfCXjHE/s400/AICphaserShot.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Phaser Prop at SDCC / Photo courtesy Bleeding Cool News</td></tr>
</tbody></table>
At this year's San Diego Comic-Con, the auction house Profiles In History created some buzz with its sneak preview of upcoming auction offerings. One of the biggest of buzz-worthy items was touted to be an original Phaser prop from Star Trek: The Original Series (TOS).<br />
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Now any time a previously-unknown TOS piece sees the light of day, it's a cause for equal parts of celebration and caution. We celebrate because any additional TOS pieces are exciting for those of us who are fans of what we think is the greatest sc-fi weapon of all. But caution must be used because, frankly, most "authentic TOS pieces" that come to light are simply not authentic. Usually, the fakes are copies are easily debunked and exposed for what they are. But every once in while, a piece comes along that maybe, just maybe, could be the real deal.<br />
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Is that the case with the new Profiles piece? Let's take a look. Here are shots from the Profiles auction listing (click for larger images):<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCmX3P-dIywcBOnMlRz-rvmHQdZ3oH3pA5UIZ0lRVirDhNVe_0n_xwg2XTfhdHQRZfymeCQzAVx3lPAVgJDgNFsTlaWkoQ3DfwLENkM08KdWkbV1eenlDX80MwAGw-x5j1WQsregg-L8E/s1600/31871771_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1102" data-original-width="1600" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCmX3P-dIywcBOnMlRz-rvmHQdZ3oH3pA5UIZ0lRVirDhNVe_0n_xwg2XTfhdHQRZfymeCQzAVx3lPAVgJDgNFsTlaWkoQ3DfwLENkM08KdWkbV1eenlDX80MwAGw-x5j1WQsregg-L8E/s400/31871771_2.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCoyZc2FCuGgWgtpH3nUbFPKfHRdFsRqKvXQgOHAGgb9PTJgZ3jkZISCcDjOYS9w67a2hrjPMDlAn0-WfHTktyZZtDMy8ad_tba8iE-qFMykGbcXIVWxwgKgP59aMtCwS762eybgbVefs/s1600/31871771_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1033" data-original-width="1600" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCoyZc2FCuGgWgtpH3nUbFPKfHRdFsRqKvXQgOHAGgb9PTJgZ3jkZISCcDjOYS9w67a2hrjPMDlAn0-WfHTktyZZtDMy8ad_tba8iE-qFMykGbcXIVWxwgKgP59aMtCwS762eybgbVefs/s400/31871771_1.jpg" width="400" /></a></div>
At a glance we can see that this is what is known as a "Mid-Grade" phaser prop. TOS used four different levels of phaser props:<br />
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<b>The Heroes</b> – made with a high level of detail and featured some moving parts. These were meant to stand up to close-ups to give a heightened sense of realism. These were expensive to make and so were never put at risk in a scene. Here's a Hero Phaser held by Ben Finney in "Court Martial". Note that all the silvery-looking stuff is actual metal, unlike some p[arts on the auction piece:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRXSx9uvBi8E7xBDBA2zdVowIZwEkcLiX4A97M7krc17j-DDa-oOCCChI68lqGUCnD3KeCPdfiCGa47JACCQMZybNZt1hYkF2QJ0oURyDNUc3OAJKX4dyCr6KFK6Iyyt-2XRHmqFWZa_U/s1600/FinneyLarge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="564" data-original-width="858" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRXSx9uvBi8E7xBDBA2zdVowIZwEkcLiX4A97M7krc17j-DDa-oOCCChI68lqGUCnD3KeCPdfiCGa47JACCQMZybNZt1hYkF2QJ0oURyDNUc3OAJKX4dyCr6KFK6Iyyt-2XRHmqFWZa_U/s400/FinneyLarge.jpg" width="400" /></a></div>
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<b>The Mid-Grades</b> – made from the same molds as the Heroes but finished without as much detail. For example, while the Heroes had metal fins in the back, a Mid-Grade's fins were simply a molded detail and hit with silver paint. These were the real workhorses of the phaser props and are by far the version seen most throughout the show. They were easier to make and thus more disposable. Note that the rear fins shown here are simply painted as is the center rail of the Phaser 1:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX0Gq0J9c8QQFy2buLl8YKSCajj56tSPCcmhfxCVnvutSo5eIhUOXAlXDf2su512F_glS7eeKG8EBgWqTT5YHlN2OwFke7TPKTh0yERvJlzDWUxazp5jkv_oh4DTP0hfG1QXLwg2giqbw/s1600/DevilMids2cu2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="302" data-original-width="392" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX0Gq0J9c8QQFy2buLl8YKSCajj56tSPCcmhfxCVnvutSo5eIhUOXAlXDf2su512F_glS7eeKG8EBgWqTT5YHlN2OwFke7TPKTh0yERvJlzDWUxazp5jkv_oh4DTP0hfG1QXLwg2giqbw/s400/DevilMids2cu2.jpg" width="400" /></a></div>
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<b>The Vacuum-Formed</b> – known as "Crapazoids" due to their low level of finish and detail, these were strictly background pieces that might be in a given Redshirt's hand during a landing party. So cheap in materials and cost that DeForest Kelley referred to them as "$1.98 Specials". Here's a version also used in "Court Martial". Note that all the details are simply painted and the overall detail is very soft. This piece is about to get slapped out of Finney's hand and, so as not to damage a Hero, a Crapazoid is used instead.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzvwHvhy2u2vg36QQzINnqZr0AEg99o6EqhxXAK-mZr_4bzH2ZZGXbpyaC0_K06LN2_tDrMP5pgu3pAUlyefeRq0KB7_EZrdhb1jknGyLtw0tCYKAYDtUz0-hm0SnBFj7GPLAKBQGZlP0/s1600/FinneyCrap.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="322" data-original-width="396" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzvwHvhy2u2vg36QQzINnqZr0AEg99o6EqhxXAK-mZr_4bzH2ZZGXbpyaC0_K06LN2_tDrMP5pgu3pAUlyefeRq0KB7_EZrdhb1jknGyLtw0tCYKAYDtUz0-hm0SnBFj7GPLAKBQGZlP0/s400/FinneyCrap.jpg" width="400" /></a></div>
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<b>Rubber Stunts</b> – used when Kirk and company needed to roll around in the dirt without breaking something. There's no good shots because they are simply never seen clearly. Here's one tied on to Spock's side:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7xlJ0R_bNuawfCfYAIDIjnRlJTHXa6ZOsW6mVM-mNmjDh9oZL-UW3hm4Ykg6IJGCLygjWbJ_fTZMpI1PC1x2T3ARqCORiHXWcAsFgv1XUz3RqDAQgH9VDKKTfz4gylh8D5DUU6cZZdIo/s1600/Spock+Rubber+Stunt+P2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="397" data-original-width="396" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7xlJ0R_bNuawfCfYAIDIjnRlJTHXa6ZOsW6mVM-mNmjDh9oZL-UW3hm4Ykg6IJGCLygjWbJ_fTZMpI1PC1x2T3ARqCORiHXWcAsFgv1XUz3RqDAQgH9VDKKTfz4gylh8D5DUU6cZZdIo/s400/Spock+Rubber+Stunt+P2.png" width="398" /></a></div>
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So the auction piece definitely seems to fall into the Mid-Grade level of Phaser. Here's some additional shots that can help make a determination:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja8x9304jPUr0d053xMTjHbt2BnuR-xj5kKFHxB3MlYuSNM_NZreCMa-WP6um_W5P5zS8wBIbtDi4DweZ6GFlYldnC-cuXv__1HUC57i6FIfwdhk0ptwyo1P8_uyYnQQfSmu_O5PJRmLI/s1600/31871771_3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="1600" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja8x9304jPUr0d053xMTjHbt2BnuR-xj5kKFHxB3MlYuSNM_NZreCMa-WP6um_W5P5zS8wBIbtDi4DweZ6GFlYldnC-cuXv__1HUC57i6FIfwdhk0ptwyo1P8_uyYnQQfSmu_O5PJRmLI/s320/31871771_3.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVOtLpysAlQtJhm5D3jhxvwv5JSPoH6Iy3hhRJ6qlGnHZRcAVVkZ0_Cmts6MfuOR12FUq9geD7n4I1MMuE7O-x4oMv-1J_1JKfrETrNKdr_BO1235gZYmKuGW99WSWkQNHbFW3hShj6d4/s1600/31871771_7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="881" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVOtLpysAlQtJhm5D3jhxvwv5JSPoH6Iy3hhRJ6qlGnHZRcAVVkZ0_Cmts6MfuOR12FUq9geD7n4I1MMuE7O-x4oMv-1J_1JKfrETrNKdr_BO1235gZYmKuGW99WSWkQNHbFW3hShj6d4/s400/31871771_7.jpg" width="220" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRtGC-VK0XYU2M3gKM9mNiEgWQet3ANmiZUcJ0R7vGLGZ6cEATI2mb5d-um6GpBWQWKevmtIrLx86TJBer2kZWk41aXCSInf_wMsV5O6rdlniHJp2ZCXrFYJ7ldnLIvYgRRARwd2mqxII/s1600/31871771_4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="827" data-original-width="1600" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRtGC-VK0XYU2M3gKM9mNiEgWQet3ANmiZUcJ0R7vGLGZ6cEATI2mb5d-um6GpBWQWKevmtIrLx86TJBer2kZWk41aXCSInf_wMsV5O6rdlniHJp2ZCXrFYJ7ldnLIvYgRRARwd2mqxII/s400/31871771_4.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi99AkylZlItunLT-N9iRKkw0nSL6jurCt1eQn3UPQNFV5pJPHJAiaUK3xX6FyLxUbM1ADAx1hJAOOhIw3st_RWAKqOAnI2cteLN-Qvk7lukcg7PuwRSUgr7leO_4jC0_D6BDTBbXSgogs/s1600/31871771_6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="404" data-original-width="1600" height="100" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi99AkylZlItunLT-N9iRKkw0nSL6jurCt1eQn3UPQNFV5pJPHJAiaUK3xX6FyLxUbM1ADAx1hJAOOhIw3st_RWAKqOAnI2cteLN-Qvk7lukcg7PuwRSUgr7leO_4jC0_D6BDTBbXSgogs/s400/31871771_6.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1QvWlvIdMzeNvbzIpej6M9IPyaK8l3S-7JREUw1fRnyR3oECuSpAYFFhkbv8pkY8X-4C1otfjaRR44BLB0pPu1umqdMT8TjYYiUDBqiSnxHAYDMB_R7wZMt54UC5JSB6fBfJGlP4mcEE/s1600/31871771_5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="611" data-original-width="1600" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1QvWlvIdMzeNvbzIpej6M9IPyaK8l3S-7JREUw1fRnyR3oECuSpAYFFhkbv8pkY8X-4C1otfjaRR44BLB0pPu1umqdMT8TjYYiUDBqiSnxHAYDMB_R7wZMt54UC5JSB6fBfJGlP4mcEE/s400/31871771_5.jpg" width="400" /></a></div>
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The way we determine if a given piece is genuine or not is a two-fold process. First we look at the history (or provenance) of the piece. Ideally we want to understand how a piece got from the <i>Star Trek</i> Paramount production in 1969 to the Profiles auction. According to Profiles, this piece has been in the possession of the family of one Ted Leonard, a former executive at Paramount and a friend of <i>Star Trek</i> Art Director Matt Jefferies. The piece was sold to the consignor by Leonard's widow.<br />
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Nice story. This is where a lot of people stop. Which means this is where a lot of people get in trouble. Because, as nice as this story is, can it be proven? After all, without proof, it's just a story.<br />
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"But Don," you're saying, "they wouldn't lie about something like this, would they?!?" The short answer is YES! Yes they would! For one hundred thousand dollars, you better have more than just a story!!<br />
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Am I calling the consignor a liar? I am not. But maybe they were told a lie. Or maybe Mrs. Leonard was lied to. Maybe Mr. Leonard got mixed up. Maybe, maybe, maybe...<br />
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With that many maybe's we have to rely on the piece to stand on its own merits. It must be compared to the known surviving Mid-Grades and a determination must be made as to whether or not it measures up or not.<br />
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As mentioned in earlier Blog stories, I am part of a research team that has worked toward defining as many facts as possible about the various TOS props. This process was first started by the group at <b><span style="color: red;"><a href="http://herocomm.com/">HeroComm.com</a></span></b>, as they took on defining and debunking everything possible about the Trek Communicators. It was then expanded to include HeroPhaser, and it is that research that I rely on to determine whether or not this piece passes muster. And I can say that it is my opinion (as well as many others) that this piece is indeed likely to be an original Phaser prop. I cannot say for sure, as only a hands-on examination would answer questions about size and materials. But going solely on the physical details, this piece matches known specimens in every key way.<br />
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Some have said the paint doesn't look right, and they would be correct – it doesn't. And what is with the red button sticking out of the body? That's not right, either.<br />
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Here's the deal. These pieces have had fifty years in which they could have been modified in any number of ways, including paint. So we have to look past such things and look at the actual details that define the physical aspects of the prop. We look at things like:<br />
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The forward emitter assembly<br />
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The forward top plate and window detail <br />
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The handle and trigger details<br />
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The contours of the entire piece, especially the body's sides<br />
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The Phaser 1 that sits on top – correct in every way?<br />
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The ten-turn (rear knob thingy) <br />
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The fins – are they the right size, number and position?<br />
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The details and nature of all metal parts<br />
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And on and on...<br />
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I'm not going to get into all the comparisons made for two reasons. First, it would make for a very looooong and boring story. And second, I don't want to reveal too much about what, exactly, we look for in a prop to determine authenticity. In the past there were many unscrupulous people who tried to pass replicas off as authentic. We don't want to aid that type of forger. <br />
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One more thing. The auction listing says this piece was screen-matched to Leonard Nimoy having used it in the episode "The Paradise Syndrome". For those who might not know, "screen-matching" is kind of the holy grail of prop collecting. It's incredibly difficult to do and is usually impossible. But every once in a while you get lucky and a screen match is possible.<br />
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This is not one of those times.<br />
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Screen-matching relies on two things. First the piece in question must have unique physical details that differentiate it from any other piece. Things like flaws, damage, chipped paint or spilled liquids can help with screen-matching. In the case of this piece it does have a couple of things that could form a unique set of characteristics – a "fingerprint", if you will. First, where the Phaser 1 meets the Phaser 2 body, toward the back, there's a big glob of what is probably glue. Amazingly, that kind of thing can actually be seen sometimes. The other detail is that the painted rail on the the Phaser 1 looks to be a bit low. If we combine those two elements, we might be able to find a screen-match.<br />
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Unfortunately, I said that screen-matching relies on <i>two</i> things. The second thing we need is a clear, high-resolution image with which to match. In short, that usually means a close-up. And there are zero close-ups of Spock's phaser in that episode. There's not even a decent medium shot that gives any meaningful information. Here's the best shot I could find of Spock's Phaser <i>in the entire episode:</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf2n0pI4mOGBc3bAlBMxLFNnO-fjLaO57GyWR4qLXHxTp0I3AvGpE1qQCstfLwXjXbkDmmM8MkqYo79g5xa_FmA6XMErrZlSCoW51qEVUuvgZR0PA0SwJVV1Mi_CDamqpgGnlFbmfLAho/s1600/SpockPhaser1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="338" data-original-width="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf2n0pI4mOGBc3bAlBMxLFNnO-fjLaO57GyWR4qLXHxTp0I3AvGpE1qQCstfLwXjXbkDmmM8MkqYo79g5xa_FmA6XMErrZlSCoW51qEVUuvgZR0PA0SwJVV1Mi_CDamqpgGnlFbmfLAho/s1600/SpockPhaser1.jpg" /></a></div>
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For my money, this tells us bupkis. It's just too soft to yield anything definitive. It <i>could</i> be the same piece but I just can't tell. I went through the episode scene-by-scene (and in some areas, frame-by-frame!) and this was the best I could find. If there's a better shot out there, by all means share it with me. I'd <i>love</i> to see it! But until I see that shot, I'm calling BS on the screen-match. No way, no how. I've looked through a number of other episodes as well in hopes of catching a glimpse. No joy.<br />
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But that does nothing to detract from what I think is likely to be an authentic piece. Screen-matching is always unlikely, after all. And this has all the hallmarks of the real deal.<br />
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Finally, I'd like to address the 800-pound gorilla in the room – the estimate. It is set at $100,000-$150,000. That ain't chump change. What that generally means is the the reserve – the lowest price at which the piece will sell – is set at $100,000. But, wait – that doesn't mean you have to be willing to pony up 100 grand to even think about owning this piece, oh no. What it means is that you have to be willing to go to $125,000! That's because as with all auctions, this piece has a "buyer's premium" which is an additional cost that ranges from 20-28%, depending on how you pay.<br />
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$125,000! <br />
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For that reason, I think of this estimate as a "Buy It Now" price rather than a real auction. After all, how many people on earth are rich enough to participate at this level? Not too damn many. <br />
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If this piece had a starting price of $50,000 (or less), there would be much more interest in it, in my opinion. It's my feeling that most lofty prices are met by the excitement of multiple bidders driving bids higher and higher in the emotion and excitement of the moment.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV4zX0WVboP8yE7LcRNttaENutGMOqI4XRRtTC3mFtu442dmnrwaqhrfxTfBq2si8-CQM05_0PlkqRXFpQbo1HG8vEW3hgLYgH04hA2Us2_Ta_7Gzauo3d6LbLntiPzOdXrM8-p9mWVEc/s1600/ST_Phaser-rifle-1_h.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="476" data-original-width="600" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV4zX0WVboP8yE7LcRNttaENutGMOqI4XRRtTC3mFtu442dmnrwaqhrfxTfBq2si8-CQM05_0PlkqRXFpQbo1HG8vEW3hgLYgH04hA2Us2_Ta_7Gzauo3d6LbLntiPzOdXrM8-p9mWVEc/s320/ST_Phaser-rifle-1_h.jpg" width="320" /></a></div>
For example, a few years ago there was an auction for Kirk's one-of-a-kind Phaser Rifle as seen in "Where No Man Has Gone Before". It sold for a big $231,000! But the starting estimate was only $50,000. Would it have sold at all had the actual reserve been $231,000? We can't know but it's definitely less likely, in my opinion.<br />
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Add to that the fact that this is by no means a unique piece. There are at least five of these pieces out there and we have no idea how many were actually made back in the 60's, but it was probably at least ten and perhaps more. And the last version that was put up at auction didn't sell at all. Twice! It wasn't as nice as this but it didn't sell at half this price! <br />
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Bottom line is this: the seller has the right to ask whatever number they want. If you, as a buyer, feel that it's worth it, more power to you.<br />
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But I think that as a STARTING number, $125,000 is absurd. Your mileage may vary.<br />
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This piece goes on auction on December 13. The on-line catalog is <a href="http://www.icollector.com/Hollywood-Auction-96_as56103_p10"><b><span style="color: red;">HERE</span></b></a>.<br />
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LLAP<br />
<br />
Don<br />
<br />Donhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com0tag:blogger.com,1999:blog-2141267747214087216.post-34267298939963531632018-11-28T13:13:00.001-08:002018-11-28T13:39:56.880-08:00PROP STORE OFFERS UP A TRUE STAR TREK: THE ORIGINAL SERIES RARITY – THE KLINGON DISRUPTOR !<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-l4bfZoUHInwZsA2pP1Q7Lm8Z7QtK-QrB68UToBNquIKItadQC4jz-60cMPAM5uyelApASQGIT9tQlxvZUDYIWnIU4bRUNFq7c2uZQWPfEiblgNhYuSM0oGKQ7kXrtbzfUH1kFVaoIpw/s1600/img08.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="721" data-original-width="1554" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-l4bfZoUHInwZsA2pP1Q7Lm8Z7QtK-QrB68UToBNquIKItadQC4jz-60cMPAM5uyelApASQGIT9tQlxvZUDYIWnIU4bRUNFq7c2uZQWPfEiblgNhYuSM0oGKQ7kXrtbzfUH1kFVaoIpw/s400/img08.jpg" width="400" /></a></div>
Over the fifty years of <i>Star Trek,</i> certain constants have come through: Starfleet uses Phasers and Klingons use Disruptors. Phasers are omnipresent, but where, exactly did these "Disruptor" things come from? And how did one end up in an auction some fifty years after they were first used?<br />
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The piece in question first appeared in the original series during Season 1's "Errand of Mercy". And they weren't called "Disruptors". They were simply called "Klingon Phasers" by Kirk, himself, no less. The props themselves, however, were modified props from an earlier episode, "A Taste of Armageddon", made from an alien weapon referred to as a "Sonic Disruptor". Here's what those original pieces looked like:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD_ZfMoH-UC7Iz7hxHXmfUfcCkrZJgLCPlz3lhDkmY2r77mvZuxp9JC3Ssl4p-UcViHLUibhsxUTq3w4D1nR_8Zmt8LD7Mq0FNQILWi8xlsa1MD99UfDp5cnkJc4IybakYFd5SRzZmFDQ/s1600/atasteofarmageddonhd243.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="328" data-original-width="357" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD_ZfMoH-UC7Iz7hxHXmfUfcCkrZJgLCPlz3lhDkmY2r77mvZuxp9JC3Ssl4p-UcViHLUibhsxUTq3w4D1nR_8Zmt8LD7Mq0FNQILWi8xlsa1MD99UfDp5cnkJc4IybakYFd5SRzZmFDQ/s1600/atasteofarmageddonhd243.jpg" /></a></div>
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It's easy to see the origins of the Disruptor in this shot. These "Sonic Disruptors" had their fronts replaced and new details on the top were added to give us a new weapon – the Klingon Disruptor.<br />
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These props made their debut along with the Klingons themselves in "Errand of Mercy". We can see them on various character's belts and sometimes in their hands.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0nS7z3PJUSrDgx8lB6WPTZekhjS5ANMJSVZigoAeFZW1eqr36v7FU505v08HGVA46ZEpivMpkLaHpOYIF-FkOzI8vH46YSxRM1EUVrvG54IbjBG0WlcixtSrGcXWMhfvY1TwQPlVdCjM/s1600/errandofmercyhd551R.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="852" data-original-width="1182" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0nS7z3PJUSrDgx8lB6WPTZekhjS5ANMJSVZigoAeFZW1eqr36v7FU505v08HGVA46ZEpivMpkLaHpOYIF-FkOzI8vH46YSxRM1EUVrvG54IbjBG0WlcixtSrGcXWMhfvY1TwQPlVdCjM/s400/errandofmercyhd551R.jpg" width="400" /></a></div>
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In one scene we can see a squad of eight Klingons marching through the frame. All have Disruptors on their belts (as they move we can see all eight) so we know that at least that many were made.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Qo5BL8k1A3ZBbkNVH0VYy6HnWd92JQjBjeFsiA-aqIjWU9nP98Axjdi8JNewPqZmeEFJhu1BguaOFTbwzQ55P8v_IKxaky0stlKw_pZp33endCI_f-n7ICg37R2QAQNMcT6T_fu6KNs/s1600/errandofmercyhd179R.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="327" data-original-width="482" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Qo5BL8k1A3ZBbkNVH0VYy6HnWd92JQjBjeFsiA-aqIjWU9nP98Axjdi8JNewPqZmeEFJhu1BguaOFTbwzQ55P8v_IKxaky0stlKw_pZp33endCI_f-n7ICg37R2QAQNMcT6T_fu6KNs/s400/errandofmercyhd179R.jpg" width="400" /></a></div>
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These same pistols showed up in three more episodes. Here's one in "Friday's Child":<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD7FXz-yzeyaGw4Fd0iQz74uA_2BcCC1IsvVIYoZKCajUsprBF3KkF14HIfgp4t870U-CdiSDplO-iuUMStR3uIXHqYGTWCGdnU4tE_TsoAejwgQ7nK4wDNpQDnASkG80sSSm09a6ooy4/s1600/FridaysChild.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="490" data-original-width="948" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD7FXz-yzeyaGw4Fd0iQz74uA_2BcCC1IsvVIYoZKCajUsprBF3KkF14HIfgp4t870U-CdiSDplO-iuUMStR3uIXHqYGTWCGdnU4tE_TsoAejwgQ7nK4wDNpQDnASkG80sSSm09a6ooy4/s400/FridaysChild.jpg" width="400" /></a></div>
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Next, five of them showed up in "Day of the Dove":<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwoy23k7t0VkLBhE3E3M8TVmB-JWPruMYoGVZqmpG-27yrgU06ZdcBEMzT37pb-9XFGI79ipTUeUhFynrkIKp5OQCqbYo6nsH1N7-oHuV53E264NiqWQfXIjsSV2-9B5ZCuOzOmibDPa8/s1600/dayofdove.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="364" data-original-width="633" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwoy23k7t0VkLBhE3E3M8TVmB-JWPruMYoGVZqmpG-27yrgU06ZdcBEMzT37pb-9XFGI79ipTUeUhFynrkIKp5OQCqbYo6nsH1N7-oHuV53E264NiqWQfXIjsSV2-9B5ZCuOzOmibDPa8/s400/dayofdove.jpg" width="400" /></a></div>
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And finally, here's some being used by the Romulans in "The Enterprise Incident":<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl9yQEk00ig2gUWqwMbCn4YRPJj95Ls_WGpa2tgblBck8Y8fd3TES3YUW38OOQ2kgl0wGA5xNpjs7kHGpqgC_8JkzgLU0OsQSrokX2ma2B0cBX5EjMnL30BNSTpai_qjXdY5JCePM9tKY/s1600/P65_9_disruptor_EInc4R.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="505" data-original-width="721" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl9yQEk00ig2gUWqwMbCn4YRPJj95Ls_WGpa2tgblBck8Y8fd3TES3YUW38OOQ2kgl0wGA5xNpjs7kHGpqgC_8JkzgLU0OsQSrokX2ma2B0cBX5EjMnL30BNSTpai_qjXdY5JCePM9tKY/s400/P65_9_disruptor_EInc4R.jpg" width="400" /></a></div>
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After that, they were never seen again. Where did they go? Well, at least one went with a Desilu executive named Renshaw after shooting wrapped. We know this because his family eventually auctioned it off years later. It was in pretty bad shape because he had given it to his kids who did what kids do – they played with it! Keep in mind that back then these items had no real value.<i> Star Trek</i> was simply another canceled TV series that would never be heard from again and so the props were disposable in the studio's minds. Here's a shot of the Renshaw from its auction catalog:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij-8nOKIDms9S0DK9uI54DzZx9WhkuNGBKA1XkWQb4c9A9OKWXtEqN-k2OQTd8tr4jg1pQevGyyp0p_fl-5pMW1g1OUgEKxv_1kgL9m2epZSrmT8_Vs1qM-8BIK5vgrOixYeVN85z_CBg/s1600/Renshaw1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="355" data-original-width="725" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij-8nOKIDms9S0DK9uI54DzZx9WhkuNGBKA1XkWQb4c9A9OKWXtEqN-k2OQTd8tr4jg1pQevGyyp0p_fl-5pMW1g1OUgEKxv_1kgL9m2epZSrmT8_Vs1qM-8BIK5vgrOixYeVN85z_CBg/s400/Renshaw1.jpg" width="400" /></a></div>
