Editing Star Trek Generations (section)

===Design===
''Star Trek'' veteran [[Herman Zimmerman]] served as [[production designer]], collaborating with illustrator [[John Eaves]] for many designs.<ref name="nemecek-2003"/>{{rp|312}} Zimmerman's approach to realizing a vision of the future was to take existing designs and use them in a different manner to express living in the future. Taking cues from director [[Nicholas Meyer]]'s approach to ''[[Star Trek II: The Wrath of Khan]]'', Zimmerman noted that future humanity will still have the same furniture needs, so a logical approach was to start with what would remain the same and work from there.<ref name="edgerly-1994">{{cite journal|author1=Edgerly, Philip Thomas |author2=Zimmerman, Herman |date=December 1994|title=Architrek: Designing Generations|journal=[[Omni (magazine)|Omni]]}}</ref>{{rp|52}}

Transitioning from television to film meant that sets and designs needed to be more detailed, with a higher level of polish to stand up on the big screen. Zimmerman felt obliged to improve the sets fans had watched for seven seasons, especially the bridge. Zimmerman repainted the set, added computer consoles, raised the captain's chair for a more commanding presence, and reworked the bridge's ceiling struts; he had always been unhappy with how the ceiling looked, but never had the time or money to rework it.<ref name="edgerly-1994"/>{{rp|52–53}}

The script called for an entirely new location on the ''Enterprise''-D: stellar cartography. The script described the location as a small room with maps on one wall. Finding the concept uninteresting, Zimmerman designed a three-story circular set to give the impression the actors were inside a star map dominated by screens. Zimmerman's previous work designing a crisis management center influenced the design.<ref name="edgerly-1994"/>{{rp|54}} The backlit starmaps that covered three-quarters of the wall would have been infeasible to create in the years before the rise of large-format inkjet printers and computer graphics software. The starmaps were replaced with a [[chroma key|bluescreen]] for scenes where the static images would be replaced by computer-animated star maps by Santa Barbara Studios.<ref name="okuda"/> Stellar cartography was one of the largest sets ever constructed on a Paramount lot.<ref name="beeler-1995"/>{{rp|27}}

The film marked the first appearance of the starship ''Enterprise''-B. The ship was a modification of the ''Excelsior'', a model designed and built by Bill George and effects house [[Industrial Light & Magic]] (ILM) for ''[[Star Trek III: The Search for Spock]]'' a decade earlier.<ref name="okuda">{{cite AV media |people=[[Michael Okuda|Okuda, Michael]] |date=September 28, 2004 |title=Star Trek Generations; Text commentary |publisher=[[Paramount Pictures]] |medium=DVD; Disc 1/2}}</ref> Co-producer Peter Lauritson, illustrator John Eaves, and Zimmerman designed the ''Enterprise''-B with additions to its hull, some of which were added so that they could depict damage to the ship without harming the underlying model's surface, and to improve the look of the ship when it was filmed from angles called for in the script.<ref name="nemecek-2003"/>{{rp|319}} The ship's bridge was based on previous designs for the ''Enterprise''-A and ''Excelsior'' sets Zimmerman had created for ''The Undiscovered Country'', using pieces from each.<ref name="okuda"/> The surrounding spacedock for ''Enterprise''{{'s}} maiden voyage was a modification of the model created for ''[[Star Trek: The Motion Picture]]'' (1979),<ref name="nemecek-2003"/>{{rp|319}} refurbished and modified to better fit the film's [[Anamorphic format|anamorphic]] screen frame.<ref name="magid-1995">{{cite journal|author=Magid, Ron|date=April 1995|title=ILM Creates New Universe of Effects for 'Star Trek: Generations' |journal=[[American Cinematographer]]|volume=1|issue=76|pages=77–88|issn=0002-7928}}</ref>{{rp|79}}

Like Zimmerman, George took the opportunity of the ''Enterprise''-D's screen debut to touch up the model.<ref name="magid-1995"/>{{rp|79}} Because ''Generations'' featured the ''Enterprise''-D separating into its saucer and engineering sections, the original {{convert|6|ft|adj=on}} model built by ILM for the television series was removed from storage. The model was stripped, rewired, and its surface detailed to stand up to scrutiny.<ref name="nemecek-2003"/>{{rp|320}} George changed the paint job, as he recalled they had been in a rush to prepare the model for television and its green-and-blue color scheme did not properly read on film. The paint scheme was shifted towards a "battleship grey", with glossy tiled areas reminiscent of the original feature film ''Enterprise''.<ref name="magid-1995"/>{{rp|79}}

While ''Generations'' made use of new sets and props, set decorator John M. Dwyer reused existing props or made new ones out of premade materials where possible, rather than spend money on new items: a torture device was created from a birthing chair, nose hair clippers, and flashlights; packing materials formed the shapes of set walls for the Bird of Prey bridge; and Soran's missile used a bird feeder and other garden store supplies for its interior elements.<ref name="okuda"/><ref name="nemecek-2003"/>{{rp|316}} The stellar observatory set was filled with props from ''The Next Generation'', with some added in deliberate nods to past episodes.<ref name="nemecek-2003"/>{{rp|317}} Other reused sets included the Klingon bridge built for ''[[Star Trek IV: The Voyage Home]]'' and ribbed plastic walls in the [[Jefferies tube]]s, repurposed from the sets of ''[[The Hunt for Red October (film)|The Hunt for Red October]]''.<ref name="okuda"/> Original set pieces and props included paintings for the settings in the Nexus.<ref name="nemecek-2003"/>{{rp|317}}

[[Robert Blackman]], ''The Next Generation''{{'s}} long-serving [[costume designer]] re-designed the Starfleet uniforms which the ''Enterprise''-D crew would wear in the film. Blackman crafted militaristic-looking uniforms with rank sleeves inspired by ''The Original Series'', high collars, and jackets reminiscent of the uniforms developed for ''The Wrath of Khan''. The redesign was abandoned, and the cast wore combinations of the uniforms from '' The Next Generation'' and ''Deep Space Nine''; the only new addition was an Eaves-designed angular communications badge that replaced the previous oval shape. Time was so short that Jonathan Frakes and Levar Burton borrowed the costumes from ''Deep Space Nine'' actors [[Avery Brooks]] and [[Colm Meaney]].<ref name="okuda"/> Also created by Blackman was a skydiving outfit worn by Shatner; though the scene was cut from the film, the costume was used in the ''Voyager'' episode "[[Extreme Risk (Star Trek: Voyager)|Extreme Risk]]".<ref name=collectingtrek>{{cite web|last1=Jose|first1=Maria|last2=Tenuto|first2=John|title=Collecting Trek: Toys, Cards & More Depicting Deleted Scenes|url=http://www.startrek.com/article/collecting-trek-toys-cards-more-depicting-deleted-scenes|website=StarTrek.com|publisher=CBS|date=December 23, 2013|access-date=December 25, 2013|url-status=live|archive-url=https://web.archive.org/web/20170217223810/http://www.startrek.com/article/collecting-trek-toys-cards-more-depicting-deleted-scenes|archive-date=February 17, 2017}}</ref>