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If they decide to tranfer B5 to HD they can only re-use the live action shots. In my opiniom they have to redo all the effect shots, everything else would be out-of-date. I was not even satisfied with the CGI's back in the 90s when I first watched one or two episodes. To bad that they lost the control files...
Registered: Oct 2002
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^Even some of the original live action footage is gone. As I recall WB were a bit sloppy with storing the film masters and...well, basically rats ate some of it.
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That does indeed suck- but no amount of CGI updates would fix the terible acting and awful dialogue...or the shit way season three ended.
Registered: Aug 2002
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It is nice and does reveal some details on studio models used, but I'm not terribly excited. A syndication broadcast of this would be nice though...
Registered: Feb 2005
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I'm a little amazed how much detail was apparantly lost with that huge space jellyfish from Farpoint. Looks like ILM built it more to a movie spec than for TV.
I'm not so sure every miniature shot will fair as well if they end up doing the full series. Some of that stuff was (understandably) very quick and crude.
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Yeah, the space jellyfish looks great-as does the opening credits...but nothing will remove the indellible stain or Marina Sertis' "acting".
Registered: Aug 2002
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She sensed it right through the viewscreen...millions of miles away. She can even do it from another solar system- all tranmitted through that most empathic of devices. The viewscreen.
Personally, I think she was just...insane. She was good at reading facial ticks and body language and her heaving breasts and creepy black eyes somehow distracted from the utter nonsensical aspects to her "empathic powers".
Registered: Aug 2002
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Speaking of early install weirdness, has anyone ever noticed that the table in the observation lounge had holographic projectors. I think they only used once or twice in season 1, but never again afterwards.
Registered: Feb 2005
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Someone in VFX probably realised that making a backlit print for the wall display was cheaper...and easier for the actors to look at than empty air on top of the table.
Registered: Aug 2002
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I think cost was the determining factor. On top of that it rather restricts what a director can do in a scene if they are forced to lock the camera off every time they use that thing.
One thing I never quite got in DS9 is why they barely ever used the holo-communicator, even after they spent a whole episode basically showcasing the thing in season five. You'd think having the other actor right there on set would have been easier, cheaper conducive to better performances and freer camera movement than using the old fashioned blue screen method.
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