You can see that it was pretty chewed up. But the fact that such a spindly prop survived at all is amazing! The various metal parts on the emitter can unscrew so it's astonishing that they are intact. You can also see that the body is made of wood. It's worth noting that the auction piece has a wood body as well. Another specimen was also sold at auction, this time from the estate of Matt Jefferies, the heralded art director of the original series. There could be no better provenance for a piece than that. Here's the auction shot:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL790fjulzleurV0oPyPURgen7IXlWRH3Quwd61lrOAPitMxUcPlCb6JuSgrCYwaTVaGe-uNg4OW1kywpfZatZPmme-hDP8DRBS8oYp70IcGn4XBAEWuIoW75PJvufuh7egsyDTy7paDw/s1600/Jeffriesdisruptor-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="227" data-original-width="405" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL790fjulzleurV0oPyPURgen7IXlWRH3Quwd61lrOAPitMxUcPlCb6JuSgrCYwaTVaGe-uNg4OW1kywpfZatZPmme-hDP8DRBS8oYp70IcGn4XBAEWuIoW75PJvufuh7egsyDTy7paDw/s400/Jeffriesdisruptor-3.jpg" width="400" /> </a></div>
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Note that while this is in better shape than the Renshaw, it still shows some wear on the handle. The rest looks pretty good, though.<br />
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And now we come to the auction piece which I'll simply refer to as the Comisar:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMW1Gu3QwVJH9pyorkc4SPbN_paRikXPBiXW7pPALH_JF-sQ4rWO5328oFe_1QRUWcYbXj2iz6sCnkG9NUQbcMVuxoBLdUD4L0a0b0Zw27syfU3to-XfG1yTBWa9Yf2OaEtfnZ5jipVKc/s1600/img02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="851" data-original-width="1600" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMW1Gu3QwVJH9pyorkc4SPbN_paRikXPBiXW7pPALH_JF-sQ4rWO5328oFe_1QRUWcYbXj2iz6sCnkG9NUQbcMVuxoBLdUD4L0a0b0Zw27syfU3to-XfG1yTBWa9Yf2OaEtfnZ5jipVKc/s400/img02.jpg" width="400" /></a></div>
So if this is an original piece, why is it in such good shape? It looks practically new! This can be explained in two words: Phase Two.<br />
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In the mid-seventies, Paramount took note that their cancelled show was doing huge business in syndication. Since <i>Star Trek</i> was suddenly a success, the studio guys got a bright idea – let's bring it back! And so, <i>Star Trek: Phase II</i> was born. While that production would feature an updated <i>Enterprise</i> (inside and out), it was decided to keep the design of the costumes and props, a decision that would save tons of money. To that end, Paramount rounded up anything still in storage from the original <i>Star Trek</i>, most of which was in the form of costumes. But a few props remained, most notably, some of the Klingon Disruptors. Since those survivors were undoubtedly in "used" condition, they were freshened up with new paint and new foil on the forward fins.<br />
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It was in the middle of pre-production of <i>Phase II</i> that Paramount abruptly switched directions, pulling the plug on the project in favor of making <i>Star Trek: The Motion Picture</i>. <i>Phase II</i> became a largely forgotten footnote in the history of <i>Star Trek.</i><br />
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Here's the catalog description:<br />
<i><br /></i>
<i>"This wood prop was acquired from Star Trek: The Motion Picture’s property master Richard Rubin, who received it and other materials from Star Trek: The Original Series during pre-production on the Star Trek feature film. This and other props were refreshed by Rubin for potential use in the film, including fresh blue-grey paint, though the wood body exhibits still numerous chips and marks beneath the fresh paint indicative of use in The Original Series. Ultimately, the disruptor props from The Original Series were not utilized for filming on The Motion Picture. As a result of great care by Mr. Rubin’s family and after by the Comisar Collection, the weapon exhibits only minor signs of wear and is in excellent, production-used, vintage condition overall."</i><br />
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The one error in this text is the attribution to <i>Star Trek: The Motion Picture</i>. It's a natural mistake, however, given that all of the development for <i>Phase II</i> was rolled over into the production of <i>The Motion Picture.</i> The important take-away from this is that the piece came from the <i>Star Trek</i> production through prop master Dick Rubin, an idea supported by a number of other Original Series pieces that came through Mr. Rubin's hands. Again, these weren't seen as having any real value so it was not a big deal for the prop master to take them.<br />
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I want to make note of the fact that I have done a lot of research on these pieces over the years because I own another copy of Disruptor, one that Mr. Comisar had also gotten from Rubin and then sold to another collector. That story can be found here: <a href="http://wrathofdhanprops.blogspot.com/2012/08/how-to-go-out-on-limb-my-production.html"><b><span style="color: #cc0000;">My Klingon Disruptor.</span></b></a><br />
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Here's some more great shots of the auction piece (click on them for larger versions):<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirLB6e1KiCJdE0s_hHbNpUFSterz_rotN03A6JU1BfWPFD2yqSd41MqUAnG9nTd568oH6ZvcOMoQs0VaQJnhiJS9k3D-EI7uxtzLMZ2Im_T7QKPh92hxAVCY4oIxHSaWW62DGli7TGZbE/s1600/img03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1485" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirLB6e1KiCJdE0s_hHbNpUFSterz_rotN03A6JU1BfWPFD2yqSd41MqUAnG9nTd568oH6ZvcOMoQs0VaQJnhiJS9k3D-EI7uxtzLMZ2Im_T7QKPh92hxAVCY4oIxHSaWW62DGli7TGZbE/s400/img03.jpg" width="370" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTX7YT0srh5_luUwEjp61MaDNVFJmznpynYIGvXqyj3TZuwW9LJARCi3LqNxJCfC7k_M_Sxqk3YGRbpnVDmAxU1RJQc8agAfcZxTlQvLYeVu3NeYU4BYhnercuw8bLSlD-WgNMS3t9v9s/s1600/img04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1093" data-original-width="1600" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTX7YT0srh5_luUwEjp61MaDNVFJmznpynYIGvXqyj3TZuwW9LJARCi3LqNxJCfC7k_M_Sxqk3YGRbpnVDmAxU1RJQc8agAfcZxTlQvLYeVu3NeYU4BYhnercuw8bLSlD-WgNMS3t9v9s/s400/img04.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG7HSK5yN1Y2hHJfwRWZDJqk22zJzqMffRocIzpNXuCl_WdBu8yR-Tbrbm0TlsXfD4mZFalZ1vg8X7DJZitJrtI8gXFO53UVCLjkdeGrDgLM04Jbt6EQBwl3aewCCm8PEzIhnj6pK0sOs/s1600/img05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1012" data-original-width="1600" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG7HSK5yN1Y2hHJfwRWZDJqk22zJzqMffRocIzpNXuCl_WdBu8yR-Tbrbm0TlsXfD4mZFalZ1vg8X7DJZitJrtI8gXFO53UVCLjkdeGrDgLM04Jbt6EQBwl3aewCCm8PEzIhnj6pK0sOs/s400/img05.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNvKGymG8ycQPbW9fY_Q-KkFrSy3bPY4XX6MpnK4wD5nrFrGD54d4fy2t_C8cAOfWndRW_zwR8hTXo80kDo7ElrivPg9bH6SOH1dRgn54VsPPWQaQNajJC1M_tvqJoPKKecx-uVjPVyvY/s1600/img06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="954" data-original-width="1600" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNvKGymG8ycQPbW9fY_Q-KkFrSy3bPY4XX6MpnK4wD5nrFrGD54d4fy2t_C8cAOfWndRW_zwR8hTXo80kDo7ElrivPg9bH6SOH1dRgn54VsPPWQaQNajJC1M_tvqJoPKKecx-uVjPVyvY/s400/img06.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigzJgjLr3UFj9oj3AhmBp4t3jpziWSyMSICe9PypxqqYzgR6-kQUpVkyoFWqR8LNFvGr8Cf6usJM3ZNU6kMq3toJHlgVFJk4N8Tpo5XlBWgb3SOydSkaF6ckOaG9Ifp7Vj2jbRv5wG6Fw/s1600/img07.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="888" data-original-width="1600" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigzJgjLr3UFj9oj3AhmBp4t3jpziWSyMSICe9PypxqqYzgR6-kQUpVkyoFWqR8LNFvGr8Cf6usJM3ZNU6kMq3toJHlgVFJk4N8Tpo5XlBWgb3SOydSkaF6ckOaG9Ifp7Vj2jbRv5wG6Fw/s400/img07.jpg" width="400" /></a></div>
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You can see some of the original wear and distress on these close-ups. That is to be expected from a production-used piece. In fact, I would be worried if it wasn't there. This piece matches in every way all the details that are known about the original versions. It is not often that I say I have ZERO doubts about a piece, but this is one of those times. Its details, combined with its provenance, make this a classic piece worth having in a museum, let alone a private collection. These kinds of things don't come along often and I'm sure it will find a good home.<br />
<br />
Prop Store has other fantastic <i>Star Trek</i> pieces in the auction so I urge
you to check those out as well. You'll find the auction details including a downloadable PDF and the on-line catalog at <a href="https://us.propstoreauction.com/view-auctions/info/id/146/"><span style="color: red;"><b>Prop Store's Comisar Auction. </b></span></a>If you've always wanted a piece of <i>Star Trek</i>
history, there's no better opportunity than now! Bidding is now open
with the live auction taking place on December 1 at 10:00 am PST. <br />
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Best of luck!<br />
<br />
LLAP,<br />
<br />
Don<br />
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<br />Donhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com0tag:blogger.com,1999:blog-2141267747214087216.post-57080508985239420472018-11-27T11:16:00.001-08:002018-11-27T11:25:13.549-08:00PROP STORE OFFERS AMAZING PIECE OF STAR TREK TV HISTORY WITH UPCOMING COMISAR COLLECTION AUCTIONSo much of <i>Star Trek</i> can be said to be "iconic". From the language used – "warp speed" and "beam me up, Scotty"– to the familiar triad of colorful costumes to the props – phasers and tricorders – there's much that has entered into our verbal and visual lexicon in the fifty years of <i>Star Trek's</i> existence. But at its core, <i>Star Trek</i> has always been about far more than pop-culture references. It still endures because of the stories told, the lessons learned. It told stories the likes of which had never before been seen on TV. Stories about life and death, love and loss, the nature of what it is to be human and so much more.<br />
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And delicately sandwiched into one of those stories was a history-making moment that seems quaint today, but it had repercussions across the country at the time. It was a moment so fraught with controversy that NBC feared that some stations might actually refused to air it. It was a whirlwind of angst that was brought about because of something that has happened tens of thousands of times throughout television history.<br />
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It was about a kiss. A kiss that all <i>Star Trek</i> fans know of but about which the public by and large knows nothing.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizPlvJhY9xKXgn7LtMaFjeNbjPOyjR-9z4fjVAXSC6GhXzOMAJ0PgzLNDEYO9e2FhPe4Z1IFEpqM4c9QniGeQ83uToIl4x4XlPyHcCKE4AiKseyGhFQ9DAFutuj9R7I8jTShXFRoaS9mM/s1600/3x12_Plato%2527s_Stepchildren_title_card.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1436" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizPlvJhY9xKXgn7LtMaFjeNbjPOyjR-9z4fjVAXSC6GhXzOMAJ0PgzLNDEYO9e2FhPe4Z1IFEpqM4c9QniGeQ83uToIl4x4XlPyHcCKE4AiKseyGhFQ9DAFutuj9R7I8jTShXFRoaS9mM/s400/3x12_Plato%2527s_Stepchildren_title_card.jpg" width="400" /></a></div>
On November 22, 1968 – about fifty years ago to the date! – A <i>Star Trek</i> episode called "Plato's Stepchildren" aired for the first time on NBC. In many ways it is an unremarkable episode and seldom appears on anyone's list of favorites. IMBD summarizes the story thusly:<br />
<br />
<i>"After Dr. McCoy helps the leader of a planet populated by people with
powerful psionic abilities, they decide to force him to stay by
torturing his comrades until he submits."</i><br />
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The race that the crew encounters have adopted classical Greek culture, and named themselves Platonians in honor of the Greek philosopher Plato. This is why it's often called "the Greek episode" (not to be confused with "Who Mourns for Adonais?", <i>another</i> Greek story).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirK_Ft77z1opX5Z_u50RytDqxbBXkM6B_DQiadLktT80G4Mg5-dCBFJTSRrHzfIU-sX8g5suHsSyMUHJuSlYcTn4CJzr8GaBi_n0Rq2LhC513rV6vX36yZQpmOhOMr_FwPM_JKApUMyGo/s1600/SpockAndKirkDance.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="630" data-original-width="849" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirK_Ft77z1opX5Z_u50RytDqxbBXkM6B_DQiadLktT80G4Mg5-dCBFJTSRrHzfIU-sX8g5suHsSyMUHJuSlYcTn4CJzr8GaBi_n0Rq2LhC513rV6vX36yZQpmOhOMr_FwPM_JKApUMyGo/s400/SpockAndKirkDance.jpg" width="400" /></a></div>
They use their psionic abilities against our intrepid heroes until they are able to turn the tables on them. But along the way, Kirk and Spock are arrogantly humiliated,
forced to sing and dance like court jesters. Eventually,
the Platonians use their powers to force two other <i>Enterprise</i> officers to the planet – Uhura and Chapel. Forced to each
wear Greek garb, the <i>Enterprise</i> foursome quickly get their bodies usurped by the leader who proceeds
to make them perform for the gathered Platonians and a captive McCoy,
including forcing Kirk and Uhura into a passionate kiss.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3oKiiRAojy6Jk7iP1rPNfgjMO-MyGqU9A5uQRmnM10cPm0mXKMvq9dpRTjjD3Q3AOmEFPY25iTfqSYn7BP5-xsyiiQK-rwsK3UObuTsjIFmUuxRP0asQeLE1w4rUkCzIjaJM7_u9uNdY/s1600/Uhura_and_Kirk_kiss.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="593" data-original-width="803" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3oKiiRAojy6Jk7iP1rPNfgjMO-MyGqU9A5uQRmnM10cPm0mXKMvq9dpRTjjD3Q3AOmEFPY25iTfqSYn7BP5-xsyiiQK-rwsK3UObuTsjIFmUuxRP0asQeLE1w4rUkCzIjaJM7_u9uNdY/s400/Uhura_and_Kirk_kiss.jpg" width="400" /></a></div>
And that kiss was the issue. It was remarkable for one reason alone: it was the first time that a black person and a white person ever kissed on American television. Other shows had featured kissing between Asian and caucasian actors, but never THIS. But, despite NBC's fears, little was made of the kiss upon its actual airing. The episode ended up being shown everywhere and fan reactions were overwhelmingly positive. There was some outrage (mostly from southerners, apparently) but it was in the minority. <br />
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To put this into context, it was only one year before that the US Supreme Court deemed anti-miscegenation (interracial marriage) laws unconstitutional. The late 60's was a tumultuous time for race relations in the US, so NBC had every right to expect some turmoil. Luckily, little was manifested.<br />
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So that's the history behind that kiss. And that's why it's exciting that some particular offerings from the upcoming Prop Store auction are part of that history-making moment. The auction features many pieces from the Comisar Collection which contains a number of items from the original collection of William Ware Theiss, <i>Star Trek's</i> much-heralded costume designer. And among those pieces are none other than the Greek garb worn by William Shatner and Leonard Nimoy in "Plato's Stepchildren".<br />
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Because of the great provenance that is inherent to the original William Ware Theiss Collection, there is no doubt as to the originality of these pieces. But just to do due diligence, I compared the auction pieces to screen captures from the episode because one never knows<br />
. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDUIh-MR6irx-3B3uOea7OJn3w5egKWdUjdZywAUSHl1lUoNbd_IwMwlOGySoJiSPBYXI5rTQKmv-3MWPyPDpovAHKn-XLEJ5NVl-Q_mYs0MeijxRcaqWA-4WXiR1GL0FSr6AmIQE1BVo/s1600/img09.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1110" data-original-width="1600" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDUIh-MR6irx-3B3uOea7OJn3w5egKWdUjdZywAUSHl1lUoNbd_IwMwlOGySoJiSPBYXI5rTQKmv-3MWPyPDpovAHKn-XLEJ5NVl-Q_mYs0MeijxRcaqWA-4WXiR1GL0FSr6AmIQE1BVo/s400/img09.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHvxFso4pVKNYAKqmwumPm7QQllMkMblDrVra8y72n3YImfp189BAZ51m9odqnIxtw1oUlJrhs_ZpSWsfi2d253yTgXxX035X1wOTnVY7MN-ps7Yn1OLTD9QVr-bHRrb2N1gr51KlCCu4/s1600/img10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1204" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHvxFso4pVKNYAKqmwumPm7QQllMkMblDrVra8y72n3YImfp189BAZ51m9odqnIxtw1oUlJrhs_ZpSWsfi2d253yTgXxX035X1wOTnVY7MN-ps7Yn1OLTD9QVr-bHRrb2N1gr51KlCCu4/s400/img10.jpg" width="400" /></a></div>
<br />
Most costumes are very hard to screen-match (i.e.: definitively identify a given piece as one seen on-screen) with any certainty because most costumes are usually mundane everyday items – dark suits and solid colored pieces that show little, if any, detail. But pieces like the "Plato's Stepchildren" costumes are exactly the opposite of plain. They feature a rich assortment of easy-to-see details that can easily be examined and compared and the auction pieces don't disappoint.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir9FqNimiyxzDPgL4ucHhesoDvEnjxnnTqcliIDu9GD-dVrR0XCw8S8KQdrM5F6ON3rrLAC2G6BdJnhwcYAwPdSRSjCirgMKxbhzNKn4GFpK1zN9rHuudLFPJSTKeX3fitXNC4SeDYc48/s1600/Compare.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="826" data-original-width="1023" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir9FqNimiyxzDPgL4ucHhesoDvEnjxnnTqcliIDu9GD-dVrR0XCw8S8KQdrM5F6ON3rrLAC2G6BdJnhwcYAwPdSRSjCirgMKxbhzNKn4GFpK1zN9rHuudLFPJSTKeX3fitXNC4SeDYc48/s400/Compare.jpg" width="400" /></a></div>
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Whether it's the nature of the fabric's weave, the number of striped areas or the fine pattern seen in the sash and belt, everything matches wonderfully. The colors are still bright and vivid due to careful storage. The Spock piece nets the same result.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8mK9ASJmUf-bAO5h81UrhByJrafc7yvEiaSNz1VsvCZPs0nplXVw2x5c9dXEOW_i5aeBd1U-DjIF4wlrjlYHwoyEbTijHFan3RJuBwqnJcMromjuBxNDoHwdVzVouLqyYdjC-jnyhhyphenhyphenQ/s1600/SpockCompare.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="967" data-original-width="1444" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8mK9ASJmUf-bAO5h81UrhByJrafc7yvEiaSNz1VsvCZPs0nplXVw2x5c9dXEOW_i5aeBd1U-DjIF4wlrjlYHwoyEbTijHFan3RJuBwqnJcMromjuBxNDoHwdVzVouLqyYdjC-jnyhhyphenhyphenQ/s400/SpockCompare.jpg" width="400" /></a></div>
<br />
As with the Kirk, all the specific patterns and details match up. Prop Store has more great close-ups on the auction listing so I urge you to check those out as well. There's many other fantastic <i>Star Trek</i> pieces in the auction as well. You'll find the auction details including a downloadable PDF and the on-line catalog at <a href="https://us.propstoreauction.com/view-auctions/info/id/146/"><span style="color: red;"><b>Prop Store's Comisar Auction.</b></span></a><br />
<br />
Any piece worn by Kirk or Spock always brings great attention and these are no exception. Add in the historical aspect and these become even <i>more</i> special. If you've always wanted a piece of <i>Star Trek</i> history, there's no better opportunity than now! Bidding is now open with the live auction taking place on December 1 at 10:00 am PST.<br />
<br />
Best of luck!<br />
<br />
LLAP,<br />
<br />
Don<br />
<br />Donhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com1tag:blogger.com,1999:blog-2141267747214087216.post-73530154494454106732018-11-12T17:14:00.000-08:002018-11-13T15:31:02.778-08:00WHO BROUGHT MORE FUN TO MORE PEOPLE? NO ONE. R.I.P. STAN LEE. "EXCELSIOR!"It's not often that we can point to a single person who we have never met but nevertheless had a huge impact on our lives. For me, it's names like Gene Roddenberry. George Lucas. Jack Kirby. And, of course, Stan Lee.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrLXkg001_VOqJ6Mwl40GsAlKr31PWWF10zbhdW8XWe1d0aJ1qsMH_IR-1dCLTZ2jVQDP0DvvkpqKHKwZFxUxQ9UUwPWQd_pmUr9Gwuk7_eP5Cp_HRRJsFyTKLz1c1WOFvMFOoc33E-JE/s1600/StanLee2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="275" data-original-width="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrLXkg001_VOqJ6Mwl40GsAlKr31PWWF10zbhdW8XWe1d0aJ1qsMH_IR-1dCLTZ2jVQDP0DvvkpqKHKwZFxUxQ9UUwPWQd_pmUr9Gwuk7_eP5Cp_HRRJsFyTKLz1c1WOFvMFOoc33E-JE/s1600/StanLee2.jpg" /></a></div>
<br />
I discovered comics when I was around five years old. My Grandpa had taken me to the barber and while I was waiting for him to get finished up, I glanced at the usual stack of magazines that you normally find in such places. But forget Field and Stream. Sitting there in all its bright, primary colored-wonderfulness was a comic book. My <i>first</i> comic book. Superman, specifically. I picked it up and was instantly hooked. I couldn't wait to get my next hair cut!<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPkoFoCfYUxZWALONyU8x72IqBHPx1vw4VoYKvqNu8NMJctcLuJZmjbsCUbLZuLv5gGCzSbSpaJRqpH4oxvq_2kAP6CK-d849izWmAIsDYCA9Edmo61Qfxzr7_ZqK6kwywIm-IoAmdNJs/s1600/65-1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="637" data-original-width="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPkoFoCfYUxZWALONyU8x72IqBHPx1vw4VoYKvqNu8NMJctcLuJZmjbsCUbLZuLv5gGCzSbSpaJRqpH4oxvq_2kAP6CK-d849izWmAIsDYCA9Edmo61Qfxzr7_ZqK6kwywIm-IoAmdNJs/s1600/65-1.jpg" /></a>A few years later I was in a neighborhood corner drug store (yes, such places actually existed) and spied my first actual rack of comics. Oh, man! I was allowed to buy some to keep me quiet during our vacation. While I don't remember most of titles in that small, first stack of magic, I remember one of them vividly: The Amazing Spider-Man # 65 (October, 1968). I had seen the Spider-Man cartoon on TV (what kid in the 60's didn't?) but had never seen an actual comic. This one was a fantastic way to meet the character with a bit more depth than the cartoon had offered.<br />
<br />
It was drawn by one of the greatest Spidey artists of all time, John Romita, Sr., and was written by none other than Stan Lee himself. I must have drawn that cover (poorly, alas) a thousand times. I was hooked!<br />
<br />
Since money didn't grow on trees, I had to really scrounge for my comics money. I got a small allowance that I added to lawn-mowing and snow-shoveling money to keep my new-found habit going. Over the years, many more of Stan's creations would be at the heart of my reading list including <i>X-Men</i>, <i>Avengers</i>, and most-especially, <i>The Fantastic Four</i>. I became a FF fanatic and worked to try to find as many back issues as I could find. To this day I think that Stan's best work came from his partnership with Jack Kirby. It's not a coincidence that a vast number of the Marvel movies include Kirby's name along with Lee's. While I know their relationship was tumultuous, that conflict yielded some of the greatest comics ever made.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqdJVCz6NQ9w6nUuJpxN9-9z2IP2v2B39RW8FmiR3wa_PfIuNA_MjGcWw5z8geGAGZhkFABy_sctojfdSbGEJpnZxubjcDnuTEY9qj-1mo00Y7Q2-uAdQRKHyVsrui3hgrut-bcRzgdXY/s1600/Fantastic_Four_Vol_1_52.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1097" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqdJVCz6NQ9w6nUuJpxN9-9z2IP2v2B39RW8FmiR3wa_PfIuNA_MjGcWw5z8geGAGZhkFABy_sctojfdSbGEJpnZxubjcDnuTEY9qj-1mo00Y7Q2-uAdQRKHyVsrui3hgrut-bcRzgdXY/s400/Fantastic_Four_Vol_1_52.jpg" width="273" /></a></div>
(As an aside, why can't anyone get Fantastic Four right on film?!???)<br />
<br />
I went on to read comics for decades. One of the coolest offshoots of that was that my little brother, John Michael, got hooked as well by reading his big brother's stash. We would talk comics for hours! Those are some of my favorite memories of my entire life.<br />
<br />
Stan Lee's work has never been better known that it is today. Every Marvel movie has at its core a Stan Lee story or creation. His work will no doubt make a continuous mark for a long, long time. <br />
<br />
So rest easy, Mr. Lee. Your legacy is in good hands. And this comics fan thanks you profoundly for bringing some happy moments to a young boy that needed all the joy he could find. <br />
<br />
LLAP and, just this once, "Excelsior!"<br />
<br />
DonDonhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com0tag:blogger.com,1999:blog-2141267747214087216.post-68424622883534103772018-09-18T16:35:00.000-07:002018-09-18T16:40:10.382-07:00PROPSTORE ENTERTAINMENT MEMORABILIA LIVE AUCTION 2018 / STAR TREK: VOYAGER PIECES<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9JXH8Qt6soK2gWY2lTjE3JI3-X3C9103D7AuYZbgh3hjRJgav9TH0J1pZMLRpka6lumxe0Vycw2wG-fAEZDOuWmB7-KOZKyShlNwzk-fSjsSUe8Ah_KzF97GPIzN1jpidYlodpwRpsJQ/s1600/Seven.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="694" data-original-width="549" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9JXH8Qt6soK2gWY2lTjE3JI3-X3C9103D7AuYZbgh3hjRJgav9TH0J1pZMLRpka6lumxe0Vycw2wG-fAEZDOuWmB7-KOZKyShlNwzk-fSjsSUe8Ah_KzF97GPIzN1jpidYlodpwRpsJQ/s200/Seven.jpg" width="158" /></a></div>
PropStore's upcoming auction has Voyager offerings with one theme: Seven of Nine! Let's go.<br />
<br />
What set Seven of Nine (Seven to her friends) apart from her crewmates can be summed up with two words: 1.) implants (no, not those kind – the Borg kind!) and B.) catsuit. Propstore has both.<br />
<br />
For starters let's examine the costume. Though it's identified as her Starfleet uniform, since Seven wasn't in Starfleet, she didn't wear a uniform. Instead, she wore a series of one-piece body stocking suits in various colors. This is one of the purple versions.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRWrC1-Mw2OH7F79fyrX0MMealrx6U6ZCb0r0DAQtJHnedN77rute2XSah4JqoJStU3Pvnjs3rGAIKKx5-nSHosBInD087aFLKCB9rc_1FfOvQ7yrGHnj5JJOfQnbUaadToSeC8NMkSFg/s1600/90338_Seven+of+Nine+Jeri+Ryan+Starfleet+Uniform_2b.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="982" data-original-width="324" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRWrC1-Mw2OH7F79fyrX0MMealrx6U6ZCb0r0DAQtJHnedN77rute2XSah4JqoJStU3Pvnjs3rGAIKKx5-nSHosBInD087aFLKCB9rc_1FfOvQ7yrGHnj5JJOfQnbUaadToSeC8NMkSFg/s640/90338_Seven+of+Nine+Jeri+Ryan+Starfleet+Uniform_2b.jpg" width="211" /></a></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">Lot
#: 418 - Seven of Nine (Jeri Ryan) Starfleet Uniform, STAR TREK: VOYAGER (TV
1995-2001)</span></b></div>
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<span lang="EN-GB">Seven of Nine’s (Jeri Ryan) Starfleet
uniform from the sci-fi television series Star Trek: Voyager. After she was
liberated from the Borg, Seven was allowed to stay on board the USS Voyager.
