
English: 
[Nessi] TOBIAS RICHTER
As we can see, it is Thursday and
things are not running smoothly.
I originally planned to give a presentation
with my Laptop, here on stage.
That will not work because the
cables have not been laid.
That means, I am about to leave the stage,
run upstairs and give the presentation from there.
Then I will come back down again
in order to answer questions.
You will have to do without seeing me,
but you will still hear my voice.
I hope it is still doable.
My entire talk is about Phase II.
One or other of you will
already know about it.
It is a fan-series that as it were,
three year mission..,  to catch up
with the remaining 2 years
of the Enterprise's five year mission.
They produce their own scripts
in full episode length.

Spanish: 
¡Tobias Richter...!
TOBIAS RICHTER
MIEMBRO DE PHASE II
Como hemos comprobado, es jueves
y las cosas no discurren fácilmente.
Tenía planeado dar una charla
con mi portátil, sobre el escenario.
Pero no han puesto los cables.
Así que dejaré el escenario
y subiré a dar la charla desde allí.
Luego, bajaré
a responder preguntas.
No podréis verme,
pero oiréis mi voz.
Espero que sea factible.
Toda mi charla es
sobre "Phase II".
Algunos la conocéis.
Es una "fan-serie" que,
digamos...
...tras los tres años de misión,
trata de acabar los dos restantes...
...de los cinco años
de misión de la Enterprise.
Elaboran sus propios guiones
y episodios de larga duración.

English: 
[Nessi] TOBIAS RICHTER
As we can see, it is Thursday and
things are not running smoothly.
I originally planned to give a presentation
with my Laptop, here on stage.
That will not work because the
cables have not been laid.
That means, I am about to leave the stage,
run upstairs and give the presentation from there.
Then I will come back down again
in order to answer questions.
You will have to do without seeing me,
but you will still hear my voice.
I hope it is still doable.
My entire talk is about Phase II.
One or other of you will
already know about it.
It is a fan-series that as it were,
three year mission..,  to catch up
with the remaining 2 years
of the Enterprise's five year mission.
They produce their own scripts
in full episode length.

English: 
All that with standing sets
that are in found in America.
They have built the entire bridge
and various other rooms.
and produce, twice
a year for two weeks,
an episode respectively.
At least theoretically.
We have four or five episodes
that at the moment are in
different stages of
post-production.
That is, we are busy filming, but we are
not keeping up with the releases.
We hope that, that will
improve in the following years.
At the moment we have a quota of 1
to a maximum of 2 episodes each year.
But after all, we already
have 6 or 7 episodes.
For the past 2-3 years, I am
responsible for visual effects.
Everything which has to do with space
ships or with outer space comes from me.
There is another artist 
involved called Pony Horton.
He does all the beam effects
and a lot of the matte paintings.
We split the work between us.
Today, I am going to show a few
examples of the work that we did.

Spanish: 
Todos en decorados fijos
que están en América.
Han construido un puente completo
y otras dependencias.
Y ruedan un par de veces al año,
durante dos semanas, por cada episodio.
Eso en teoría.
Tenemos cuatro o cinco episodios
en este momento...
...en distintas fases
de post-producción.
Es decir, rodamos,
pero no estrenamos al mismo ritmo.
Esperamos que eso mejore
en los próximos años.
Por el momento el ritmo es de uno,
o máximo dos, episodios al año.
A pesar de todo,
ya hay seis o siete episodios.
En los últimos dos o tres años he sido
el responsable de los efectos visuales.
De todo aquello que tiene que ver con
naves espaciales o el espacio exterior.
Hay otro
llamado Pony Horton...
...que hace todos los efectos de rayos
y fondos virtuales.
Nos repartimos el trabajo.

English: 
All that with standing sets
that are in found in America.
They have built the entire bridge
and various other rooms.
and produce, twice
a year for two weeks,
an episode respectively.
At least theoretically.
We have four or five episodes
that at the moment are in
different stages of
post-production.
That is, we are busy filming, but we are
not keeping up with the releases.
We hope that, that will
improve in the following years.
At the moment we have a quota of 1
to a maximum of 2 episodes each year.
But after all, we already
have 6 or 7 episodes.
For the past 2-3 years, I am
responsible for visual effects.
Everything which has to do with space
ships or with outer space comes from me.
There is another artist 
involved called Pony Horton.
He does all the beam effects
and a lot of the matte paintings.
We split the work between us.
Today, I am going to show a few
examples of the work that we did.

