" Vox Sola " ( Latin for lone voice ) is the twenty-second episode (production #122) of the television series Star Trek: Enterprise . It was developed into a teleplay by Fred Dekker from a story by Rick Berman, Brannon Braga, and Dekker. Roxann Dawson was the director.
115-512: Set in 2100s of the Star Trek science fiction universe, an early faster-than-light starship sets out to explore a galaxy filled with aliens. When a strange, symbiotic alien creature boards Enterprise and captures several crew members, Ensign Hoshi Sato attempts to decipher the creature's complex language. On board Enterprise , there has been a minor diplomatic incident with the Kreetassans. As
230-419: A Klingon named Klang ( Tom Lister, Jr. ) to his homeworld, Qo'noS. Following that success, the ship and crew are ordered to begin a deep space exploration mission. At launch, the vessel was limited to a maximum speed of warp 5 and was equipped with an experimental transporter . The ship was launched three weeks ahead of schedule on April 16, 2151, and several of its weapon systems were not yet online but it
345-477: A high definition version that was created for use in the television series itself and a lower resolution, which was also referred to as the "approved model". The low-res model was used for promotional purposes while work was conducted on the television model. The exterior of the ship made its debut in a centerfold spread in the July 14, 2001 edition of TV Guide using the approved model. This version looked smaller as
460-457: A shuttlepod from Enterprise ignited the atmosphere. The ship was recalled to Earth, but after an investigation showed that the Suliban were responsible, the mission resumed. In " Minefield ", Enterprise suffered a hull breach from a Romulan mine, but the crew was informed of a nearby repair facility where the breach was repaired in " Dead Stop ". Following the failure of a plasma injector in
575-598: A "key". Green is used as a backdrop for TV and electronic cinematography more than any other colour because television weather presenters tended to wear blue suits. When chroma keying first came into use in television production, the blue screen that was then the norm in the movie industry was used out of habit, until other practical considerations caused the television industry to move from blue to green screens. Broadcast-quality colour television cameras use separate red, green and blue image sensors, and early analog TV chroma keyers required RGB component video to work reliably. From
690-562: A 350:1 scale replica of the CGI model by QMx . It features more than 150 LEDs , sound effects and a signed plaque by Doug Drexler. Each QMx model takes 150 hours to make and was limited to a production run of 1,000 units. QMx also produced the models seen in Star Trek Into Darkness , including the one of Enterprise . Enterprise has also been released as a model kit by Round 2 Models as part of their Polar Lights line. These include both
805-410: A bit silly and the weirdness of the threat never quite comes across. Not a bad episode, but not a terribly exciting one either." Keith DeCandido of Tor.com gave it 8 out of 10, in his 2022 rewatch, and notes "what’s particularly strong about this episode is that it gives us two genuinely alien aliens." Den of Geek recommended this episode and " Fight or Flight " as important episode to watch for
920-444: A bridge diorama. The actual Enterprise was also released by Art Asylum, and debuted at the 2002 New York Toy Fair . Following the acquisition of Art Asylum by Diamond Select Toys in 2007, the company continued to release Enterprise toys. These included both the main television version and a Mirror Universe configuration as seen in "In A Mirror, Darkly". Enterprise has also been released as part of model lines. These include
1035-427: A bright and saturated image. There are several different quality- and speed-optimised techniques for implementing colour keying in software. In most versions, a function f ( r , g , b ) → α is applied to every pixel in the image. α (alpha) has a meaning similar to that in alpha compositing techniques. α ≤ 0 means the pixel is fully in the green screen, α ≥ 1 means
1150-478: A chroma-key background and inserted into the background shot with a distortion effect, in order to create a cloak that is marginally detectable. Difficulties emerge with blue screen when a costume in an effects shot must be blue, such as Superman 's traditional blue outfit. In the 2002 film Spider-Man , in scenes where both Spider-Man and the Green Goblin are in the air, Spider-Man had to be shot in front of
1265-473: A classic film. He rated the episode 2.5 out of 4. Michelle Erica Green of TrekNation said the episode was redeemed for her by the unnamed alien, calling it "one of the most interesting we've seen on Trek in years" and was pleased that Sato finally had a large part to play. Television Without Pity gave the episode a grade B+. The book Beyond the Final Frontier reviewed the episode, and said "the alien looks
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#17328546615031380-463: A computer can use these markers to compute the camera's position and thus render an image that matches the perspective and movement of the foreground perfectly. Modern advances in software and computational power have eliminated the need to accurately place the markers — the software figures out their position in space; a potential disadvantage of this is that it requires camera movement, possibly contributing to modern cinematographic techniques whereby
1495-416: A default value of 1.0. A very simple g () is ( r , min( g , b ), b ). This is fairly close to the capabilities of analog and film-based screen pulling. Modern examples of these functions are best described by two closed nested surfaces in 3D RGB space, often quite complex. Colours inside the inner surface are considered green screen. Colours outside the outer surface are opaque foreground. Colours between
1610-620: A design with greater inspiration from The Original Series . The Akira itself had been created by Alex Jaeger for the 1996 film Star Trek: First Contact with influences from Battlestar Galactica , the Klingon Bird of Prey and the Miranda -class starship originally seen in Star Trek II: The Wrath of Khan . A similar design was created for Star Trek: The Academy Years , a film proposed by Harve Bennett in 1989. This featured
1725-467: A feature on the making of this episode, which had been originally intended as a pilot episode for a PBS show titled "On The Set". Enterprise (NX-01) Enterprise (NX-01) is the fictional spaceship that serves as the primary setting of the American science fiction television series Star Trek: Enterprise . The ship predates the other Starfleet ships named Enterprise and was first seen in
