USS Enterprise (NCC-1701-H) The USS Enterprise (NCC-1701-H) was an Endurance-class Federation starship. It was the ninth Federation and tenth Starfleet vessel to bear the name Enterprise. Contentsshow History Construction and launch The Enterprise-H was originally the USS Endurance (NX-90000.
. 'Such Sweet Sorrow'. April 11, 2019Created byInformationAffiliationLaunched2245CaptainAuxiliary vehiclesShuttlecraftGeneral characteristicsClassConstitutionRegistryNCC-1701ArmamentsDefensesPropulsionPowerreactionLength288.646 metres (947.00 ft)USS Enterprise (NCC-1701) is a in the media franchise. It is the main setting of (1966–1969) and several Star Trek films, and it has been depicted in various spinoffs, films, books, products, and fan-created media. Under the command of Captain, the Enterprise carries its crew on a mission 'to explore strange, new worlds; to seek out new life and new civilizations; to boldly go '.designed the Enterprise for television, and its core design components – a saucer-shaped primary hull, two outset engine nacelles, and a cylindrical secondary hull – have persisted across several television and film redesigns. After the Enterprise 's destruction in the third franchise film, that vessel's filming model was redressed and depicted as its successor starship, the.Initially a vision of the potential for human spaceflight, the original Enterprise became a popular culture icon. The vessel's original appearance influenced the design of subsequent franchise spacecraft.
The model filmed for Star Trek has been on display for decades at the. The Enterprise has repeatedly been identified as one of the best-designed and most influential science fiction spacecraft.
Contents.Development and production Concept and initial design was the original art director assigned to Star Trek;, his assistant, took over when Guzman left the project. Jefferies, who was not a science fiction fan, was the primary designer of the Enterprise and based his work on concepts from series creator.
Roddenberry did not have any ideas about what the ship should look like, but he laid out several parameters for the ship:We're. out in deep space, on the equivalent of a cruiser-size spaceship. We don't know what the mode of power is, but I don't want to see any trails of fire. No streaks of smoke, no jet intakes, rocket exhaust, or anything like that. It will be like a deep space exploration vehicle, operating throughout our galaxy.
The first color rendering of the Enterprise design; soon after, Jefferies would realize the design into a small wooden model. Note the prototypical elements used in Enterprise redesigns, and numerous other Star Trek spacecraft: a disc-like primary hull, a pair of offset engine nacelles, and a cylindrical secondary hull.Roddenberry further specified that the Enterprise would operate mainly in space, have a crew of 100-150, and be incredibly fast.
Both Jefferies and Roddenberry did not want the Enterprise to look like any of the rocket ships already used by the aerospace industry or in popular culture; many of Jefferies' designs were rejected for being 'too conventional'. To meet Roddenberry's requirement that the ship look believable, Jefferies tried 'to visualize what the fourth, fifth or tenth generation of present-day equipment would be like'. Jefferies' experience with led to his designs being imbued with what he called 'aircraft logic'. Jefferies imagined the ship's engines would be too powerful to be near the crew, requiring them to be set apart from the hull. While Jefferies initially rejected a disk-shaped component, worried about the similarities to, a spherical module eventually flattened into a saucer. During one visit to Jefferies, Roddenberry and NBC staff were drawn to a sketch of the Enterprise resembling its final configuration. Jefferies had created a small model of this design that, when held from a string, hung upside-down – an appearance he had to 'unsell'.
Jefferies kept the hull smooth, with a sense that the ship's components were serviced from inside. Some of Jefferies' rejected design concepts – such as spherical hull sections and warp engines that encircle a ship – inspired the design of future Star Trek vessels.The Enterprise was originally going to be named Yorktown, but Roddenberry said he was fascinated by the story of the actual and that he had 'always been proud of that ship and wanted to use the name.' The ship's NCC-1701 registry stems from NC being one of the international codes assigned to the United States. The second C was added because Soviet aircraft used Cs, and Jefferies believed a venture into space would be a joint operation by the United States and Russia. NCC is the Starfleet abbreviation for 'Naval Construction Contract', comparable to what the U.S. Navy would call a hull number.