While she initially wore a Borg-like silver suit, Seven’s outfit changed to a
purple color as she adjusted back to human life. </span></div>
<div class="MsoNormal">
<span lang="EN-GB">This one-piece suit is made from purple
tinsel lurex fabric. The elastic qualities of the fabric enabled Seven’s outfit
to have its signature tight fit. A hidden zipper closes the suit at the back
and clasps complete the seamless look at the collar. Additionally, the feet
close at the rear with Velcro, in order to allow an easier fitting.</span></div>
<div class="MsoNormal">
<span lang="EN-GB">A Starfleet badge is also included and
attaches to the suit with Velcro. The badge is made of resin and has the number
10 written on its reverse side. The piece shows minimal signs of wear and is in
very fine condition. </span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">£4,000
- 6,000</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpwwHoHkbPaws1Ta6QVvkH4r26ziVf8lSJiaOU5H8mHzEXFEjou0baBmgJftZPTHj9IDEOzMDRwYzxwMNQDZd23FteZ0Cnvd0bdI2UMHlzoGLCXRlx0llvGfQ2ZprpCyeey3CwQWJ8Z8g/s1600/90338_Seven+of+Nine+Jeri+Ryan+Starfleet+Uniform_6b.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="432" data-original-width="402" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpwwHoHkbPaws1Ta6QVvkH4r26ziVf8lSJiaOU5H8mHzEXFEjou0baBmgJftZPTHj9IDEOzMDRwYzxwMNQDZd23FteZ0Cnvd0bdI2UMHlzoGLCXRlx0llvGfQ2ZprpCyeey3CwQWJ8Z8g/s200/90338_Seven+of+Nine+Jeri+Ryan+Starfleet+Uniform_6b.jpg" width="185" /></a><span style="mso-bidi-font-weight: normal;"><span lang="EN-GB">This fantastic piece comes with a production-made Starfleet Comm badge that attaches via a Velcro patch. </span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB">To go along with this great costume you'll need the right accessories. How about some Borg hand implants? They're just the thing.</span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB">Seven featured Borg implants on her face and left hand. Nothing says "I was Borgified" like creepy circuitry on your body, right?</span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">Lot
#: 417 - Seven of Nine's (Jeri Ryan) Borg Exo-Glove, STAR TREK: VOYAGER (TV
1995-2001)</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB">Seven of Nine's (Jeri Ryan) Borg exo-glove
from Star Trek: Voyager. Seven of Nine retained some of her robotic appearance
after her de-Borgification in the fourth season. The piece is attributed to the
sixth season finale episode “Unimatrix Zero”, in which Seven of Nine makes
contact with a secretive Borg enclave in a virtual reality world. </span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4JJlvsXy2tqhFOglZxZFNwIwyOdSRrEnjajKmqDiw-mz4VJK6BNIF0h_k61NzMcAG1rWQW3aYn-vg79yMMkeLLMxiMD4O-wWhjqLf1hSnN4ToX8JGWsRgWvn9iGh3UUh1BdOMWTmJQh8/s1600/81030_Seven+of+Nine%2527s+Jeri+Ryan+Borg+Hand+Appliances_2b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1051" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4JJlvsXy2tqhFOglZxZFNwIwyOdSRrEnjajKmqDiw-mz4VJK6BNIF0h_k61NzMcAG1rWQW3aYn-vg79yMMkeLLMxiMD4O-wWhjqLf1hSnN4ToX8JGWsRgWvn9iGh3UUh1BdOMWTmJQh8/s400/81030_Seven+of+Nine%2527s+Jeri+Ryan+Borg+Hand+Appliances_2b.jpg" width="387" /></a></div>
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<span lang="EN-GB">Made from foam rubber, the glove is
finished in metallic steel and brass-effect paint. There is wear to the glove
and some sections have become detached. However, it remains in good but fragile
condition, and is presented on a black flocked hand. Also included is a studio
certificate of authenticity and an autographed 10” x 8” promotional still of
the character, signed in gold ink. Dimensions (hand display): 32 cm x 15 cm x 4
cm (12 ½” x 6” x 1 ½”)</span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">£2,000
- 3,000</span></b><span style="mso-bidi-font-weight: normal;"><span lang="EN-GB"></span></span></div>
<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB">There you have it – a great batch of <i>Star Trek</i> items from across the various franchise installments.</span></span><span style="mso-bidi-font-weight: normal;"><span lang="EN-GB"></span></span><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB"> Don't miss </span></b><span style="mso-bidi-font-weight: normal;"><span lang="EN-GB">out on your opportunity to grab a piece of the future. The auction is on September 20th so get signed up now at <a href="https://propstore.com/"><span style="color: red;"><b>PROPSTORE</b></span></a>.</span></span><br />
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<br />
<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB">Good hunting and as always...</span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB"><br /></span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB">LLAP</span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB">Don</span></span><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB"><br /></span></b></div>
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Donhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com0tag:blogger.com,1999:blog-2141267747214087216.post-23790805001570859062018-09-17T18:37:00.002-07:002018-09-17T18:37:29.105-07:00PROPSTORE ENTERTAINMENT MEMORABILIA LIVE AUCTION 2018 / STAR TREK: THE NEXT GENERATION PIECESPropStore's upcoming auction has some extremely significant TNG stuff that any collector would instantly recognize. Let's start big!<br />
<br />
The Husnock ship model from the TNG episode "The Survivors" is up first. But to be clear, it's not JUST that ship, but rather it started OUT as that ship. Then it would be used over and over again and again, each time being tweaked a bit here or there so as to give a different look to better represent various alien races, not just in NextGen but also in various episodes of <i>Deep Space Nine</i> and even had an appearance in <i>Voyager</i>. This baby got around!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigpWcmEazlQcgYIFeQ8yIGbwDhyEZdL242hn7b588X1mM5x3HbpGkEnFt8LMRaDefLNzR-0mxrXTjz_LqWlxjGNYpJ6-rGIofmawagbIvi6yOHx8oHDseQshXmXd2iuWNNF2HFVCkHEYg/s1600/90337_The+Husnock+Ship_1b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="506" data-original-width="1296" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigpWcmEazlQcgYIFeQ8yIGbwDhyEZdL242hn7b588X1mM5x3HbpGkEnFt8LMRaDefLNzR-0mxrXTjz_LqWlxjGNYpJ6-rGIofmawagbIvi6yOHx8oHDseQshXmXd2iuWNNF2HFVCkHEYg/s400/90337_The+Husnock+Ship_1b.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYDbX5moTVs1nsqLUhASwQ_e1K3otBfiPDDepGy0TaFRVuKbgGL_3-R6JvgHtLIdb23uDGqR6AxD2PB_kEmcgPlj2qz7wYFXE27NyiV9ej0DQtdOZ9Cs3TO52DQMp7eVyJAfnvGyGAEIA/s1600/90337_The+Husnock+Ship_8b.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1296" data-original-width="769" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYDbX5moTVs1nsqLUhASwQ_e1K3otBfiPDDepGy0TaFRVuKbgGL_3-R6JvgHtLIdb23uDGqR6AxD2PB_kEmcgPlj2qz7wYFXE27NyiV9ej0DQtdOZ9Cs3TO52DQMp7eVyJAfnvGyGAEIA/s640/90337_The+Husnock+Ship_8b.jpg" width="377" /></a><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">Lot
#: 415 - The Husnock Ship, STAR TREK: THE NEXT GENERATION (TV 1987-1994); STAR
TREK: DEEP SPACE NINE (1993-1999); STAR TREK: VOYAGER (TV 1995-2001); STAR
TREK: ENTERPRISE (2001-2005)</span></b></div>
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<span lang="EN-GB">A model miniature spaceship from the sci-fi
television series Star Trek: The Next Generation, Star Trek: Deep Space Nine,
Star Trek: Voyager and Star Trek: Enterprise. Appearing in more than 20
episodes, the ship was originally created as the Husnock ship for The Next
Generation episode “The Survivors”, and was modified by model makers throughout
the years to appear as various other ships. </span></div>
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<span lang="EN-GB">The triangular ship is made of fiberglass
with an internal metal armature, and is decorated with an array of styrene
greeblie detailing throughout the hull. Painted blue-grey, the ship is
outfitted with dozens of small lights that run along the hull, and includes
three red engine panels that were illuminated internally. A removable panel
below the bridge provides access to the electronic cabling which runs through
the interior and exits through a hole cut into the bottom of the model.</span></div>
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<span lang="EN-GB"> </span><span lang="EN-GB"><span lang="EN-GB">The miniature includes a production storage
crate which features the names of other vessels it has been modified to appear
as, including “Bajoran” and “Jovis”. The model is believed to have represented
more different craft than any other in Trek history, and as such is well-used
in the Star Trek saga, exhibiting minor cracks and wear to the paint finish.
However, it remains in very fine condition. Dimensions (ship): 66 cm x 35.5 cm
x 18 cm (26” x 14” x 7”); (crate): 91.5 cm x 66 cm x 49.5 cm (36” x 26” x 19
½”)</span></span></div>
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<span lang="EN-GB"><span lang="EN-GB"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">£20,000
- 30,000</span></b> </span> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzPfV3Tah44LdzNA7AA6WSprbOEIr5aQm1TXJLrJBJSB8_ORUbpRwv1s23MPEyJpSh7xDYdaNKt8Tc9oQm4vCkdO4A1539vY6pt4XzQOv31fer3O1f8Sj7SMeZtIodbV5u9rSX-X1Gsms/s1600/90337_The+Husnock+Ship_12b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="435" data-original-width="1296" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzPfV3Tah44LdzNA7AA6WSprbOEIr5aQm1TXJLrJBJSB8_ORUbpRwv1s23MPEyJpSh7xDYdaNKt8Tc9oQm4vCkdO4A1539vY6pt4XzQOv31fer3O1f8Sj7SMeZtIodbV5u9rSX-X1Gsms/s400/90337_The+Husnock+Ship_12b.jpg" width="400" /></a></div>
Here's the complete list of shows in which the model appeared in one of its many guises (care of ex-astris-scientia.org).<br />
<br />
TNG: "The Survivors" – Husnock ship<br />
TNG: "The Most Toys"
– Kivas Fajo's ship<br />
TNG: "Half a Life" – Kaelon warship<br />
TNG: "Ensign Ro"– Bajoran cruiser<br />
TNG: "Silicon Avatar" Boreal freighter<br />
TNG: "Unification
I"– Smmuggler ship<br />TNG: "The Perfect Mate"
– Valtese ship<br />
DS9: "A Man Alone"– Bajoran transport<br />
DS9: "The Circle"– Kressari freighter<br />
DS9: "Shadowplay"
– Bajoran transport<br />
DS9: "The Collaborator"
– Bajoran transport <br />
VOY: "Ex Post Facto"– Numiri ship<br />
DS9: "Rules of
Engagement" – Cardassian Transport<br />
VOY: "Warlord" – Ilari warship<br />
DS9: "The Reckoning"– Bajoran transport<br />
DS9: "Take Me Out to the Holosuite"
– Bajoran transport<br />
<br />
When the model was reused as a new ship, they would add and/or subtract parts to give a new visual appearance, though sometimes it was as simple as changing the lighting to achieve a new look. Several of the later episodes actually re-used earlier footage from other episodes (especially when it stood in for the Bajoran Transport!).<br />
<br />
Ironically, the first incarnation is one of hardest ones to see in the model since it was heavily modified afer that initial use. The Husnock ship:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOvTc-9mXihKqssFp_d1P2BHI3Vmz1T8zkjruy-fBO7ZXs7nf2q91Km8LgvZfYnZxyVVtz0G0IYKIf_U_DOuUe5vdpQJggurGBYstIrz4rlgrCTejnk3Ml1aNmsFxR_SBSk7OPqlqbBtc/s1600/23-thesurvivors-2-r.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="697" data-original-width="1438" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOvTc-9mXihKqssFp_d1P2BHI3Vmz1T8zkjruy-fBO7ZXs7nf2q91Km8LgvZfYnZxyVVtz0G0IYKIf_U_DOuUe5vdpQJggurGBYstIrz4rlgrCTejnk3Ml1aNmsFxR_SBSk7OPqlqbBtc/s400/23-thesurvivors-2-r.jpg" width="400" /></a></div>
By subtracting some structures and adding some new ones, we then got Kivas Fajo's ship:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHSAh8yUnmXULrBaVj1jg9wWLcbqw1LH_tvBm39re0r21ha5xCTv1VamH1Ktu7ntliUswvymc5ChZmwlNV01cFRjWNBi9Xj7Q0e5h_VaR8b2ufKyf2oN3_rL5ndpuiCG301xbSUiNe-0s/s1600/13-themosttoys-4-r.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="708" data-original-width="1438" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHSAh8yUnmXULrBaVj1jg9wWLcbqw1LH_tvBm39re0r21ha5xCTv1VamH1Ktu7ntliUswvymc5ChZmwlNV01cFRjWNBi9Xj7Q0e5h_VaR8b2ufKyf2oN3_rL5ndpuiCG301xbSUiNe-0s/s400/13-themosttoys-4-r.jpg" width="400" /></a></div>
For "Half a Life" they simply tweaked the lighting:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVbSR-guOlay9mgDBzdAAEivjKneoHwcE1J74C5EB5_PdBcpFRntqXqY5lHN5fjvxwWr-krccqkkJUXno9BMdMJLtrhcf_1KLPMvkcTvMwb_YtC5U5zllZe8xwrvoS7_aq0Q3sp1nSS1U/s1600/24-halfalife-4-r.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="462" data-original-width="910" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVbSR-guOlay9mgDBzdAAEivjKneoHwcE1J74C5EB5_PdBcpFRntqXqY5lHN5fjvxwWr-krccqkkJUXno9BMdMJLtrhcf_1KLPMvkcTvMwb_YtC5U5zllZe8xwrvoS7_aq0Q3sp1nSS1U/s400/24-halfalife-4-r.jpg" width="400" /></a></div>
By getting rid of the "wings" we then got the Bajoran Transport. This is the version you're probably most familiar with and it is the way the model currently looks:<br />
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It then got some new wings for the smuggler ship in "Unification":<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIU-GtK1KFEi35oXEYAj4KogXE7BcA0_xpAwBLt92hyXKEojUsE98Bcou1_pCcJnIg1698oQJh7Rv8X0tyosXSDWoXPcvaDpR3uaOYQl50uP8g9Yf3ULprjStOCRrFr23fLn4OPRkAMx8/s1600/30-unificationi-1-r.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="789" data-original-width="1436" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIU-GtK1KFEi35oXEYAj4KogXE7BcA0_xpAwBLt92hyXKEojUsE98Bcou1_pCcJnIg1698oQJh7Rv8X0tyosXSDWoXPcvaDpR3uaOYQl50uP8g9Yf3ULprjStOCRrFr23fLn4OPRkAMx8/s400/30-unificationi-1-r.jpg" width="400" /></a></div>
By dropping the wings and adjusting the lighting, we then got the Cardassian Transport in the usual ochre:<br />
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When productions moved to CGI, they actually built a CGI version of the Bajoran ship for <i>DS9</i> and that same 3D model was used and reused in both <i>Voyager</i> and <i>Enterprise</i>. This puppy really got around!<br />
<br />
Next up is one of the most iconic NextGen pieces ever – Captain Jean-Luc Picard's original Starfleet uniform!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8nRcAJhqvA6DukdF885LCD71MVYviyzp8fOaHXuoTX2bCLHvEKhmVdKQimmGzKuJe9YYBe4xj6PCmWEC3xPRnZ18ctwx1KAwr2APR1bwGhibkZQBpdJj_ySh8LB7NO0pdKuESycxxT_o/s1600/89905_Captain+Picard%2527s+Patrick+Stewart+Starfleet+Uniform_1b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1296" data-original-width="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8nRcAJhqvA6DukdF885LCD71MVYviyzp8fOaHXuoTX2bCLHvEKhmVdKQimmGzKuJe9YYBe4xj6PCmWEC3xPRnZ18ctwx1KAwr2APR1bwGhibkZQBpdJj_ySh8LB7NO0pdKuESycxxT_o/s1600/89905_Captain+Picard%2527s+Patrick+Stewart+Starfleet+Uniform_1b.jpg" /></a></div>
This is a stunning specimen of the Season 1/2 style of uniform worn by Patrick Stewart himself. It comes complete with the original sewn-in costume tag.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyYg7A96Y7fcrS9CYFc4wY5_pxOdv5v0MEKLmJy2Ipu0dbGu3P2bFtnofgGffdu8wHSY2S_9l1APpIrVNYBjqfNp6AYJB8zXyGYMgr4krnNpRutlymvL8bI1wEgvRX0jcn0PnZFrJaiIw/s1600/89905_Captain+Picard%2527s+Patrick+Stewart+Starfleet+Uniform_13b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="443" data-original-width="1296" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyYg7A96Y7fcrS9CYFc4wY5_pxOdv5v0MEKLmJy2Ipu0dbGu3P2bFtnofgGffdu8wHSY2S_9l1APpIrVNYBjqfNp6AYJB8zXyGYMgr4krnNpRutlymvL8bI1wEgvRX0jcn0PnZFrJaiIw/s400/89905_Captain+Picard%2527s+Patrick+Stewart+Starfleet+Uniform_13b.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivFOYe7ppz2O9C-fx2Hl8Wwj0mdDJ8wySCGuPs-AJFiNqTri1-UBFvuzIGfj7ezt3grbk3wAi4ompRLz4c7gRxIaL8xkk1mVKCSxOHON93urGQy66qp5_jPSeFmAo5s3v04xy68Sjw7BY/s1600/89905_Captain+Picard%2527s+Patrick+Stewart+Starfleet+Uniform_12b.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="880" data-original-width="324" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivFOYe7ppz2O9C-fx2Hl8Wwj0mdDJ8wySCGuPs-AJFiNqTri1-UBFvuzIGfj7ezt3grbk3wAi4ompRLz4c7gRxIaL8xkk1mVKCSxOHON93urGQy66qp5_jPSeFmAo5s3v04xy68Sjw7BY/s640/89905_Captain+Picard%2527s+Patrick+Stewart+Starfleet+Uniform_12b.jpg" width="235" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">Lot
#: 416 - Captain Picard's (Patrick Stewart) Starfleet Uniform, STAR TREK: THE
NEXT GENERATION (TV 1987-1994)</span></b></div>
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<span lang="EN-GB">Captain Jean-Luc Picard’s (Patrick Stewart)
Starfleet uniform from Star Trek: The Next Generation. Picard wore his
one-piece uniform throughout the first two seasons as he and his crew set out
on their mission to boldly go where no one had gone before. </span></div>
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<span lang="EN-GB">The one-piece burgundy-and-black Starfleet
uniform is made from spandex, with a hidden zip from the collar to the waist
and zips at the ankles for a tight fit. Four brass captain rank pips are at the
right side of the collar and a replica Starfleet communicator badge is found on
the left side of the chest. A costumiers’ label inside has handwritten detail
reading, “#2 Patrick 022”. With only minor signs of wear, the costume remains
in excellent condition and is presented on a custom-made display stand. Dimensions
(displayed): 173 x 62 x 37 cm (14.5” x 24” x 68”)</span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">£10,000
- 15,000</span></b></div>
<br />
What helps makes this such an awesome piece is the custom-made display that features a perfectly-fitted mannequin body mounted on a beautiful display stand. This has to be every NextGen fan's holy grail.<br />
<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP3mZnjHCH6DwHV9AaehUzaACcRfV6ZB8Rt2vRVSB-Tjxhyphenhyphen6xhGuEKdQhkYoDnYe6kHvTFeey7tWk2deOonIzx3A6siEVCZmV2fmZi261ulWXY2l7y-GNFtSWGSnYOtoC8qcSf9HKNl7w/s1600/87932_Starfleet+Phaser_6b.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="864" data-original-width="481" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP3mZnjHCH6DwHV9AaehUzaACcRfV6ZB8Rt2vRVSB-Tjxhyphenhyphen6xhGuEKdQhkYoDnYe6kHvTFeey7tWk2deOonIzx3A6siEVCZmV2fmZi261ulWXY2l7y-GNFtSWGSnYOtoC8qcSf9HKNl7w/s320/87932_Starfleet+Phaser_6b.jpg" width="178" /></a></div>
Finally, on a slightly smaller scale than the ship model and the Picard
uniform is a classic NextGen phaser. Not to be confused with the early
"Dustbuster" style phasers, this is the model used beginning with the
third season.<br />
<br />
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">Lot
#: 413 - Type 2 Phaser, STAR TREK: THE NEXT GENERATION (TV 1987-1994)</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB">A type 2 phaser from Gene Roddenberry’s
sci-fi series Star Trek: The Next Generation. Type 2 phasers varied throughout
the series, with this version debuting on the show in the third season.</span></div>
<div class="MsoNormal">
<span lang="EN-GB">Made of resin, the hand-held phaser
features a slight curve and is painted silver and black with a ribbed grip. The
phaser includes three static buttons: one for controlling the beam range, one
for beam intensity, and one to fire the weapon. The prop phaser features three
green stickers to represent power-level indicator screens. The piece shows wear
due to production use, with the green stickers peeling away from the surface
and light paint flaking. Dimensions: 21 cm x 6 cm x 4.5 cm (8 ¼” x 2 ¼” x 1 ¾”)</span>
</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">£3,000
- 5,000</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-ItBJYh3KctGl6UiQ7400alJ_QLbpdPxCx85c25ynyRqUXVDc6MviMkQ-Ku0D-uVCoJBUvlr-_dQDrR13LsAjHaF9VamIVxpQfEar_Zn6gBXS2bWOzXnNzrwEfMJWIfvcLOV6uRhTKno/s1600/87932_Starfleet+Phaser_1b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="668" data-original-width="864" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-ItBJYh3KctGl6UiQ7400alJ_QLbpdPxCx85c25ynyRqUXVDc6MviMkQ-Ku0D-uVCoJBUvlr-_dQDrR13LsAjHaF9VamIVxpQfEar_Zn6gBXS2bWOzXnNzrwEfMJWIfvcLOV6uRhTKno/s400/87932_Starfleet+Phaser_1b.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiUV2_Luk8YED5QAyKhQSAR2DYxszSvWMQodQRkRXl3ybRzqrtkZwhTtsS04lXM2wPCNFW0ezeqbgGfb3yiRaP5ZUZur469Eftmk_fBR569Hn26t9RnTCTWNaUZpDPxtzMmciNMJ28WZg/s1600/87932_Starfleet+Phaser_4b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="362" data-original-width="864" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiUV2_Luk8YED5QAyKhQSAR2DYxszSvWMQodQRkRXl3ybRzqrtkZwhTtsS04lXM2wPCNFW0ezeqbgGfb3yiRaP5ZUZur469Eftmk_fBR569Hn26t9RnTCTWNaUZpDPxtzMmciNMJ28WZg/s400/87932_Starfleet+Phaser_4b.jpg" width="400" /></a></div>
<br />
And that's it for NextGen – small, medium and large offerings for whatever kind of collector you are.<br />
<br />Tomorrow: <i>Voyager</i>!<br />
<br />
LLAP<br />
<br />
Don<br />
Donhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com0tag:blogger.com,1999:blog-2141267747214087216.post-43093836115710884352018-09-16T20:42:00.000-07:002018-09-16T20:42:27.003-07:00PROPSTORE ENTERTAINMENT MEMORABILIA LIVE AUCTION 2018 / STAR TREK: THE ORIGINAL SERIES PIECES<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrJmS8CVm7X-w-xlKkyjzUQm3ctUV-x2Vt3vfZt1v73JsXDRoUTXQfRHVKOXDn9p1aUeLEWS5oXjT31_Psz-WoEUq4WLceTw9RZt63LfpjTayUDce8N3jGaD8kd1G_xMgnw-peun49iGo/s1600/493566-t1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="430" data-original-width="377" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrJmS8CVm7X-w-xlKkyjzUQm3ctUV-x2Vt3vfZt1v73JsXDRoUTXQfRHVKOXDn9p1aUeLEWS5oXjT31_Psz-WoEUq4WLceTw9RZt63LfpjTayUDce8N3jGaD8kd1G_xMgnw-peun49iGo/s1600/493566-t1.jpg" /></a>PropStore has a big damn auction in London coming up later this week and since they are one of the premiere auction houses offering up fantastic entertainment memorabilia, they naturally have some fantastic <i>Star Trek</i> offerings. Regarding the UK VAT tax, I've been told that it doesn't pertain to most items so if you're in the US and want to bid, contact them directly for more information.<br />
<br />
Ignore that <i>Star Wars</i> thing on the cover (which, admittedly will be very difficult!) and shoot on over to the <i>Star Trek</i> section starting with Lot number 412. There's a bit of something for everyone this time around – props, costumes, set pieces and even a shooting model!<br />
<br />
My personal favorite is a piece that has been offered up at auction before and is, in my opinion, one of the coolest pieces to ever come to light. It's literally a piece of the original Starship Enterprise – a control panel from the original bridge!<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKcpZgXv7Rpb6JXE_ghVkXCrO_w41JIQFv_m5Ga3Znmqy_2TvMqvPDdlnG1zdzVmcxjud1DmKKu9iavbRu28iDNKkoqBYrcafjErAt7wFB12lQHAJRfd-xeXMqjE_oCC8D2BPXHuS8OKw/s1600/90531_Enterprise+Bridge+Screen_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1375" data-original-width="1600" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKcpZgXv7Rpb6JXE_ghVkXCrO_w41JIQFv_m5Ga3Znmqy_2TvMqvPDdlnG1zdzVmcxjud1DmKKu9iavbRu28iDNKkoqBYrcafjErAt7wFB12lQHAJRfd-xeXMqjE_oCC8D2BPXHuS8OKw/s400/90531_Enterprise+Bridge+Screen_1.jpg" width="400" /></a></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">Lot
#: 412 - USS Enterprise Bridge Translite, STAR TREK: THE ORIGINAL SERIES (TV
1966-1969)</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB">A US<a href="https://www.blogger.com/null" name="_GoBack"></a>S Enterprise
bridge translite from Gene Roddenberry’s original television series Star Trek.