1840-446: A field monitor, to the side of the screen, to see where they are putting their hands against the background images. A newer technique is to project a faint image onto the screen. Some films make heavy use of chroma key to add backgrounds that are constructed entirely using computer-generated imagery (CGI). Performances from different takes can be composited together, which allows actors to be filmed separately and then placed together in
1955-425: A filter or the high contrast film's colour sensitivity to expose only blue (and higher) frequencies. Blue light only shines through the colour negative where there is not blue in the scene, so this left the film clear where the blue screen was, and opaque elsewhere, except it also produced clear for any white objects (since they also contained blue). Removing these spots could be done by a suitable double-exposure with
2070-402: A flat saucer-shaped hull as it was more immediately recognizable as a Star Trek vessel. Drexler deliberately attempted to insert references to The Original Series into the ship. One of these was narrow struts leading from the body of the ship to the warp nacelles – however Dan Curry wanted them made bulkier as seen in ships of later series. Drexler included a leading edge at the front of
2185-410: A greater freedom of filming angles than seen in previous Star Trek series. The bridge stations were originally designed with both angular and tubular elements, but the tubular elements were dropped as they seemed out of place. John Eaves created the designs for the stations, while Mike and Denise Okuda , Jim Van Over and Anthony Fredrickson created the mechanical and detailed elements. Inspiration
2300-454: A green screen and the Green Goblin had to be shot in front of a blue screen. The colour difference is because Spider-Man wears a costume which is red and blue in colour and the Green Goblin wears a costume which is entirely green in colour. If both were shot in front of the same screen, parts of one character would be erased from the shot. For a clean division of foreground from background, it
2415-509: A green top to make it appear that the subject has no body), because the clothing may be replaced with the background image/video. An example of intentional use of this is when an actor wears a blue covering over a part of his body to make it invisible in the final shot. This technique can be used to achieve an effect similar to that used in the Harry Potter films to create the effect of an invisibility cloak . The actor can also be filmed against
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#17328546615032530-433: A narrow frequency band, which can then be separated from the other light using a prism, and projected onto a separate but synchronized film carrier within the camera. This second film is high-contrast black and white, and is processed to produce the matte. A newer technique is to use a retroreflective curtain in the background, along with a ring of bright LEDs around the camera lens . This requires no light to shine on
2645-400: A new Star Trek series. The network contacted Rick Berman during the fifth season of Star Trek: Voyager , and informed him that if he didn't develop a new Star Trek show then they would find someone else who would. Berman had previously been an executive producer on Voyager , and other series dating back to The Next Generation . Berman contacted Brannon Braga , and the two became
2760-420: A quarter of the time needed for other methods. In principle, any type of still background can be used as a chroma key instead of a solid colour. First the background is captured without actors or other foreground elements; then the scene is recorded. The image of the background is used to cancel the background in the actual footage; for example in a digital image, each pixel will have a different chroma key. This
2875-463: A reasonable match. For outdoor scenes, overcast days create a diffuse, evenly coloured light which can be easier to match in the studio, whereas direct sunlight needs to be matched in both direction and overall colour based on time of day. A studio shot taken in front of a green screen will naturally have ambient light the same colour as the screen, due to its light scattering. This effect is known as spill . This can look unnatural or cause portions of
2990-476: A scene featuring a genie escaping from a bottle was the first use of a proper bluescreen process to create a travelling matte for The Thief of Bagdad (1940), which won the Academy Award for Best Special Effects that year. In 1950, Warner Brothers employee and ex- Kodak researcher Arthur Widmer began working on an ultraviolet travelling matte process. He also began developing bluescreen techniques: one of
3105-477: A sort of retro-futurism – sort of what might've happened if '50s sci-fi design cliches had had today's technology to work with" and that the consoles had a "simpler mechanical feel". In his review of "Broken Bow" for The Washington Post , David Segal described Enterprise ' s speed of warp 4 as slower than a Hyundai . In 2018, Io9 / Gizmodo ranked the NX-01 fictional spacecraft design shown in this episode, as
3220-440: A technological perspective it was equally possible to use the blue or green channel, but because blue clothing was an ongoing challenge, the green screen came into common use. Newscasters sometimes forget the chroma key dress code, and when the key is applied to clothing of the same colour as the background, the person would seem to disappear into the key. Because green clothing is less common than blue, it soon became apparent that it
3335-407: A white backdrop to include human actors with cartoon characters and backgrounds in his Alice Comedies . The blue screen method was developed in the 1930s at RKO Radio Pictures . At RKO, Linwood Dunn used an early version of the travelling matte to create "wipes" – where there were transitions like a windshield wiper in films such as Flying Down to Rio (1933). Credited to Larry Butler ,
3450-405: Is achieved by a simple numerical comparison between the video and the pre-selected colour. If the colour at a particular point on the screen matches (either exactly, or in a range), then the video at that point is replaced by the alternate background. In order to create an illusion that characters and objects filmed are present in the intended background scene, the lighting in the two scenes must be
3565-451: Is also important that clothing and hair in the foreground shot have a fairly simple silhouette, as fine details such as frizzy hair may not resolve properly. Similarly, partially transparent elements of the costume cause problems. Blue was originally used for the film industry as making the separations required a film that would only respond to the screen colour, and film that responded only to blue and higher frequencies (ultraviolet, etc.)
