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FULL@Star Trek 1979 Mo-tion

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MessagePosté le: Jeu 2 Juin - 15:47 (2016)    Sujet du message: FULL@Star Trek 1979 Mo-tion Répondre en citant

Star Trek 1979 Motion > bit.ly/1ZgdLHY

To speed up the work, Abel passed off miniature and matte painting tasks to Yuricich. Adaptations: from text to screen, screen to text. "Science fiction films, including those of the recent past, have been woefully short of good science advice," he said. AUDIENCE SCORE 42% liked it Average Rating: 3.1/5 User Ratings: 65,178 Critic Consensus: No consensus yet. Cast and crew who had been hired that Monday were laid off by Friday, and construction came to a halt. Goldsmith heard it and immediately decided to use it for V'Ger's cues.[119] Several state-of-the-art synthesizers were used as musical instruments, notably the Yamaha CS-80, ARP 2600, Oberheim OB-X, and Serge synthesizer.[127] An enormous pipe organ first plays the V'Ger theme on the Enterprise's approach, a literal indication of the machine's power.[126]. Enterprise is then seized by a tractor beam and pulled inside the cloud to a large chamber. "Trek director Waxes Wise on new DVD". p.2. Despite being relieved of nearly half the effects work, it became clear by early 1979 that Abel and Associates would not be able to complete the remainder on time.[105] Creative differences grew between Abel and Associates and the Paramount production team, and by mid-February 1979 the two companies parted ways.[106].

^ a b c d e f g h i Hughes, 2126. Any further scenes to recreate Vulcan would be impossible, as the set was immediately torn down to serve as a parking lot for the remainder of the summer.[91]. They remain stationary thereafter. According to the author Kim Masters, writing in The Hollywood Reporter, Paramount came up with a simple solution: give Nimoy the money he wanted for the use of his image. Dr. Probert also replaced the Phase II ship weapons tube with a twin launcher torpedo deck and added elements such as features for a separating saucer and landing pads that were never utilized on any film featuring the model.[18]. This was, after all, the post-Star Wars, post-Close Encounters era, when audiences had thrilled to the stunning effects work of ILM and Douglas Trumbull. Assistant director Danny McCauley was responsible for collaborating with unit production manager Phil Rawlins to finalize shooting orders and assigning extras. Collins was covered in tiny dabs of cotton glued to his jacket; these highlights were designed to create a body halo.

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