Observations in TNG: "11001001"

A joint project with TrekCore, by Jörg Hillebrand and Bernd Schneider

Here are some observations about sets, props and visual effects in TNG: "11001001" without a specific theme, and a comparison of the original TV release (TNG) with the remastered episode (TNG-R).

"11001001" HD Screencaps @ TrekCore

Description TNG Other caps Comparison TNG to TNG-R Description TNG-R
The 2-foot model of the USS Enterprise-D makes a prominent appearance in this shot of the ship approaching the starbase. While it still looks great in HD, the proportionally large position lights are very noticeable now.

The episode features several graphics of Starbase 74. The side view of the large hollow section of the station is hidden behind the science crew member but will be seen much better later in the episode. The graphic on the left shows a top view of the large interior docking space with the central cross-shaped section.

Mike Okuda: "The starbase/spacedock diagrams on the bridge aft stations (and elsewhere) were recycled from graphics I had done for the spacedock control booth in Star Trek IV."

The graphics can be seen much better in HD.
The footage of Starbase 74 is a re-use of footage of the Earth Spacedock from "Star Trek III: The Search for Spock". In the first shot, the interior of the starbase, as seen through the opening doors, is lit, in Star Trek III, the interior is unlit in the same shot.
"Star Trek III"
The remastered version still shows the same shot with the studio models, only with greatly improved resolution. The original negatives of the movie were scanned for this purpose.

"Star Trek III"
Footage (a still image, actually) of the starbase door and the interior of the base was also taken from "Star Trek III: The Search for Spock". In the film, the footage does not appear when the USS Enterprise enters the starbase, but rather when it leaves the base later in the film. In addition, the footage was mirror-inverted.
"Star Trek III"
Note the corrected hue and the improved lighting effects.
In HD we can read the mirrored registry.
This is the first appearance of the reworked MSD pool table, normally seen in main engineering. The table plate is thinner and its edges are smooth and rounded. The central part of the table plate is also black and no longer brightly illuminated now. A few scenes later, the same table is seen in main engineering aboard the USS Enterprise-D. To turn the table into this Starbase 74 table, the slanted central console was replaced by a different one, featuring an Okudagram of the starbase.
"Star Trek IV"
No changes
A small yellow shuttle hovering in front of the USS Enterprise-D is first seen through the starbase office window in this sequence. A better look at the shuttle in HD.
This shot from the inside of the airlock to the corridors aboard the USS Enterprise-D reveals that the airlock is located at the end of the short side corridor to the right of the large USS Enterprise-D MSD in main engineering. For this shot, the set has been redressed as a corridor lounge. No changes
The Enterprise inside the starbase on Andy Probert's famous matte painting. The Enterprise is connected to the starbase by an airlock corridor. No change to the matte painting with the added effects. However, the spacedock craft that flies by is better recognizable now.
It seems the shots of Quinteros and the Bynars entering the Starbase 74 and USS Enterprise-D airlocks have been edited incorrectly.
  • Quinteros and the Bynars are first seen in a dark corridor, approaching the outer airlock door of the USS Enterprise-D, as the markings on the hull of the ship can be seen in this shot. So they have to be already in the airlock corridor in this shot.
  • The shot then switches to a closed door. This door is actually located on the opposite side of the darkly lit set.
  • The door opens and Quinteros and his team can be seen entering this airlock from the other side, which is brightly illuminated. It is clear that they are leaving the starbase and entering the corridor, as the text "Welcome to Starbase 74" is seen on a wall behind them. But this wouldn't make sense, as they were already approaching the outer door of the Enterprise.
  • The outer airlock door of the USS Enterprise-D is then seen opening from the inside of the brightly lit airlock corridor aboard the Enterprise and Quinteros enters the ship - again.

It seems that the shots were mixed up. In the presumably correct order, Quinteros and the Bynars should first enter the corridor (as seen from inside the corridor), then approach the outer door of the Enterprise (seen from their perspective) and then board the Enterprise (seen from inside the ship). It is possible, though, that this was done on purpose to make the Starbase 74 airlock corridor appear longer and thus correspond more closely with Andy Probert's matte painting seen a few seconds earlier in the episode.

Mike Okuda: "A while back, I tried recutting the sequence, just as a test. I just swapped the order of the 'incorrect' shots to see what it would look like if it had been put together in the way we originally envisioned. Suddenly, the layout of the set made more visual sense, including the placement of my 'Welcome to Starbase 74' sign. But I noticed something: The 'corrected' version made it seem like the jetway between the starbase and the Enterprise was a lot shorter. Even though the actual screen time was the same, the way it's cut in the aired version of the episode breaks up their walk, and makes it seem like they're walking a lot further. Bearing in mind that the jetway set was a LOT shorter than the jetway as seen in Andy's matte painting, I'm not sure this is a bad thing. I even suspect that it may have been a deliberate editorial choice."