English: 
A little insight how it is made,
what we have to do,
and I hope this will
enlighten you about this
relatively complex process
which is behind all this.
Can we play the video. That is my
demo-reel for my company.
I have a little company in 
Cologne with 4 or 5 employees
that mostly works in the area of
visual effects and graphics for games.
This is our demo-reel, it runs for
one and a half minutes and
gives me some time to run
upstairs. Till then...

English: 
A little insight how it is made,
what we have to do,
and I hope this will
enlighten you about this
relatively complex process
which is behind all this.
Can we play the video. That is my
demo-reel for my company.
I have a little company in 
Cologne with 4 or 5 employees
that mostly works in the area of
visual effects and graphics for games.
This is our demo-reel, it runs for
one and a half minutes and
gives me some time to run
upstairs. Till then...

Spanish: 
Hoy voy a mostrar algunos ejemplos
del trabajo que hacemos.
Unas nociones de
cómo se hace...
...qué tenemos que hacer.
Espero que esto
os ilustre sobre...
...el proceso, relativamente complejo,
que hay detrás.
¿Podemos poner el vídeo?
Es la presentación de mi empresa.
Tengo una empresa en Colonia
con cuatro o cinco empleados.
Trabajamos en el campo de los efectos
visuales y los gráficos para juegos.
Mi presentación dura
un minuto y medio...
...y me da algo de tiempo para subir.
Hasta luego...

English: 
Hello, here I am...
As I said, that is our demo-reel
which covers all kinds of areas.
Then I have here a file...
This is the first episode for which we created
effects, it is called "Enemy: Starfleet"

English: 
Hello, here I am...
As I said, that is our demo-reel
which covers all kinds of areas.
Then I have here a file...
This is the first episode for which we created
effects, it is called "Enemy: Starfleet"

Spanish: 
Hola,
ya estoy aquí...
Como he dicho, nuestra presentación
cubre todos los ámbitos.
Aquí tengo un archivo,
con algunos efectos que nosotros...
El primer episodio al que hice efectos
se titula "Enemigo: Flota Estelar".

English: 
There are a few nice effects, for example
we re-imagined the wormhole
from Star Trek I,
we built a dry dock.
Let us just have a quick look...
Here are a few standard shots of the Enterprise
flying in various variations around the planet.
Near the studios, there is a sand colliery
where such things can be filmed.
Here you can see the original picture
and here how it appears when colour-graded.
Of course, all the phaser effects
have to be painted in.
In some places, diggers had to be painted out
that were standing around in the background.

English: 
There are a few nice effects, for example
we re-imagined the wormhole
from Star Trek I,
we built a dry dock.
Let us just have a quick look...
Here are a few standard shots of the Enterprise
flying in various variations around the planet.
Near the studios, there is a sand colliery
where such things can be filmed.
Here you can see the original picture
and here how it appears when color-graded.
Of course, all the phaser effects
have to be painted in.
In some places, diggers had to be painted out
that were standing around in the background.

Spanish: 
Hay algunos efectos curiosos,
por ejemplo...
...recreamos los agujeros de gusano
de "Star Trek I"...
...construimos
un dique seco...
Echemos un vistazo rápido.
Extractos de los Efectos Visuales
ST - Phase II : "Enemigo: Flota Estelar"
Aquí hay unos planos habituales
de la Enterprise...
...volando en distintas variantes
sobre el planeta.
Cerca de los estudios
hay una cantera de arena...
...donde pueden rodarse
cosas así.
Aquí podéis ver la imagen original
y cómo queda tras corregir el color.
Por supuesto, todos los efectos de fáser
han de dibujarse.
En algunos sitios las excavadoras
han de borrarse ya que salían al fondo.

English: 
Or even adding rocks in the background,
which were not there originally.
Or add complete explosions that
were not there in the original.