This screen served as set decoration on the USS Enterprise bridge throughout
the pilot episode, as well as all three seasons of the sci-fi show. Visible on
consoles to the left of the captain’s chair, this translite was rescued by
animator Mike Jittlov while the original bridge set was being demolished at
University of California, Los Angeles.</span></div>
<div class="MsoNormal">
<span lang="EN-GB">This translite was made by producing
colourful gels in the shape of the USS Enterprise. The gels were then
sandwiched between two panels of glass and placed in front of a light box to
achieve the desired ‘screen’ effect. A label is placed at the bottom right
corner and reads, “Original Enterprise Screen from the Star Trek Bridge Set
Liberated by Mike Jittlov as the set was being demolished at UCLA in 1970”.</span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">£8,000
- 10,000</span></b><span style="mso-bidi-font-weight: normal;"><span lang="EN-GB"> </span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB">This amazing piece can be seen on the bridge throughout the run of the original series. </span></span><span style="mso-bidi-font-weight: normal;"><span lang="EN-GB"></span></span><span style="mso-bidi-font-weight: normal;"><span lang="EN-GB">Here's a few episodes in which it appeared:</span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXvA5GtVDLsJaKq0IeJzdOCDnguTTIS9wyhJXTJb5CwnwoTNeZv5rz8U53BbcBVcY8ql6jOCDJR7I1Xms4GhKTDYxb3Pv3Hreyd9uvHa0EvPslIm4tigeHDSsa4ZK-2jln3j4BQ5p53Rc/s1600/balanceofterrorhd033.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1440" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXvA5GtVDLsJaKq0IeJzdOCDnguTTIS9wyhJXTJb5CwnwoTNeZv5rz8U53BbcBVcY8ql6jOCDJR7I1Xms4GhKTDYxb3Pv3Hreyd9uvHa0EvPslIm4tigeHDSsa4ZK-2jln3j4BQ5p53Rc/s400/balanceofterrorhd033.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Balance of Terror</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitvaYx1wcd7QfUlxwVEmaEn0gXG-300f9Z75o5N_lDtV6hxJbnyDeRh3vRXAKCTj5DncUq3HiJf-74_zqlJfUapDUCysFNsm9paVRyc6Uf3D-7vcJg8DVofuaPn9qtoixkoaN5rHAv4jk/s1600/CharlieX.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="669" data-original-width="1028" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitvaYx1wcd7QfUlxwVEmaEn0gXG-300f9Z75o5N_lDtV6hxJbnyDeRh3vRXAKCTj5DncUq3HiJf-74_zqlJfUapDUCysFNsm9paVRyc6Uf3D-7vcJg8DVofuaPn9qtoixkoaN5rHAv4jk/s400/CharlieX.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Charlie X</td></tr>
</tbody></table>
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Vw1zLfXZceMXpIYShQrhlVt3yZJK_qxjU89IG6N8mJ6Rp45Srw8R3Y8HJXPvi1iEozfWEOiRDfkrTC7Ad7kAo8aMHGSQr8N5bNoOgEZgGL3ga3QnbrtLQrjwkhm10vh9Ms0Y2Gk0Dgc/s1600/DoomsdayMachine.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="888" data-original-width="1154" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Vw1zLfXZceMXpIYShQrhlVt3yZJK_qxjU89IG6N8mJ6Rp45Srw8R3Y8HJXPvi1iEozfWEOiRDfkrTC7Ad7kAo8aMHGSQr8N5bNoOgEZgGL3ga3QnbrtLQrjwkhm10vh9Ms0Y2Gk0Dgc/s400/DoomsdayMachine.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Doomsday Machine</td></tr>
</tbody></table>
</span></span></div>
<br />
<br />
<div class="MsoNormal">
<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB">In short, you can get a glance at the panel in tons of episodes! </span></span></div>
<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB">The other (sorta) original series piece is the original cover art for the DC comics run of Star Trek from 1985 and features a very heroic Hikaru Sulu in action in beautiful black and white. </span></span><br />
<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB"><br /></span></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJNpbONSoHYBOXtDt6XIjGCeB3LMNyNPya7hdVGmFM7PLaVcsADjOJgQlT4NwR77BHfhQQcKImbiSbXFkAyTfaKxgpuhyphenhyphenmisR5zxORCkvOubY4VAs6czhGYmL35Mp4IkUD-e8TwmalvoQ/s1600/87481_Hand+Drawn+1st+Series+DC+Comic+Cover+Artwork+-+Issue+20_1-b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1111" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJNpbONSoHYBOXtDt6XIjGCeB3LMNyNPya7hdVGmFM7PLaVcsADjOJgQlT4NwR77BHfhQQcKImbiSbXFkAyTfaKxgpuhyphenhyphenmisR5zxORCkvOubY4VAs6czhGYmL35Mp4IkUD-e8TwmalvoQ/s400/87481_Hand+Drawn+1st+Series+DC+Comic+Cover+Artwork+-+Issue+20_1-b.jpg" width="277" /></a></div>
<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB"><br /></span></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5uysAw1Cl3UC1BMu81S33gru-jlyOArNtBs2i2ztrHtGRFi0VmDeu6KbTKuuMO6nqD72bRsNbDnJcAdZVuwoR_1zs_fewzv-MVAYpJMY789Lkr1cyOXI2RrRWhZtg_pBI8gU5HpmHWG4/s1600/87481_Star+Trek+%252320+%25281985%2529_Cover2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1056" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5uysAw1Cl3UC1BMu81S33gru-jlyOArNtBs2i2ztrHtGRFi0VmDeu6KbTKuuMO6nqD72bRsNbDnJcAdZVuwoR_1zs_fewzv-MVAYpJMY789Lkr1cyOXI2RrRWhZtg_pBI8gU5HpmHWG4/s320/87481_Star+Trek+%252320+%25281985%2529_Cover2.jpg" width="210" /></a></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">Lot
#: 419 - Tom Sutton and Ricardo Villagran Hand-Drawn Cover Artwork, STAR TREK
#20 (1985)</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB">Hand-drawn cover artwork by Tom Sutton and
Ricardo Villagran featuring Sulu, from Star Trek #20. In this issue, which is
titled “Giri” (Japanese for honour), Commander Sulu found excitement and danger
as he took shore leave for a wedding.</span></div>
<div class="MsoNormal">
<span lang="EN-GB">This original pencilled-and-inked artwork
is drawn on Bristol board by penciller Tom Sutton and inker Ricardo Villagran.
The cover shows Sulu using a sword to defend himself against Reijiro, the
groom, who operates a cyber suit. This was the first cover to feature Sulu
alone, and shows the Starfleet officer using a sword — although he does not
wield one in the comic. Pasted onto the artwork are the artist’s names, issue
block, title art, barcode block and tagline, which reads: “SULU GOES HOME -- TO
LEARN THE MEANING OF HONOR!” On the back of the sheet is a DC Comics stamp and
a handwritten date, “5/8/85”. </span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">£500
- 800</span></b></div>
<br />
<div class="MsoNormal">
<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB">That's it for original series stuff. Tomorrow, I'll get into some amazing Next Generation pieces. </span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB">To see the entire Propstore catalog and sign up for bidding, go to <a href="https://propstore.com/"><span style="color: red;">PROPSTORE</span></a>.</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB">LLAP,</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB">Don</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
Donhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com3tag:blogger.com,1999:blog-2141267747214087216.post-26434788470660049832018-08-20T20:26:00.004-07:002018-08-20T20:38:12.968-07:00NEW SCREENUSED AUCTION OFFERS UP A GREAT SERVING OF STAR TREK PROPS AND COSTUMES. BIG FUN FOR THE KID IN ALL OF US!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaQh6Xk7Lgd4MHyP7EOMH021CQTniP0sSodBxfH3dU6NP59ob3OgRAm1Y7_aWC6hREPAKm1Ex6vsYb6PXGH4jS1LXAYsIk-rzxJxU_FYnavce8YFUX_kbpsvYBjink9Pq7TwrCAhuOXbA/s1600/CatalogCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1245" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaQh6Xk7Lgd4MHyP7EOMH021CQTniP0sSodBxfH3dU6NP59ob3OgRAm1Y7_aWC6hREPAKm1Ex6vsYb6PXGH4jS1LXAYsIk-rzxJxU_FYnavce8YFUX_kbpsvYBjink9Pq7TwrCAhuOXbA/s400/CatalogCover.jpg" width="311" /></a></div>
The latest auction from the guys at ScreenUsed is happening this week on Saturday, August 25. As usual, they'll be selling a mix of production pieces from across various film genres but with the usual emphasis on action and science fiction films. <i>Terminator 2?</i> Check. <i>Aliens?</i> Got it. <i>Stranger Things?</i> Damn straight.<br />
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I asked Desi DosSantos, co-founder of ScreenUsed about his thoughts on their latest offerings. "With this year's annual auction, it looks like props and wardrobe came out of the woodwork from the 1980s and 1990s. Of course we have many items from more recent productions, and even a Bumblebee vehicle from a film that has not hit theaters yet!" he explained.<br />
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Thanks, Desi, but what do we care about all that? <i>We don't</i>! We care about one thing and one thing only: <i>Star Trek!</i> There's twenty-five Trek lots this time around so with that in mind, here goes!<br />
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See the full ScreenUsed catalog <a href="http://www.screenused.com/index.cfm?ag_id=6404"><b><span style="color: red;">HERE</span></b></a>. <br />
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<i>In the interest of full disclosure, lot numbers 178, 184 and 185 were consigned by yours truly.</i><br />
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<b>Lot 159 Star Trek (2009) - Shuttle Door Panel</b><br />
I'll be honest – not an exciting piece, IMO. Maybe it's your cup of tea, though, so check it out yourself.<br />
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<b>Lot 160 Star Trek IV: The Voyage Home - Captain Kirk's Head Pull</b><br />
While not a scree-used piece, this was taken from the molds they used to create that weird 3D version of the crew's heads during the time warp sequence. It's Kirk, that's all you need to know!<br />
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<b>Lot 161 Star Trek V: The Final Frontier - Hero Working Assault Phaser</b><br />
This is one of the best pieces in the auction, IMO. I own one of these that is not this nice. Most of the time the versions of this phaser that is offered at auction is a solid resin background piece. But not this one – this is a <i>functioning</i> hero version and is as good as it gets. It's stunning! (Get it? <i>Stuning</i>? I'm here all week.)<br />
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<b>Lot 162 Star Trek: Deep Space Nine - Cardassian Control Panel Display</b><br />
I'm a sucker for graphics and this piece doesn't disappoint. A 39" x 27" it's huge and would make quite a striking display. <br />
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<b>Lot 163 Star Trek: Deep Space Nine - Cardassian Control Panel Display</b><br />
Another DS9 panel and this one is even bigger. 43.5" long and it's screen-matched. Cool piece.<br />
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<b>Lot 164 Star Trek: Deep Space Nine - Cardassian Control Room Panel Display</b><br />
Yet another great DS9 piece, this time it's 38.5" wide and shows little Klingon ships. Anything is better with Klingon stuff.<br />
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<b>Lot 165 Star Trek: Deep Space Nine - Cardassian Holster</b><br />
Just what every Cardassian needs – a holster. These are pretty hard to come by. The phaser isn't a production piece, but works nicely as a filler.<br />
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<b>Lot 166 Star Trek: Deep Space Nine - Cardassian Makeup Appliances</b><br />
Build your own Cardassian head? I guess. Naming it "Kevin" is optional.<br />
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<b>Lot 167 Star Trek: Deep Space Nine - Cardassian Mirror From Garak's Tailor Shop</b><br />
What every Cardassian haberdasher needs. Direct from Garak's shop, no less.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE413bx7znNSEVnOkADHN4lsPjqV2pFF4nbLLbJdDeQD7ZiWpKbHzATCIrpwuZUsCMWqcZ8XN6-ayH8_fX0Nn1aAjQCV1Iiwq_dIJSGB75rWie6HPbdXdz-oSFjwG0beb1IAlMyrdRefU/s1600/11+rack.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1150" data-original-width="1600" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE413bx7znNSEVnOkADHN4lsPjqV2pFF4nbLLbJdDeQD7ZiWpKbHzATCIrpwuZUsCMWqcZ8XN6-ayH8_fX0Nn1aAjQCV1Iiwq_dIJSGB75rWie6HPbdXdz-oSFjwG0beb1IAlMyrdRefU/s400/11+rack.jpg" width="400" /></a></div>
<b>Lot 168 Star Trek: Deep Space Nine - Cardassian Wardrobe Rack From Garak's Tailor Shop</b><br />
Accessorize.<br />
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<b>Lot 169 Star Trek: Deep Space Nine - Garak's (</b><b><b>Andrew Robinson) </b>Costume</b><br />
The man, the legend. Garak is a fan-favorite and here's your chance to own a piece of his wardrobe. (Fun fact: remember at the climax of <i>Dirty Harry</i> when Clint Eastwood confronts the murderer and asks him "Do you feel lucky?" He's talking to Andrew Robinson who, some 22 years later, would play a certain Cardassian tailor. You're welcome).<br />
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<b>Lot 170 Star Trek: Deep Space Nine - Odo (</b><b><b>Rene Auberjonois)</b> Face Appliance</b><br />
Not gonna lie – this one's a little creepy. But in a cool way, naturally. You can have Odo stare at you any time, day or night. Especially night.<br />
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<b>Lot 171 Star Trek: Deep Space Nine - Runabout Framed Panels</b><br />
Any panel with a ship is a cool thing. No exception here.<br />
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<b>Lot 172 Star Trek: Enterprise - Archer's Bloodworm Knife</b><br />
An episode-specific piece made for a Captain. Nuff said.<br />
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<b>Lot 173 Star Trek: Enterprise - Prop Alien Breather Mask</b><br />
Made for "Stratagem'. Slap it on your face. <br />
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<b>Lot 174 Star Trek: First Contact - Production Used Clapper Board</b><br />
Clappers are always popular and this one is from the best TNG movie, <i>First Contact</i>. Complete with actor/director Frakes' name!<br />
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<b>Lot 175 Star Trek: First Contact - Prop EVA Rifle</b><br />
I've always been a big fan of this style of rifle. Pretend to walk upside-down on the hull of the Enterprise when you win it!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyPnCxdWU1z22Uf_9TyeFCeaKKj5KRY_8-COLxJMntNb5JkVIDMTntngqufaehqA6FSQU-iJKdOaEu7QjwO2GNEBIjfcPdSm7N6y1qYesbr_bVlRqXHpPqdKRsCaQfF_WQRkCX-3c-KwY/s1600/19+model.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="823" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyPnCxdWU1z22Uf_9TyeFCeaKKj5KRY_8-COLxJMntNb5JkVIDMTntngqufaehqA6FSQU-iJKdOaEu7QjwO2GNEBIjfcPdSm7N6y1qYesbr_bVlRqXHpPqdKRsCaQfF_WQRkCX-3c-KwY/s400/19+model.jpg" width="205" /></a></div>
<b>Lot 176 Star Trek: The Next Generation - Aldean Energy Source Miniature</b><br />
This is a one-of-a-kind piece – a model used in the TNG episode "When the Bough Breaks". It looks amazing on-screen.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH44MWFpAkNU0-JJmcPJ4XI6I0H7HNx0YlYx3RHiR4NqapGMTwQmIPUB-grcVA7jlkppW197pkVKXn3bOIvwANXXEcnuSrNXWEkEnx7Xhl1y4cL0XgB6XEBAti0EEfdOE9ctgIgt-nXZs/s1600/20+Troi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="689" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH44MWFpAkNU0-JJmcPJ4XI6I0H7HNx0YlYx3RHiR4NqapGMTwQmIPUB-grcVA7jlkppW197pkVKXn3bOIvwANXXEcnuSrNXWEkEnx7Xhl1y4cL0XgB6XEBAti0EEfdOE9ctgIgt-nXZs/s400/20+Troi.jpg" width="171" /></a></div>
<b>Lot 177 Star Trek: The Next Generation - Counselor Deanna Troi's Outfit</b><br />
A great piece from a classic episode, partner.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_8vdU6uc2tY-4eN-M10NXlgZXbL2pZetpcXNrmLsSSH197l64R1yTigfmE0L0CIggj6UaDfSmQO2Q4pBmbbVfkP4gzG6maGqjE737HCytum1t7OI5oMHevazeYWYM1pCmBqUpZ9uzFAM/s1600/EpInnerLight.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1225" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_8vdU6uc2tY-4eN-M10NXlgZXbL2pZetpcXNrmLsSSH197l64R1yTigfmE0L0CIggj6UaDfSmQO2Q4pBmbbVfkP4gzG6maGqjE737HCytum1t7OI5oMHevazeYWYM1pCmBqUpZ9uzFAM/s400/EpInnerLight.jpg" width="400" /></a></div>
<b>Lot 178 Star Trek: The Next Generation - Data's USS Enterprise-D Bridge Ops Station LCARS Panel</b><br />
Here's a genuine rarity – an LCARS panel used in Data's Ops station on the bridge. Mounted in a custom-built lightbox, this is ready for display. How often do you get a chance to own a literal piece of the Starship Enterprise that was used by a main character? Almost never. Don't miss out.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj35lL82mjfBDeLZhQd-Q34sOxQw00hWwYCt-flpnBswEI87GLq2EeKeYMWwCqWCK8sR4zPY_-2Bcrp9lCM_-jbpO8ZwX2MIg6NBh0Ct5vnNWFrdcH6_mIfU8Gw_tYFmLZh7EI_s46WCgo/s1600/22+armband.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1600" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj35lL82mjfBDeLZhQd-Q34sOxQw00hWwYCt-flpnBswEI87GLq2EeKeYMWwCqWCK8sR4zPY_-2Bcrp9lCM_-jbpO8ZwX2MIg6NBh0Ct5vnNWFrdcH6_mIfU8Gw_tYFmLZh7EI_s46WCgo/s400/22+armband.jpg" width="400" /></a></div>
<b>Lot 179 Star Trek: The Next Generation - Emergency Transporter Armband</b><br />
An episode-specific prop used in "Timescape" by the main characters. Fun stuff.<br />
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<b>Lot 180 Star Trek: The Next Generation - Ferengi Ship Display Panels</b><br />
More panels, this time Ferengi. Pull out some latinum.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCId2-JEyYNtwOA968lipp5Fr80SqlHPH4ouW7o0YAPWOTeBhKSIRkE8JdbmqeqqnjoxvNJZ7UzKa8775JLCPX7Uo-LU-WFdXIpPQf0za0ul12ZeEQ-a-yV2e9P9XFNM7Pr2xM-9vCr_8/s1600/24+ISO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="782" data-original-width="1600" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCId2-JEyYNtwOA968lipp5Fr80SqlHPH4ouW7o0YAPWOTeBhKSIRkE8JdbmqeqqnjoxvNJZ7UzKa8775JLCPX7Uo-LU-WFdXIpPQf0za0ul12ZeEQ-a-yV2e9P9XFNM7Pr2xM-9vCr_8/s400/24+ISO.jpg" width="400" /></a></div>
<b>Lot 181 Star Trek: The Next Generation - Isolinear Optical Chips</b><br />
This is one of those great props that you see in various episodes throughout the run of the show. And in pretty colors, to boot.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYmWmlQDMQCimA9a3pVGPE6oRnLHQ8bSUrFit_GkzFvvr1PvRPp_HxLn4QMwFG4E6QHkqPl0oQBJMjsyUCuVsrb535rXgCByMgLFqPGNPj2e1EgmArXO82uZPkva6on1wcD_a6FX59TYw/s1600/25+Data+lifemask.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1160" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYmWmlQDMQCimA9a3pVGPE6oRnLHQ8bSUrFit_GkzFvvr1PvRPp_HxLn4QMwFG4E6QHkqPl0oQBJMjsyUCuVsrb535rXgCByMgLFqPGNPj2e1EgmArXO82uZPkva6on1wcD_a6FX59TYw/s400/25+Data+lifemask.jpg" width="290" /></a></div>
<b>Lot 182 Star Trek: The Next Generation - Lt. Commander Data's Lifemask</b><br />
From a limited run of masks of everyone's favorite android.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi83qIVENO9B2QlZCKDG2u9sFnT2Rb3tjIbEwgWuUkvWfGBBHt8Tnkp8Exf4sBgqT5xSXDVH8zFxvErp-7nueK22w8hlzsPBFA51J6Ukr-s8qioLn02QEgC2I5OXnClaaxA49RSeCQ0__c/s1600/26+Model.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="791" data-original-width="1600" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi83qIVENO9B2QlZCKDG2u9sFnT2Rb3tjIbEwgWuUkvWfGBBHt8Tnkp8Exf4sBgqT5xSXDVH8zFxvErp-7nueK22w8hlzsPBFA51J6Ukr-s8qioLn02QEgC2I5OXnClaaxA49RSeCQ0__c/s400/26+Model.jpg" width="400" /></a></div>
<b>Lot 183 Star Trek: The Next Generation - Romulan Prison Camp Model</b><br />
A unique item, here's a model used for the Romulan Prison from "Birthright". It looked great in the finished episode.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje99RHmcMZdHyPJxtYi7gnGcDP1GwumhFExllqSoW71veLPwgpPBs2F3K-DgdWUS2n5ONzjNY7E-zO0cNqq3DT_nIVoYm3wEvmJcAIi24xn48DNipo61UBYaYAkxjO3WhH6XKMAogCLKU/s1600/27.+Rascals.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1529" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje99RHmcMZdHyPJxtYi7gnGcDP1GwumhFExllqSoW71veLPwgpPBs2F3K-DgdWUS2n5ONzjNY7E-zO0cNqq3DT_nIVoYm3wEvmJcAIi24xn48DNipo61UBYaYAkxjO3WhH6XKMAogCLKU/s400/27.+Rascals.jpg" width="381" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMrrKxrz8VouVBadaKTKtLt9Rt4I593kGBx-T6kFaOBII6zkSQaeY7MadFY5l40FS97zasUNZ3CaTEARBW1_D7JGLQoEsewq02tKhsE03dddVe0ZqHWYaTJpFE8LgUprqJNhxMGJm8Jhg/s1600/EpRascals1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="686" data-original-width="964" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMrrKxrz8VouVBadaKTKtLt9Rt4I593kGBx-T6kFaOBII6zkSQaeY7MadFY5l40FS97zasUNZ3CaTEARBW1_D7JGLQoEsewq02tKhsE03dddVe0ZqHWYaTJpFE8LgUprqJNhxMGJm8Jhg/s400/EpRascals1.jpg" width="400" /></a></div>
<b>Lot 184 Star Trek: The Next Generation - USS Enterprise-D Engineering LCARS Panel from "Rascals"</b><br />
Made specifically for the episode, "Rascals", this is actually two LCARS panels – the large top piece and the smaller "keyboard" piece below it – all mounted in a thin lightbox panel, ready for display. This can clearly be seen on-screen. Look amazing in-person.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibQ9KySazjctEVAq5UjOXLhITY6CG5q8E7AMMDiAU8dS_hBIrgTDPTzCiYWDFu3-gQS8-3JiB9sbXAKeoKXN5_JpwbyN0ibP8TvibRNcCb_e7AsAMhcV85hfgtk5obYGC_NPCVgVCmVTU/s1600/28+COC.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1475" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibQ9KySazjctEVAq5UjOXLhITY6CG5q8E7AMMDiAU8dS_hBIrgTDPTzCiYWDFu3-gQS8-3JiB9sbXAKeoKXN5_JpwbyN0ibP8TvibRNcCb_e7AsAMhcV85hfgtk5obYGC_NPCVgVCmVTU/s320/28+COC.jpg" width="295" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiidrcK-QUerx9e4DnEy4zgcCkfM2QzFMRCioUu6bNmQoWrtJoHhDGQeyMMMOKLkc1wTKxNLmmfj6fiex-cf6WsuHH_VbLzNAq8Z32TjMXGSpCgaKkIMxTyuhyKMZ8xrBV5mTWweN1Nhcw/s1600/EpCOC2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="792" data-original-width="872" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiidrcK-QUerx9e4DnEy4zgcCkfM2QzFMRCioUu6bNmQoWrtJoHhDGQeyMMMOKLkc1wTKxNLmmfj6fiex-cf6WsuHH_VbLzNAq8Z32TjMXGSpCgaKkIMxTyuhyKMZ8xrBV5mTWweN1Nhcw/s400/EpCOC2.jpg" width="400" /></a></div>
<b>Lot 185 Star Trek: The Next Generation - USS Enterprise-D Science LCARS Panel from "Chain of Command"</b><br />
Made
specifically for the episode, "Chain of Command" and shown on the bridge, this is also two LCARS
panels – the large top piece and the smaller "keyboard" piece below it– all mounted in a thin lightbox panel, ready for display. This can clearly be seen on-screen. This will be a beautiful piece on your wall. <br />
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So that's it for the ScreenUsed <i>Star Trek</i> offerings. Something for everyone in the mix. Check out all the photos at the ScreenUsed site and get your bids in now!<br />