No changes
Small carry cases like this later appeared in many episodes, often as medical containers in sickbay. The cases originally held audio cassette tapes. The case also showed up in "Star Trek V: The Final Frontier" and in "The Neutral Zone".
"Star Trek V"

"The Neutral Zone"
We can see the cases a bit better in HD.
The location of the airlock is seen more clearly in this shot. When Quinteros, Picard, Riker and the Bynars leave the airlock, they pass main engineering (redressed as a corridor lounge). The MSD has been replaced by a cargo bay door. The shot then switches to the team entering main engineering (now properly dressed as this set) from the corridor on the other side of the MSD. In this shot, the reworked MSD pool table first appears in main engineering. No changes
Main engineering has been redressed again and appears as the aforementioned corridor lounge. The pool table and the wall mounted MSD have been removed and the LCARS displays have been covered with a silver wall panel. In the early seasons of TNG, the door on the left is a turbolift access. Later in the series, the Jefferies tube access was located behind this door. No changes

For the first time in the series, the brown bridge wall panels have been removed to reveal the circuitry behind.

Mike Okuda: "This was the first time that the side panels on the bridge were opened. I designed the pull-out isolinear circuit boards for this episode, and they appeared (often in modified form) in many subsequent episodes. I had hoped that these would suggest the simulated "isolinear chip rack" graphic panels that I used throughout the ship."

No changes
The blue and black parrises squares uniforms are seen in only one more episode, "Future Imperfect", worn by Jean-Luc Riker, aka Barash.
"Future Imperfect"
No changes
These round cases make their first appearance in this shot. They were seen in many later TNG and DS9 episodes, usually used by crew members on short trips, like Picard in "Family" or Worf in "The Way of the Warrior".

DS9: "The Way of the Warrior"
In HD, the names on those cases can be read. According to the case, the tall crewmember is Ensign Longo, most likely named after Joe Longo, property master on the show.
Data works on his painting of the Zylo eggs. The painting was actually created by Rick Sternbach.
Space Art in Star Trek: The Next Generation
We can recognize in HD how Data's painter's palette contains all the correct colors for his painting.
This episode features a good look at some of the golden models in the observation lounge. A better look at the models in HD.
Thin plastic PADDs have regularly appeared in the first four Star Trek films and the first season of TNG. Those PADDs normally featured colorful symbols and lines. These two PADDs, however, feature familiar LCARS-like patterns. A closer look at the PADDs in HD.
A good look at the ammonite which appeared in Crusher's office in the first season. The same ammonite would later adorn Picard's ready room, beginning in the 4th season.
"The Best of Both Worlds II"
A closer look at the prop in HD.

All Bynars have one normal ear (on the side without the implant) and another enhanced one that just looks like two circles. I think this is all what is left of Andy Probert's original asymmetric design.

Bynars design sketch
A better look at the circuits (and the ears) in HD.
The holodeck circuits appear again after "The Big Goodbye". The small, orange, irregularly shaped cover and the device Wesley uses to take a closer look at the circuitry are missing.
"The Big Goodbye"
The small holodeck corridor has changed slightly. The turbolift is now to the left of the holodeck door. The wall with holodeck controls and the circuitry (last seen in "The Big Goodbye") is on the right of the door.
"The Big Goodbye"
No changes
The Bynar PADD. The features of the Bynar PADD and scanner and the holodeck PADD (attached tot he arch) can be seen much better in HD.
The neon sign "Bourbon Street Barn" previous appeared in the Murder, She Wrote episode S01E13 "Murder to a Jazz Beat". This one aired 03 February 1985, 1020 days before "11001001" shooting began. Bourbon Street Barn is the episode's crime scene, as seen and mentioned in dialogue. At 35:36, the camera pushes in toward the sign itself.
Murder, She Wrote
The neon sign in HD.
The Holodeck arch, last seen in "Haven", returns. No changes
In SD, we can't recognize much of the sheet music on the piano in the bar. Only in the HD close-up , we can see that the one on the very right is "The Stars and Stripes Forever" by Sousa, a bizarre choice in a jazz bar...

A visual "47" can be seen to the left of the Bynars.

Mike Okuda: "The 'visual 47' wasn't intended as such. It was a portion of a buddy's computer access account number from our college days."