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3680-496: Is best to have as narrow a colour range as possible being replaced. A shadow would present itself as a darker colour to the camera and might not register for replacement. This can sometimes be seen in low-budget or live broadcasts where the errors cannot be manually repaired or scenes reshot. The material being used affects the quality and ease of having it evenly lit. Materials which are shiny will be far less successful than those that are not. A shiny surface will have areas that reflect
3795-534: Is destroyed in combat with Tholians shortly after a mutiny by Commander Archer. In " Demons " and " Terra Prime ", Enterprise travels back to Earth to resolve a crisis with a terrorist cell called Terra Prime, which seeks to remove all alien influence from Earth. The Romulan war was not seen on screen, but instead has been described in the non-canon novel The Romulan War: Beneath the Raptor's Wing by Michael A. Martin, and subsequent follow-up books. The events of
3910-409: Is some use of the specific full-intensity magenta colour #FF00FF in digital colour images to encode (1-bit) transparency; this is sometimes referred to as "magic pink". This is not a photographic technique and the extraction of the foreground from the background is trivial. The biggest challenge when setting up a blue screen or green screen is even lighting and the avoidance of shadow because it
4025-437: Is sometimes referred to as a difference matte . However, this makes it easy for objects to be accidentally removed if they happen to be similar to the background, or for the background to remain due to camera noise or if it happens to change slightly from the reference footage. A background with a repeating pattern alleviates many of these issues, and can be less sensitive to wardrobe colour than solid-colour backdrops. There
4140-548: The Chicago Tribune , said that Enterprise looked "sleeker and less cheesy than the original 'Trek'." Johnson added that although it contained technology that wasn't as advanced as that seen in the earlier Star Trek series set in the 24th century, it "still maintains a techno-savvy, post-1960s 'Trek' flair." David Kronke in the Los Angeles Daily News , said that the sets were "largely gun-metal gray, representing
4255-455: The BBC ), or by various terms for specific colour-related variants such as green screen or blue screen ; chroma keying can be done with backgrounds of any colour that are uniform and distinct, but green and blue backgrounds are more commonly used because they differ most distinctly in hue from any human skin colour . No part of the subject being filmed or photographed may duplicate the colour used as
4370-407: The focal length of the lenses used can affect the success of chroma key. Another challenge for blue screen or green screen is proper camera exposure . Underexposing or overexposing a coloured backdrop can lead to poor saturation levels. In the case of video cameras, underexposed images can contain high amounts of noise , as well. The background must be bright enough to allow the camera to create
4485-535: The 7th best version of starship Enterprise of the Star Trek franchise. They felt that it both felt familiar as an Enterprise design, but also had its own look. In 2019, SyFy ranked the fictional starship design, the NX-01 Enterprise as the 8th best version of the starship in the Star Trek science fiction universe. The initial 7-inch (18 cm) figure range by Art Asylum each shipped with an Enterprise bridge console. They slotted together to form
4600-531: The Kreetassan vessel departs, a clear, amoeba-like entity crosses to Enterprise , and systems begin to malfunction on a ship-wide basis. Crewmen Rostov and Kelly are both trapped in a cargo-hold by the entity which has now grown tendrils. Captain Archer , Commander Tucker , Lieutenant Reed and another crewman go to investigate and are all caught as well, except Reed who escapes through the cargo-hold-hatch, severing one of
4715-612: The NX-class made its television debut in the background of Star Trek: Picard ' s third season as a decommissioned ship docked at the Starfleet Museum. The interior of the vessel was designed by Zimmerman, who visited United States Navy fast-attack submarines such as the USS Houston for inspiration. He also kept in mind the heritage of the other ships named Enterprise in the history of Star Trek . The designs attempted to allow
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4830-692: The Romulans to provoke a war between the Andorians and the Tellarites, but instead Enterprise is used as the location for peace talks and is also one of a fleet of vessels used to create a sensor grid to track down the Romulan ship. This temporary alliance between the humans, Vulcans, Andorians and Tellarites becomes known as the Coalition of Planets. Enterprise returns to Earth once more and Commander Tucker transfers to
4945-565: The USS Columbia in " Affliction ". He is later reinstated as Chief Engineer to Enterprise in the following episode, " Divergence ", after the two vessels undergo a dangerous high warp zip line transfer after Enterprise ' s warp drive is sabotaged by Klingons. A Mirror Universe version of Enterprise is seen in the first part of " In a Mirror, Darkly " under the command of Captain Maximilian Forest ( Vaughn Armstrong ). The ship
5060-447: The Xindi to prevent the use of a greater weapon that would destroy Earth. Before departure, the ship was equipped with photonic torpedoes , a new command centre and took on board a detachment of Military Assault Command Operations (MACO) soldiers. During the year-long mission in the expanse, the ship and its crew searched for the location of the Xindi superweapon. During this time, Enterprise
5175-405: The actor in front of a blue screen together with the background footage, one frame at a time. In the early 1970s, American and British television networks began using green backdrops instead of blue for their newscasts. During the 1980s, minicomputers were used to control the optical printer. For the film The Empire Strikes Back , Richard Edlund created a "quad optical printer" that accelerated
