517 - Pahvo, VR, and More LeVar | Priority One: A Roddenberry Star Trek Podcast

This week on Episode 517 of Priority One: The virtual becomes reality on the set of Discovery Season 4, meanwhile the Disco captains reflect on their past and future in the center seat on the bridge.  In gaming news, Pahvo is under attack on the ground and orbit in the third Event Eampaign installment in Star Trek Online, and Dr. Robert Hurt shares the importance of the Hubble Telescope’s return!

TREK IT OUT

Edited by Thomas Reynolds

Is This The Real Life? Is this Discovery?

By Elio Lleo

When that other “Star” franchise debuted their own serialized, live-action TV series on Disney+, critics not only raved about its story, but also about its cinematography. The Mandalorian, which started streaming in 2019, showcased a new style of filmmaking that was absolutely breathtaking. You see, instead of having to find locations where to shoot, the production used a 360-degree LED wall to project–in real time–all the landscapes and effects needed for the scene. The end result: a creative and astonishing backdrop that really helped build that world.

Now, everyone wants in! Not only does this technology save the time and resources it takes to shoot on location but, combined with the Unreal Engine, actors can actually see and react to visual effect environments in real time. Now we can visit Strange New Worlds with much more ease, as Noah Kadner explains in his article for American Cinematographer. According to Kadner, Star Trek: Discovery Season 4 and the first season of Strange New Worlds have been filming with a 270-degree horseshoe-shaped LED wall by a company called Pixomondo–which can be fed real-time animations using Unreal Engine.

Gul Madred's cruelest torture to date: do the virtual lights count? Image: Michael Gibson/Paramount Plus, via American Cinematographer.

Star Trek’s Lead Visual Effects Supervisor Jason Zimmerman told Kadner “getting something in-camera on the day is so much better than greenscreen in many ways. One major difference [in terms of workflow] is that the production-design and art departments are a lot more involved much earlier in the process, because they have to get assets ready to be photographed instead of waiting until after the shoot.” But the away teams from Strange New Worlds will be beaming down to realistic landscapes–the New Mexico Film Office announced this week that the television series is using New Mexico landscapes for the show’s visual effects. 

Jamming With Captain Burnham

By Rosco McQueen

Michael Burnam meets Bugs Bunny–.css-j9qmi7{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:row;-ms-flex-direction:row;flex-direction:row;font-weight:700;margin-bottom:1rem;margin-top:2.8rem;width:100%;-webkit-box-pack:start;-ms-flex-pack:start;-webkit-justify-content:start;justify-content:start;padding-left:5rem;}@media only screen and (max-width: 599px){.css-j9qmi7{padding-left:0;-webkit-box-pack:center;-ms-flex-pack:center;-webkit-justify-content:center;justify-content:center;}}.css-j9qmi7 svg{fill:#27292D;}.css-j9qmi7 .eagfbvw0{-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;color:#27292D;}