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LLAP<br />
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Don<br />
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<br />Donhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com0tag:blogger.com,1999:blog-2141267747214087216.post-64074111085274838732018-08-16T18:32:00.000-07:002018-08-18T08:37:25.802-07:00OKUDAGRAMS PART 5: UP CLOSE AND PERSONAL WITH DATA'S OPS PANEL<i>This is the fifth in a series of articles about the famous LCARS panels used throughout the different incarnations of Star Trek. Check out my earlier stories for more background.</i><br />
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Of all the LCARS panels seen throughout <i>Star Trek's</i> various incarnations, none got more screen time than the Enterprise-D's Operations (or Ops) panel manned by Lt. Cdr Data. Recently, I came into several original LCARS panels with one of them seeming to be an Ops Station! But was it really? As with some many things dealing with <i>Star Trek</i> stuff, the answer wasn't easy to come by.<br />
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Here's the panel in question:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkrYEA7LvHwWV3QGyfJEVTTR8GZ51ktJL96RgTh7mSgWNeSmPzAEOZaQ43n-0hi7QFTbfqqZH3q1tcs_oRJFHFCSgzjc_JE8PZhGcpW-q_mFQUzultsamy9TubarxgACvKglsYoBY3mxI/s1600/OpsPanel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="295" data-original-width="864" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkrYEA7LvHwWV3QGyfJEVTTR8GZ51ktJL96RgTh7mSgWNeSmPzAEOZaQ43n-0hi7QFTbfqqZH3q1tcs_oRJFHFCSgzjc_JE8PZhGcpW-q_mFQUzultsamy9TubarxgACvKglsYoBY3mxI/s400/OpsPanel.jpg" width="400" /></a></div>
I started doing some basic research and discovered something: while it is in most Next Generation episodes (I did find a single episode in which it is not shown), the Ops LCARS panel itself got very little actual screen time in a meaningful way. We usually only got the smallest of glimpses. A corner here, a severe angle there. Close-ups were few and far between! It was very frustrating. But even so, if you really look hard enough, you can figure out what's going on. And if you're patient enough and observant enough, you'll actually find that ever-elusive close-up.<br />
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First of all, here's a primer. The <i>Star Trek: The Next Generation Technical Manual</i> features this piece of art for the section on Operations Management. This is the same piece of art that was used throughout the series. You can see that it matches my panel in every way.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiacx6E6zCnbOVkvHCtfJOoSPK5Jp4iMo8zXY-X6mMU5ETulXHpahJC8szifc3LcJ8qEy9dqhSkqDKihSsEuQiAo4-O97umwfdCh3Ju4NyASeqCO7g5IoCBtmo4vil2EKFdFMeGJmfkQ5E/s1600/OpsTechMan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="430" data-original-width="1600" height="105" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiacx6E6zCnbOVkvHCtfJOoSPK5Jp4iMo8zXY-X6mMU5ETulXHpahJC8szifc3LcJ8qEy9dqhSkqDKihSsEuQiAo4-O97umwfdCh3Ju4NyASeqCO7g5IoCBtmo4vil2EKFdFMeGJmfkQ5E/s400/OpsTechMan.jpg" width="400" /></a></div>
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As was explained in <a href="http://wrathofdhanprops.blogspot.com/2018/06/okudagrams-part-ii-creating-24th.html"><span style="color: red;">Part 2</span></a> of this series, all LCARS panels were built on a piece of Kodalith film. This image represents that film. The white areas were then hand-colored but the black never changed.<br />
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As I got into it, I noticed something weird – over time the coloration of the panel changed. I asked Mike Okuda himself about that aspect. Here's what he had to say:<br />
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"<span class="_mh6 _wsc" id="cch_f30370fff04d9"><span class="_3oh- _58nk">We replaced the backlits on the bridge consoles at the end of most seasons. The consoles endured considerable wear during the course of a season, and we often needed to replace the plex panels on the ops and conn consoles. When we did that, removing the graphic from the old plex usually resulted in enough damage that it was better to make a new graphic. I was not particularly concerned with matching colors closely because of the notion that the panel could reconfigure itself based on the software."</span></span><br />
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<i><span class="_mh6 _wsc" id="cch_f30370fff04d9"><span class="_3oh- _58nk">To elaborate on Mike's comments, during the first half of the show's run, a given finished LCARS assembly was permanently adhered directly to the back of the dark gray plexiglass with Spray Mount adhesive making it next to impossible to reuse the film assembly on a new piece of plexiglass. Because of that limitation, the used panels were usually just thrown away as they had no further use.</span></span></i><br />
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<span class="_mh6 _wsc" id="cch_f30370fff04d9"><span class="_3oh- _58nk">Let's take a look at how the Ops station changed over time. Because these panels are so busy with details, I've honed in on a single element that helps to quickly demonstrate the changes over time. It is the round detail in the center that I have nicknamed "the compass" for obvious reasons. If we look at the compass over time you'll see that it does change – but not after each season. Let's look:</span></span><br />
<span class="_mh6 _wsc" id="cch_f30370fff04d9"><span class="_3oh- _58nk"><br /></span></span>
<span class="_mh6 _wsc" id="cch_f30370fff04d9"><span class="_3oh- _58nk"><i>Note: any color variation from one shot to the other is due to the lighting used on a given episode. What appears as blue in one episode might be purple in another.</i></span></span><br />
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<span class="_mh6 _wsc" id="cch_f30370fff04d9"><span class="_3oh- _58nk">Season 1</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6frocrfFpxvY3CxsnEUVTL4D5Q4UpdLG1WpDxT-L8We_grWTzyX4VykT3qyfK_6iGsZwZRzDMJQHN_urakNqKdNPLB27XXzzO0BSeVEhSojv-Ql6suFSFfaD3xJA8Nogm9AZ_M4uwebg/s1600/+Ops+Season1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="734" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6frocrfFpxvY3CxsnEUVTL4D5Q4UpdLG1WpDxT-L8We_grWTzyX4VykT3qyfK_6iGsZwZRzDMJQHN_urakNqKdNPLB27XXzzO0BSeVEhSojv-Ql6suFSFfaD3xJA8Nogm9AZ_M4uwebg/s400/+Ops+Season1.jpg" width="400" /></a></div>
<span class="_mh6 _wsc" id="cch_f30370fff04d9"><span class="_3oh- _58nk">We see a bluish center with tan/orange background. This color scheme is used throughout Season 1. For Season 2, however, that color scheme gets flipped with a tan center and a bluish field:</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg62FImZQcP8SSOm4sxdw3fmTjVfCdLK3CByUUPACaBMI3IShZRRdiyZ4m77hjXhWsYLMw0m3OqR6Nu-9G2SoH3PH0TedLmlzqiFKddAKOYInFPZbM1fZTwnwd8xw1TNj-I5QSFkHM62bk/s1600/++Ops+Season2b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="537" data-original-width="970" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg62FImZQcP8SSOm4sxdw3fmTjVfCdLK3CByUUPACaBMI3IShZRRdiyZ4m77hjXhWsYLMw0m3OqR6Nu-9G2SoH3PH0TedLmlzqiFKddAKOYInFPZbM1fZTwnwd8xw1TNj-I5QSFkHM62bk/s400/++Ops+Season2b.jpg" width="400" /></a></div>
Strangely, though, Season 3 shows no variation. Even going outside the compass we can see that every other color matches. So for Season 3 did they keep the old one? Or did the artist that assembled it use the old one as a guide? Whatever they did, it came through on Season 4 as well:<br />
<br />
Season 3<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc3b_8T5N237kUilDnL3k4Xdr52kZk9vGOiNQmrCM7qe6uuTRUQL3wROaQLcuvfR01ushBxDAaVYu9URkfpGaAEhvlTZg8bUe_zAFGkafrEebOcGas5T2-qGEQmyZShaNScMyqIfQNIxo/s1600/+Ops+Season3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1438" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc3b_8T5N237kUilDnL3k4Xdr52kZk9vGOiNQmrCM7qe6uuTRUQL3wROaQLcuvfR01ushBxDAaVYu9URkfpGaAEhvlTZg8bUe_zAFGkafrEebOcGas5T2-qGEQmyZShaNScMyqIfQNIxo/s400/+Ops+Season3.jpg" width="400" /></a></div>
Season 4<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0DVBi22UENFn9uwYql3Feu2KKSWC5mEYFbnYxPt0kF8WuI2GLMFa7uB_c6QGt70KTB-wZjxH0FX6SOrmSYMOaLgKuZr4NJnDBbFRAvSyXwYsd9_3nDekgh7M-8uBdAiadrKzKnX5dUsw/s1600/+Ops+Season4b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="558" data-original-width="766" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0DVBi22UENFn9uwYql3Feu2KKSWC5mEYFbnYxPt0kF8WuI2GLMFa7uB_c6QGt70KTB-wZjxH0FX6SOrmSYMOaLgKuZr4NJnDBbFRAvSyXwYsd9_3nDekgh7M-8uBdAiadrKzKnX5dUsw/s400/+Ops+Season4b.jpg" width="400" /> </a> </div>
Again the color scheme is exactly the same everywhere. Even as we get
into Season 5 we see the same color scheme through Episode 16, "Ethics":<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdFCLwuLce53goZ5_Am7LLOLPaTmZyth8GWMVKVx34Gi9wvRgGkk40qq-9joov6kzbzngNg6xbwngoMfAmkwQMHsJq_nJrP3TU2b18ltJCjinnPH67b7IU5WJ0NHwo0TBx0k35I7HPZJk/s1600/+Ops+Season5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="864" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdFCLwuLce53goZ5_Am7LLOLPaTmZyth8GWMVKVx34Gi9wvRgGkk40qq-9joov6kzbzngNg6xbwngoMfAmkwQMHsJq_nJrP3TU2b18ltJCjinnPH67b7IU5WJ0NHwo0TBx0k35I7HPZJk/s400/+Ops+Season5.jpg" width="400" /></a></div>
But with Episode 18, Cause and Effect", suddenly the colors change:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhykiF2ZkXR_FqGHl4oPS2x05aCn_k2_xAD6x6peCScXMx6ZTa08obx6BFnvre__vfjWe8D5680s0hdEgvYR4YVFQv0EHOo9A4RZRYXzVljJ_dOnB5KRrSD9oLzLQGWohltjNYqoNZFvNs/s1600/CauseAndEffect.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="992" data-original-width="1337" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhykiF2ZkXR_FqGHl4oPS2x05aCn_k2_xAD6x6peCScXMx6ZTa08obx6BFnvre__vfjWe8D5680s0hdEgvYR4YVFQv0EHOo9A4RZRYXzVljJ_dOnB5KRrSD9oLzLQGWohltjNYqoNZFvNs/s400/CauseAndEffect.jpg" width="400" /></a></div>
We've got a blue center with a tan field like Season 1, but nothing else matches. This is a new panel created in the middle of Season 5! With Season 6, we get yet another color combo. It's a blue center and tan field but all the details are different from that last Season 5 version when we look closely:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsVd-Rn5SRdFU0PSX08BJzIfBFkFtN6ORQ35gnIShwxAQlpVIlnKE-3HiR4df2WEGOF201R1cogcDfs5VXDuc6tUhr3DAXs_3HCUubJziWbFdFPf-trGKWV6_0MkFfXGDIf5qAsJD9Up8/s1600/+Ops+Season6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1436" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsVd-Rn5SRdFU0PSX08BJzIfBFkFtN6ORQ35gnIShwxAQlpVIlnKE-3HiR4df2WEGOF201R1cogcDfs5VXDuc6tUhr3DAXs_3HCUubJziWbFdFPf-trGKWV6_0MkFfXGDIf5qAsJD9Up8/s400/+Ops+Season6.jpg" width="400" /></a></div>
And finally, with Season 7 we get a final color combination:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHAZjtf5-7lFXEuH-O4fs308qfbDvipZTB2MeytiBLw1QupEg4NI68NIlk4PZvTjf1WOzzDk168-8SbrhCinxw2uJIy5Mq46Mk8mxzHyOpJ4lgAY0w4DB2KgXkE9aWGK-Dt-mcfZe7DJk/s1600/+Ops+Season7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="590" data-original-width="864" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHAZjtf5-7lFXEuH-O4fs308qfbDvipZTB2MeytiBLw1QupEg4NI68NIlk4PZvTjf1WOzzDk168-8SbrhCinxw2uJIy5Mq46Mk8mxzHyOpJ4lgAY0w4DB2KgXkE9aWGK-Dt-mcfZe7DJk/s320/+Ops+Season7.jpg" width="320" /></a></div>
The compass color break is the same as Season 6, but everything around it is different.<br />
<br />
So there we have it. We can clearly see five different LCARS Ops panels over the course of TNG's seven seasons. Mine perfectly matches that mid-season changeover during Season 5. I want to be clear here: the Ops station can clearly be seen in six episodes through the rest of the season and my panel matches those views <i>exactly</i>. In every way.<br />
<br />
It's important to note that the colors as they appear on-screen is very different from those we see on the panel itself. That is due to a number of factors.<br />
<br />
1. The panel on-set was backlit with florescent bulbs of an unknown type.<br />
<br />
2. The lighting of the set itself and the type of film used would shift colors. For instance, the actual colors of the uniforms that you would see if you held them in your hands are not what we see on-screen.<br />
<br />
3. The LCARS panels are mounted under a 1/4-inch sheet of smoked plexiglass. This acts like sunglasses to the colors. Everything is muted.<br />
<br />
So with that in mind, let's compare. On the left is a screen capture from the classic episode "The Inner Light". We're at the mercy of the resolution of the original image but it's clear enough that we can see shapes and colors pretty well. On the right is my panel, shown at approximately the same angle.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsG_pWwJPw2KshkgRxeQAa4QhpFKBF5FsUsFfTJNruHfmo7mrmWT0ZHqUBt2z0wKiPs1QkP4_yeGQufHUVmgZweptKRRSiBfddZFsMLdnZVZJ8Zr8GWiC1Jyb-JopuzOHvsIg8aPY3Ty8/s1600/OpsComparison.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="656" data-original-width="1600" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsG_pWwJPw2KshkgRxeQAa4QhpFKBF5FsUsFfTJNruHfmo7mrmWT0ZHqUBt2z0wKiPs1QkP4_yeGQufHUVmgZweptKRRSiBfddZFsMLdnZVZJ8Zr8GWiC1Jyb-JopuzOHvsIg8aPY3Ty8/s400/OpsComparison.jpg" width="400" /></a></div>
Pick any area and compare the two. The colors all match everywhere. A perfect match.<br />
<br />
How about the finer details? There's text all over the panel but finding a clear enough screen cap can be daunting. But here's one from "Cause and Effect", right:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYOLhyphenhyphenvCuTGUxr3xcxF1SvtvItNTdQUMT_ItBTBser_BkQxI3CBvuwoXtju7LKPXSOOQPUbrHQ-w7r0ugzJeksdOx7j32tXwgVUvhUbYbCP4toAFohIoOJhPhYXDGIWnoBC1Bes7H-3yg/s1600/CauseAndEffectCompare.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="699" data-original-width="1600" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYOLhyphenhyphenvCuTGUxr3xcxF1SvtvItNTdQUMT_ItBTBser_BkQxI3CBvuwoXtju7LKPXSOOQPUbrHQ-w7r0ugzJeksdOx7j32tXwgVUvhUbYbCP4toAFohIoOJhPhYXDGIWnoBC1Bes7H-3yg/s400/CauseAndEffectCompare.jpg" width="400" /></a></div>
Again, the colors have shifted, but they have shifted <i>consistently</i>. As for the text, the font, weight, size and position all match up exactly.<br />
<br />
There is one thing that doesn't seem to match up at first glance. There are some areas on my panel that don't seem to be on the episode versions. Here's what I'm talking about:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8eaWqfciNxKbgPPRXYqT8KH4u6ttu1I9f8WJGVXel6TofaejPrvbl50bNycXo7msXqLwUNeB7jGQKh7axUswZ6eVuipO01yK4XutyvJzajzrfARp4faZbJb6abr7hOaJbMOmrpQC2olQ/s1600/OpsComparison2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="656" data-original-width="1600" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8eaWqfciNxKbgPPRXYqT8KH4u6ttu1I9f8WJGVXel6TofaejPrvbl50bNycXo7msXqLwUNeB7jGQKh7axUswZ6eVuipO01yK4XutyvJzajzrfARp4faZbJb6abr7hOaJbMOmrpQC2olQ/s400/OpsComparison2.jpg" width="400" /></a></div>
Why are there details on my piece that are not present on-screen? I have to admit that I was very confused by this at first. Then I realized that those are the areas that blink.<br />
<br />
In addition to the large florescent backlights, the Ops panel has several smaller boxes with lights that blink off and on apparently to give the viewer the impression of activity. According to Mike Okuda, these lights have the very technical Star Trek-ish name of "blinkies". Good to know, Mike! I created this drawing to explain them better:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXZWHhIfMpaLQl5X8GVw77lN9yltxpPNbCChBNg-AnXP6cjz2awfS42POzdl-uxoGlpa_2Fq5scyNSO3UpoQnwRKIvZMvl8ufPhUBca6wKCwb1NBdr_FIDYHughi3x5jG4vOHUOm8Y-io/s1600/OpsLightingDiagram.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="402" data-original-width="1600" height="100" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXZWHhIfMpaLQl5X8GVw77lN9yltxpPNbCChBNg-AnXP6cjz2awfS42POzdl-uxoGlpa_2Fq5scyNSO3UpoQnwRKIvZMvl8ufPhUBca6wKCwb1NBdr_FIDYHughi3x5jG4vOHUOm8Y-io/s400/OpsLightingDiagram.jpg" width="400" /></a></div>
I have no idea as to how those smaller boxes were actually placed in the box but my panel does have remnants of adhesive that corresponds with these areas. Here are some screen captures to further explain things. The circled areas show lights blinking off and on in sequence:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4nBs1d5hPk65IlQssXNsdqJNw3zD6aLGu5qALjys4ris53hbTvJeEi86siCsZte24F9w2zqTmAkuyMdjF6pPR7i1YlOljGKlH8EYe9mBDgKwWR9DMIFhvbUe2bwYL1-vipcobfTeOrlk/s1600/Blinkies1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="430" data-original-width="578" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4nBs1d5hPk65IlQssXNsdqJNw3zD6aLGu5qALjys4ris53hbTvJeEi86siCsZte24F9w2zqTmAkuyMdjF6pPR7i1YlOljGKlH8EYe9mBDgKwWR9DMIFhvbUe2bwYL1-vipcobfTeOrlk/s320/Blinkies1.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLH4AwXap2AK3LpVMl6DSwmQQyyeMogf9SpNKx6NZ5lv0s37Oeci1Ysp1QCgJZO-_dBdcIAqA-HYteIjXazkwwOq6LmvNSkYUzWuHGdtxqS0d3I9bahCdtI5P61WRYTnZrIQiWt4mydOc/s1600/Blinkies2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="430" data-original-width="578" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLH4AwXap2AK3LpVMl6DSwmQQyyeMogf9SpNKx6NZ5lv0s37Oeci1Ysp1QCgJZO-_dBdcIAqA-HYteIjXazkwwOq6LmvNSkYUzWuHGdtxqS0d3I9bahCdtI5P61WRYTnZrIQiWt4mydOc/s320/Blinkies2.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgweT9O01Ni7zdgXR17S-ORNpHjlx5fk9aaL6TZjjLbWznX0M6cb4SIjhgtRB2OmaP0XmQIFVl10azKFsQYFQBxML-QgJiY8xdBhbic1AmKzy7nVkLxGFecJArOGHWJ5VLxRtTqRu0LIno/s1600/Blinkies3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="430" data-original-width="578" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgweT9O01Ni7zdgXR17S-ORNpHjlx5fk9aaL6TZjjLbWznX0M6cb4SIjhgtRB2OmaP0XmQIFVl10azKFsQYFQBxML-QgJiY8xdBhbic1AmKzy7nVkLxGFecJArOGHWJ5VLxRtTqRu0LIno/s320/Blinkies3.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE85my9YWXuPm0mVwhArweIjFo7XrjlaD-T6OqOf5oYXk973hRhidxSdbJL5NGopX3epVaJCs7dSqySLOR7T1b6obfjL1c1WcavhRNk1YPF5jO-XOWBn_MfaWYUT2MDQhuzGQVdmVSVBw/s1600/Blinkies4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="430" data-original-width="578" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE85my9YWXuPm0mVwhArweIjFo7XrjlaD-T6OqOf5oYXk973hRhidxSdbJL5NGopX3epVaJCs7dSqySLOR7T1b6obfjL1c1WcavhRNk1YPF5jO-XOWBn_MfaWYUT2MDQhuzGQVdmVSVBw/s320/Blinkies4.jpg" width="320" /></a></div>
So there you have it. Have I proven my case? I think so. Here's how the panel currently looks in its custom-built lightbox:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitZpNL38WPXy1juFFUA3-tsbOJuNZgvYj8E4f2W41XEc3x_yRvA3q7y63UeFWRxpWG-x30mTQNq_PlXhTwG3Eih5_zrtXR97mFUuutDHZlAGyFs5nWlplq4J7diBqWJeYBnXBRCKRmo58/s1600/OpsBoxLit2small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="463" data-original-width="864" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitZpNL38WPXy1juFFUA3-tsbOJuNZgvYj8E4f2W41XEc3x_yRvA3q7y63UeFWRxpWG-x30mTQNq_PlXhTwG3Eih5_zrtXR97mFUuutDHZlAGyFs5nWlplq4J7diBqWJeYBnXBRCKRmo58/s400/OpsBoxLit2small.jpg" width="400" /></a></div>
It looks absolutely beautiful in-person.<br />
<br />
Now here's an interesting bit of information. As far as I know, this is the only surviving example of the Ops station. The last version was used in <i>Generations</i> (as far as I know) and that whole set was trashed in the crash scene. I know of no earlier versions.<br />
<br />
So I'm pretty sure this is one-of-a-kind. Very special.<br />
<br />
A big thanks to Mike Okuda for his help. Talk about getting it from the horse's mouth! Mike, you're awesome.<br />
<br />
If anyone has any any additional information on these, please contact me. I love new information! I'm especially looking for behind-the-scenes shots of the Ops panel, should they exist.<br />
<br />
LLAP<br />
<br />
Don<br />
<b><br /></b>
<b>NOTE:</b> For a chance to own this amazing piece of Star Trek history, visit the <a href="https://bid.screenused.com/Star-Trek-The-Next-Generation-TV-Data-s-USS-Enterprise-D-Bridge-Ops-Station-LCARS-Panel-Brent_i31014344"><span style="color: red;">ScreenUsed</span></a> auction site. Don't miss out on this and other great LCARS pieces! See it <a href="https://bid.screenused.com/Star-Trek-The-Next-Generation-TV-Data-s-USS-Enterprise-D-Bridge-Ops-Station-LCARS-Panel-Brent_i31014344"><span style="color: red;"><b>HERE</b></span></a>.Donhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com3tag:blogger.com,1999:blog-2141267747214087216.post-1417255494429635452018-08-05T18:40:00.001-07:002018-08-05T18:46:44.721-07:00THE GREATEST STARSHIP EVER WAS PERFECTED 39 YEARS AGO. IT'S NEVER BEEN SURPASSED.<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNYSOT0k8fb7KPG1gMIg5_wfmph3VuIFxp2ZSDZYkODSM0-DcrzxH5NOOW5Yd3YJOxRyO1IHL8NRpim64_zH6OhVW_N-NnTYpq9HIWAkjYeSWNCpDyBNdFkZiqwKJrlhSKvcSqZnPGBqY/s1600/StarWarsPoster.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="438" data-original-width="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNYSOT0k8fb7KPG1gMIg5_wfmph3VuIFxp2ZSDZYkODSM0-DcrzxH5NOOW5Yd3YJOxRyO1IHL8NRpim64_zH6OhVW_N-NnTYpq9HIWAkjYeSWNCpDyBNdFkZiqwKJrlhSKvcSqZnPGBqY/s1600/StarWarsPoster.jpg" /></a>Many moons ago, way back when there were only 79 episodes worth of <i>Star Trek</i> in existence, Paramount executives got an idea. "Hey, look at this <i>Star Wars</i> thing!" they said, their hands sweaty with anticipation. "It's making huge money! Don't we have something like that?"
And so <i>Star Trek</i> was brought out of mothballs and relaunched as a movie backed by a huge budget, a big-time director and incredible fan enthusiasm.<br />
<br />
As they say, two out of three ain't bad.<br />
<br />
Even throwing all the money and the famous director into the mix, <i>Star Trek: The Motion Picture</i> debuted to lukewarm reviews and jokes calling it "The Motionless Picture" or "The Motion Sickness", pejoratives that were aimed at the film's particular lack of swashbuckling and action – the hallmarks of <i>Star Trek</i>.<br />
<br />
But luckily there was that third thing I mentioned – the fans. Fans like me, for instance.