A close-up in HD.
The wall to the right of the MSD, behind Geordi, is similar to the walls hiding the doors connecting main engineering with the corridor set. It is unclear why it appears in this shot. A better look at the MSD in HD.
What must be the biggest black cardboard strip ever seen on the show covers the right end of the MSD. It is visibly attached to the plexiglass with three strips of adhesive tape. The cardboard can be seen better in HD.
The reacting shots of the crewmembers in the corridor are re-used from "Where No One Has Gone Before". The last shot is slightly longer in this episode. No changes
A nice cross-section of Starbase 74 can be seen behind the Bynars. The same graphic appears again later in the episode. We can make out some more details in HD.

The console on the right was rented from Modern Props. It also appeared in "Datalore".
Consoles by Modern Props in Star Trek

Note that the lettering on the Enterprise's warp pylon is reversed.

The lettering was fixed for TNG-R.
The consoles in the background (with chairs in front of them) also appeared on Velara III in "Home Soil" and Dr. Manheim's lab on Vandor IV in "We'll Always Have Paris".
"Home Soil"

"We'll Always Have Paris"
No changes
Two yellow shuttles are seen again, hovering around the USS Enterprise-D. A close-up in HD.
A close look at the Starbase 74 graphic. A few more details are recognizable in HD.
A starbase directory can be seen in the background. A similar directory is seen on a wall of the planet-based facilities of Starbase 515 in "Samaritan Snare".
"Samaritan Snare"
The starbase directory can almost be read. It seems most of the text points toward passenger lounges and cargo transporters.
The complete, unobstructed starbase cross-section can finally be seen here. A close-up in HD.
It does not become clear in the original episode what exactly is reflected in the console the commander is operating before Data (left) and Geordi (right) are beamed over from the Enterprise. It looks like the LCARS console in the background (meaning the footage was not modified in this portion in post production). In HD, we can see the red reflection of Geordi's left arm in this console before the transporter is even activated.
The interior of Starbase 74 is again re-used from "Star Trek III: The Search for Spock".
"Star Trek III"
The shot looks even better in HD.
When the Enterprise departs from the station, we can are shown footage of the arrival, only played backward and mirror-inverted.
No changes
A wider shot of the starbase door from the inside of the base, like the shot seen earlier, lifted from "Star Trek III: The Search for Spock". We can recognize details of the previously blurry Enterprise in HD.
Two characteristic PADDs can be seen to the left and right of the holodeck control LCARS display Picard uses in this scene. In "Code of Honor", Tasha Yar used the PADD to start a holodeck program instead of using a voice command. One of those PADDs was later seen up close as a medical PADD in "We'll Always Have Paris". Slightly modified, they also appeared as Orion PADDs in the Enterprise episode "Borderland" more than 15 years later.
"We'll Always Have Paris"

ENT: "Borderland"
The PADDs in HD.
This shot was very blurry in the original version of the episode. In HD, the shot looks simply stunning.
This shot of the Enterprise at warp was created for "Encounter at Farpoint" and also appeared in "Lonely Among Us" (mirror-inverted there).
"Encounter at Farpoint" SD

"Encounter at Farpoint" HD
Unlike TNG-R: "Encounter at Farpoint", the remastered versions of "Lonely Among Us" and "11001001" use HD scans of the original film.
The weapons room door is nearly never used on the show. In the first three Star Trek films, it was the original door to the transporter room. When the room was shortened in preparation for TNG, a larger double door further down the corridor was created as the main entrance to the transporter room. The smaller door now led to the science laboratory which will not be seen up close until the next episode, "Home Soil". No changes
Picard and Riker enter main engineering through a hidden side door in the chief engineer's office. This door leads to the small alcove with the turbolift access in the corridor set. No changes
The names of several key components of the USS Enterprise-D's warp drive are first seen here. The term "warp coil" wasn't heard in dialog until "Tin Man", for example. The Bussard collectors were first mentioned in "Samaritan Snare", the plasma injector was first mentioned and seen in "Eye of the Beholder". We can read now all the words in HD.
The LCARS display with the "Access denied"-sign was added to the set for this episode. The display stayed in place until the end of the series, though. In some episodes, like "Silicon Avatar", the original transparency with the text "Access denied" can still be seen, even though the display is never lit again. To the right of the display is the door that leads to the back entrance to main engineering Picard and Riker use in the previous scene.
"Silicon Avatar"
A close-up of the sign in HD.
Bynaus and its sun were previously seen in "Haven" as the eponymous planet and its star, Beta Cassius.
Re-Used Planets in TNG
The planet Bynaus, like Haven, was not reconstructed for TNG-R but the original material was refined.
This is again stock footage from "Star Trek III: The Search of Spock". In the film, the footage appears when the USS Enterprise leaves spacedock and is followed by the USS Excelsior.
"Star Trek III"
Once again, note how much sharper the image is in TNG-R.



Thanks to Jason C for the hint about the reflection in the starbase console and to @mountsutro for finding the neon sign.


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