Jefferies rejected 3, 6, 8, and 9 as 'too easily confused' on screen; he eventually reasoned the Enterprise was the first vessel of Starfleet's 17th starship design, hence 1701. The Making of Star Trek explains that USS means 'United Space Ship' and that ' Enterprise is a member of the Starship Class'. The ship was changed to Constitution class with the release of in 1975.Filming models The first miniature built from Jefferies' drawings was a four-inch scale model., which was producing Star Trek, hired experienced film and television modelmaker Richard C. Datin to make a pre-production model. Datin used a subcontractor with a large lathe for major subcomponents and otherwise worked on the model for about 110 hours in November 1964. The 33-inch (0.8 m) model was made mostly of pine, with Plexiglass and brass details.
Datin made minor changes after Roddenberry's review, and he submitted the completed model – which cost about $600 – to Desilu in December 1964. The 11-foot (3.4 m) filming model used for Star Trek. It appears here in the possession of the, to which donated the model in 1974.Desilu then ordered a larger filming model, which Datin contracted to Volmer Johnson and Production Model Shop in. Datin supervised the model makers and did detail work on the model, which was constructed from plaster, sheet metal and wood. When completed, it was 11 feet 3.5 inches (3.4 m) long, weighed 125 kilograms (276 lb), and cost $6,000. The filming model was delivered too late to be used much for the initial pilot, '.
The 11-foot model was initially filmed by Howard Anderson. When Roddenberry was approved to film the second pilot, ' (1966), various details of the 11-foot model were altered, and the starboard windows and running lights were internally illuminated. When the series went into production, the model was altered yet again, and the model was regularly modified throughout its active filming. Most of the fine details on the large model were not visible to television viewers.Howard Anderson could not keep up with the filming and special effects needs for regular production, so producers hired several other studios to contribute effects and additional footage. Equipment was too expensive, so the ship was filmed with.
Filming was often delayed by the heat generated by the studio and model's lights. Special effects were produced as cheaply as possible. Most third-season footage of the Enterprise was reused first- or second-season footage.
Animators for (1973–75) Enterprise footage to recreate the ship's movements, contributing to the impression of the animated series being a fourth season of the original. The animated medium could not support some of the ship's lighter colors, so the Enterprise was depicted as a consistent gray.For the episode ' (1996), created a model exactly half the size of the original 11-foot Enterprise model, and it was the first production model of the starship to built in more than 30 years. A model of the ship makes a at the end of the series finale, ' (2005).
Artists creating another CGI version of the Enterprise for the remastered television show had to ensure the model was not so detailed that it was incongruous with the overall 1960s production. Sets, sounds and fixtures The Enterprise was meant to serve as a familiar, recurring setting, similar to Dodge City in and Blair General Hospital in. Reusing sets also helped address Desilu's budget concerns. As production continued, standing sets like the engine room and bridge became increasingly detailed. The bridge was monochromatic for 'The Cage', but it was redecorated for 'Where No Man Has Gone Before' because of the increasing popularity of color televisions.
Roddenberry described the ship's hallways as 'Des Moines Holiday Inn Style'. The ship's chairs were manufactured by Burke of and similar to the original designed. Full interior deck plans of the Enterprise were designed by Franz Joseph in 1974, with approval from Roddenberry.
At Roddenberry's direction, sound effects designer Douglas Grindstaff created different sounds for different parts of the vessel. Console sound effects were often created with a Hammond or other musical instrument, and engine sounds were created in part with a noisy air conditioner. Although the ship's interior in The Animated Series was largely recreated from the live action series, a second set of turbolift doors was added to the bridge in response to Roddenberry being asked, 'What do they do if the doors get stuck?'
The Enterprise bridge was partially recreated for the Star Trek: The Next Generation episode ' (1992). The original set had long been torn down, and producers initially planned to use the film-era set. Ultimately, the engineering console, props and recreations of the captain's chair and navigation console were rented from fans, and the rest filled in with archival footage and technology.
Both the exterior and interiors of the Enterprise were created for the Deep Space Nine episode 'Trials and Tribble-ations' four years later. As with 'Relics', the bridge was partially recreated and other parts were added digitally. Used a computer to recreate the graphics seen on the Enterprise sets, and others were drawn by artist. Set designer Laura Richarz's biggest challenge was finding Burke chairs to populate the ship; she found a single one, and from that the production team made molds to create more. 1970s redesigns for film and television.
Patent art submitted by to the for a 'toy spaceship' in the likeness of the redesigned Enterprise in 1979. Probert was granted the patent in 1981.Shortly after the animated Star Trek went off the air, pre-production began on. And designed a new Enterprise with a triangular hull that later inspired the appearance of the eponymous ship in.