I was one of those teens that missed out on <i>Star Trek's</i> original run because I was simply too young. "City on the Edge of Forever" is not riveting story-telling to a seven-year-old. But when it went into syndication in the 70's, I was on-board as it caught fire and became the single greatest syndication success story in history. So by December of 1979, fans like me were primed and ready for our first dose of <i>Star Trek</i> in ten years. Ten years!<br />
<br />
And so it was that on a snowy December night, my friends (fellow fans!) and I piled into my car and drove to the Summit Mall theater in west Akron, Ohio. The slushy mix could not chill our hot anticipation of the miraculous resurrection of our favorite show.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7vyMxGZ6eWdKihLyCJunhcfb5VrkUtFtGgrio5i5QRL7uChIEaN44uGmQBCFCVAPg5DLMv0Yi9D3reg58-6W_olPAWzS2Zu3ptsei6EB0OhwMyw9ndhYWhgICsjX-frbpFRuzOJzxT4w/s1600/TMPposter.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="407" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7vyMxGZ6eWdKihLyCJunhcfb5VrkUtFtGgrio5i5QRL7uChIEaN44uGmQBCFCVAPg5DLMv0Yi9D3reg58-6W_olPAWzS2Zu3ptsei6EB0OhwMyw9ndhYWhgICsjX-frbpFRuzOJzxT4w/s1600/TMPposter.jpg" /></a></div>
For almost two-and-a-half hours we sat there, alternating between excitement ("It's McCoy and he's got a beard!") and flat-out boredom ("Let's watch Sulu watch the screen for a few more minutes...").<br />
<br />
Honestly, it was not the home run we had all hoped for. It plodded along as it told a story that turned out to be a LOT like one we were all familiar with. Any fan worth their salt left the theater thinking "did we just see a big-budget remake of 'The Changeling' episode?"<br />
<br />
Yes. Yes, we had. After ten years of waiting we had been given an expensive, slow, boring remake of something we'd already seen. It wasn't so much that it was BAD, it just wasn't all that GOOD.<br />
<br />
Crap.<br />
<br />
With that in mind, what I tell you next might sound nonsensical, but here goes:<br />
<br />
I went back to see it three more times over the next several weeks. Wait, what?<br />
<br />
Why? Because even mediocre <i>Star Trek</i> was better than no <i>Star Trek</i> at all. Story aside, the visuals were strikingly good, sometimes literally awe-inspiring (has a Klingon ship ever looked so AMAZING?!). Everywhere you looked there was something new to see. So, like a man lost in the desert, I drank the brackish water that was offered to me. It didn't quench my thirst to any great degree, but it beat having nothing.<br />
<br />
But even in that sea of so-so-ness, there was one aspect of the film that stood out to me in a profound way and was one of the biggest single reasons that I kept going back.<br />
<br />
It was the new Enterprise. It was was stunning. It was beautiful. It was everything I had hoped it would be and more. And while most people now look at the reveal scene as a much too-long look at something that's no big deal, I will forever watch it through the filter of fascination that I had on that first look. For those who didn't experience their first viewing at the time of its original release, well, there's no way you'll ever understand what the hell I'm talking about. But for those of us who sat there in the dark and saw this new marvel for the first time in all her pearlescent glory, it was truly magical.<br />
<br />
I loved the original Enterprise which I had drawn by hand dozens of times over the years. But this was, to me, the perfecting of that awesome design. The sweep of her nacelles, the glow of her deflector. The self-illumination system that <i>literally</i> made her glow like an exotic insect in space. The amazing <i>scale</i> of the thing! It all came together to sweep me into the moment.<br />
<br />
Here is that reveal, in its entirety. Jump to 1:50 to get to the meat of the scene.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/b52b4yORX6U" width="480"></iframe>
<br />
<br />
While I know many readers share my love for this moment, I can hear some of you now: "geez –<yawn> – I've seen his before. Big whoop." "There's four minutes of my life I'll never get back". </yawn><br />
<br />
<yawn>I get it, really I do. It's one of those things that is inherently of a time and place that will never come again. You were either there and got it or you weren't and CAN'T. And while I love many of the <i>Star Trek</i> incarnations that followed, for me, none had a ship that matched the refitted Enterprise as seen throughout the original series film run. The one I first saw on that cold, wnderous winter night.</yawn><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1f8M8t-LsDIqfQ9F6kE3soWQoCjMkPq7Uf0VtbCNtMr9vZiwHN8CpsiihEioq6kklAAnrqYLmT2II8yV4EzUIxpp9Yd4yuuQTEYA87Va8HNQNzVNZpum8YUiQVaPskjjvP69uaMaXyII/s1600/blue+origin+office+AP.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1243" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1f8M8t-LsDIqfQ9F6kE3soWQoCjMkPq7Uf0VtbCNtMr9vZiwHN8CpsiihEioq6kklAAnrqYLmT2II8yV4EzUIxpp9Yd4yuuQTEYA87Va8HNQNzVNZpum8YUiQVaPskjjvP69uaMaXyII/s400/blue+origin+office+AP.jpg" width="310" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The surviving Enterprise Refit model at Blue Origin HQ.</td></tr>
</tbody></table>
<yawn></yawn><yawn>I feel fortunate enough to have been of that time and place wherein I could sit in a dark theater and, for a few brief moments, let the magic of <i>Star Trek</i> and film-making itself wash over me and put me in a place that is impossible to describe.</yawn><br />
<yawn><br /></yawn>
<yawn>A place where no one had gone before. Or since.</yawn><br />
<yawn><br /></yawn>
<yawn>LLAP</yawn><br />
<yawn><br /></yawn>
<yawn>Don</yawn><br />
<br />
<i><yawn>FWIW: I realize that every Trek fan has their own idea of the best ship , the best Captain, the best show, etc. This isn't meant to insult anyone else's take on what Star Trek means to them. It is simply my take on my experience. To quote a certain Talosian Keeper, "</yawn>May you find your way as pleasant.".</i>Donhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com5tag:blogger.com,1999:blog-2141267747214087216.post-61648228619719488282018-07-20T17:41:00.002-07:002018-07-20T17:41:52.885-07:00DISCOVERY HAS A NEW SEASON 2 TRAILER CARE OF SDCC AND IT EVOKES ONE WORD – FUN!For those (like me) that thought season 1 of Star Trek Discovery left out the fun, there's good news: season 2 found it! The story picks up right were it left off with Discovery encountering the USS Enterprise commanded by Christopher Pike (played played with some swagger by Anson Mount). Something's wrong and Pike has to take command of the Discovery to go out and see what's what. And just lijke that, we're launched into a new tale with not a slow-tongued Klingon in sight.<br />
<br />
I love the final bit of business!<br />
<br />
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/g4uWYcv5vQQ" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe>
<br />
LLAp<br />
<br />
DonDonhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com0tag:blogger.com,1999:blog-2141267747214087216.post-39462117683343224162018-06-28T22:38:00.001-07:002018-06-28T22:47:48.721-07:00OKUDAGRAMS PART 4: SEVEN SECONDS THAT CHANGED EVERYTHING!We can all point to some moment that forever changed our lives and set a direction for everything that followed. Getting married. Having kids. Seeing <i>Wrath of Khan</i> for the first time. Stuff like that.<br />
<br />
For us <i>Star Trek</i> fans, there are seven crucial seconds that were filmed in 1986 that would quite literally affect everything that would follow. I guarantee that no one else really thinks about it in that way, though. These seven seconds have been seen millions of times by millions of fans, and while it has always brought a smile to my face, until recently I didn't understand how critical these few brief moments really were to <i>everything that would follow. </i><br />
<br />
Here's what I'm talking about. Start the clip below and go to 1:09 and watch the following seven seconds – 1:10 to 1:17.<i> </i><br />
<br />
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/SHbyILpmLXg" width="560"></iframe>
<br />
Did you see it? No? Those seven seconds don't really seem to have that big of an impact outside of the story, right? Other than the crew getting a new <i>Enterprise</i>, what's the big deal?<br />
<br />
Plenty. Because those seven seconds show us what would become LCARS. They weren't called that, yet. But the panels we see on the bridge of the new <i>Enterprise-A</i> are the first of their kind in <i>Star Trek </i>history. They would definitely not be the last.<br />
<br />
Let's back up a bit. In the early eighties there was as young graphic designer – who also happened to be a <i>Star Trek</i> fan – by the name of Mike Okuda. As we all know, Mr. Okuda would go on to fame by having screen credit on more <i>Star Trek</i> productions than anyone short of Gene Roddenberry himself. But these were early, pre-Trek days and Mike was trying to break into the business. In an interview with thespacereview.com, Mike put it this way:<br />
<br />
"When the first two <i>Star Trek</i> movies came out, I noticed that the
bridge of the refit starship Enterprise had video readout screens with
round frames, rather than rectangular. They looked really cool, but I
wondered why someone might have built round screens for a starship. I
decided that it must have been because they were designed to display
information that was circular in format, rather than rectangular. <br />
<br />
For no good reason, I sketched up some ideas for graphics that might fit
those round screens and for control panels that might work with that
style. <br />
<br />
On a lark, I sent some of those sketches in to Paramount, where they
ended up on the desk of Ralph Winter, who was the associate producer on <i>Star Trek III</i>. Ralph telephoned me and told me that they were already staffed up on <i>Star Trek III</i>, which was just going into production at the time, but he said that he’d keep me in mind if they ever did a <i>Star Trek IV</i>. I was thrilled to get a call from Paramount, and I thought, “Gee, that’s the nicest brush-off I’ve ever gotten.”<br />
<br />
Imagine my shock, when two years later, Ralph called back and said, “We’re doing another <i>Star Trek</i> movie. Would you like to work on it?”<br />
<br />
That would be <i>Star Trek IV: The Voyage Home </i>(TVH), of course, and Mike would be tasked with doing something that few before him had ever done – design the controls for a starship called <i>Enterprise</i>.<br />
<br />
It's important to note that Mike worked on several sets for TVH. For instance, he contributed the Klingon back-lit panels found on the revamped Bird of Prey:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisHvFVU_UF8l3Vemjon8_2c8_9lFWPQQyG-easa7Lov1Lrvv3gT6l_xrR5CUn6mu8OqZfykzZ4ELIzFh_3PM-2m1cwApeIZJB9TcjC189y13rfhY1AJ9gHKi27ehFLVO7TOp_TUnxL2u4/s1600/tvhhd0326.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="685" data-original-width="1600" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisHvFVU_UF8l3Vemjon8_2c8_9lFWPQQyG-easa7Lov1Lrvv3gT6l_xrR5CUn6mu8OqZfykzZ4ELIzFh_3PM-2m1cwApeIZJB9TcjC189y13rfhY1AJ9gHKi27ehFLVO7TOp_TUnxL2u4/s400/tvhhd0326.jpg" width="400" /></a></div>
I recently had the opportunity to ask Mike about the Klingon graphics and how he approached them:<br />
<br />
"<span class="_3oh- _58nk">I loved the look of the Klingon animation in ST:TMP, so when I found the art for the Klingon lettering from that film, I used it as the basis for the backlit displays and signage in ST4 and beyond.</span><br />
<span class="_mh6 _wsc" id="cch_fbd4bac3a7089c"></span><br />
<div class="_3058 _ui9 _hh7 _s1- _52mr _3oh-" data-hover="tooltip" data-tooltip-content="Monday 12:39pm" data-tooltip-position="left" id="js_a9">
<span class="_mh6 _wsc" id="cch_fbd4bac3a7089c"><span class="_40fu"><span class="_1z_2 _2u_d"></span></span></span><br />
<div class="_aok" tabindex="0">
<span class="_mh6 _wsc" id="cch_fbd4bac3a7089c"><span class="_3oh- _58nk">Those letters looked like they were based on the markings that Matt Jefferies designed for the wing of the Klingon Battle Cruiser in the original series."</span></span></div>
</div>
<span class="_mh6 _wsc" id="cch_fbd4bac3a7089c">
</span> <br />
So Okuda used the color scheme and animation from <i>The Motion Picture</i> to inform his new, expanded take on Klingon motifs. And, of course, they look a LOT like those dozens (hundreds?) of Klingon panels to come over the next twenty years or so. And, though cool, it was more "evolutionary" than "revolutionary".<br />
<br />
His work also appears in the Spacedock control room scene. Don't remember them? That's because they barely show up:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif_jAwFI-io49cbk6i6_0zwg7Uu3F78xgfPLucz1k1rQtKsubzN4PyZvesUwv5mBaI-Sfy8axKZWhg4XSs5gBXrcvKQnNKi57WCRcgdYSGOSa2NES-g3Egn-b83o_r0__Fm7kQ2IaZLfU/s1600/tvhhd0291.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="685" data-original-width="1600" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif_jAwFI-io49cbk6i6_0zwg7Uu3F78xgfPLucz1k1rQtKsubzN4PyZvesUwv5mBaI-Sfy8axKZWhg4XSs5gBXrcvKQnNKi57WCRcgdYSGOSa2NES-g3Egn-b83o_r0__Fm7kQ2IaZLfU/s400/tvhhd0291.jpg" width="400" /></a></div>
If you look sharply you can just make out some panels that seem to show, well...something. Here's what they look like close up.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Xg8qS8pjv5uNx08_VhqC_yFY5iggtWa4kMnbC9CRBCEI2_8fuzeHkvMZpNc3Vi8nnhdAS8D3BJvWnpPGsg21FOJE-ytlpOzgIE1useQEn28i32ZrWSpR48CisoarFuuYvDi-SoiIX24/s1600/tvhhd0291bCloseup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="355" data-original-width="648" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Xg8qS8pjv5uNx08_VhqC_yFY5iggtWa4kMnbC9CRBCEI2_8fuzeHkvMZpNc3Vi8nnhdAS8D3BJvWnpPGsg21FOJE-ytlpOzgIE1useQEn28i32ZrWSpR48CisoarFuuYvDi-SoiIX24/s400/tvhhd0291bCloseup.jpg" width="400" /></a></div>
Nice stuff but there's just not much there, there. So we go back to The Big Scene. The new Enterprise bridge:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9EZhQ9JRnmVXx-sO0oZ7PYDwHjijeEL6NNnGHbnvZPrdmjcoRTcOOfF1G7WG4thzmd-x2zL1hzeLK4SgHTuBtIG2eDTdTX31_KpsdRuHS5vRciDYm-9gpgmComzrxkftwvgHIEGQfHRc/s1600/tvhhd2278cc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="685" data-original-width="1600" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9EZhQ9JRnmVXx-sO0oZ7PYDwHjijeEL6NNnGHbnvZPrdmjcoRTcOOfF1G7WG4thzmd-x2zL1hzeLK4SgHTuBtIG2eDTdTX31_KpsdRuHS5vRciDYm-9gpgmComzrxkftwvgHIEGQfHRc/s400/tvhhd2278cc.jpg" width="400" /></a></div>
Let's take a quick look at what had come before. This is more or less what the bridge looked like in the first three Trek movies (this is from <i>Star Trek II</i>):<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIxdT8In-r-NEtW0lKNijVHnkN74vXn9CrQQ92YwdL-DadLzNZ91prlvYU2McHY0kitIWzIk6JvB82TGBVsJNwgJWR_Z2dbCWe9FHrkEpWTqDi01jjWT0MkrirUse-TRHxYWUt0uuAeXU/s1600/er-consoles-st2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="987" data-original-width="1515" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIxdT8In-r-NEtW0lKNijVHnkN74vXn9CrQQ92YwdL-DadLzNZ91prlvYU2McHY0kitIWzIk6JvB82TGBVsJNwgJWR_Z2dbCWe9FHrkEpWTqDi01jjWT0MkrirUse-TRHxYWUt0uuAeXU/s400/er-consoles-st2.jpg" width="400" /></a></div>
We've got the round screens with animations that Okuda had noted. We also have a lot of switches and buttons. And blinky lights – let's not forget the blinky lights! Up to then, this was what the future looked like. This approach was an extension of the controls seen on the original series from the sixties.<br />
<br />
Now compare this with this shot from the <i>Star Trek IV</i> bridge:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGyvtAtFABUPiLI3nKItw3LqoscUQK1u9QCvUXXSjuuQETLRREIjGruecXxGf_eCNmJSb-CRFVR1eJ7Bpgj8puairZEiBQA_ztAS7oVuOfKCM9BEnmK3Jzaz0hCnY0hJ0UFqRJREXZLl8/s1600/consoles-st4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="562" data-original-width="836" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGyvtAtFABUPiLI3nKItw3LqoscUQK1u9QCvUXXSjuuQETLRREIjGruecXxGf_eCNmJSb-CRFVR1eJ7Bpgj8puairZEiBQA_ztAS7oVuOfKCM9BEnmK3Jzaz0hCnY0hJ0UFqRJREXZLl8/s400/consoles-st4.jpg" width="400" /></a></div>
Same angle, same consoles but now with a totally different look and feel. Gone is everything physical. There's no raised buttons or switches, no blinky lights sticking out. It was literally like nothing that had come before! Here's another angle, this time a behind-the-scenes shot with the Roddenberrys themselves:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3tQdLI7yxusB4lYSRgIyC5hwSZL6w5AAfL8-3KGMY5GXW3X27SBHjUh6z8qv3i6AY3KdKyXQqrt_8D568CsCV0dlEb2yVMFLINwrFHQSmpIjrk62L3GL0NoyfTrkz-ybBK4zHTKwDsv0/s1600/Roddenberrys3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="781" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3tQdLI7yxusB4lYSRgIyC5hwSZL6w5AAfL8-3KGMY5GXW3X27SBHjUh6z8qv3i6AY3KdKyXQqrt_8D568CsCV0dlEb2yVMFLINwrFHQSmpIjrk62L3GL0NoyfTrkz-ybBK4zHTKwDsv0/s400/Roddenberrys3.jpg" width="383" /></a></div>
Note the sleek surfaces, the abstract presentation of information on flat panels. And not an actual keyboard in sight!<br />
<br />
As with <i>The Next Generation</i> panels (which would come just a year later) these were driven by several factors, not the least of which was cost. The <i>Star Trek IV</i> production team was given a rather tough assignment: "give the world a new take on the <i>Enterprise</i> bridge – but don't blow the budget!"<br />
<br />
It would only be on screen for seven seconds, after all. So here's what they did:<br />
<br />
1. They reused the same bridge set from the previous films. <br />
<br />
2. They painted that dark gray set white! It sounds kind of silly yet it worked really well. The stark difference in color was, well – stark!<br />
<br />
3. They threw out all the old console controls. No buttons, switches or blinkys.<br />
<br />
4. They replaced them with (drumroll, please!)<i> the first Starfleet Okudagrams!</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDVzeZxbOl-30q_kyTUdShtQ-Xn2yqwAaEJDMr4imTlvAM9b2tXGn4RNBMJ0o3d0khCI8Aw9saMJqWuT_3W58Ad156m5SIbzG4guoDW899RCmlyMqdh4-tju40Ki560koXLGuK4O_XEuU/s1600/tvhhd2278cc2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="612" data-original-width="864" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDVzeZxbOl-30q_kyTUdShtQ-Xn2yqwAaEJDMr4imTlvAM9b2tXGn4RNBMJ0o3d0khCI8Aw9saMJqWuT_3W58Ad156m5SIbzG4guoDW899RCmlyMqdh4-tju40Ki560koXLGuK4O_XEuU/s400/tvhhd2278cc2.jpg" width="400" /></a></div>
The actual design motifs created for the scene were so well received that they were fleshed out and expanded upon in the next several films:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVAwG9FIr4hRYD_OZhfEgeeK_RdDjo3kCcdKBZxt9YEiTIksVag_h8ylEkCUrWyn1Bt31wYSvBu7jkcfTbFYWvXLEmrp-xz_zM6xFqmBENisbSan7qbATJjQG_zsltWn2ZqwbJfGPNrHw/s1600/BridgeWide.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="420" data-original-width="1249" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVAwG9FIr4hRYD_OZhfEgeeK_RdDjo3kCcdKBZxt9YEiTIksVag_h8ylEkCUrWyn1Bt31wYSvBu7jkcfTbFYWvXLEmrp-xz_zM6xFqmBENisbSan7qbATJjQG_zsltWn2ZqwbJfGPNrHw/s400/BridgeWide.jpg" width="400" /></a></div>
The approach would also come to represent older ships throughout <i>The Next Generation's</i> run as with the <i>Stargazer</i> and <i>Hathaway</i> bridges:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir-SJZ8TmwCfKq35cHoTszTyZBCgsb4keU6scJpoHrrQu_tPXp_6YkjQDAomkpXlJRbXfgq9GcCpsKcslL7UANtXfnT1CgHtO5tJyAoREnGCEhCqemKPARzO_hvn2hrmK8rfzb8IQmw4w/s1600/thebattle_hd_358cc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="572" data-original-width="1148" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir-SJZ8TmwCfKq35cHoTszTyZBCgsb4keU6scJpoHrrQu_tPXp_6YkjQDAomkpXlJRbXfgq9GcCpsKcslL7UANtXfnT1CgHtO5tJyAoREnGCEhCqemKPARzO_hvn2hrmK8rfzb8IQmw4w/s400/thebattle_hd_358cc.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLOlyHbIz8tbrcy6Y5Aga6RYjy1Ae0kXzxBIfa0KdyyvVO5eHx-yLTKkrn60TRt5GKmD3mdzaA9F4VrWCfZBHp6pVJpSZ95cj9Bc1rIre1nR3v9gmW4JzTAyOEjdT1S6ZboGZ6mtEgUgU/s1600/Hathaway.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="983" data-original-width="1348" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLOlyHbIz8tbrcy6Y5Aga6RYjy1Ae0kXzxBIfa0KdyyvVO5eHx-yLTKkrn60TRt5GKmD3mdzaA9F4VrWCfZBHp6pVJpSZ95cj9Bc1rIre1nR3v9gmW4JzTAyOEjdT1S6ZboGZ6mtEgUgU/s400/Hathaway.jpg" width="400" /></a></div>
<br />
So there you have it. Mike Okuda gets to design the new <i>Enterprise-A</i> panels which leads to the <i>Enterprise-D</i> LCARS which gets continually finessed and updated through the production of three different <i>Star Trek</i> shows and four feature films. Those panels define the look of the twenty-fourth century like no other visual element can. That's quite a legacy for a graphic designer who drew up some ideas and sent them out with no real expectation.<br />
<br />
And it all started with seven seconds of film. Nice work, Mike! <i>Very</i> nice!<br />
<br />
LLAP<br />
<br />
Don<br />
<br />
<br />Donhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com1tag:blogger.com,1999:blog-2141267747214087216.post-74249789592627941192018-06-18T15:50:00.001-07:002018-06-18T16:29:24.351-07:00OKUDAGRAMS PART 3: WHY THEY SEEM TO KINDA SORTA MOVE – BUT REALLY DON'T<i>This is the third in a series on "Star Trek's" graphic panels called "Okudagrams". Check out Parts 1 and 2 for the whole story. </i><br />
<br />
In the first two parts of this series, I got into the history of Okudagrams and showed how they were constructed with the materials of the day.<br />
<br />
That leaves one big issue, of course: how did so many of those panels move if they're just colorful pictures created on a static piece of film? The answer is – they didn't actually move. They just LOOKED like they moved. If you look closely you'll see that nothing <i>actually</i> moves,
but rather there's some sort of lighting effect that gives a sort of
iridescent shimmery moving quality to selected parts of some LCARS. For years I
assumed there was some type of actual animation at work. I was greatly
mistaken.<br />
<br />
To clarify: I am <i>not</i> talking about the bits of <i>actual</i> animation which were added in post-production to help tell a given episode's story. Rather I am talking about the stationary, unmoving panels that could be seen throughout the show.<br />
<br />
To explain, let's take a look at a real LCARS panel that was created for the episode "Chain of Command". This was a standard panel created using the techniques described in the last chapter. (Note: I have made some subtle changes so that this panel cannot be duplicated correctly and passed off for an authentic version. If you don't think people would try to do that, you've got to get out more). Here's the front:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb-jVyLYiDYwBiXyR_h00jv600dkjooPuqMhbGrnCTSfNXkI2yfzGeeRj0HiagAs661xwjrlvAAs7SMrFsklgJ1dJi2_vqSxwQMkFpl19x8Z6U8gL_6pg8idSv5MVSYpkMfHsFJLe2J5A/s1600/Chain.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="835" data-original-width="1080" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb-jVyLYiDYwBiXyR_h00jv600dkjooPuqMhbGrnCTSfNXkI2yfzGeeRj0HiagAs661xwjrlvAAs7SMrFsklgJ1dJi2_vqSxwQMkFpl19x8Z6U8gL_6pg8idSv5MVSYpkMfHsFJLe2J5A/s400/Chain.jpg" width="400" /></a></div>
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<br />
Here's the back:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3bPN8DprJwhF-hnT75jYQP547jFtwoTXi-QrZ7-FFM8Y_YZgCiLat0W8ruYm7KnGbdPuBofSvue4FEQoP4to-9nJgsWaKaBxuZfS9T264T9nm1bDfMkYAQMDmXDJ_H9QBGUek2yEW7Tw/s1600/ChainBack.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="835" data-original-width="1080" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3bPN8DprJwhF-hnT75jYQP547jFtwoTXi-QrZ7-FFM8Y_YZgCiLat0W8ruYm7KnGbdPuBofSvue4FEQoP4to-9nJgsWaKaBxuZfS9T264T9nm1bDfMkYAQMDmXDJ_H9QBGUek2yEW7Tw/s400/ChainBack.jpg" width="400" /></a></div>
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The back shows the usual stuff including the polarizing film that I referred to previously. Those are the very dark gray (almost black) areas. It is that polarizing film that gives the effect of movement.<br />
<br />
So let's get into exactly what that means. Take a look at this clip from "Chain of Command". Go to 6:30 on the time code and you'll see a scene with Riker and Jellico talking/arguing about the state of things. The topic at hand – the location of Captain Picard – is being shown on an LCARS panel at the bridge's Science Station 1. Notice how things pulse and glow. Some items turn off and on. Now if you really analyze what you are seeing, you'll notice that no objects actually move.<br />
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<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/jSIOCjWjshM" width="560"></iframe>
<br />
The way this is achieved is through the use of two layers of polarizing film – one that is attached to the back of the LCARS panel and another one inside the lightbox to which it is mounted. It's a weird bit of science that works very simply, if strangely. A few years back, a functioning Lightbox from the set of <i>Deep Space Nine</i> was sold at auction through Propstore. Here's the excellent description they gave of the process:<br />
<br />
"Inside the light box, fluorescent lights sit behind a round polarized filter that spins via a belt. The polarization of the lens sends the light out in different directions toward the LCARS panel which is covered with diffusion paper. Attached to portions of the diffusion paper are small polarized sheets. These sheets are patterned in a way that causes the LCARS panel to appear as though it has a moving display when the light from the spinning polarized filter hits them from different directions."<br />
<br />