5290-683: The addition of a secondary hull, and resulted in the ship taking on an appearance closer to the Constitution -class vessels in The Original Series and later series. The redesign made its debut in the 2011 edition of the official Ships of the Line calendar. It was one of two designs for vessels never seen on screen to appear in that year's calendar, with Matt Jefferies ' design for the USS Enterprise (XCV-330) also appearing. This refit design of
5405-449: The background other than the LEDs, which use an extremely small amount of power and space unlike big stage lights , and require no rigging . This advance was made possible by the invention in the 1990s of practical blue LEDs, which also allow for emerald green LEDs. There is also a form of colour keying that uses light spectrum invisible to human eye. Called Thermo-Key, it uses infrared as
5520-445: The background video. Chroma keying is also common in the entertainment industry for visual effects in movies and video games. Rotoscopy may instead be carried out on subjects that are not in front of a green (or blue) screen. Motion tracking can also be used in conjunction with chroma keying, such as to move the background as the subject moves. Prior to the introduction of travelling mattes and optical printing , double exposure
5635-459: The backing, or the part may be erroneously identified as part of the backing. It is commonly used for live weather forecast broadcasts in which a news presenter is seen standing in front of a large CGI map which is really a large blue or green background. Using a blue screen, different weather maps are added on the parts of the image in which the colour is blue. If the news presenter wears blue clothes, their clothes will also be replaced with
5750-478: The camera being more sensitive to green light. In analog television , colour is represented by the phase of the chroma subcarrier relative to a reference oscillator. Chroma key is achieved by comparing the phase of the video to the phase corresponding to the pre-selected colour. In-phase portions of the video are replaced by the alternate background video. In digital colour TV , colour is represented by three numbers (red, green, blue intensity levels). Chroma key
5865-452: The camera is always in motion. The principal subject is filmed or photographed against a background consisting of a single colour or a relatively narrow range of colours, usually blue or green because these colours are considered to be the furthest away from skin tone. The portions of the video which match the pre-selected colour are replaced by the alternate background video. This process is commonly known as " keying ", "keying out" or simply
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#17328546615035980-463: The cast, and said his favorite character was Hoshi because he felt she was the most human and relatable, so he tried to write for her as much as possible. Vaughn Armstrong who played the Kreetassan Captain in this episode also plays Admiral Forrest. He ultimately appeared in 27 Star Trek episodes in 12 different roles. The costume and makeup took six to seven hours, and Armstrong said it was
6095-413: The character Hoshi. TheGamer ranked this one of the top 25 creepiest episodes of all Star Trek series. The Digital Fix said this was a "great episode" in season one of Enterprise , saying it felt like a "classic" Star Trek story. Enterprise season one was released in high definition on Blu-ray disc on March 26, 2013, with 1080p video and a DTS-HD Master Audio sound track. The Blu-Ray included
6210-454: The characters to disappear, so must be compensated for, or avoided by using a larger screen placed far from the actors. The depth of field used to record the scene in front of the coloured screen should match that of the background. This can mean recording the actors with a larger depth of field than normal. A chroma key subject must avoid wearing clothes which are similar in colour to the chroma key colour(s) (unless intentional e.g., wearing
6325-445: The cleanest key. In the digital television and cinema age, much of the tweaking that was required to make a good quality key has been automated. However, the one constant that remains is some level of colour coordination to keep foreground subjects from being keyed out. Before electronic chroma keying, compositing was done on (chemical) film. The camera colour negative was printed onto high-contrast black and white negative, using either
6440-409: The colour positive (thus turning any area containing red or green opaque), and many other techniques. The result was film that was clear where the blue screen was, and opaque everywhere else. This is called a female matte , similar to an alpha matte in digital keying. Copying this film onto another high-contrast negative produced the opposite male matte . The background negative was then packed with
6555-451: The crew, which were parts of the consoles that folded out and were filled with wires - so that background actors could look busy during a shot when Enterprise was being refitted or when there was battle damage to be seen on screen. Zimmerman and his team took feedback from the directors of previous Star Trek series to make the new space easier to film. Whereas in other series there have been purpose-built sets for briefing rooms, following
6670-629: The designers took the styling of the USS Enterprise from The Original Series and updated it, but ultimately it looked too much like a simple update to the same vessel. The second design concept was similar to the Akira -class starship as seen on television in the Star Trek: Deep Space Nine and Voyager era, with the producers initially intending to use that class of vessel for Enterprise before Herman Zimmerman convinced them to go with
6785-422: The engineering deck was overhauled from previous series with the intention for it to look like the engine room of a nuclear submarine. Zimmerman described it saying, "You're going to see a very powerful engine that looks like a very powerful engine." The ship first appeared in the pilot of Star Trek: Enterprise , "Broken Bow". The episode showed the maiden voyage of Enterprise , with the crew of 84 returning