Spanish: 
O incluso añadir montañas de fondo
que no estaban allí.
O añadir explosiones
que no estaban originalmente.

English: 
Or even adding rocks in the background,
which were not there originally.
Or add complete explosions that
were not there in the original.

English: 
You can see all the diggers etc.,
which were in the background.
The wormhole we tried to get as
close as possible to the original
These trail effects...

English: 
You can see all the diggers etc.,
which were in the background.
The wormhole we tried to get as
close as possible to the original
These trail effects...

Spanish: 
Podéis ver todas las excavadoras, etc...
que había al fondo.
Intentamos que el agujero de gusano
se pareciera lo más posible al original.
Hay efectos
de estelas de arrastre...

English: 
The Enterprise in the space dock.
This takes place before the first movie
and should therefore look a little different.
That's why we have
used the triangular form.
That was about Enemy: Starfleet.
That is an episode that
has been released.
[Applause]
Thank-you!
There you saw our "Kirk".
We have of course all the
characters: Kirk, Spock, McCoy,
some are being played by,
more or less, amateur actors.

Spanish: 
La Enterprise
en el puerto espacial.
Esto ocurre antes de la primera película
y debería parecer algo distinto.
Por eso usamos
una forma triangular.
Esto era
"Enemigo: Flota Estelar".
Un episodio
que se ha estrenado.
Gracias.
Habéis visto
a nuestro "Kirk".
Tenemos todos los personajes:
Kirk, Spock, McCoy...
...que son interpretados
por actores más o menos aficionados.

English: 
The Enterprise in the space dock.
This takes place before the first movie
and should therefore look a little different.
That's why we have
used the triangular form.
That was about Enemy: Starfleet.
That is an episode that
has been released.
[Applause]
Thank-you!
There you saw our "Kirk".
We have of course all the
characters: Kirk, Spock, McCoy,
some are being played by,
more or less, amateur actors.

English: 
There are a few professional
actors taking part as well.
Amongst others, as of last year,
we have our "Kirk" that replaced
James Cawley with Brian Gross,
a professional actor from LA,
who wants to play Kirk in future as
James simply has no time any more.
He does the entire production, appears
on stage as an Elvis imitator and
on top of that, to learn the roles, to look
after everything, it was simply too much.
Therefore as of
the last vignette
which we have released, Brian Gross
has taken over the role.
The last vignette is this "Going Boldly".
There we can see for the first
time, our upgraded ship.
Up until now, we have worked
with the old TOS Enterprise.
We have now upgraded it so that it
looks more like the Phase II Enterprise.
It has a different form of Warp
nacelles, the pylons are different,

English: 
There are a few professional
actors taking part as well.
Amongst others, as of last year,
we have our "Kirk" that replaced
James Cawley with Brian Gross,
a professional actor from LA,
who wants to play Kirk in future as
James simply has no time any more.
He does the entire production, appears
on stage as an Elvis imitator and
on top of that, to learn the roles, to look
after everything, it was simply too much.
Therefore as of
the last vignette
which we have released, Brian Gross
has taken over the role.
The last vignette is this "Going Boldly".
There we can see for the first
time, our upgraded ship.
Up until now, we have worked
with the old TOS Enterprise.
We have now upgraded it so that it
looks more like the Phase II Enterprise.
It has a different form of Warp
nacelles, the pylons are different,

Spanish: 
También participan
algunos actores profesionales.
Entre otros, el año pasado,
hemos sustituido a nuestro "Kirk"...
...James Cawley, por Brian Gross,
un actor profesional de Los Ángeles...
...que quiere interpretar a Kirk,
ya que James no tiene tiempo.
Él hace toda la producción,
actúa como imitador de Elvis...
...y además de eso, se aprende el papel,
cuida de todo... Era demasiado.
Por lo tanto,
desde de la última "vignette"...
...que hemos estrenado,
Brian Gross ha asumido papel.
La última "vignette" es
"Ir audazmente".
Ahí vemos por primera vez
nuestra nave actualizada.
Hasta ahora hemos trabajado con la 
vieja Enterprise de la "Serie Original".
La hemos actualizado para que se parezca
más a la Enterprise de "Phase II".
Las barquillas tienen una forma distinta
y sus soportes son distintos.

