Star trek work at home

Star Trek meets the home office in 'ultimate computer workstation' which will set you back £30,000

They are also a continuation of the franchise that establishes an alternate reality from the previous films. May 8, [Note 9]. It completes the story arc begun in Star Trek II: Legacy and Star Trek: To see more about being part of the Brand Warrior Nation watch the video below. While more common in subsequent years, in the s it was controversial to feature an Enterprise crew that included a Japanese helmsman, a Russian navigator, a black female communications officer, and a human—Vulcan first officer. It's people looking for answers — and science fiction offers to explain the inexplicable, the same as religion tends to do

Star Trek is an American space opera media franchise based on the science fiction television series created by Gene first television series, simply called Star Trek and now referred to as "The Original Series", debuted in and aired for three seasons on the television network followed the interstellar adventures of Book(s): List of reference books, List of technical manuals.

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All calls are taken from a central location and the job is sedentary in nature. Schedules are flexible as is time off. The costs of commuting, work clothing and other expenses required working in an office environment are eliminated.

These are real jobs working for some of the best companies in the world, answering their customers' questions or helping them with a product or service. Working from home is also ideal for people with disabilities, transportation issues or health issues that preclude them from the traditional workforce. We are looking for employees who have the passion, dedication, responsibility and enthusiasm that embody the Brand Warrior spirit. Think you have what it takes? Nimoy had seen Peterman's work and felt it was more nuanced than simply lighting a scene and capturing an image.

The film's opening scenes aboard the starship Saratoga were the first to be shot; principal photography commenced on February 24, The scenes were filmed first to allow time for the set to be revamped as the bridge of the new Enterprise -A at the end of filming.

As with previous Star Trek films, existing props and footage were reused where possible to save money, though The Voyage Home required less of this than previous films. The Earth Spacedock interiors and control booth sets were reused from The Search for Spock , although the computer monitors in these scenes featured new graphics—the old reels had deteriorated in storage.

Stock footage of the destruction of the Enterprise and the Bird-of-Prey's movement through space were reused. While the Bird-of-Prey bridge was a completely new design, other parts of the craft's interior were also redresses; the computer room was a modification of the reactor room where Spock died in The Wrath of Khan.

After all other Bird-of-Prey bridge scenes were completed, the entire set was painted white for one shot that transitioned into a dream sequence during the time travel. The production wanted to film scenes that were readily identifiable as the city. Other scenes were filmed in the city but used sets rather than real locations, such as an Italian restaurant where Taylor and Kirk eat.

In the film, the Bird-of-Prey lands cloaked in Golden Gate Park , surprising trashmen who flee the scene in their truck. The production had planned to film in the real park, where they had filmed scenes for The Wrath of Khan , but heavy rains before the day of shooting prevented it—the garbage truck would have become bogged down in the mud.

Will Rogers Park in western Los Angeles was used instead. When Kirk and Spock are traveling on a public bus, they encounter a punk rocker blaring his music on a boom box, to the discomfort of everyone around him.

Spock takes matters into his own hands and performs a Vulcan nerve pinch. Part of the inspiration for the scene came from Nimoy's personal experiences with a similar character on the streets of New York; "[I was struck] by the arrogance of it, the aggressiveness of it, and I thought if I was Spock I'd pinch his brains out! Credited as "punk on bus", Thatcher along with sound designer Mark Mangini also wrote and recorded "I Hate You", the song in the scene, and it was his idea to have the punk—rendered unconscious by the pinch—hit the stereo and turn it off with his face.

A holding tank for the whales was added via special effects to the Aquarium's exterior. One scene takes place by a large glass through which observers view the whales—and Spock's initiation of a mind meld —underwater. Footage of the actors shot in front of them as they reacted to a brick wall in the Aquarium was combined with shots taken from their rear as they stood in front of a large blue screen at ILM to produce this scene.

The footage of Spock's melding with the whales was shot weeks later in a large water tank used to train astronauts for weightlessness. The real Enterprise , out at sea at the time, was unavailable for filming, so the non-nuclear-powered carrier USS Ranger CV was used. Scenes in the San Francisco Bay were shot at a tank on Paramount's backlot.