6900-466: The entity's tendrils. Sato uses the Universal Translator to modulate a frequency that the entity can understand. After several attempts, the entity responds. It gives them new, more precise coordinates on its home-world, and Phlox notices that the bio-signs of the trapped personnel are stabilizing. The entity then releases the personnel, shrinking back to its original size. On the entity's planet,
7015-703: The episode " These Are the Voyages... " on board Enterprise are set six years after those seen in "Terra Prime" in 2161, but are actually related in the holodeck on board Enterprise -D during the events of the Star Trek: The Next Generation episode " The Pegasus ". Following the Romulan war, Enterprise is diverted en route to Earth where is it due to be present for the signing of the Federation charter. The non-canon Shatnerverse novel Captain's Glory states that following its decommissioning, Enterprise
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#17328546615037130-464: The executive producers on the new show. The new series launched after the end of Voyager , but was set a century before the events seen in The Original Series . The new series was originally called Enterprise , without the Star Trek prefix. UPN president Dean Valentine said that "Paramount felt it was no longer necessary. Enterprise is synonymous with Star Trek ". Berman's idea was to set it in an earlier time period, with limited technology such as
7245-480: The exterior of Enterprise in the captain's ready room was created by John Eaves in less than 24 hours alongside four other drawings of earlier incarnations of the name. The shuttlecraft on the show were directly inspired by the Lockheed Martin X-33 , with Zimmerman saying that the re-entry vehicles used now will be the same technology used in the time of Enterprise because up until then they won't have had
7360-417: The feedback this area was built into the bridge itself as the directors had stated that it proved difficult to make several people sitting around a table seem interesting. The transporter design was intended as a reference to the original series design that was created by Matt Jefferies , with Zimmerman including certain design elements such as the wall patterns around the transporter itself. The design of
7475-433: The female matte and exposed onto a final strip of film, then the camera negative was packed with the male matte and was double-printed onto this same film. These two images combined creates the final effect. The most important factor for a key is the colour separation of the foreground (the subject) and background (the screen) – a blue screen will be used if the subject is predominantly green (for example plants), despite
7590-503: The first films to use them was the 1958 adaptation of the Ernest Hemingway novella, The Old Man and the Sea , starring Spencer Tracy . The name "Chroma-Key" was RCA 's trade name for the process, as used on its NBC television broadcasts, incorporating patents granted to RCA's Albert N. Goldsmith. A very early broadcast use was NBC's George Gobel Show in fall 1957. Petro Vlahos
7705-427: The green channel. Green can also be used outdoors where the light colour temperature is significantly blue. Red is avoided as it is in human skin, and any other colour is a mix of primaries and thus produces a less clean extraction. A so-called " yellow screen " is accomplished with a white backdrop. Ordinary stage lighting is used in combination with a bright yellow sodium lamp. The sodium light falls almost entirely in
7820-414: The green screen two stops higher than the subject, or vice versa. Sometimes a shadow can be used to create a visual effect. Areas of the blue screen or green screen with a shadow on them can be replaced with a darker version of the desired background video image, making it look like the person is casting a shadow on them. Any spill of the chroma key colour will make the result look unnatural. A difference in
7935-533: The inventor of the device, performed an upgrade on the transporter. Further upgrades occurred to the plasma injector in the warp drive, allowing Enterprise to reach a cruising speed of warp 5.02 and an emergency speed of warp 5.2. While carrying a Tellarite Ambassador to a conference on Babel One, the ship is diverted due to attacks on several nearby vessels. It is discovered to be a Romulan vessel that uses holograms to change its external appearance. The attacks are explained in " The Aenar " as being an attempt by
8050-423: The key colour, which would not be replaced by background image during postprocessing . For Star Trek: The Next Generation , an ultraviolet light matting process was proposed by Don Lee of CIS Hollywood and developed by Gary Hutzel and the staff of Image G . This involved a fluorescent orange backdrop which made it easier to generate a holdout matte , thus allowing the effects team to produce effects in
8165-409: The lights making them appear pale, while other areas may be darkened. A matte surface will diffuse the reflected light and have a more even colour range. In order to get the cleanest key from shooting green screen, it is necessary to create a value difference between the subject and the green screen. In order to differentiate the subject from the screen, a two-stop difference can be used, either by making
8280-446: The live footage. Curry found it interesting how the episode required the various departments—production design, special effects, visual effects, and stunts—to work together rather than carrying out their tasks separately. The stunt coordinator suggested using foam cutouts on stands to help visualize how the people would look in the cargo bay. The alien planet was filmed on a bluescreen , with the cast in their spacesuits and real dirt, but
8395-442: The location of the entity's home world, but only after Mayweather apologizes for the earlier incident. Apparently the "misunderstanding" occurred when the Kreetassans were taken to the mess-hall to find many of the crew eating in public, which they regard as highly vulgar. T'Pol, Sato, and Reed make their way to the cargo-bay to attempt communication. Reed assembles experimental force-field-emitters, which are able to protect them from