English: 
it has additional photon
torpedo banks at the front.
And this is the first time
that we see it in action.
The whole vignette is a little too
long, to show in its full length,
that is why I am going to skip a little...
until we get to the 3D-part where we
have the reveal of the Enterprise.
It is based a little on Star Trek I,
the dry-dock sequence.
That is our new Kirk, by the way.
This is the first time we see Lt. Arex,
a full-digital character.
That we will make use
of again as needed.
[Kirk] Mr. Spock
[Spock] Captain.

English: 
it has additional photon
torpedo banks at the front.
And this is the first time
that we see it in action.
The whole vignette is a little too
long, to show in its full length,
that is why I am going to skip a little...
until we get to the 3D-part where we
have the reveal of the Enterprise.
It is based a little on Star Trek I,
the dry-dock sequence.
That is our new Kirk, by the way.
This is the first time we see Lt. Arex,
a full-digital character.
That we will make use
of again as needed.
[Kirk] Mr Spock
[Spock] Captain.

Spanish: 
Delante tiene esclusas adicionales
de torpedos de fotones.
Y ésta es la primera vez
que la vemos en acción.
La "vignette" es un poco larga
para verla entera...
...así que voy
a saltarme un poco...
...hasta la parte del 3D
donde descubrimos la Enterprise.
Se basa en la secuencia del dique seco
de "Star Trek I".
Ese es nuestro nuevo Kirk.
Esta es la primera vez que vemos
al teniente Arex, un personaje digital.
Lo usaremos de nuevo
cuando haga falta.
Sr. Spock...
Capitán...

English: 
Mr. Scott?
[Scotty] We're ready sir
Phase I tests show that she's
exceeded all design expectations.
[Kirk] Then let's begin Phase II!

English: 
Mr Scott?
[Scotty] We're ready sir
Phase I tests show that she's
exceeded all design expectations.
[Kirk] Then let's begin Phase II!

Spanish: 
¿Sr. Scott...?
Listos, señor.
La primera fase de pruebas indica que
superamos las expectativas de diseño.
Entonces comencemos la Fase II.

English: 
[Arex] We are free and clear to navigate.
[Tobias Richter] Yes, more will follow.
[Applause]
Now we have seen many pretty,
colorful pictures, but...
how does this all happen?
How is this all made?
The first thing we get,
of course, is the script.
So a script for an episode usually
has about 60-70 pages.

English: 
[Arex] We are free and clear to navigate.
[Tobias Richter] Yes, more will follow.
[Applause]
Now we have seen many pretty,
colourful pictures, but...
how does this all happen?
How is this all made?
The first thing we get,
of course, is the script.
So a script for an episode usually
has about 60-70 pages.

Spanish: 
Tenemos vía libre para navegar.
LA AVENTURA CONTINÚA...
Sí, habrá más.
Hemos visto la parte bonita,
imágenes coloridas, pero...
¿Cómo se llega a eso?
¿Cómo se hace?
Lo primero que tenemos,
naturalmente, es el guión.
Un guión de un episodio
normalmente tiene unas 60-70 páginas.

Spanish: 
Uno lee detenidamente y marca las partes
definidas como efectos especiales.
Con las escenas del espacio
generalmente es sencillo.
Luego surgen cosas como:
"¿Podemos cambiar el color?"...
..."¿Mover ese personaje?"...
..."Hay una puerta cerrada
que hay que abrir."
Ese tipo de cosas
surgen después de rodar.
Pero todas las escenas del espacio
se pueden saber con antelación.
Lo primero que se hace es
crear un "animatic" para cada escena.
Un "animatic" es algo como esto,
por ejemplo.
Este plano es de "Origins",
un episodio en el que trabajamos.
Podéis ver que todo es
rudimentario aún.
Está el dique seco
que ya teníamos.
Tenemos otra nave
en el dique seco.
Hay un viejo
carguero de transporte.
Pero todo sigue sin texturas
y relativamente simple.