Here's an interior shot of the DS9 Lightbox that they sold:<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr6ivmelVFzxftMZEBNO3BLzMYntq4r0GDUYprGEnfNug2CBR-d3Es2pEzsuZXnGWgLx-X6UhELmHa8c4pshFZCcgwbc_qTA1JVxWm_WrqEt1Ru_D3YRh0cdCq8DhOw4j1IdL1Jt7V0aE/s1600/310579sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="820" data-original-width="1080" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr6ivmelVFzxftMZEBNO3BLzMYntq4r0GDUYprGEnfNug2CBR-d3Es2pEzsuZXnGWgLx-X6UhELmHa8c4pshFZCcgwbc_qTA1JVxWm_WrqEt1Ru_D3YRh0cdCq8DhOw4j1IdL1Jt7V0aE/s320/310579sm.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Propstore photo</td></tr>
</tbody></table>
Notice that the box used florescent tubes which were by far the best way to illuminate large flat areas like an LCARS panel. Six tubes are seen. Imagine the heat build-up and this is only a single panel. The Enterprise-D Bridge and Engineering sets were covered with these babies. It must have given the AC a run for its money!<br />
<br />
But the most interesting thing is the detail in the center:<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig7tBxK7NL8YMMN7NFbSdiGE58tLMPhHHvbVjGisqoHfjBOfeEY8zxC3tiUWFWhqaZd-EC3FcX8vqrAMwbkYonGolYHkPy-LkGobN0zhSOCXfvow2m_vgRXg9M8IWalwIVD3elerYE7Fk/s1600/CenterDetail.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="333" data-original-width="377" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig7tBxK7NL8YMMN7NFbSdiGE58tLMPhHHvbVjGisqoHfjBOfeEY8zxC3tiUWFWhqaZd-EC3FcX8vqrAMwbkYonGolYHkPy-LkGobN0zhSOCXfvow2m_vgRXg9M8IWalwIVD3elerYE7Fk/s1600/CenterDetail.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Propstore photo</td></tr>
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We can see an electric motor with a spindle but there's nothing apparently mounted to it. That is because the polarizing film is translucent and when back-lit it virtually disappears. It is only when it interacts with the OTHER piece of film that is on the LCARS back that anything happens.<br />
<br />
Here's a great video that explains the interaction in a visual way. Things get very interesting at about the 2:00 mark:<br />
<br />
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/e8aYoLj2rO8" width="560"></iframe>
<br />
Combine that knowledge with this video of the Propstore piece and you'll have a new understanding of the science and execution involved in the complete process. Keep in mind that there is a spinning disk on the inside, though it is virtually impossible to see it.<br />
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<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/2MUdOGMuHCM" width="560"></iframe>
<br />
So the designers of a given LCARS panel decided what areas that they wanted to be "glowy/pulsy" (my new technical term for this effect) and selectively applied the film to the panel's back. By utilizing this relatively low-tech gimmick for their panels, the <i>Star Trek</i> artists were able to bring life to what would otherwise be static (boring!) panels. And they avoided the need to use actual CRT screens showing live animation, a technique that was used in the films but one which was too expensive and time-consuming to use for a TV series. As screens got smaller and thinner, that approach changed. But throughout the run of <i>The Next Generation</i>, live screens were almost never used. <br />
<br />
As an aside, apparently this polarizing film effect was used in the 50's 60's and 70's for
various advertising and attention-getting purposes. I have no memory of
ever seeing this in person, however.<br />
<br />
This technique was used in <i>NextGen</i> and <i>DS9</i> as well as <i>Star Trek V, VI</i> and <i>Generations</i> (though the films also added CRT screens to the mix). By the time we get to <i>Star Trek: First Contact</i>, the old school polarized film technique was gone. The LCARS were all video-fed screens from that point on as far as the Enterprise-E was concerned though some large panels were simply back-lit without the polarized effect. <i>Deep Space Nine</i> would continue their use while changing over as time went by. <i>Voyager</i> used back-lit panels but I'm not sure if they used the polarizing effect or not. It doesn't seem to be used but I'll need a little help from my friends on that topic to say for sure.<br />
<br />
So that is how the whole shebang worked. My thanks to fellow LCARS enthusiast Ray Minarcik for pointing me to the Propstore auction, without which this story would not have been as complete. In the next chapter I'll be breaking down some key types of LCARS and how they were incorporated into the story-telling.<br />
<br />
LLAP,<br />
<br />
DonDonhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com1tag:blogger.com,1999:blog-2141267747214087216.post-35933592019790431332018-06-15T08:18:00.001-07:002018-06-19T02:50:14.163-07:00OKUDAGRAMS PART 2: CREATING THE 24TH CENTURY WITH GAFFER TAPE AND CELLOPHANE<i>This is the second in a series on "Star Trek's" graphic panels called "Okudagrams". Check out Part 1 for the basics. </i><br />
<br />
<i>NOTE: I am a graphic designer who started out in the 80's. In one of my first jobs I created color graphics for trade shows and industry meetings including overheads and slides shows. I used EXACTLY the same process that is described below so I am very familiar with this system. My stuff didn't end up on television, of course!</i><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEueVjcxb0AZRpmW3GFvmwQGN1Ugut-W7CWXUqmm5tO2rDc91cGt9QDwSuQL3ykOIL018pH20PBHfKUeuz8NYwQW241Vub1cfUkc-jZtke3u-HhZ2DJKcYOiWMQ1z0XprcEfpC8-TXyBU/s1600/the-quality-of-life-hd-314.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1436" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEueVjcxb0AZRpmW3GFvmwQGN1Ugut-W7CWXUqmm5tO2rDc91cGt9QDwSuQL3ykOIL018pH20PBHfKUeuz8NYwQW241Vub1cfUkc-jZtke3u-HhZ2DJKcYOiWMQ1z0XprcEfpC8-TXyBU/s400/the-quality-of-life-hd-314.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Data starts to realize that things aren't as they seem.</td></tr>
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As all <i>Star Trek</i> fans know, in the twenty-fourth century, things are made of exotic materials such as transparent aluminum, duranium, tritanium, neutronium, and of course, Trellium-D. There are minerals like kironide and pergium (a favorite snack of the Horta, of course). And don't get me started on Protomatter or Omega Particles. Not. Good.<br />
<br />
So with all that very-high-tech-sounding stuff, it might surprise you to find that the most sophisticated computer system interface of the day – LCARS (Library Computer Access and Retrieval System) – is actually made out of rather ordinary twentieth-century stuff. Film negatives. Plastic photographic colored gels. Some Plexiglass. Oh, and lots and lots of black gaffer's tape (like duct tape but different). Yeah, I said tape. All of these things were common to graphic designers of the day, so as a designer, creator Mike Okuda used the tools of the day to best achieve his goal: a visual representation of believable future technology.<br />
<br />
Let me take a moment here to explain the huge difference between now and then as it pertains to the subject at hand. It's vital to understand that these panels were all created in the pre-digital age of the 1980's. Because of this, it would be virtually impossible to recreate these today using the same process because the basic products used (like the film and the camera used to shoot it) no longer exist. Today we'd fire up the computer and use a vector-based drawing program (I use Adobe Illustrator) to create perfect, crisp high-res files. We'd then shoot that file over to a high-end inkjet printer that printed on white translucent film. We could go from start to finish in just a couple of hours, depending on the nature of the panel. But back then everything was done with, to quote Spock, "stone knives and bear skins". It was all manual, it was all analog, it was very time consuming.<br />
<br />
It sucked.<br />
<br />
Let's take a look at exactly what I'm talking about. Here's a scene from <i>Star Trek VI: The Undiscoverecd Country </i>which featured panels made in the same way as the NextGen LCARS. Check our the panel that Kirk is looking at: <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWxQ_DNw6rNBXqe6XONO4g4GmcC7PXInZTbxWcmHlxeqUtZm5mUSbZKe8zMTh85bKA1nXBRJ_Lyc9b_Yg8MLAdgWvoRARdHv3BrTmMX66yfV9eWE7VgJFLtJBzN7LQuJTn7g-S0dJ34Mc/s1600/KirkPanel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="637" data-original-width="769" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWxQ_DNw6rNBXqe6XONO4g4GmcC7PXInZTbxWcmHlxeqUtZm5mUSbZKe8zMTh85bKA1nXBRJ_Lyc9b_Yg8MLAdgWvoRARdHv3BrTmMX66yfV9eWE7VgJFLtJBzN7LQuJTn7g-S0dJ34Mc/s400/KirkPanel.jpg" width="400" /></a></div>
Here is the actual panel as it looks today:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDORQi6o6xcmetKWZpZR0mhWnLJtDS4NeXXeERHgCfw59-PU2uoylGTFSZGiQko8Jv_IO7hMSEIX8Qg6tBeVwhvz4CKfDHljROhvhZx4UrTAWJFOA9UGj-e86pqh6E3FhYzVqjRchS1AU/s1600/KirkPanel1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1453" data-original-width="1600" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDORQi6o6xcmetKWZpZR0mhWnLJtDS4NeXXeERHgCfw59-PU2uoylGTFSZGiQko8Jv_IO7hMSEIX8Qg6tBeVwhvz4CKfDHljROhvhZx4UrTAWJFOA9UGj-e86pqh6E3FhYzVqjRchS1AU/s400/KirkPanel1.jpg" width="400" /></a></div>
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If you look closely you can see that it is covered in a frame of black tape. But on-screen it looks so clean. What's up? Well, on-set the panels are mounted into their positions then covered with a large piece of dark gray plexiglass which makes any imperfections (like the tape) disappear while letting the backlit graphic shine brightly through. Regarding the tape, it is applied from the back. On the front we see the adhesive side through the clear plexi that everything is mounted to.<br />
<br />
Here's what the back looks like:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmHAr7mnHYsKPf1bX3W1MqD66z6Cc8ou9rXYu_Wi740nGcfMEKJQKJMX80ssadD728Cow868njTCd469hrZ48gmaPuajIwIttvbm-mIOfzoc7eghH71wVY5PBd-NfkJ8syxqQeuEf6DUE/s1600/KirkPanel2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1459" data-original-width="1600" height="363" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmHAr7mnHYsKPf1bX3W1MqD66z6Cc8ou9rXYu_Wi740nGcfMEKJQKJMX80ssadD728Cow868njTCd469hrZ48gmaPuajIwIttvbm-mIOfzoc7eghH71wVY5PBd-NfkJ8syxqQeuEf6DUE/s400/KirkPanel2.jpg" width="400" /></a></div>
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We can see the black tape that frames the art area. But what's all that odd mix of stuff in the image area? First off, the image itself is on a piece of Kodalith film which was perfect for the job. It gave a totally opaque black (so no light could leak through or soften the image) and a perfectly clear positive area (so that the backlight would transmit through it perfectly). The blue and green stuff is transparent photographer's gels (used to tint lighting during a photo shoot). It was simply cut out and applied to the back of the film negative with 3M spray adhesive (a product I still use today as it still has its uses in a design studio). The various colors are placed to correspond with specific areas on the negative. The white-ish layer is a white translucent sheet used to diffuse the lighting. All of these layers are then attached with spray mount to the forward piece of clear plexiglass. The tape is used to mask any border areas that the film doesn't cover. The very dark irregular areas in the midst of the image are what makes these very unique things. They are a polarized film that makes a very interesting effect. More on that later.<br />
<br />
So – first things first. The very first step was to prepare black and white artwork. This would have been done with type being created on a phototypesetting machine and output to photo paper which was then pasted onto an artboard (yes, pasted!). The graphic area would have been drawn with a combination of pen (!!!) and black line tape. A negative would have then been shot which would have reversed the positive and negative areas – perfect for the high-contrast design of LCARS.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSwCVI9K1GgIc-1wskhVg2ljAv7OiwIoA4h1zhSZUt1cAkzl_Cx5rq_y2egoRgOpqJhzeIytWs4RYaHj6bBvqf9Jdsz01nF1npCto9QwFPz3CHEoNi2FHvzWVs0spO0juFKM8_5R6T6G0/s1600/ArtNeg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="999" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSwCVI9K1GgIc-1wskhVg2ljAv7OiwIoA4h1zhSZUt1cAkzl_Cx5rq_y2egoRgOpqJhzeIytWs4RYaHj6bBvqf9Jdsz01nF1npCto9QwFPz3CHEoNi2FHvzWVs0spO0juFKM8_5R6T6G0/s400/ArtNeg.jpg" width="248" /></a></div>
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That negative was the foundation on which the finished panel was built. Here's a diagram that shows the different layers and how they came together to create a panel (click to enlarge):<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8ZJ48u7SRWfYZ1_Pv27EQUXiR7DBJ79p0P9WYnqwd6oGRvb6pMUzWodKbWU_zkByD5c59KOm3hPGx36sQ1vfrgookhmE6SmhdbEdBeedtmdcT096pbHSBHDa-RfSTERpw6JPnLIFzL8A/s1600/LCARSconstruction.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1174" data-original-width="1600" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8ZJ48u7SRWfYZ1_Pv27EQUXiR7DBJ79p0P9WYnqwd6oGRvb6pMUzWodKbWU_zkByD5c59KOm3hPGx36sQ1vfrgookhmE6SmhdbEdBeedtmdcT096pbHSBHDa-RfSTERpw6JPnLIFzL8A/s320/LCARSconstruction.jpg" width="320" /></a></div>
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All of these layers got sandwiched together to form each panel. On the early panels like this one, the film neg itself was sprayed with adhesive and permanently attached to the clear plexi. In later pieces, they figured out that they didn't need that step so in later NextGen examples, that plexi is not present.<br />
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This Next Gen LCARS is seen in "Descent" and "Interface":<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbvoFh8t7NsaVJ53SXLihgJM6_U1PfsOFbNofvbE2-PoxZ9L0BV-e-OCViir2ZVpqJCEyiQDriW9ZuJqiqa-6SdPTPEbO2dZOKYUoZm6vhHAu9hdc3zThDYUguCqUztkFtfaEvVGNEad4/s1600/DescentInterface.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="867" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbvoFh8t7NsaVJ53SXLihgJM6_U1PfsOFbNofvbE2-PoxZ9L0BV-e-OCViir2ZVpqJCEyiQDriW9ZuJqiqa-6SdPTPEbO2dZOKYUoZm6vhHAu9hdc3zThDYUguCqUztkFtfaEvVGNEad4/s400/DescentInterface.jpg" width="400" /></a></div>
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Here's the actual panel as it sits on a lightbox. Notice it has no tape on its edge like the earlier piece and is not mounted to plexi:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmguJXFHT11Y1uEi6P02GPtpYPOx6vX2vD55lkN34_1bYl8mD2lSBUR1hwYX3YGX5wNdZl4Kzjdfi7SAVbBnZDdI5s6yQ9Y0bEezybnrDWf-daao3hJIZ3EbKhHnKb8ROHjsD084x6fKw/s1600/Descent.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1247" data-original-width="1600" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmguJXFHT11Y1uEi6P02GPtpYPOx6vX2vD55lkN34_1bYl8mD2lSBUR1hwYX3YGX5wNdZl4Kzjdfi7SAVbBnZDdI5s6yQ9Y0bEezybnrDWf-daao3hJIZ3EbKhHnKb8ROHjsD084x6fKw/s400/Descent.jpg" width="400" /></a></div>
Here's the back:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4x1Gi5ldCUiN5sTaseoogfmAeZsHklDRAdNoS2DqIh2IBH3k_3E5tf3YK1qAX6u3TVFrfA29IGR55LQZO-dnSuJfVFYH98PXGI94Am1BcJZdxiAMQpv2xymPJ0YrH-p05vo1Ru0fVsCs/s1600/DescentBack.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1174" data-original-width="1600" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4x1Gi5ldCUiN5sTaseoogfmAeZsHklDRAdNoS2DqIh2IBH3k_3E5tf3YK1qAX6u3TVFrfA29IGR55LQZO-dnSuJfVFYH98PXGI94Am1BcJZdxiAMQpv2xymPJ0YrH-p05vo1Ru0fVsCs/s400/DescentBack.jpg" width="400" /></a></div>
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You can see that the color was achieved in the same way as the first piece – colored gels overlaid on the negative (using spray adhesive) with a diffusing sheet over the whole piece. The dark areas are the same polarizing film as before.<br />
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So these pieces get mounted on the set over top of the backlight box, then get the dark plexi placed over them and – voila – 24th century technology at its finest!<br />
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This is how every single LCARS panel seen through the seven year run of <i>Next Generation</i> was made as well as much of <i>Deep Space Nine</i>. Any time actual animation appeared, it was added in post-production as a special effect. It was NEVER live on the set.<br />
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Here's a great shot of Mike Okuda with one of his creations before it was mounted on plexiglass. He seems to be holding one of the "keyboard" sections used on the rear bridge stations.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiuChVl20gADQBegAaU7X7dcPmrO87qGp7wpsi6kz2I1enZdePHdDlw32vRHzZn3Ay3yd5s13Rr8HylbernTrO2qVsX-dx-vT8Mm41XRZ15EnZ0uXTRHr3nw6YbZqlsfhms5ZDhJnOBFw/s1600/Building_okudagrams.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="624" data-original-width="911" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiuChVl20gADQBegAaU7X7dcPmrO87qGp7wpsi6kz2I1enZdePHdDlw32vRHzZn3Ay3yd5s13Rr8HylbernTrO2qVsX-dx-vT8Mm41XRZ15EnZ0uXTRHr3nw6YbZqlsfhms5ZDhJnOBFw/s400/Building_okudagrams.jpg" width="400" /></a></div>
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During the production of the early movies, the three lower panels were mounted as a single piece. Here's an engineering station lower panel:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLzdR5VYj0Ej8C_9Y829bxxDRM_7FNdiVv5O6rYxpYHo_xQw1aZLId80WNbt67x-oanS5FXdvJJVL-b1v8rQZnK_Vzd1aXb9cIu5pOD8jDW34pAUlLQEcaDaBd8ocXK12mdT11OWtovSo/s1600/Engineering4rev.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="290" data-original-width="792" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLzdR5VYj0Ej8C_9Y829bxxDRM_7FNdiVv5O6rYxpYHo_xQw1aZLId80WNbt67x-oanS5FXdvJJVL-b1v8rQZnK_Vzd1aXb9cIu5pOD8jDW34pAUlLQEcaDaBd8ocXK12mdT11OWtovSo/s400/Engineering4rev.jpg" width="400" /></a></div>
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These are all stuck directly to a single sheet of plexiglass. You can see the ton of tape used to mask the edges. The dark plexi would go over this to give a seamless, clean look. Here it is on-set:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMXRsknVtCSvu0XT6SOHJGaHO3vrPeIfVJYub195ek1KW8W6Oy0cYSVxD3u_VvsvZzCn1Exr-puOfr1FA4NQRIrOCEI_E7f7NEI5yWVNrXs1It8mUfARWFs47fYVPvn3KSmRBzzmUnWPk/s1600/AuxSysPanels5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="381" data-original-width="500" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMXRsknVtCSvu0XT6SOHJGaHO3vrPeIfVJYub195ek1KW8W6Oy0cYSVxD3u_VvsvZzCn1Exr-puOfr1FA4NQRIrOCEI_E7f7NEI5yWVNrXs1It8mUfARWFs47fYVPvn3KSmRBzzmUnWPk/s400/AuxSysPanels5.jpg" width="400" /></a></div>
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So that is how the magic is done. Except for the polarizing effect that I mentioned earlier which is the REAL magic. What's up with that?<br />
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Stay tuned – that's up next time!<br />
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LLAP.<br />
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DonDonhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com4tag:blogger.com,1999:blog-2141267747214087216.post-64849269078320476142018-06-13T15:00:00.001-07:002018-06-13T15:23:24.298-07:00OKUDAGRAMS PART 1: HOW ONE MAN DESIGNED THE FUTURE WE ALL LOVE<i>I recently purchased a number of original graphic panels that were used in the production of "Star Trek: The Next Generation". While researching them, I discovered that these pieces are truly works of art that were integral to the success of Star Trek in it's rebooted forms. I also rediscovered my love for the series, much of which I had not seen in many years. Both of those facts lead to this series of articles on the subject of these amazing bits of design.</i><br />
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Everyone knows that the original <i>Star Trek</i> was created by Gene Roddenberry. As creator and producer of the original series (1966-69) he is the acknowledged source of all things Trek. But, while the concept is the product of a single man, it's not an exaggeration to say that <i>Star Trek</i> itself is the product of thousands of creative people working to make that concept a reality on film. Costume designers, production artists, scenic designers, art directors – all had to come together to visually create the fantastic future universe that we collectively know as <i>Star Trek</i>. <br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs8YQQZVybxwLWkv8oPWqmiIJo3oumtxDN7VXn56tcBitXYWh73eqk29WyKkrQMFgGJlzw2s_iWwPCwcMm_0j7Mj9uouk2RsrhbVnX1hZhkI4dJUYN2k_DtPiuCdqSex8sXBXElXaHfmQ/s1600/Okuda001.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="576" data-original-width="768" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs8YQQZVybxwLWkv8oPWqmiIJo3oumtxDN7VXn56tcBitXYWh73eqk29WyKkrQMFgGJlzw2s_iWwPCwcMm_0j7Mj9uouk2RsrhbVnX1hZhkI4dJUYN2k_DtPiuCdqSex8sXBXElXaHfmQ/s320/Okuda001.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Star Trek designer Mike Okuda with an original Sickbay panel.</td></tr>
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When we think of that rich visual presentation of <i>Trek's</i> various incarnations, there's one consistent element that acts as a unifying visual thread throughout all the various pieces and parts. That element is commonly called an "Okudagram". In short, Okudagrams are the interactive-looking control panels and surfaces that appear throughout <i>Star Trek</i>. They are named after their designer, Mike Okuda, a graphic designer who joined the <i>Star Trek</i> production world back in 1985 with the making of <i>Star Trek IV: The Voyage Home</i>. From that very humble start Okuda's work would go on to help define the very look of the <i>Star Trek </i>universe. On a personal note, as graphic designer myself, Mr. Okuda is one of my personal design heroes. His work has greatly influenced my own over the years.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLHznDIifTwrxgY3GQ5yQqkwdsxnVObzyU-xKFlIEengYSsu1kX1UlZnKTVF16vbPO692f2rTqsGpWg1N06NvfEMET9xVJw6x9h692iJtyBAhmqnVsFc5-cU3MFXVO13LpJGwapWWECNE/s1600/sinsofthefather_hd_279.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1440" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLHznDIifTwrxgY3GQ5yQqkwdsxnVObzyU-xKFlIEengYSsu1kX1UlZnKTVF16vbPO692f2rTqsGpWg1N06NvfEMET9xVJw6x9h692iJtyBAhmqnVsFc5-cU3MFXVO13LpJGwapWWECNE/s400/sinsofthefather_hd_279.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">LCARS panels cover every control surface of the Enterprise-D</td></tr>
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Even casual viewers of <i>Star Trek</i> came to know these ubiquitous pieces of design because of the popularity of <i>Star Trek: The Next Generation</i>. The <i>Enterprise-D</i> is literally covered with them. Every control surface of the bridge, engineering, sickbay, the holodeck – you name it – all feature Okudagrams. Dubbed "LCARS" for Library Computer Access and Retrieval System, these panels became synonymous with the look of 24th century Starfleet technology. They would be seen not only on the <i>Enterprise-D</i>, but on every type of Starfleet facility – every ship, Starbase and outpost had them which gave an instant kind of recognition to these locations. Alien ships would get their own unique design treatments which would help define the visual worlds of the Klingons, Romulans, The Dominion and myriad other races. The style would be used faithfully throughout the runs of <i>The Next Generation</i>, <i>Deep Space Nine</i> and <i>Voyager</i>. <i>Enterprise</i> would get its own version of Okudagrams, one meant to convey an earlier use of the technology. Okuda was designing what would become known as a user interface, the now common term for screens on computers, pads and phones. But he was doing it thirty years ago! <br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBPJTVEloSQgHugZmh3WQfTS5To309Dk0filpTw8KzPXom_Ox_kX3X0g1BDFGnkhyphenhyphenZtDZdjbuUum41ACVJNEBKaXu_nS5g2olow1tklU7uplauLQ96fPERu-_w8jIF4CmEq727pkdIFRo/s1600/DataOps.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="410" data-original-width="571" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBPJTVEloSQgHugZmh3WQfTS5To309Dk0filpTw8KzPXom_Ox_kX3X0g1BDFGnkhyphenhyphenZtDZdjbuUum41ACVJNEBKaXu_nS5g2olow1tklU7uplauLQ96fPERu-_w8jIF4CmEq727pkdIFRo/s320/DataOps.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Data's Ops station shows the LCARS interface.</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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At first glance the colorful graphic panels might be dismissed as simple set decoration that is used to convey a high-tech future. But, while it's true that LCARS do serve that function in many ways, they are so much more than mere ornamentation. Those panels are actually a refined story-telling device that help reveal countless details to watchers. They convey information that is key to zillions of plot lines in a way that is simple to understand and visually engaging while being uniquely <i>Star Trek</i>.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWN-yRFjXNEd3dyn7kDiZLe5fvhwDHKEMlKRwufutlgRp6yqUTaf9wkK_TdOq930QuK-FKbAX5kopvR0OdTfPYtgZBB1_D6Lj5qmK7vFHoTmidS4UdCVyTOtsDQciaGjp0GaB7zjGgUxQ/s1600/UhuraStation.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="546" data-original-width="970" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWN-yRFjXNEd3dyn7kDiZLe5fvhwDHKEMlKRwufutlgRp6yqUTaf9wkK_TdOq930QuK-FKbAX5kopvR0OdTfPYtgZBB1_D6Lj5qmK7vFHoTmidS4UdCVyTOtsDQciaGjp0GaB7zjGgUxQ/s400/UhuraStation.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The original Star Trek's controls – lots of switches, knobs and blinky things.</td></tr>
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In a 2010 article on arstechnica.com, Okuda explained why the controls looked so different from the original series' physical switches. "The initial motivation for that was in fact cost. Doing it purely as a graphic was considerably less expensive than
buying electronic components. But very quickly we began to realize—as we
figured out how these things would work and how someone would operate
them, people would come to me and say, 'What happens if I need to do <i>this</i>?'