8510-553: The modifications destroy the sphere and set off a chain reaction destroying all the other spheres within the Expanse. Enterprise rendezvous with Archer's away team and it is revealed to the crew that Archer failed to make it off the superweapon before its destruction. The heavily damaged ship is returned to Earth inside a Xindi-Aquatic vessel. Upon arrival, the crew find that the events of the Temporal Cold War have overtaken them and
8625-420: The most difficult character he had played. The other guest stars were Renée Elise Goldsberry as Crewman Kelly, and Joseph Will as Crewman Michael Rostov. Roxann Dawson praised the cast, especially "Scott and Conner, who spent days suspended in harnesses covered in slime without a single complaint." She said "This episode was difficult, challenging and... well, at times I thought it was almost impossible." It
8740-434: The nacelles, and later described that the original struts would have been around a third more than those. Drexler also wanted the bussard collectors at the front of the warp nacelles to be orange like The Original Series , but this was overruled by producers once more, who wanted them red also like the later series. Drexler thought that this was because Rick Berman wasn't fond of bright colors, and so Star Trek: Enterprise
8855-530: The organism and the severed tendril are both released and quickly re-absorbed into a larger alien body. As the shuttle-pod returns to Enterprise , dawn breaks and the entire area is revealed to be covered with a single huge organism. The episode title "Vox Sola" comes from Latin and literally means lone voice . The script was originally titled "The Needs of the One". The episode was directed by Roxann Dawson , she previously directed " The Andorian Incident ". The episode
8970-627: The pilot episode " Broken Bow ". Its missions included an initial period of deep space exploration and a mission into the Delphic Expanse following the Xindi attack on Earth; it was also instrumental in the formation of the United Federation of Planets with the Vulcans , Andorians and Tellarites . Its final regular appearance occurred in " These Are The Voyages... ", where the ship is seen en route to
9085-439: The pixel is fully in the foreground object, and intermediate values indicate the pixel is partially covered by the foreground object (or it is transparent). A further function g ( r , g , b ) → ( r , g , b ) is needed to remove green spill on the foreground objects. A very simple f () function for green screen is A ( r + b ) − Bg where A and B are user adjustable constants with
9200-441: The primary hull of Enterprise seen in The Original Series , but without a secondary hull. Our first full view of the majestic ship as it clears the dock and moves into open space. More rocketship than starship, Enterprise is lean and masculine - yet its deflector dish and twin warp nacelles suggest the shape of Starfleet vessels to come. Excerpt from "Broken Bow" script, Rick Berman and Brannon Braga. Enterprise NX-01
9315-462: The process considerably and saved money. He received a special Academy Award for his innovation. For decades, travelling matte shots had to be done "locked-down", so that neither the matted subject nor the background could shift their camera perspective at all. Later, computer-timed, motion-control cameras alleviated this problem, as both the foreground and background could be filmed with the same camera moves. Meteorologists on television often use
9430-510: The rest was fully CGI. Vox Sola was first aired in the United States on UPN on May 1, 2002. According to Nielsen , it received a 3.4/6 rating share among adults. It had an average of 5.4 million viewers. Jamahl Epsicokhan said the episode had a genuine sci-fiction ending, and some "good moments". He also noted that it references the French film The Wages of Fear , which is described as
9545-441: The same scene. Chroma key allows performers to appear to be in any location without leaving the studio. Advances in computer technology have simplified the incorporation of motion into composited shots, even when using handheld cameras. Reference points such as a painted grid, X's marked with tape, or equally spaced tennis balls attached to the wall, can be placed onto the coloured background to serve as markers. In post-production,
9660-418: The ship only being able to travel up to warp 5 , as he felt that after three series being set in roughly the same time period it would be exciting for the fans. The first season was originally intended to be based around the construction of the ship. However, UPN wanted a more typical ship-based Star Trek series and so the ship was presented as almost finished in the pilot episode, " Broken Bow ". Before
9775-490: The signing of the Federation charter and the decommissioning of the ship. Enterprise has appeared in several non-canon novels, which describe both its actions in the Romulan War and the vessel's final fate as a museum ship in orbit of Pluto . A model of an NX class ship was seen on screen in the 2013 film Star Trek Into Darkness , and it has appeared in the video game Star Trek: Encounters and Star Trek: Legacy . There
9890-470: The start of the series, the ship was referred to as the SS Enterprise . An early design was for a version with a secondary hull, but it appeared to be too similar to the ship seen in The Original Series . That throwback styling had been partially inspired by Berman viewing the throwback concept in the 2002 Ford Thunderbird , itself a modern update of the original Thunderbird . Following that concept,
10005-461: The subject of a photo or video – particularly the newscasting , motion picture , and video game industries. A colour range in the foreground footage is made transparent, allowing separately filmed background footage or a static image to be inserted into the scene. The chroma keying technique is commonly used in video production and post-production. This technique is also referred to as colour keying , colour-separation overlay ( CSO ; primarily by
