View more reviews. We're Obsessed with Your Privacy. At GradeMiners, you can communicate directly with your writer on a no-name basis. New to Coursework Hero? Calculate the price of your order Type of paper needed:. You will get a personal manager and a discount. Academic level:. We'll send you the first draft for approval by at. Total price:. News that a second Star Trek episode would feature Vulcan was announced at a convention wherein "Amok Time" was first shown to fans.
Most of the fans in attendance reckoned that the story would be set mostly at Spock's family abode on Vulcan. Fontana's " Journey to Babel "; for the first time, a city on the planet was planned to be shown.
The creation of a matte painting was considered to be prohibitively costly, however. Babel 5; Enterprise Incidents , number 11, p. In the filming script of "Journey to Babel", Vulcan is described as a "hot yellow-orange planet". However, in the episode's final version, the planet has a deep red tint. Vulcan was intended to serve as the primary location of an ultimately undeveloped Star Trek series that would have been centered around Spock and was, shortly after the cancellation of the original Star Trek series, proposed to Gene Roddenberry by Paramount.
Having found the task of bringing the planet to the screen in TOS to have been fraught with difficulties, D. Fontana realized a promising means of showing more of the planet. Second, sets built on the stage suffered from the slightly artificial look all such sets suffer — and we could only afford one major set of this kind. Thus, scope was also limited. Animation, however, would allow us to show the planet Vulcan any way I saw fit. Although it had been established in 'Amok Time' that most of the planet was desert, I wanted to depict other aspects of Vulcan.
When Vulcan is first shown in "Yesteryear", the script describes the planet as having a cloudless, "orangy red" sky, and implies that the lack of clouds is due to the thinness of Vulcan's atmosphere, though what is actually shown in the episode is more of a yellowish brown sky, with many clouds. The script also states that some flowers were imported to Vulcan from other planets, instructs that dust demons were to have been shown, and comments, " While Vulcan is an old planet, its thin atmosphere keeps erosion to a minimum.
A reference to a "family shrine" in "Yesteryear", regarding an area associated with Sarek and Spock's relatives, was meant as an allusion to the Vulcan ceremonial grounds shown in "Amok Time", but this wasn't established on-screen. In retrospect, D.
Fontana speculated, " Vulcan could probably have been visualized both with locations and on stages [in 'Yesteryear']. Star Trek Magazine issue , p. In that story, Vulcan featured in a limited fashion, with the Enterprise simply taking Spock aboard from the planet.
Vulcan played a much more central role in another treatment, written later that year by Jon Povill. This treatment involved an ancient psychic cloud — designed on Vulcan as a weapon to elicit discord amidst an opposing army and released from the planet during its final war, centuries ago — causing the Vulcans who now resided on their homeworld to revert to the aggressive moods and other negative emotions of their ancient ancestors, and the Vulcan population consequently choosing to break the planet away from the Federation.
The Enterprise traveled back in time to Vulcan's violent past, obtained the psychic generator from a secret compound near the planet's southern pole and returned to Vulcan's present, moments before an all-out war was initiated between Starfleet and the Vulcans, in orbit of the planet. An emotionally positive-charged psychic cloud from the generator aboard the ship prevented the war and Kirk theorized the second cloud had been responsible for the historical change in temperament on Vulcan, though Spock explained that this was not the case.
Later drafts involved the planet Vulcan to a significantly lesser degree. A third treatment penned in , this time by Gene Roddenberry and Jon Povill, was set in an alternate timeline wherein not only did the Enterprise transfer Spock on board from the planet but also no contact between Vulcan and Earth had ever been made.
Star Trek Phase II: The Lost Series In a meeting that convinced Nimoy to participate in the movie, however, Gene Roddenberry informed him of having had the idea of depicting the Vulcan setting much as it is shown in the film, with Spock having returned there since the ending of the original series. Star Trek Movie Memories , p.
In the shooting script of The Motion Picture , the scenes on Vulcan are said to be set during daytime, yet the theatrical cut of the film consistently shows the planet with black, starry skies.
As scripted, the planet was to have been introduced with the camera moving through thick, steamy clouds before the planet's surface would have been shown. The script details the mountainous Vulcan landscape as having "harsh, strange angular peaks and rock formations," and the planet itself as being "barren" as well as "legendary".
Although the film itself shows Spock moving between two different areas, this does not happen in the shooting script, which instead describes only one location; Spock was to have been located atop a stone platform or ledge amid ruins, "facing a semi-circle of three similar platforms" for the trio of Vulcan masters , with "gigantic ancient Vulcan statues and ruins" in the background. Ancient temple ruins in a remote area of Turkey were at one time seriously considered for use as Vulcan.