Planet of the Titans was dropped in favor of a return to television with, for which Jefferies designed a new Enterprise. He began with the original Enterprise design and identified components, such as the engines, that would have been upgraded. Some components, like the sensor dish, would move inside the ship to be more easily serviced. Abandoning Phase II in favor of producing (1979) necessitated additional Enterprise redesigns because the film medium would resolve more detail than television. One of the most difficult challenges facing the film producers was recreating the Enterprise for film.Jefferies left the project, and art director Richard Taylor wanted to start over with designing the Enterprise. However, Roddenberry convinced him to continue working with Jefferies' design. Taylor brought on to work with him on refining details for the ship.
Probert added details such as phaser banks, control thrusters, and hatches for saucer section landing gears; Taylor redesigned the edge of the saucer and elements of the warp nacelles. Art director and conceptual illustrator added additional details. David Kimble created diagrams and deck plans for the updated Enterprise that were provided to model makers, toy companies, and other manufacturers of licensed products. The Enterprise (left) in (1982). Though the film series vessel was heavily redesigned from the television model, it nevertheless retains the same basic modules.
In designing the Reliant (right), and Mike Minor rearranged familiar components, such as the engine nacelles and saucer section, to establish its connection to the Star Trek universe yet distinguish it from the Enterprise.Jim Dow was in charge of building the model and creating the molds and structural processes. Subsidiary Magicam spent 14 months and $150,000 to build the 8-foot (2.4 m), 39-kilogram (86 lb) model. An arc-welded aluminum skeleton ensured parts of the ship would not sag, bend, or shake when moved. While the original Enterprise model was seen in only 17 poses, the new model had five points of articulation and could be shot from any angle. Paul Olsen painted the distinct 'Aztec' scheme to provide an additional level of detail for the film screen and to suggest the presence of interlocking panels providing strength to the hull.
The effect is made possible by small particles of in the paint, which alters its apparent color. However, the light flare created by the paint caused filming issues that made it hard to discern the edge of the ship against a dark background. Additionally, Trumbull and had problems with the Magicam model; Trumbull relit the ship as if it were an ocean liner, 'a grand lady of the seas at night'.
A 20-inch (51 cm) model was used for long shots.Production designer was responsible for the ship's interior design, though director was responsible for the ship's drab interior color scheme. A new bridge had been designed and partially built for Phase II, and Michelson largely retained the design and its consoles. Films for bridge displays came initially from Stowmar Enterprises of. When production exhausted the films faster than Stowmar could supply them, production designers manufactured their own from, medical imagery, and an experimental computer lab.
Corridors were initially a straight-wall design similar to the television series; Michelson changed them to an angular design with light radiating upward. Set designer Lewis Splittgerber described the engine room set as the most difficult to realize. Through and small actors, the 40-foot (12 m) set was depicted as a 100-foot (30 m) engineering space.The model was refurbished slightly for (1982), with its exterior shine dulled and extra detail added to the frame. (ILM) special effects team developed techniques to depict damage to the Enterprise without physically harming the model. ILM staff found the Enterprise difficult to work with: it took eight people to mount the model and a to move it.
For interior shots, the Enterprise was given a, and more blinking lights and signage to match the nautical atmosphere director Nicholas Meyer was trying to convey. David Kimble's deck plans from The Motion Picture influenced how previously unseen interior arrangements (such as the torpedo bay) were depicted in The Wrath of Khan. Producer decided to destroy the Enterprise in (1984) in response to the film's otherwise predictable plot.Recognizing the plot of (1984) was otherwise predictable, producer decided to have the Enterprise destroyed. Though he meant for the event to be kept secret, news leaked.
Visual effects supervisor hated the Enterprise model and reveled in its destruction. Rather than damaging the large and expensive original model, several less expensive miniatures and modules were created and destroyed. One of the destroyed models had been created by Brick Price Movie Miniatures for Star Trek Phase II. A new ship designed for the film, the USS Excelsior, was meant to make the Enterprise 'look old and out of date'. Model maker tried to imagine what the Enterprise would look like if it were designed by the Japanese, and he used that impression as the basis for his refinement of the Excelsior model.Ralston had hoped the Enterprise's destruction in The Search for Spock would open the door to designing a new model for future films. However, producers for (1986) decided to have the crew return to a duplicate of their previous ship.
