Issue link: https://digital.copcomm.com/i/1504681
photos from season six. Those were given to Set Designers Kevin Cross and Kyle Courter to update for a modern-day build. From there, Kloczkowski worked with the special FX and set decoration team to create the custom bridge chairs and track down the original fabrics and carpets. Video playback supervisor Todd Marks found 50-inch LCD 16x9 monitors that fit behind square holes, that would be used in place of the old static LCARS displays which were done on plexi and CRTs and give us the freedom to animate the displays as needed. Mike Okuda recreated his classic designs, color-matching them to what was seen on screen as the 1980s; when the consoles were lit by fluorescent lights. Now they would be monitors or lit by color-corrected LEDs. He even added vignettes around the edges to mimic the fall-off from the old lights, so the displays would feel right on screen. Watching the actors who had inspired me to get into Production Design walk onto our set and tear up with emotions was the most rewarding experience of my career. ADG D E F G David Blass, Production Designer Mark Zuelzke, Super vising Art Director Louis Joseph Comeau IV, William Eliscu, Liz Kloczkowski, Kit Stølen, Art Directors Virginal Berg, Dylan Bocanegra, Rupali Ingle, Shannon Walsh, Assistant Art Directors James Addink, Jiarui Bai, Kyle Courter, Kevin Cross, Yihong Ding, Tim Earls, Robert Johnson, Scott Schneider, Steve Saylor, Set Designers Harald Belker, Matthew Cunningham, James Chung, Daren Dochterman, Doug Drexler, John Eaves, Sean Hargreaves, Igor Knezevic, Bill Krause, Fabian Lacey, Michael Meyers, Darek Zabrocki, Concept Artists Monica Fedrick, Alan Kobayashi, Michael Okuda, Arthur Ontman, Geoffrey Mandel, Graphic Artists Timothy Stepeck, Shauna Aronson, Set Decorators