A venture to such exotic locales was considered to be too expensive, though, so this idea was scrapped. Matthew Yuricich creating a matte painting of Vulcan featuring an orange sky. The presentation of Vulcan in the theatrical cut of The Motion Picture involved matte paintings done by Matthew Yuricich. Producer David C. Fein later reasoned, " As far as we can tell, they went for a darker environment because it helped to hide the fact that the Vulcan elders were actually speaking English and not Vulcan.
The first of these illustrations includes a tiny portion of footage of Spock, which was filmed in one of Yellowstone National Park's geyser fields. They took photographs of Minerva Hot Springs from every possible angle and successfully negotiated for the Park Department's permission to shoot the Vulcan scenes there, even though it was at the height of the summer tourist season. To limit the danger of the production crew affecting the delicate geological formations in the area, crew setups were at first confined to the park's boardwalks, though the Park Department later constructed an additional platform to specifications from the film's art department.
The photographs taken at the location had clearly shown that only one angle was suitable for the filming. Michael Minor also quickly journeyed to the area, after which he started design work on the Vulcan scenes, creating a large painting of how the planet might appear in the film.
On 8 August , Minor returned to Yellowstone — intending to help capture the location footage — along with ten other individuals, including Leonard Nimoy, Matthew Yuricich, John James, second unit cameraman Jim Lyles , and location special effects coordinator Joe Viskocil.
The location shoot lasted three days. The second matte painting includes a red statue that is shown from waist height and a full view of another statue that is shown from its right side.
A flight of stairs in this shot was actually a small, three-piece model created by Mike Minor and production designer Harold Michelson. This miniature was two foot deep by six foot wide and consisted of two-by-two-foot modules bolted together. The mismatch between these two shots meant that, for some viewers, determining what the wide view was meant to portray was somewhat problematic.
The close-ups in this Vulcan sequence were shot on the Paramount lot, in what is known as the " B Tank ". By the time the production crew filmed in this area, the location filming in Yellowstone had been completed; the art department were initially faced with the task of somehow recreating that setting on the studio lot.
A similar requirement, once the B Tank was selected as the filming site, was that the proper angle for constructing the set had to be decided, as the sun had been shining on Leonard Nimoy's face at the location.
About a month prior to the start of construction in the B Tank, Mike Minor determined the final position for the set, extrapolating where the sun would be, using one of numerous quarter-inch mock-ups that the set designers had of the Vulcan scenery, a miniature that Minor took to the B Tank.
Working from the set designer's plans, metal platforms and an upper plywood base were built, giving the general impression of the rocks. Chicken wire was added for support before the framework was blown over with a polyurethane foam coating, which was subsequently left to dry and then painted to match the Yellowstone version.
He concocted similar liquid with evaporated milk and white poster paint, mixed with water and poured into the set's pools. Steam bubbling to the top was created with dry ice and steam machines, passed into the water via hidden tubing. They opted to position a giant red boot in the B Tank, however, which matched the red statue's full-size leg in the second matte painting.
Wise recalled, " We started from scratch, took a look at what was already established about Vulcan from the original show. He did I'd say, ninety percent of the work, though.
Adding a tilt from the Vulcan sky to Spock's position in the new version of the first matte painting made the character more noticeable and strengthened the sense of connection between him and V'ger , visually shifting from the cloud's position to the Vulcan landscape where Spock was.
A test version of the CG second matte painting For the second new matte shot, the restorers not only added the Vulcan sun but also chose to cluster the area with Vulcan artifacts, incorporating an ancient Vulcan temple into the shot and redoing the statues. All of these elements were planned for in the earlier storyboards used by the team. Even though a test version of the second digital matte painting included a pair of newly envisioned statues their quantity matching those in the theatrical cut , two more statues were added for the final shot, as was a Vulcan lirpa , held by one of the two preexisting statues.
Drexler also incorporated the same six-sided shapes into the costumes on some of his statues. As Doug Drexler and Daren Dochterman were among those who had found it difficult to make out what the original second matte painting was meant to show, they were both satisfied with the revision.
This trip to the planet, taken so that McCoy could have a restful leave of absence on Vulcan, was against orders, as many of the planet's citizens were dissatisfied with the Federation having such a powerful weapon as the Genesis Device.
The scene and much of the related material, which were ultimately deemed unnecessary, were removed from the story by Harve Bennett , who had originally written the outline and went on to write the film's script.
Although the planet appears in the film's conclusion, the outline did not feature Vulcan reappearing and instead ended in orbit of Earth. Cinefantastique , Vol. Nimoy was pleased with the opportunity to depict the planet on such a grand scale. The Art of Star Trek , pp. Both that effects house and the film's art department worked on the designs for Vulcan.
The Making of the Trek Films , 3rd ed. A backing which Tom Lay created for Star Trek III and which showed Vulcan mountains as viewed from Mount Seleya ended up being used as the planet surface elsewhere in the film, apparently in an initial panning shot of Vulcan.
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