10120-409: The surfaces are partially covered, they are more opaque the closer they are to the outer surface. Sometimes more closed surfaces are used to determine how to remove green spill. It is also very common for f () to depend on more than just the current pixel's colour, it may also use the ( x , y ) position, the values of nearby pixels, the value from reference images or a statistical colour model of
10235-425: The technological push that comes from developing the advanced technology seen being introduced for the first time on the show. These were referred to as shuttlepods in the show; Enterprise was equipped with two of them. Doug Drexler had intended for Enterprise to undergo a major refit if a fifth season had been produced, and the series had not been cancelled at the end of the fourth season . This would have seen
10350-464: The tendrils in the process. Ensign Mayweather suggests tracking the Kreetassans down to ask about the entity, while Doctor Phlox examines the severed tendril. He determines that those entrapped are becoming symbiotically linked together through the entity. Sato wants to communicate with it, but Sub-Commander T'Pol decides to neutralize it instead. Mayweather manages to find the Kreetassans, asking for any information they may have. They agree to share
10465-525: The timeline. The crew of the two versions of Enterprise work together and enable the present-day Enterprise to enter a subspace corridor to allow Captain Jonathan Archer ( Scott Bakula ) to meet with the Xindi Council. The whereabouts of the future Enterprise are unknown, but there is speculation as to whether it was destroyed or ceased to exist. After locating the Xindi weapon in " The Council ",
10580-410: The version seen in the television series, and the refit design intended for season five. Chroma key Chroma key compositing , or chroma keying , is a visual-effects and post-production technique for compositing (layering) two or more images or video streams together based on colour hues ( chroma range). The technique has been used in many fields to remove a background from
10695-508: The vessel is sent back in time to an alternative 20th century where Nazi Germany has successfully invaded the United States. After the crew defeat the alien Vosk ( Jack Gwaltney ) and recover Captain Archer, the ship is returned to its correct time by Temporal Agent Daniels ( Matt Winston ) in " Storm Front ". Following the Xindi mission, Enterprise undergoes repairs and upgrades in " Home ". In " Daedalus ", Dr. Emory Erickson ( Bill Cobbs ),
10810-573: The warp drive, the ship had to make a detour to the Kreetassan homeworld in " A Night in Sickbay ". In the episode " The Expanse ", the final episode of the second season , Enterprise was recalled once again to Earth following an attack by the Xindi resulting in the deaths of seven million people, mostly in Florida. The ship and crew were given a new mission, to go into the Delphic Expanse and track down
10925-430: The weapon was launched in " Countdown " with Enterprise in pursuit. While Captain Archer leads a boarding party onto the weapon in the final episode of third season , " Zero Hour ", Enterprise is commanded by T'Pol ( Jolene Blalock ) who directs it to a nearby sphere and Commander Tucker modifies the ship's deflector dish to use it as a weapon to destroy the sphere. Despite the interference of several Sphere Builders,
11040-423: The window areas. In order to have figures in one exposure actually move in front of a substituted background in the other, a travelling matte was needed, to occlude the correct portion of the background in each frame. In 1918 Frank Williams patented a travelling matte technique, again based on using a black background. This was used in many films, such as The Invisible Man . In the 1920s, Walt Disney used
11155-421: The windows on the ship were larger than used on the television version, and the hull had a bronze tint. Regarding this change in coloration, Drexler later said that he didn't know when the change was made as both he and Zimmerman approved the prior version. Following this initial usage, the approved model was only used as a stand-in for the production version in the previews in the fourth season . The drawing of
11270-423: Was a negative fan reaction to the design of Enterprise , and criticism of the efforts of Drexler and the other designers. When questioned about this, Geoffrey Mandel stated in an interview, "Having been around then, I also know that Doug Drexler and John Eaves did EXACTLY what the producers asked them to: Rick and Braga had very strong opinions, and knew exactly what they wanted." Allan Johnson, while writing for
11385-404: Was a negative fan reaction to the design, but television critics were mostly positive, calling the design "a sort of retro-futurism". Several Enterprise toys and models have been released, including versions by Art Asylum , Diamond Select Toys , QMx and Eaglemoss Publications. In the original pitch for Star Trek: The Original Series by creator Gene Roddenberry , the vessel that the series
11500-410: Was awarded an Academy Award for his refinement of these techniques in 1964. His technique exploits the fact that most objects in real-world scenes have a colour whose blue-colour component is similar in intensity to their green-colour component. Zbigniew Rybczyński also contributed to bluescreen technology. An optical printer with two projectors, a film camera and a "beam splitter", was used to combine
11615-503: Was challenging to create the alien organism, but more importantly to make it believable and scary. Most of the alien creature effects were done practically on set. Liz Castro was responsible for coordinating the visual effects and the CGI tendrils, with on-set help from Dan Curry . Goo was painted all over the actors and practical models so that it was dripping, then matched in CGI. The tendrils' fast movement made it easier to integrate them with