Although a new model was not created, it took ILM more than six weeks to restore and repaint the ship to appear as the new. Although the original bridge set had been refurbished and repainted to serve as the bridge for the Enterprise-A, it was scrapped in favor of a completely new bridge set for (1989).
The sleek 'Okudagrams' created for this Enterprise-A bridge were adopted in subsequent films and television spin-offs. When production began on (1987–1994), several interior Enterprise (NCC-1701-D) sets, such as the bridge, were redressed for use on the television show. Some Next Generation sets, such as the 's engine room and conference room, were later modified to depict interiors of the Enterprise-A. 2009 film franchise reboot. The re-conceptualized USS Enterprise as it appears in the 2009 film.
This 'alternate universe' ship retains the same core design as Matt Jefferies' original and includes elements from the previous films, such as the 'Aztec' paint scheme. The enlarged engine nacelles emphasize director 's desire for the Enterprise to feel like a '.The Enterprise was redesigned for the 2009 film. Previsualization lead David Dozoretz credit the designers for overcoming the challenge of doing 'a 2009 version of the '60s'. Director wanted Enterprise to have a ' look while retaining the traditional shape, but otherwise afforded ILM 'tremendous' leeway in creating the ship. According to production designer Scott Chambliss, the designers wanted the Enterprise to appear as carefully crafted as a luxury car. Concept artist retained much of the original Enterprise design and focused on the functionality behind the familiar components. His initial designs were modeled and refined by set designer Joseph Hiura.
This design was then given to ILM for further refinement and developed into photo-realistic models by Alex Jaeger's team. ILM's Roger Guyett, recalling the original Enterprise as being 'very static', added moving components. ILM retained subtle geometric forms and patterns to allude to the original Enterprise, and the model's digital paint recreated the appearance of the 'Aztec' hull pattern from the first films. Perhaps the most notable change was in the large engine nacelles, presenting a sleeker finish and shape to the otherwise simple nacelles of the previous ship. Sean Hargreaves' redesign of the successor NCC-1701-A 'beefed up' the vessel's support pylons, which are depicted as vulnerabilities in (2016).According to Abrams, recreating the original bridge would have been ridiculous and too small. His enthusiasm for a new influenced Church's redesign for the bridge.
Sophisticated technology became a motif on the new set, with multiple displays and computer graphics. The main viewscreen from the television series was kept, and giving different characters their own computer displays suggested the idea of a team working together. Because the original series transport room seemed flat to Abrams, he used swirling light and a moving camera to make the redesigned set and effects more dynamic. Because the budget prevented the creation of a huge, functional engineering room set, producers instead filmed in various portions of a plant.
Consulted with original series sound designed Douglas Grindstaff on sound design for the new Enterprise. Return to television in Star Trek: Discovery , Scott Schneider, and William Budge redesigned the original Enterprise for (2017–present).
The designers had an unusually long time to work on the ship: April to October 2017, whereas they usually had only a few weeks to design a ship. Other than a few small notes, the designers were given no explicit direction about the ship's appearance; Schneider called the redesign project the trio's 'golden hour'.
They briefly considered but quickly decided against an appearance significantly different than Jefferies' original design. Eaves created 10 relatively similar sketches that streamlined the original Enterprise to appear more consistent with the sleek Discovery aesthetic; they selected one of the sketches to refine further. They developed the vessel with the assumption that components like the warp nacelles and impulse engines would be replaced over time; the modules for the Enterprise 's appearance in Discovery are meant to appear more primitive than what is depicted in Star Trek. The designers tried to incorporate elements from other ships that precede and succeed the Enterprise, such as the 21st-century Phoenix in (1996), the 22nd-century USS Enterprise from Star Trek: Enterprise (2001–2005), and the successor USS Enterprise-B from (1994). They also included elements from the Enterprise refit for The Motion Picture.
One distinct challenge was the hull: Jefferies design featured a smooth hull, but the lack of features would appear too simple on modern high-definition displays. The designers added details, such as phaser banks and control thrusters, that 'must have been there' on the original Enterprise but were not depicted on the Star Trek models. The ship's scale also fluctuated, which meant the designers had to adjust the window sizes and patterns. Budge kept the designers in check with ensuring details and features added to the Enterprise were consistent with the design of other ships on Discovery. One such feature was whether the bridge would have a window: most Discovery ship bridges have a front-facing window, but the Enterprise had never been depicted like that. The solution was to depict the Enterprise bridge as having a large piece of transparent aluminum at its front that can become either transparent or opaque as needed.
