[Computer] Proximity alert. Unknown vessel approaching.
You just led them straight to us.
What the hell is going on?
We're being hunted.
By whom?
[Computer] Forward blast doors retracting.
See for yourself.
Some of the best Star Trek
hinges on an amazing villain.
Good afternoon.
I am Captain Vadic.
And we wanted to create
one with Vadic, Amanda Plummer, and her ship.
We wanted a really iconic ship, the Shrike.
Something that terrifies you immediately
when you see it coming out of a nebula,
and you know you don't want to be in its crosshairs.
You have been causing us some concern, Captain.
State your business.
Oh, Admiral Jean-Luc Picard,
in the synthetic flesh.
The ship was amazing.
Smaller. Homey.
For me, very homey.
The colors were cool.
They made a special chair for me,
which was delightful.
I could really move around in it, and play in it.
Turn your back to run, and the only way
you'll see the shot that kills you
is through the hole in your proverbial chest.
We've seen on Star Trek, two ships face off.
We've seen photon torpedoes.
We've seen phasers.
I remember someone in the writer's room pitched
that what if you used a tractor beam
and actually physically threw another ship
at our heroes' starship.
When the Shrike throws The Eleos at the Titan,
you want to have it feel realistic,
as far as scale and mass,
because these are big ships doing big things.
But you also want it super exciting and dramatic.
Shields up! Evasive maneuvers!
It's just such a great idea,
which I wasn't sure if we could pull off,
but we put it in the script,
and months and months of visual effects later, finally,
we have this thing, and I think
it'll be a really cool moment.
I'm pretty excited to see how fans react to that.
It's certainly something we haven't really seen
in Star Trek before.
When approaching any of the design of the ships
that we've been doing in these Trek shows,
it's been very important that each feel like its own thing.
We're always looking at how to add as much definition
and detail as possible, so each of the ships
feel like it's their own character,
and they really stand alone.
I thought you might care to know the name
of my particular vessel.
The Shrike.
Some of the challenges in bringing
the Shrike to life is that
you wanna break ground if you can
on the design of a ship,
but it still has to fit in the Star Trek Universe.
I feel like Dave Blass, our production designer,
worked with his team and really came up with
a menacing silhouette that has a lot of drama to it.
We started with John Eaves and Doug Drexler,
two amazing concept artists from the history of Star Trek.
And we just went back and forth, and back and forth,
going around of how we want it to look,
and refined it down to a simple design
when you saw it, it felt like a predator.
The big difference between cinema and TV
is that in TV, you have to roll one set
into another set, into another set.
So when it came down to the Shrike in the bridge,
so we're like, okay, well what do we have available?
Well, we have the downstairs of La Sirena.
So it was sitting there looking at it,
going, how can I take the geometry,
and change the geometry of the ship,
change it dramatically?
And then work with the lighting designer Crescenzo,
and come up with something that's drastically different,
and gives it a very big mood.
So when you're dealing with the lighting on the ship,
the embedded lighting,
the design of that lighting is so crucial.
So, we came up with a lot of different facets
of angles of light
that when cast would walk through,
they would get little glimpse of light into their eyes.
We would look around the set,
and you would see these fingers of light,
shafts of light, and it created these really
dark quasi-silhouettes, these dark silhouettes,
that made the characters really ominous looking.
I'll peck and I'll jab
at everything that makes you, you.
Behind the captain's chair, we have this organic material,
and I'd like to say it was something super cool
and high tech, but it was really window screen.
You just crunch it up, and it's like
metal window screen that you crunch up,
and you uplight it.
What I liked, was that it allowed
for the joining of lighting and design.
Again, working with Crescenzo,
it was creating the the web patterns that we did,
that allowed the smoke and the lights to come through.
It really worked together.
Without the lighting, there was no set.
So it was a really nice combination of lighting and design.
Oh, follow him!
Follow him!