Perhaps it was some action I hadn't thought of, and we didn't have a
specific control for that. And I realized the proper answer to that was,
'It's in the software.' All the things we needed could be
software-definable."<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDtcWPlgD8RRy2Cy3DoAYlybtTvUbUBeyMUox6bYi9Qx52vPw-EYc8CKIG-4DzeSEF7eu3nf82dhM8dwFRpE-jhyP9ahm7WBgdfZk5hU03yOJnfXGTRZ15bjoiFKBsjeaT0h1D2a5yb54/s1600/SpockStation.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="642" data-original-width="1280" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDtcWPlgD8RRy2Cy3DoAYlybtTvUbUBeyMUox6bYi9Qx52vPw-EYc8CKIG-4DzeSEF7eu3nf82dhM8dwFRpE-jhyP9ahm7WBgdfZk5hU03yOJnfXGTRZ15bjoiFKBsjeaT0h1D2a5yb54/s400/SpockStation.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Okuda's sleek approach to interfaces began with the original cast movies.</td></tr>
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And so, to keep things sleek, simple and elegant, Okuda designed touch-screens before anyone really knew what a touch-screen was. The implication was that the screen could dynamically change as the user interacted with it. Most of the time the panels could not be seen clearly so the idea worked perfectly. And instead of having to physically build a panel with all sorts of expensive details, Okuda designed a flat piece of art for each station. That would be translated to the pieces seen on-set in a process that was far more cost-effective than the traditional style of earlier years. And it beautifully fulfilled the need of looking futuristic.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghlpwW4C5C75N6tU299D3pL9vRZDTk62QAcooOgWe8MqTDo32xvufML6K2Z9fLYhzo_qQXsQojhX9X939SrUnxuqYfPv-_fk_-9oMrLzUnM5PrePTVnec88JYttfExOeBEVFD9vnkFIII/s1600/Rascals1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="468" data-original-width="875" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghlpwW4C5C75N6tU299D3pL9vRZDTk62QAcooOgWe8MqTDo32xvufML6K2Z9fLYhzo_qQXsQojhX9X939SrUnxuqYfPv-_fk_-9oMrLzUnM5PrePTVnec88JYttfExOeBEVFD9vnkFIII/s400/Rascals1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In "Rascals" the crew gather in Engineering to ponder an LCARS image.</td></tr>
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There's an old adage in film-making: show, don't tell. With the LCARS approach, that became simpler than ever. Instead of having a character stand in front of the others and tell them a piece of information, a custom panel could be designed for a specific episode that helped the characters to convey that information in a more interesting way. How many times did the characters gather around the bridge science station to get an update from Data? What about the numerous mission briefings in the conference room or in Engineering? Sometimes an actual animation was used but most often it was a simple, static image used to help things along.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgpd_nLLdu0Ea237EK5gTxuieoO0XTD-9w9zX6l2_OW6UB7Cd0aYN7_XsVg_t1kv-JLyWtdkrOZslT-WMz9ktzeo2Y0IMrYU6nXzqVfMTCo-a8q7OmWq6Obkpgpgih5T3sLcTufwn8lR4/s1600/i-borg+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="990" data-original-width="1337" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgpd_nLLdu0Ea237EK5gTxuieoO0XTD-9w9zX6l2_OW6UB7Cd0aYN7_XsVg_t1kv-JLyWtdkrOZslT-WMz9ktzeo2Y0IMrYU6nXzqVfMTCo-a8q7OmWq6Obkpgpgih5T3sLcTufwn8lR4/s400/i-borg+2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Data and Geordi explain things in the conference room in "I, Borg".</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpv6zzUrgXDQQgNdKYcOi8JiQwZ1K_q0QDLJTgWLSir5yVrNm5OPjI2MciHAHcbB_kPkmYxDcuw4nLzFB2P21tPT8mx80rCA7QREctH2jLBBSB9Uxs2e2ORDazBKMcJP5SyrOn_OHiWdw/s1600/ChainOfCommand.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="862" data-original-width="1600" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpv6zzUrgXDQQgNdKYcOi8JiQwZ1K_q0QDLJTgWLSir5yVrNm5OPjI2MciHAHcbB_kPkmYxDcuw4nLzFB2P21tPT8mx80rCA7QREctH2jLBBSB9Uxs2e2ORDazBKMcJP5SyrOn_OHiWdw/s400/ChainOfCommand.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Riker and Jellico argue in "Chain of Command".</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMFmAhNwy1kc06kc0W-E2f3oUuO5VDajKnhho4j66SrPPuDzhyphenhyphenQZFWgdsBvi5JnMtndZGekEcp3En6S9k6OkdpVWoAW0NtVl_K9d7BdsuQJQtmCCHb9bHzovSiU7aOjNGK4JGsq-CAUTA/s1600/realm-of-fear-hd-170.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1436" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMFmAhNwy1kc06kc0W-E2f3oUuO5VDajKnhho4j66SrPPuDzhyphenhyphenQZFWgdsBvi5JnMtndZGekEcp3En6S9k6OkdpVWoAW0NtVl_K9d7BdsuQJQtmCCHb9bHzovSiU7aOjNGK4JGsq-CAUTA/s400/realm-of-fear-hd-170.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dr. Crusher is surrounded by LCARS in Sickbay.</td></tr>
</tbody></table>
The panels themselves were made with basic items of the day – film negatives, photo gels and plexiglass. But when assembled and placed on-set, the sleek, futuristic environment became alive with light and sound. I'll discuss the construction in detail in the next chapter.<br />
<br />
Stay tuned!<br />
<br />
LLAP,<br />
<br />
DonDonhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com5tag:blogger.com,1999:blog-2141267747214087216.post-10032282969249944412018-04-11T21:25:00.001-07:002018-04-11T23:12:27.455-07:00HERITAGE AUCTION FOR KLINGON PUMP-STYLE DISRUPTOR CLAIMS SCREEN-USE WHERE NONE IS PROVENIt's become commonplace – auctions for movie memorabilia are fraught with inaccuracies, exaggerations or plain old big fat lies. They constantly make big, unproven claims in hopes of making an extra buck on their auctions, all in the hope that bidders are too stupid to not know the difference between a replica and a real, honest-to-goodness movie prop.<br />
<br />
With that in mind let's take a look at the upcoming Heritage Auction. It is the listing of a particular Klingon piece that caught my eye:<br />
<b><br /></b>
<b>"Star Trek VI: The Undiscovered Country Screen-Used Klingon "Shotgun" Disruptor (1991)</b><br />
<br />
Star Trek VI: The Undiscovered Country Screen-Used Klingon "Shotgun" Disruptor (1991). Exhibits a sharp, beak-nosed appearance in the familiar red-black Klingon style, with a body, handle, "pump" and emitter crafted of cast resin, with three steel rods connecting the emitter to the pump/body, and a small acrylic Klingon symbol affixed to the handle. Used by actor Paul Roselli as military advisor to Chancellor Gorkon, Brigadier Kerla. Measures approximately 16" in length, in Very Fine condition, showing light wear from screen use/handling. "<br />
<br />
The listing is accompanied with a very nice photo:<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTts_9Tuo3oc1bS5kqxmgvTdSGXWG69cZb2fYSzWrjAx36V9mBI6RzylzFu0CYewa2nSHI8wjOq5P8Yg6rAfXai12zP22own0bZyvHR-skZghOYBNmBSniq9hDGyFUKuDHb_1TtfROfdc/s1600/HeritageAuctionKlingonPistol.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="850" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTts_9Tuo3oc1bS5kqxmgvTdSGXWG69cZb2fYSzWrjAx36V9mBI6RzylzFu0CYewa2nSHI8wjOq5P8Yg6rAfXai12zP22own0bZyvHR-skZghOYBNmBSniq9hDGyFUKuDHb_1TtfROfdc/s400/HeritageAuctionKlingonPistol.jpg" width="400" /></a></div>
<br />
To be clear, I have no doubt that this is a production-made prop as described. This matches in every way a version that I previously owned that I got from a former Star Trek prop master. I was able to screen-match that version to the short scene in <i>Star Trek VI</i> in which General Kerla brandishes the weapon at Kirk and McCoy. The screen-match was possible due to the one-of-a-kind organic nature of the paint job on Klingon props. They are all hand-painted with unique weathered details. As a result, no two look alike, thus, there can only be ONE screen-matchable piece.<br />
<br />
And that is where the problem arises. This prop was only seen for a few seconds in one single scene when Kirk and McCoy beam over the the Klingon ship:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkp5AmKQwjV50j9f7uso9i0q57KsBzjTPKsoiFSzPilE8JDUp8kfPt3a2_GA9PAAJhPLM-4ayKoPxEuAqyz9_7gD8EmKXf-a3nkIEzE21tSmjnBZky5162wNfL4KCAkOhACb6xnJDIXPk/s1600/film_klingon_pump_pistol.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="322" data-original-width="637" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkp5AmKQwjV50j9f7uso9i0q57KsBzjTPKsoiFSzPilE8JDUp8kfPt3a2_GA9PAAJhPLM-4ayKoPxEuAqyz9_7gD8EmKXf-a3nkIEzE21tSmjnBZky5162wNfL4KCAkOhACb6xnJDIXPk/s400/film_klingon_pump_pistol.jpg" width="400" /></a></div>
<br />
Because Blu-Ray captures amazing details, it is possible to blow up the gun in Kerla's hands.<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgAI74C5RxS7H0WSkuJHE5BVLg4OPCbfuQyh6DSLZK_Tmq9dDTI3sCxAUE0qfKPLgQlSBPYh6tMQ4jgWRjVXMCqalpUd7PElz6uMvVrR68YCTXW8M1UODjoGCY3RPWCcNvD6FmIlIvJ5A/s1600/BlowUp.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="461" data-original-width="720" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgAI74C5RxS7H0WSkuJHE5BVLg4OPCbfuQyh6DSLZK_Tmq9dDTI3sCxAUE0qfKPLgQlSBPYh6tMQ4jgWRjVXMCqalpUd7PElz6uMvVrR68YCTXW8M1UODjoGCY3RPWCcNvD6FmIlIvJ5A/s320/BlowUp.jpg" width="320" /></a></div>
<br />
This moment is the ONLY time the pistol is seen. It is very brief and without a close-up. To be clear: this single instance is the ONLY identifiable screen time this piece gets. The general carries it with him down the hall but no details can be made out, after which it is never seen again.<br />
<br />
Which begs the question: if I sold the only screen-matched version, how can this piece ALSO PROVABLY be "screen-used"?<br />
<br />
Bottom line: it can't.<br />
<br />
So what? Who cares if this is screen-used or simply production made? Both came from the studio, right?<br />
<br />
The reason that it is an important detail is that screen-used pieces almost always go for more than simple production-made pieces. And SCREEN-MATCHED are the best of all and always get a premium.<br />
<br />
Is it possible that the one being sold is screen-used? Yes, it's possible. It could be the one Kerla is carrying down the hall since there's a cut and there could have been hours between the filming of the different parts of the scene. That said, it's not PROVABLE. And if it's not provable, no screen-used claim can be made. Yet that is exactly what the auction does – it makes the claim that Kerla is seen with this in his hand.<br />
<br />
Bullshit.<br />
<br />
But don't take my word for it. Look at the screen capture of the prop. Then look at the very good auction photo. Now, tell me where they match up. SPECIFICALLY. EXACTLY. It simply can't be done. Which of course proves that this piece was NOT in Kerla's hand when he waved it at Kirk.<br />
<br />
For what it's worth, the seller of this piece is someone who railed against auction houses in the past for trying to get away with this very kind of bull. But when it is to his advantage to stretch the truth we get radio silence. Where is his indignation? His passion for truth and accuracy? Gone. It's inconvenient. He's tried to sell this in the past without the "screen-used" claim and it didn't sell. It will probably sell this time because of that very addition.<br />
<br />
But if you are planning to bid on this item, be an informed buyer. Caveat emptor!<br />
<br />
Production-made? Check.<br />
<br />
Screen-used? Prove it.<br />
<br />
LLAP.<br />
<br />
Don<br />
<br />
<br />
<br />
<br />
<br />Donhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com2tag:blogger.com,1999:blog-2141267747214087216.post-52057361445365489702017-12-30T13:36:00.003-08:002017-12-30T16:43:34.148-08:002017 ENDS WITH A NEW PROJECT FOR THE UPCOMING YEAR. STAY TUNED!It's been a while since I wrote anything. My bad but I just haven't felt motivated. Luckily I've had a change of heart, though, and I've found a project that has lit a fire under me. At long last I'm going to build my home display for my collection. And while that may not seem like it's a big deal, I have delusions of grandeur so I have planned on a somewhat grand scale.<br />
<br />
I'll be sharing the details in future installments but I'll share a piece of what I have in mind. A significant part of my collection is comprised of various screen-used bridge panels as used on the Enterprise-A and the Excelsior in <i>Star Trek V</i> and <i>VI</i>. I want to show the panels off in a way that is reminiscent of the actual bridge set.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUgG-YEy6G-7eIWR_1_q0MwRf43KCAW0YLucPU3RCXAKCPwMUNc7YK91tx3EWT_V54pUypZ13Sa77z6kIuB4qdobcB3RwrogxcoVw1PH4y_w4dOgz00sKCb7OaP8yMPB0ugPyezajPxfk/s1600/ExcelsiorBridgeMSD.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="463" data-original-width="522" height="353" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUgG-YEy6G-7eIWR_1_q0MwRf43KCAW0YLucPU3RCXAKCPwMUNc7YK91tx3EWT_V54pUypZ13Sa77z6kIuB4qdobcB3RwrogxcoVw1PH4y_w4dOgz00sKCb7OaP8yMPB0ugPyezajPxfk/s400/ExcelsiorBridgeMSD.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Master Systems Display aboard the Excelsior in ST6.</td></tr>
</tbody></table>
One of the things I thought would be a cool addition to my panels was a Trek 6 version of the Master Systems Displays that we see in later Trek incarnations. <i>Star Trek VI</i> has such a panel but only on the Excelsior bridge. I've always thought it was a cool addition and wished that the Enterprise bridge had featured such a piece as well. The closest thing to it was the ship's diagrams that appear on the back walls of the two Turbolifts. Many years ago I bought one of those screen-used diagrams direct from Doug Drexler himself and it is a prized possession for me.<br />
<br />
But as cool as it is, it's not a very visually exciting piece, especially when compared to the Excelsior graphic which seems to be about 5-6 feet wide and dominates the bridge's background. There's a number of different panels around the bridge of the Enterprise that show various images of the ship, but nothing very large.<br />
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Here's what the actual Turbolift graphic looks like:<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2kuNVc2YKmaH5hsXDfEeDHFcpB_p_1g9_4LB1Vj2UB5CNVrf7QzQ3XLxmKVVqg_L5AGFpXV-J_9eRx3EtDaCnh-C1eXDRu_vVAwuz9nEMyCJf1kJolMAGutSVKgwxnEu_02rUXcL8PVI/s1600/Turbolift.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="297" data-original-width="1080" height="110" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2kuNVc2YKmaH5hsXDfEeDHFcpB_p_1g9_4LB1Vj2UB5CNVrf7QzQ3XLxmKVVqg_L5AGFpXV-J_9eRx3EtDaCnh-C1eXDRu_vVAwuz9nEMyCJf1kJolMAGutSVKgwxnEu_02rUXcL8PVI/s400/Turbolift.jpg" width="400" /></a></div>
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And here it is on-screen:<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDaNJMJ9WSxF_nJks6ad4GvlPiDhxpxgfsFE_NkeVO3QNLGcmZc5BA7SWii_BSpCmDLDYIWAdP2pvJ0oj-jgsBd4a33NZ6AoMJqUazJInlirIb3mKP00MHd2qWxp3t7ad4OE25IekKpx8/s1600/KirkTurbo3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="407" data-original-width="752" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDaNJMJ9WSxF_nJks6ad4GvlPiDhxpxgfsFE_NkeVO3QNLGcmZc5BA7SWii_BSpCmDLDYIWAdP2pvJ0oj-jgsBd4a33NZ6AoMJqUazJInlirIb3mKP00MHd2qWxp3t7ad4OE25IekKpx8/s400/KirkTurbo3.jpg" width="400" /></a></div>
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Pretty cool, right? I just wish there was more to it. So, to that end I thought I'd try my hand at making one that could be used in conjunction with my screen-used pieces. Here's my first go at it:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnkYpkdu1lC35lUiOvg9vtiXG-_WrLrjqNOqDjZC9FJ-C1eM6uosdMdI4th3GCO5ggpiun-oA_vYZfnb2x4pL41Vmquywa71nvUrT2-ehlBRQDl8-qBq3sXsrpdgI1nP7FZqvl6JPh4kg/s1600/EnterpriseMSDc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1433" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnkYpkdu1lC35lUiOvg9vtiXG-_WrLrjqNOqDjZC9FJ-C1eM6uosdMdI4th3GCO5ggpiun-oA_vYZfnb2x4pL41Vmquywa71nvUrT2-ehlBRQDl8-qBq3sXsrpdgI1nP7FZqvl6JPh4kg/s400/EnterpriseMSDc.jpg" width="400" /></a></div>
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I went with a profile view rather than the top view used on the Excelsior. I did this because I felt the profile allowed me to create more interesting things to point out around the ship. I went with a cutaway for the same reason which I don't think the Excelsior has. It's hard to tell, though, since I can find no clear images of that specific panel. I also kept the style of presentation very simple in keeping with the overall design established on the real bridge panels by the awesome Mike Okuda back in <i>Star Trek IV</i> and then carried through in the rest of the TOS films.<br />
<br />
For additional inspiration, I turned to none other that Doug Drexler himself who created the MSD panel for the Enterprise-B as seen in <i>Star Trek: Generations</i>. Here's a shot of that panel:<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2KJojo7KhhQznfiDjTg47qAtbDPvVmI3I9Qril6TocBr2ypCAox683_oqhBI6v2XBS2Nnmj7lP_6GMwnN-SaafdDHh8B0Q5ea74XlosGMik0V3mRQKFkmiktLpBQhDYnsiQ6B413h0-k/s1600/1701b-msd.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="541" data-original-width="1000" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2KJojo7KhhQznfiDjTg47qAtbDPvVmI3I9Qril6TocBr2ypCAox683_oqhBI6v2XBS2Nnmj7lP_6GMwnN-SaafdDHh8B0Q5ea74XlosGMik0V3mRQKFkmiktLpBQhDYnsiQ6B413h0-k/s400/1701b-msd.jpg" width="400" /></a></div>
<br />
Doug did a great job of using the Okuda design approach. I've always been a fan of this work. In his Ent-B version, Doug combined the side and top views which give a more detailed overview than a panel only featuring one view. However, the Enterprise-B itself is a more elongated design than the Enterprise-A, being based on the Excelsior. That elongation lets the two views better fit a more horizontal space that would the Ent-A. This profile is done as a cut-away so I borrowed/stole heavily. Thanks, Doug!<br />
<br />
Of course, if filmed today, <i>Star Trek VI</i> would present these graphics on live screens that could dynamically change their views on the fly. Content on the screen would be updated in real time with the fictional starship data being constantly revised.<br />
<br />
Alas, there will be no 5-foot TV screens in my display. So I'll stick with the traditional static approach which will yield a more authentic match to the source material.<br />
<br />
So that's where I'm at. At least for today. I'll no doubt revise this several (million) times because, well... that's what I do. You can check out all my screen-used panels <a href="http://www.wrathofdhan.com/Star-Trek-props-the-bridge.html"><b><span style="color: red;">HERE</span></b></a>.<br />
<br />
I'll be sharing additional components of my over-all display over the coming weeks and months ahead. I hope you'll check in. Until then, as always –<br />
<br />
LLAP!<br />
<br />
DonDonhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com3tag:blogger.com,1999:blog-2141267747214087216.post-14175753193383978472017-10-19T07:50:00.002-07:002017-10-19T07:50:57.464-07:00FANTASTIC INSIGHT INTO SMITHSONIAN'S ENTERPRISE RESTORATION. YOUR TAX DOLLARS AT WORK!<iframe src="https://player.vimeo.com/video/176999007" width="640" height="360" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>
<p><a href="https://vimeo.com/176999007">SPACEDOCK</a> from <a href="https://vimeo.com/user8386452">william george</a> on <a href="https://vimeo.com">Vimeo</a>.</p>Donhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com1tag:blogger.com,1999:blog-2141267747214087216.post-55172747880494315072017-09-13T22:01:00.002-07:002017-09-14T11:37:38.005-07:0035TH ANNIVERSARY THEATRICAL RETURN OF WRATH OF KHAN DEFINITELY NOT A NO-WIN SCENARIO!Admit it. You can still here that scream down through the years, right? You know the one:<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ajsNJtnUb7c" width="560"></iframe>
<br />
<br />
Yeah, THAT one! Well, it still rings out with all the power and desperation that it had back in 1982 as I discovered this past week when I attended the Fathom Events theatrical showing of <i>Star Trek II: The Wrath of Khan</i> (WOK). Does it still hold up? Damn straight it does! And not just because of Kirk's powerful bellow. <br />
<br />
There's a reason that, even after 35 years, <i>Wrath of Khan</i> is still voted the best <i>Star Trek</i> film ever made. Its story-telling remains unsurpassed in both writing and visual terms. In an age of CGI where literally <i>anything</i> can be put onto film, WOK's intimate cat and mouse game still holds up. Why? Because <i>everything</i> works.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfwqRbOfsXqk7jzmCyybYV3DXx00wYwQyh8JfXlBbXBAYvaAjYSqfNKwvxjzrTj2xw5MdIFMHnFHNpvb-Fxnjejo9jDv0XEUVYBJtL4uyRrUum6TNkOdbchbDFPxV81cF66tuObI-ZKuo/s1600/SS.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="249" data-original-width="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfwqRbOfsXqk7jzmCyybYV3DXx00wYwQyh8JfXlBbXBAYvaAjYSqfNKwvxjzrTj2xw5MdIFMHnFHNpvb-Fxnjejo9jDv0XEUVYBJtL4uyRrUum6TNkOdbchbDFPxV81cF66tuObI-ZKuo/s1600/SS.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kirk and Khan face off the first time</td></tr>
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<b>THE STORY</b><br />
<br />
Director Nick Meyer did the impossible – he took a so-so script and in just ten days time turned it into the masterwork that we know today. Despite having zero knowledge of <i>Star Trek</i>, he quickly figured out what made the original series work at its best, and with producer Harve Bennet chose what is surely one of the best, most exciting and action-packed TOS episodes, "Space Seed", as the basis for their film. That choice would be the impetus to greatness.<br />
<br />
<b>THE CHARACTERS</b><br />
<br />
Where the earlier <i>Star Trek: The Motion Picture</i> had taken a cold, subdued approach to Trek, WOK embraced the characters for what they were at their best – passionate and vital. The result was a complete turnaround for our gallant captain and crew. Gone was the sternness of <i>The</i> <i>Motion Picture's</i> gray tones and even grayer plot. Suddenly, our heroes were back in vivid color and breathless action. They were once again the ideals that we had fallen in love with all those years ago, back to save the day once again.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs8gLe-wySs2BoHejxiII1y-GvQlBbDe5NFaPYO4mvNh37f-8ij47PzI_EoR2maVN3nxclquSVP0EeuN5OrbmfDWSXq58QVbTYoXojXx5eSLitOfY8gYojA4It54rno6NCXgVHFP-lq6M/s1600/wrath-of-khan-615-1340673642.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="375" data-original-width="615" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs8gLe-wySs2BoHejxiII1y-GvQlBbDe5NFaPYO4mvNh37f-8ij47PzI_EoR2maVN3nxclquSVP0EeuN5OrbmfDWSXq58QVbTYoXojXx5eSLitOfY8gYojA4It54rno6NCXgVHFP-lq6M/s320/wrath-of-khan-615-1340673642.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Khan has a few words with Joaquin</td></tr>
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<b>THE ANTAGONIST</b><br />
<br />
In the fifty-plus years of <i>Star Trek</i>, there has simply never been a more menacing, larger-than-life villain than Khan Noonien Singh as brought to glorious life by the great Ricardo Montalban. Beginning with "Space Seed", the character leapt off the screen and into fan's hearts as the epitome of Treky bad-assness. When we catch up to the character some 15 years later he's lost none of his bombast. Far from it! Somehow, Montalban imbued his later characterization with even more intensity and boldness, making a perfect foil for the older, wiser Kirk. It was chess-playing at its best.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyvZmU-tva0tKWHBHRtgUW8YyOzrknwalioS2ERgxguHdnabQ4o6ivbLKniNMKPSmVoDT2QJLf2GYhMVv_sWX-J7DAovZmvQDvny4JcB_YeHLuLMquwB3UKze8B_fDQpcx-xA13auV3Cs/s1600/battle.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="435" data-original-width="736" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyvZmU-tva0tKWHBHRtgUW8YyOzrknwalioS2ERgxguHdnabQ4o6ivbLKniNMKPSmVoDT2QJLf2GYhMVv_sWX-J7DAovZmvQDvny4JcB_YeHLuLMquwB3UKze8B_fDQpcx-xA13auV3Cs/s320/battle.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Duking it out in the Mutara Nebula</td></tr>
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<b>THE BATTLE</b><br />
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Though CGI-less, the battle between Kirk's <i>Enterprise</i> and Khan's <i>Reliant</i> still has the original power of its then-cutting-edge special effects. The <i>Enterprise</i> never looks better than she does stalking the <i>Reliant</i> through the beautifully-unique Mutara Nebula, evoking the best of the WWII submarine movies. Soaring slowly through stellar mists, the mighty starship has an unequaled majesty in WOK that will, unfortunately, never come again. There's something about physical models that seem to portray an immenseness that I seldom get from a CGI creation.<br />
<br />
<b>THE DEATH SCENE</b><br />
<br />
Spoiler alert: Spock dies. But he doesn't get beat up on a bridge (uh) or smothered by a tar monster (really, TNG?), no. He dies the greatest death ever shown on all of <i>Star Trek</i>. The climactic scene when Kirk runs to his friend, only to find that he is too late, is the single most poignant moment in fifty years of Trek story-telling, in this writer's opinion. As our two heroes have their last few seconds together, we are crushed by the loss in a way that was heretofore unknown in <i>Star Trek</i>.<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/SPBGZRRrEKM" width="560"></iframe>
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For me, TNG's "Inner Light" is the only thing that even approaches its emotional level.<br />
<br />
Perhaps the single most amazing thing about <i>Khan</i> is the fact that the two main characters never actually physically share a single scene. The entire interaction between Kirk and Khan happens over communicators and view-screens. In most films that would be a vast problem, yet in WOK you're really not ever aware of it. The action is so taught and fast-paced that we never have time to make that realization.<br />
<br />
Will <i>Khan</i> hold up for another thirty-five years? Only time will tell. But in this fan's heart, there will never be another two hours of<i> Star Trek</i> that can surpass the sublime experience that is <i>Star Trek II: The Wrath of Khan</i>. Like the man said:<br />
<br />
"KHAAAAAAAAAAAAAAANN!" <br />
<br />
LLAP<br />
<br />
DonDonhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com1tag:blogger.com,1999:blog-2141267747214087216.post-31676052367942603062017-09-05T12:10:00.002-07:002017-09-05T12:41:56.064-07:00"FORBIDDEN PLANET" ONE AND ONLY ROBBY THE ROBOT GOES TO AUCTION! HOW MANY MILLIONS WILL HE COMMAND?<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx278iZinq_TL5P69s3rD6Scfg7GWiB1UHm47_WWFRrYeCSYQO_-JM4UQrcHuipRuAVOV7GImlHcLr2C9fi93wjLTUr-8HJjrN_XdsHu2CULtKRPVH6TM6SHSC1U5vTeYLTex35p4v16s/s1600/Robby2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="566" data-original-width="449" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx278iZinq_TL5P69s3rD6Scfg7GWiB1UHm47_WWFRrYeCSYQO_-JM4UQrcHuipRuAVOV7GImlHcLr2C9fi93wjLTUr-8HJjrN_XdsHu2CULtKRPVH6TM6SHSC1U5vTeYLTex35p4v16s/s1600/Robby2.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Robby's ready to rock (Bonham's)</td></tr>
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Just when I think I can't be surprised by my hobby, along comes an auction of one of the single greatest icons in all of science fiction – the original Robby the Robot from 1956's <i>Forbidden Planet</i>! Robby was made famous in that great classic film, but that was just the beginning of his <br />
"career". Robby was such an amazingly well-made piece of movie magic that he would go on to appear in films and TV icludinng the original <i>Lost in Space</i> and <i>The Man From U.N.C.L.E. </i><br />
His last appearance was as recent as an AT&T commercial in 2006.<br />
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What does Robby have to do with <i>Star Trek</i>? Plenty. In a letter written to Herb Solow in 1964 during <i>Star Trek's</i> original pre-production phase, Gene Roddenberry states:<br />
<br />
"You may recall we saw MGM’s 'FORBIDDEN PLANET' with Oscar Katz some weeks ago."<br />
<br />
He goes on to say that he thought the film could help generate ideas for <i>Star Trek</i>:<br />
<br />
"But a detailed look at it again would do much
to stimulate our own thinking."<br />
<br />
The film featured an exploratory starship (not unlike the <i>Enterprise</i>) from an organization called the "United Planets", no doubt a close relative to <i>Star Trek's</i> "United Federation of Planets". The crew used a naval hierarchy that was also adopted by <i>Star Trek</i>.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Sd-x6HtB4lLZm12H8vdmr_c2LXZ8IMAKjQlTUqLV0H744Xju-Tlge6HUiFCaBv4KZKfEJqVIlwVlWbm9XKD41pEt38roP-HrZ1PgJRP0TCvAAgr61zTFaHPwiIkNbSfKCOn7LETzyQ4/s1600/robbymorbius.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="410" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Sd-x6HtB4lLZm12H8vdmr_c2LXZ8IMAKjQlTUqLV0H744Xju-Tlge6HUiFCaBv4KZKfEJqVIlwVlWbm9XKD41pEt38roP-HrZ1PgJRP0TCvAAgr61zTFaHPwiIkNbSfKCOn7LETzyQ4/s1600/robbymorbius.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Robby in a scene opposite Walter Pidgeon in "Forbidden Planet" (MGM)</td></tr>
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The look and feel of <i>Forbidden Planet</i> was unlike anything that had ever come before it. The technology was realistically portrayed, one of the first times such a thing was done with what was usually considered to be "B"-grade entertainment. Almost ten years later, <i>Star Trek</i> would do the same thing yet again, presenting a new take on the future.<br />
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Robby is perhaps the epitome of that presentation of technology. Before him, robots were little more than tin cans with actors inside and featured crude details at best. But Robby was a revelation. Gone was the clumsily-designed robots of the past. Robby had a sleek sophistication in his design that is still unequaled to this day in this writer's opinion.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFatLihTi6NPEfxI0uguF0tNXtDAETUHp3DU4UKsnnEWiyw_U876muHvfrIoyaPVy8bOGgC4SR5C4iqOaetjPzHlsjl8fr6LD4YoV9PM5lnkmQ-rVqiwei-WmQ6y0etvTvGSfYR0Vd4XU/s1600/006-forbidden-planet-theredlist.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="305" data-original-width="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFatLihTi6NPEfxI0uguF0tNXtDAETUHp3DU4UKsnnEWiyw_U876muHvfrIoyaPVy8bOGgC4SR5C4iqOaetjPzHlsjl8fr6LD4YoV9PM5lnkmQ-rVqiwei-WmQ6y0etvTvGSfYR0Vd4XU/s1600/006-forbidden-planet-theredlist.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Robby meets the gang (MGM)</td></tr>
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What is additionally amazing about the auction at-hand is not just the fact that Robby is up for bid, but it also includes the various accessories and spare parts created for <i>Forbidden Planet</i>, including the car in which Robby zips round Altair. An astounding extra!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK7923rB2HN-3L7fqjBBGrPUXi6eKYWM22zcOc2lcT06LNlpGioaU70Is301CeUBHKF68qsb-gCnCw07zZlb40st8ZGKe6klUT4OI47GztvOP0Qfl_3L9IF2BA6EVsyDPNFrHWrfrRXaM/s1600/Car.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="566" data-original-width="901" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK7923rB2HN-3L7fqjBBGrPUXi6eKYWM22zcOc2lcT06LNlpGioaU70Is301CeUBHKF68qsb-gCnCw07zZlb40st8ZGKe6klUT4OI47GztvOP0Qfl_3L9IF2BA6EVsyDPNFrHWrfrRXaM/s400/Car.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Robby's original car is part of the auction (Bonham's).</td></tr>
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<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU0zEr4n56TRs5nlxIIj0raPBe4LqqOIi87FmTmrilJXnSN2B4cVhXo7qSGRaF_BJnwDthqMeU6m65UTg2BGtqUGZiCydNofhbaJ8SNAyVJgOVGspE_ZqITStWeWe9RZEW_8xBOv4O9oE/s1600/RobbyCar.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="550" data-original-width="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU0zEr4n56TRs5nlxIIj0raPBe4LqqOIi87FmTmrilJXnSN2B4cVhXo7qSGRaF_BJnwDthqMeU6m65UTg2BGtqUGZiCydNofhbaJ8SNAyVJgOVGspE_ZqITStWeWe9RZEW_8xBOv4O9oE/s1600/RobbyCar.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Robby in his car with co-star Anne Francis (MGM)</td></tr>
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This auction really is a once-in-a-lifetime opportunity for someone with deep pockets. I think Robby will easily exceed a million dollars. Just how high could he go for? Who knows? Check out the Bonhams auction <a href="https://www.bonhams.com/auctions/24465/preview_lot/5102670/?category=list&length=10&page=1"><span style="color: #cc0000;"><b>HERE</b></span></a>.<br />
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<b>So g</b>et ready to bid – and write a big check!<br />
<br />
LLAP<br />
<br />
Don<br />
<br />Donhttp://www.blogger.com/profile/13949428059647909040noreply@blogger.com1