Eaves sent the design team's model to the visual effects team, which made further design changes. Discovery producer said she hoped fans see the appearance of the Enterprise in Discovery as a blending of old and new Star Trek. Another Discovery producer, wasn't worried whether fans were satisfied with the ship's redesign; while many of the staff who developed the new appearance are Star Trek fans, Harberts stated fans rarely agree on anything.The Enterprise bridge appears in the second season's finale. Production designer Tamara Deverell and her team wanted to honor the original bridge but needed to create the set using modern techniques and to meet modern audience expectations.
The production's, as opposed to the original series' 4:3 aspect ratio, required the set design to be more 'stretched out' horizontally; designers referenced Star Trek film bridges – also recorded in widescreen – to assist with designing for the different ratio. Ultimately, the bridge was a fully constructed set, save for for the main viewer.
The set maintained the original's layout and included references and details from Star Trek, such as and console scanners, red bridge railings, and turbolift handles. They also created new elements, such as a corridor running behind the bridge. According to Deverell, choosing the set's color palette was the hardest part of designing the bridge. The bridge chairs were nearly identical to those used in Star Trek, and the new captain's chair was heavily influenced by Captain Kirk's original. Depiction commissioned the Enterprise in 2245. Is the Enterprise 's first captain, succeeded.
Pike leads the Enterprise for about a decade, and he is the commanding officer in the original pilot 'The Cage' and in the second season of Star Trek: Discovery. Throughout the first live action and animated Star Trek television series, Captain commands the ship on an exploration mission from 2264 to 2269. Star Trek: The Motion Picture begins in 2270 with the Enterprise completing an 18-month refit overseen by its new captain,.
Decker describes the refit vessel as 'an almost totally new Enterprise' when Admiral Kirk takes command of the ship to address a threat to Earth. Star Trek novels and other media depict a second five-year mission under Kirk's command between the events of the first and second films.Captain commands the Enterprise, serving as a training ship, at the beginning of Star Trek II: The Wrath of Khan in 2285. Kirk assumes command to investigate problems at space station Regula 1.
The USS Reliant, hijacked by, inflicts substantial damage to the Enterprise; Spock sacrifices his life to save the ship. Starfleet marks the Enterprise for decommissioning due to its damage and age at the beginning of Star Trek III: The Search for Spock, and Kirk and his senior officers steal the ship as part of their plan to restore Spock's life. During their mission, a attack disables the ship. Kirk lures most of the Klingons onto the crippled Enterprise, which he and his officers set to self-destruct before abandoning ship. When Kirk and his officers return to Earth, Kirk is demoted to captain and given command of a new starship USS Enterprise, NCC-1701-A. The Enterprise-A is ordered decommissioned at the end of.Reboot film series The 2009 reboot film, Star Trek, and its sequels occur in a different timeline than the original Star Trek. The Enterprise makes its first appearance while under construction in, in 2255.
Captain Christopher Pike commands Enterprise on its maiden voyage in 2258 to respond to a distress call from. At the film's conclusion, James Kirk is promoted to captain and receives command of the Enterprise. The vessel is destroyed in Star Trek Beyond and a new Enterprise, NCC-1701-A, is commissioned under Kirk's command.Critical reaction Writing in the, curator Margaret Weitekamp pointed to two distinct celebrity Enterprises: the fictional starship Enterprise as a character or icon of popular culture, and the actual physical object ( i.e., the models used for filming) as an iconic design. According to Weitekamp, 'The two Enterprises overlap, and are clearly related, but they do not map completely onto each other,' and unpacking distinctions between them contributes to scholarly analysis of popular and material culture and of 'this significant television artifact'. The Enterprise as a character According to film critic Scott Jordan Harris, although the contemporaneous prompted intellectual awareness of the possibilities of space travel, it was the Enterprise of the 1960s that sparked space travel fantasies.Like, the original Enterprise is often considered 'a character in its own right', inspiring loyalty and affection. For example, in 2019, called it 'a joy' to see the original Enterprise again, as redesigned for Star Trek: Discovery 's second-season premiere.