The scene in which Uhura and Chekov question passersby about the location of nuclear vessels was filmed with a hidden camera. However, the people with whom Koenig and Nichols speak were extras hired off the street for that day's shooting and, despite legends to the contrary, knew they were being filmed. In an interview with StarTrek. I think it's across the bay, in Alameda ," stated that after her car was impounded because she refused to move it for the filming, she approached the assistant director about appearing with the other extras, hoping to be paid enough to get her car out of impoundment.

She had been told to act naturally, and so she answered them and the filmmakers kept her response in the film, though she had to be inducted into the Screen Actors Guild in order for her lines to be kept. Vulcan and the Bird-of-Prey exterior was created with a combination of matte paintings and a soundstage. Nimoy had searched for a suitable location for the scene of the Enterprise crew's preparations to return to Earth, but various locations did not work, so the scene was instead filmed on a Paramount backlot.

The production had to mask the fact that production buildings were 30 feet 9. Production manager Jack T. Collis economized by building the set with only one end; reverse angle shots used the same piece of wall. The positions of the Federation President's podium and the actors on the seats were switched for each shot. Among the resulting set's features was a large central desk with video monitors that the production team nicknamed "the pool table"; the prop later became a fixture in USS Enterprise -D's engine room on the television series Star Trek: Nimoy approached ILM early in development and helped create storyboards for the optical effects sequences.

Matte supervisor Chris Evans attempted to create paintings that felt less contrived and more real—while the natural instinct of filmmaking is to place important elements in an orderly fashion, Evans said that photographers would "shoot things that [ The task of establishing the location and atmosphere at Starfleet Headquarters fell to the matte department, who had to make it feel like a bustling futuristic version of San Francisco. The matte personnel and Ralph McQuarrie provided design input.

The designers decided to make actors in the foreground more prominent, and filmed them on a large area of smooth concrete runway at the Oakland Airport. Elements like a shuttlecraft that thirty extras appeared to interact with were also mattes blended to appear as if they were sitting by the actors. Ultimately the artists were not satisfied with how the shot turned out; matte photography supervisor Craig Barron believed that there were too many elements in the scene.

The scenes of the Bird-of-Prey on Vulcan were combinations of live-action footage—actors on a set in the Paramount parking lot that was covered with clay and used backdrops—and matte paintings for the ship itself and harsh background terrain. The scene of the ship's departure from Vulcan for Earth was more difficult to accomplish; the camera pans behind live-action characters to follow the ship as it leaves the atmosphere, and other items like flaming pillars and a flaring sun had to be integrated into the shot.

The script called for the probe to vaporize the Earth's oceans, generating heavy cloud cover. While effects cinematographer Don Dow wanted to go to sea and record plumes of water created by exploding detonating cords in the water, the team decided to create the probe's climatic effect in another way after a government fishing agency voiced concerns for the welfare of marine life in the area.

The team used a combination of baking soda and cloud tank effects; the swirling mist created by the water-filled tank was shot on black velvet, and color and dynamic swirls were added by injecting paint into the tank. These shots were composited onto a painting of the Earth along with overlaid lightning effects, created by double-exposing lights as they moved across the screen.

The Bird-of-Prey's travel through time was one of the most difficult effects sequences of the film. While ILM was experienced in creating the streaking warp effect they used for previous films, the sequence required the camera to trail a sustained warp effect as the Bird-of-Prey rounded the sun.

Matching the effect to the model was accomplished through trial-and-error guesswork. The team did not have the time to wait for the animation department to create the sun for this shot.

Assistant cameraman Pete Kozachic devised a way of creating the sun on-stage. He placed two sheets of textured plexiglass next to each other and backlit them with a powerful yellow light. The rig was rotated on a circular track and the sheet in front created a moire pattern as its position shifted.

Animator John Knoll added solar flare effects to complete the look; Dow recalled that the effect came close to matching footage of the sun taken by the Jet Propulsion Laboratory. Traveling through time, Kirk and crew experience what author Jody Duncan Shay termed a "dreamlike state". The script's only direction for the effect was "now [they] go through time"; Nimoy and McQuarrie envisioned Kirk's dream as a montage of bizarre images.

The filmmakers decided early on that part of the dream sequence would use computer-generated animation to give it an unreal quality divorced from the rest of the film. ILM worked from McQuarrie's storyboards and created a rough mock-up or animatic to show Nimoy and hone the direction of the sequence.

The resulting thirty seconds of footage took weeks to render; the department used every spare computer they could find to help in the processing chores.