11730-521: Was designed by Doug Drexler , and based on the features of the Akira -class. The new class itself was designated as NX by the producers, but Drexler referred to it as the Enterprise -class due to the naval tradition of naming the class after the first vessel. Drexler had intended for the ship to be similar in design to the Daedalus -class starship with a sphere-shaped primary hull, but the producers wanted
11845-399: Was destroyed. This necessitates the crew stealing a warp coil from an Illyrian vessel in the following episode " Damage " as without it the ship could not travel at warp and intercept the Xindi weapon. Following that acquisition, the ship and crew is approached by a version of Enterprise that had been sent 117 years into the past and has become a generational ship attempting not to disrupt
11960-427: Was easier to use a green matte screen than it was to constantly police the clothing choices of on-air talent. Also, because the human eye is more sensitive to green wavelengths, which lie in the middle of the visible light spectrum, the green analog video channel typically carried more signal strength, giving a better signal to noise ratio compared to the other component video channels, so green screen keys could produce
12075-406: Was equipped with polarized hull plating as a defensive measure. It was not until the following month while in combat with an unknown foe that its spatial torpedoes were calibrated; and the phase cannons were installed in the following September. The exploration mission was temporarily cancelled in the final episode of the first season, " Shockwave ", following the destruction of a colony after
12190-507: Was far easier to manufacture and make reliable than film that somehow excluded both frequencies higher and lower than the screen colour. In television and digital film making, however, it is equally easy to extract any colour, and green quickly became the favoured colour. Bright green is less likely to be in the foreground objects, colour film emulsions usually had much finer grain in the green, and lossy compression used for analog video signals and digital images and movies retain more detail in
12305-405: Was filmed in greys and dark blues. The rear ends of the nacelles were influenced by Enterprise from The Original Series , with the spheres that appeared on the 1960s version split in two for the NX-01. Direct elements from The Original Series that did make it on to the NX-01 were the impulse engine cones and the lower sensor dome. The most prominent element from the first television Enterprise
12420-656: Was placed into the orbit of Pluto as a museum piece. Enterprise appeared in the video games Star Trek: Encounters and Star Trek: Legacy , both released in 2006. It is the first vessel that the player controls in each storyline, before moving onto the USS Enterprise seen in The Original Series and later depictions. Enterprise was seen as a model in a collection depicting the history of flight in Fleet Admiral Alexander Marcus' ( Peter Weller ) office in Star Trek Into Darkness (2013). It
12535-657: Was placed next to other historical vessels such as the Wright Flyer , the Space Shuttle and the NX-Alpha . An NX-class starship in the style of the planned season 5 refit appeared at the Fleet Museum in the 2023 Star Trek: Picard episode, " The Bounty " although it is unclear if this was meant to be the Enterprise or another NX-class starship as the Enterprise had been decommissioned prior to undergoing any refit. There
12650-499: Was repeatedly damaged by the spatial anomalies in the area, which appear to be caused by several alien-built moon-sized spheres. The ship suffers a further hull breach and other damage during the events of " Chosen Realm " when the ship and crew are caught up in the Triannon civil war. While investigating a possible location of the superweapon in " Azati Prime ", Enterprise was severely damaged by several Xindi vessels and its warp coil
12765-579: Was set on was called the SS Yorktown . The starship was subsequently renamed USS Enterprise before the start of the series because of the growing real world fame of the world's first nuclear-powered aircraft carrier , recently launched by the U.S. Navy as the USS ; Enterprise (CVN-65) . The name Enterprise has been linked with Star Trek since. Following the end of Star Trek: Voyager , which had been used to launch UPN , they were seeking
12880-470: Was taken from United States Navy ships and the Space Shuttle , such as the inclusion of operations manuals on some of the stations such as communications. Other elements that were added included a switch from the touch screen controls seen in series such as The Next Generation to more hands-on dials and buttons as appeared in The Original Series . The set also included what was described as "busy boxes" by
12995-485: Was the deflector dish. For the NX-01, it was vertically compressed placed at the front of the saucer. The process of Drexler getting his designs approved by the producers was later described as "a long hard battle" by production illustrator and creator of Enterprise -E , John Eaves . The exterior model was created in CGI rather than as a physical model, with the production done by Pierre Drolet from Foundation Imaging using LightWave 3D . Two versions were created –
13110-464: Was used to introduce elements into a scene which were not present in the initial exposure. This was done using black draping where a green screen would be used today. George Albert Smith first used this approach in 1898. In 1903, The Great Train Robbery by Edwin S. Porter used double exposure to add background scenes to windows which were black when filmed on set, using a garbage matte to expose only
13225-522: Was written by Enterprise creators Rick Berman and Brannon Braga, and also Fred Dekker. Dekker had thought Enterprise would and should be different, "I thought that we could create alien life-forms that were almost unimaginable" but felt that the series quickly fell back on "all the familiar tropes and aliens that the Star Trek franchise had already traded in for decades." He complained that his scripts were "meddled with" and "heavily rewritten". Dekker praised
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