Harris described the Enterprise as the franchise's most important character, pointing out:Crucially, the famous words that begin each episode of the TV show, and that recur in the films, are not 'These are the voyages of Captain Kirk.' Or 'These are the voyages of Starfleet.' They are 'These are the voyages of the Starship Enterprise.' The ship's destruction in The Search for Spock, like the death of a character, has been described as 'truly iconic' and 'a good way to go', though wrote that the ship's destruction 'casts a pall' over the film that even Spock's resurrection could not displace. Ranked the scene depicting the ship's destruction the 32nd greatest scene in science fiction. In a 2010 retrospective of the Star Trek films, author Jill Sherwin suggested that the aging Enterprise in The Search for Spock served as a for the aging Star Trek franchise. Design of the Enterprise When it first appeared on television, the Enterprise was called an 'elegant and weird looking behemoth'.
Since that time, the Enterprise 's design, which influenced all future Federation starships in the franchise, has been deemed iconic. The ship's interiors have also been considered iconic examples of 1960s design.Harris, in a book describing evocative objects in film history, included the Enterprise as one of the 50 most significant objects ever to appear in film, alongside the in, the in, and the in. Design expert described the 'convincing and exciting' Enterprise as having the same aesthetic appeal as the, and ocean liner.called the ship's redesign for The Motion Picture 'bold' and 'handsome'.
The visitor's center in, has a replica starship designed like the Enterprise.The starship Enterprise has had considerable cultural impact, and the original ship's model is 'a living cultural object'. Said producers of the original Star Trek received more fan letters about the Enterprise than any of the actors. A write-in campaign in 1976 led to the first being named rather than Constitution. In 2009, named its first commercial spaceship to honor the Star Trek vessel. Is a website that proposes creating a functional spacecraft with a hull similar to the Enterprise.
The evaluated the efficiency of the Enterprise bridge's style and layout, and the bridge of the and the Ship's Mission Center of the have been compared to the Enterprise 's bridge. An exacting replica of the Enterprise bridge created for a Star Trek fan series was later opened as a public exhibit.
The distinct beeps emitted by in are 'an offspring' of the melodic sounds created for the Enterprise 's bridge console.donated the original 11-foot (3.4 m) filming model to the in 1974, disassembled across three crates and dirty. In shipping the model, Paramount estimated the value of the model at $5,000.
Starting in 1976, it hung at an exhibit gallery entrance at the before being moved to the gift shop, where it stayed for 14 years. In the first of its initial restorations, the model was altered to look more like the starship Enterprise and less like a studio filming model. The model underwent restorations in 1974, 1984, 1992, and 2016. For much of its time on display, fans have often been surprised at the differences between the actual physical model and their expectations about how the 'real' spacecraft should appear. A substantial, multi-year restoration culminated in 2016 with the unveiling of a new display in the Milestones of Flight Hall. This most recent restoration highlighted the duality of the Enterprise as both a filming model and inspirational starship.In 2006, bought the Enterprise model created for the original Star Trek films for $240,000, and it is on display at the.
Another model of the original film version is on display at aerospace company. The original ship's captain's chair sold at auction for $304,750., created a 31-foot (9.4 m) model starship inspired by the Enterprise.The Enterprise design has been licensed for use in variety of games, models, and toys. Released a set of 12 Enterprise interior and exterior blueprints in April 1975, and by December 1976 they were in their seventh printing.
The first run of a of the Enterprise for The Motion Picture sold over one million prints. In 2010, 's published a for 'owners' of the USS Enterprise. The has released several USS Enterprise stamps. 's 1966 Enterprise model is one of the company's highest-selling kits.
Winning has used the Enterprise as the setting for two of his illustrations for. Eaglemoss (2013), U.S.S. Enterprise NCC-1701 Refit, Eaglemoss Productions Ltd. Eaglemoss (2019), U.S.S. Enterprise NCC-1701 Special Issue, Eaglemoss Productions Ltd.
(1995), Simon and Schuster,. Robinson, Ben; Riley, Marcus (2010), Haynes Manuals,. Robinson, Ben; Riley, Marcus (2018), Designing Starships: The Enterprises and Beyond, Eaglemoss Productions,.; (1980), The Making of Star Trek: The Motion Picture, New York:,. Vaz, Mark Cotta (2009), Star Trek: The Art of the Film, Titan Books,. Weitekamp, Margaret A.
(2016), 'Two Enterprises: Star Trek's Iconic Starship As Studio Model and Celebrity', Journal of Popular Film and Television,: – via EBSCOHost. Whitfield, Stephen; (1968), The Making of Star Trek, New York: Ballantine Books,Further reading. June 27, 2016. Retrieved August 31, 2018.