ILM's stage, optical, and matte departments collaborated to complete other shots for the dream sequence. The shot of a man's fall to Earth was created by filming a small puppet on bluescreen. Shots of liquid nitrogen composited behind the puppet gave the impression of smoke. The background plate of the planet was a large matte that allowed the camera to zoom in very close.

The final shot of marshy terrain was practical and required no effects. The filmmakers knew from the beginning of production that the whales were their biggest effects concern; Dow recalled that they were prepared to change to another animal in case creating the whales proved too difficult.

When Humphrey the Whale wandered into the San Francisco Bay, Dow and his camera crew attempted to gather usable footage of the humpback but failed to do so. Compositing miniatures shot against bluescreen on top of water backgrounds would not have provided realistic play of light. Creating full-size mechanical whales on tracks would severely limit the types of angles and shots. To solve the whale problem, Rodis hired robotics expert Walt Conti.

While Conti was not experienced in film, Rodis believed his background in engineering and design made him well-equipped for Rodis' planned solution: After watching footage of whale movement, Conti determined that the models could be simplified by making the front of the whale entirely rigid, relying on the tail and fins for movement.

It really knocked them out. To prevent water from ruining the whale's electronics, the modelmakers sealed every individual mechanical component rather than attempting to waterproof the entire whale. Balloons and lead weights were added to achieve the proper balance and buoyancy. The finished models were put in the swimming pool of Serra High School in San Mateo, California, for two weeks of shooting; the operation of the whales required four handlers and divers with video cameras to help set up the shots.

Accurately controlling the whales was difficult because of the murky water—ILM added diatomaceous earth to the water to match realistic ocean visibility. Models of the starship USS Enterprise were destroyed in the previous film partly because visual effects supervisor Ken Ralston wanted to build a "more state-of-the-art ship for the next film", but the filmmakers made the less costly decision to have the crew return to serve on the duplicate USS Enterprise A , and six weeks were spent repairing and repainting the old model.

A travel pod from Star Trek: The Motion Picture was also reused for the ending, although the foot-long 6. Graphic designer Michael Okuda designed smooth controls with backlit displays for the Federation. Dubbed " Okudagrams ", the system was also used for displays on the Klingon ship, though the buttons were larger. Music critic Jeff Bond writes, "The final result was one of the most unusual Star Trek movie themes," consisting of a six-note theme and variations set against a repetitious four-note brass motif; the theme's bridge borrows content from Rosenman's "Frodo March" for The Lord of the Rings.

The Earth-based setting of the filming gave Rosenman leeway to write a variety of music in different styles. Nimoy intended the crew's introduction to the streets of San Francisco to be accompanied by something reminiscent of George Gershwin , but Rosenman changed the director's mind, [45] and the scene was scored with a contemporary jazz fusion piece by Yellowjackets.

When Chekov flees detention aboard the aircraft carrier, Rosenman wrote a bright cue that incorporates classical Russian compositions. The music for the escape from the hospital was done in a baroque style. More familiar Rosenman compositions include the action music for the face off between the Bird-of-Prey and a whaling ship in open water, and the atmospheric music reminiscent of the composer's work in Fantastic Voyage during the probe's communication.

After the probe leaves, a Vivaldiesque "whale fugue" begins. The first sighting of the Enterprise -A uses the Alexander Courage theme before the end titles. How respected NYPD detective fell on hard times after Extremist groups are 'weaponising' Islamophobia and using Comments 88 Share what you think. Bing Site Web Enter search term: Zendaya, 22, reveals how she transitioned from child star to leading lady as she continues her rise in Hollywood Rashida Jones gets hug and kiss from dad Quincy Jones at LA premiere of documentary about his life She helped create Many Harry returns!

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New Arrivals Apparel & Accessories Costumes DVDs & Media Collectibles Home & Office Sale Star Trek The Next Generation The Measure of a Man T-Shirt $ Buy Now. Star Trek IV: The Voyage Home is a American science fiction film released by Paramount Pictures. It is the fourth feature film based on Star Trek, Nimoy had seen Peterman's work and felt it was more nuanced than simply lighting a . STARTEK offers work from home positions taking phone calls for clients in your own environment. The costs of commuting, work clothing and other expenses required working in an office environment are eliminated. These are real jobs working for some of the best companies in the world, answering their customers' questions or helping them .