So we see a whole load more from the space suit sequence here.
Including some impressive views of the Klingon ship Burnham explores.
We get some new shots of Captain Lorca, including talking to what appears to be another Starfleet Captain (maybe the same person in the bridge scene above).
And an action shot sliding along a floor with phaser rifle in hand.
Here's a happy Cadet Tilly
And a shooty Captain Georgiou
In other news, Instagramer Derek Attico discovered this new T'Kuvma poster, following the same design format as the Burnham poster released a while ago:
And finally, a couple of days ago there was a Discovery production design panel at FanExpo Canada. Attendees got a look at some new concept art and behind the scenes stuff, which sadly hasn't made it to the wider world yet, but reporters at the panel did note some new details revealed in the talk. TrekCore have an excellent report on the panel, including a few quotes which highlight how the design team seek to build upon the 60s routes of the era they are designing, as described by production designer Todd Cherniawsky:
It seemed to make sense to be as true to TOS as possible; that series was envisioned in the 60’s. We asked the [design] team to always that as our point of reference – what would the future look like in the 60’s? – but still, of course, utilizing all the great tools we have today.Supervising art director Mark Steel contextualised that in the media environment they now working, describing today's TV brilliantly as "episodic cinema":
But the big difference in terms of where we are now, compared to then, is that we have essentially episodic cinema that’s being produced now — and that brings with it a scale and challenge that pushes our design process into the realm of feature film. In our sets, in terms of detail and facility, are on par with major motion pictures now.
What that means, is that in our modern television production, there are 7 art directors, more than 9 illustrators, more than 35 set designers, and more than 450 painters, carpenters, sculptors, model makers, welders, set dressers, prop builders — in shops in Toronto, Montreal, Calgary, and Los Angeles — all working together to bring us this volume of scenery to make the show.
There were certain staging requirements for the [Klingon sarcophagus] ship — that it needed to have a cathedral-type presence to be a church, a ritual space, and a functioning bridge for the Klingon Empire.They also discussed how they designed the Starfleet sets to be used as different sets, and many other aspects of the production - Checkout TrekCore's report for much more.
The sources that the design team went to were feudal sources – so going back to Byzantine and medieval gothic and Islamic sources, to find references that would create a high level of sophisticated detail, for a race that had long been perceived as brutal, one-minded, and simplistic in order to breathe new life into the Klingon race and raise them to the worthy adversarial position that this new iteration of the series demands.
The Klingon sarcophagus ship, as it became known, [is] a flagship of sorts for the Klingons, [with] multiple levels, mezzanines, and focal points for dramatic staging of our Klingon leaders, orating to their followers, and creating dramatic spaces where power plays and shifts of power could occur.
Star Trek: Discovery is due to start this September, and it will be distributed almost everywhere in the world on Netflix, except for the US where is will be available on CBS All Access, and Canada where it will be on Bell Media channels and services. To keep track of all the latest details from the new show, visit my Star Trek: Discovery guide page.
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