Hypersonic velocity test of the hull design by 's X2 Super-Orbital Expansion Tube using. Hamill, Jasper (April 24, 2017). Retrieved August 28, 2018. Redd, Nola Taylor (July 3, 2012). Retrieved August 31, 2018.External links.
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Contents.Design , who helped update the original for, designed the Enterprise-D. Originally assigned to design the bridge, Probert had a 'what if' sketch hanging on his wall that he had drawn after working on The Motion Picture. Story editor saw the sketch and brought it to creator 's attention, who approved the sketch as a starting point for the Enterprise-D's design. Probert received a on the Enterprise-D design in 1990.An team supervised by Ease Owyeung built two filming miniatures (a six-foot 1.8 m model and a two-foot 0.61 m model) for ', the Star Trek: The Next Generation pilot, and these models were used throughout the first two seasons.
For the third season, model-maker Greg Jein built a four-foot (1.2 m) miniature, which had an added layer of surface plating detail. The six-foot (1.8 m) model was used whenever a saucer separation sequence needed to be filmed, and it was then updated by ILM for use in.
said, 'When we negotiate our contracts, 's company line is that the ship is in fact the star of the show!' In October 2006, the six-foot (1.8 m) Enterprise shooting miniature was auctioned in New York City at, along with other models, props, costumes, and set pieces from the Star Trek franchise. Its projected value was $20,000 to $30,000, but the final sale price was $576,000 – the most expensive item in the auction.ILM's also built a model of the Enterprise-D for the film (1994). That model was transferred to and used to create various in episodes of and in the episode '.
Eden FX's built a new CGI LightWave model for the Enterprise-D's appearance in 's series finale, '. The proportions of the Galaxy-class Enterprise-D were different from the original Enterprise while retaining its familiar dual and saucer section appearance. The nacelles were made proportionally smaller than the saucer section, based on the idea that warp engines would have become more efficient over time.Depiction The Enterprise-D is first seen in the episode ' under the command of Captain. Several episodes, as well as the ship's dedication plaque, establish that the Enterprise was built at the in orbit around. The Enterprise-D is the third, after the USS Galaxy and the USS Yamato. The dedication plaque gives its commissioning date as 40759.5, which was intended to represent October 4, 2363, which would be the 406th anniversary of the launch of, humanity's first spacecraft.During the Star Trek: The Next Generation series, the ship's crew makes with many species, including the in ' and the in 'Encounter at Farpoint'.
The Enterprise-D is instrumental in the defeat of the Borg during their 2366 attempt to invade the Federation in '. The Enterprise's saucer section crash landingIn 2371, as depicted in, the Klingon obtain the phase modulation frequency of the Enterprise-D's, rendering them useless.
Although the Enterprise-D destroys the sisters', damage to the coolant system prompts an emergency saucer separation. The warp core breaches moments after the saucer begins to move away, destroying the ship's stardrive section. The resulting shock wave disables the saucer's propulsion and other primary systems, sending it into 's atmosphere. Caught in the planet's gravity, the saucer section crash lands on the surface, damaged beyond repair. It was replaced by the, which was introduced in the film.According to commentary on the DVD, one of the real world reasons for the Enterprise-D's destruction stems from a concept drawing of a saucer section landing, produced for the. TNG writers, and saw the drawing and wanted to use a saucer crash as a sixth-season cliffhanger episode for the series, but were unable to do so because of a limited budget and resistance from producer. Alternate future In the alternate future depicted in the TNG ', the Enterprise-D is intact in 2395.
The personal flagship of Admiral, the ship has undergone major refits, including the addition of a third warp nacelle, new weapons, and a. This future timeline arises from a temporal anomaly that Picard, with 's help, manages to eliminate.Technical capabilities During the time of its service, the Enterprise-D was the pinnacle of the Federation Starfleet.
A Galaxy-class starship, it was a large, long-range exploratory ship with 42 decks and a usual complement of 1,014 crew and civilians (e.g., their family members) but it was capable of carrying over 6,000 personnel. It was also the strongest, most powerful, and among the fastest starships in Starfleet at the time.Starship separation The Galaxy-class Enterprise was capable of separating into two ships: the saucer section, with most of the ship's complement and accommodations, could separate from the stardrive (or engineering) section, featuring the warp reactor and the bulk of the weaponry. The saucer section was sometimes used to evacuate its non-essential complement while the stardrive section went into combat, as seen in The Next Generation episodes ' and '.'
This feature also conferred an advantage of having two vessels in combat instead of one as in ',' or acting as a lifeboat as seen in the film. The Enterprise-D was the only starship seen in any of the television series to separate until the during the fourth season of Star Trek: Voyager.Command. The main bridge replicated for exhibitionThe main bridge of the Galaxy-class Enterprise is on Deck 1.
Three distinct Galaxy-class bridge variants have been seen with a fourth from the alternate future variant of the series finale: the Enterprise bridge in The Next Generation (which undergoes a redesign in the first two seasons), the Enterprise bridge in Star Trek Generations, and the USS Odyssey bridge in the Star Trek: Deep Space Nine episode '. The Galaxy-class Enterprise also has a secondary battle bridge on Deck 8 of the secondary hull, for use when the saucer separates.
It is first seen in the TNG episode ' and again in ', with an updated version appearing in '.Science and research. The aft stations on the bridge, from left to right: Science I, Science II, Environment, Mission Ops, and EngineeringThe Galaxy-class Enterprise supports an array of scientific disciplines, with laboratories and departments devoted to, and planetary. Tactical The Galaxy-class Enterprise is armed with twelve Type-X arrays and three launchers, each capable of firing 10 torpedoes at a time. One phaser array is mounted on the 'cobra head' of the secondary hull while a photon torpedo launcher is mounted on the ventral aft of the saucer; both are inoperative while the saucer and stardrive sections are docked. The ship also has a high-capacity shield grid and, according to dialogue in the Next Generation episode ', at least 250 photon torpedoes.Transportation The Galaxy-class Enterprise has at least eight transporter rooms and 20 transporter systems. The ship has one large main shuttle bay in the saucer section, supported by two smaller bays in the stardrive section. The ship carries a variety of shuttlecraft and a captain's yacht (according to, the yacht is named Calypso, after 's; though visible on the underside of the Enterprise saucer, it did not make an appearance during the series).
Medical and life support systems. Saucer section officer's quartersVarious Next Generation episodes show that the Galaxy-class Enterprise has amenities such as, an, a school, a gymnasium, and a bar called Ten Forward. According to 'Encounter at Farpoint', several Enterprise crewmembers' civilian family members (including children) are aboard even though the Enterprise routinely faces situations that could easily end with the complete destruction of the ship with all hands. Some civilians work aboard the ship, such as the bartender Ben in ' and in ' and other episodes.Reception In 2018, / ranked the fictional spacecraft design, the Enterprise-D, as the 5th best version of starship Enterprise of the Star Trek franchise.In 2019, ranked the fictional starship design, the NCC-1701-D Enterprise as the second best version of the starship in the Star Trek science fiction universe. They note that although it was partially destroyed in the Battle of Veridian III, it might be upgraded in the future with a massive ventral space canon and capable of Warp 13.
In contrast they note that the regular version, while capable of standing up to s and replete with a carpeted interior and a bar, can only go Warp 9.6. References General references. Drexler, Doug; Sternbach, Rick & Zimmerman, Herman (1998). Pocket Books. Lebowitz, Adam; Bonchune, Robert (2001). Star Trek Starship Spotter.
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Pocket Books.Inline citations. Nemeck, Larry (2003). Star Trek: The Next Generation Companion.
Pocket Books. ^; Okuda, Denise & Mirek, Debbie (1999). Pocket Books. Retrieved December 30, 2012. United States Patent and Trademark Office. Archived from on January 18, 2017.
^ Okuda, Michael & (1991). Pocket Books. Archived from on November 15, 2001. Retrieved May 7, 2011. Retrieved June 9, 2007. ^ '. '.
Star Trek: The Next Generation. '. Star Trek: The Next Generation.,. ^, (1994). '.
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Whitbrook, James. Retrieved July 9, 2019.
^ Brigden, Charlie (January 21, 2019). Retrieved July 31, 2019.Further reading. Hardy, Sarah; Kukla, Rebecca (Spring 1999). 'A Paramount Narrative: Exploring Space on the Starship Enterprise'.
The Journal of Aesthetics and Art Criticism. 57 (2, Aesthetics and Popular Culture): 177–191.External links. at (a ).