English: 
One reads it through step-by-step and marks
the sections that are defined as visual effects.
With all the space scenes,
it is generally simple.
Then later things are added like
"Can we exchange the colour" or
"can be put that character
somewhere else", or
"here is a closed door
that has to be open".
Those kind of things come
afterwards, after the filming.
But beforehand one can filter out,
let me say, all the space scenes.
And then, the first thing one does is to
create an animatic for each scene.
An animatic looks so
like this, for example.
This is a shot from "Origins", one
of the episodes being worked on.
You can see the whole
thing is still rudimentary.
We already have the dry-dock,
that had already existed.
We have another starship,
that lies within the dry-dock.
We have an old
freight transporter,
but all still without textures
and relatively simple.

English: 
One reads it through step-by-step and marks
the sections that are defined as visual effects.
With all the space scenes,
it is generally simple.
Then later things are added like
"Can we exchange the color" or
"can be put that character
somewhere else", or
"here is a closed door
that has to be open".
Those kind of things come
afterwards, after the filming.
But beforehand one can filter out,
let me say, all the space scenes.
And then, the first thing one does is to
create an animatic for each scene.
An animatic looks so
like this, for example.
This is a shot from "Origins", one
of the episodes being worked on.
You can see the whole
thing is still rudimentary.
We already have the dry-dock,
that had already existed.
We have another starship,
that lies within the dry-dock.
We have an old
freight transporter,
but all still without textures
and relatively simple.

Spanish: 
El "animatic" se usa para
marcar los tiempos.
Los tiempos de la escena completa
y lo que ocurre en ella.
Y cuando está hecho,
se pasa a algo como esto.
Esto se entrega al editor
que lo incorpora a la película...
...así puede
editar la película...
...y el productor puede ver
lo que va a ocurrir y su duración.
Aún se pueden hacer modificaciones,
como alargar o acortar la escena.
Pero así se puede comenzar a trabajar
y esto se cambia más tarde...
...cuando la escena
haya sido adecuadamente "renderizada".
Y eso se hace
con relativa facilidad.
Cuando la escena se termina, se ve,
por ejemplo, algo como esto.
Lo que acabamos de ver como
"animatic" tiene este aspecto final.
Un poco más bonito.

English: 
The animatic is used to
determine the timing,
the entire timing of the scene
and what happens in the scene.
And when it has been made,
then it simply runs like this.
That is given to the editor,
who puts together the film,
so that he can 
edit it into the film
so the producer can see, this and that
is going to happen, it will be that long.
One can still make changes, for example we need
that scene a little longer or a little shorter.
But the editor can start to work and
the clip can be later exchanged
when the scene has been
properly rendered.
and that can be done
rather easily.
When the scene is finished, it
looks for example, just like this.
What we have just seen as an animatic,
looks like this when it is finished.
It looks slightly nicer.

English: 
The animatic is used to
determine the timing,
the entire timing of the scene
and what happens in the scene.
And when it has been made,
then it simply runs like this.
That is given to the editor,
who puts together the film,
so that he can 
edit it into the film
so the producer can see, this and that
is going to happen, it will be that long.
One can still make changes, for example we need
that scene a little longer or a little shorter.
But the editor can start to work and
the clip can be later exchanged
when the scene has been
properly rendered.
and that can be done
rather easily.
When the scene is finished, it
looks for example, just like this.
What we have just seen as an animatic,
looks like this when it is finished.
It looks slightly nicer.

English: 
Zoom, and it is gone!
Now we have still not yet said
how the whole thing moves.
In principle, the whole thing is
built up with separate 3D elements.
First of all the background, the stars,
which is simply a geometric sphere.
And then there are several elements
that are placed on the foreground.
It can be various starships, asteroids,...
each element is added individually.
For example, I can load
the new Enterprise.
Here is our, in the meantime,
very well filled models folder.
And we will load the Enterprise. So you
can see how such a ship is put together.
That is the 3D-model,
the current 3D-model.
Here you can see the updated

Spanish: 
Se estira y desaparece.
Aún no tenemos, como he dicho,
el conjunto completo.
En principio, todo se construye
con varios elementos 3D.
Lo primero de todo es el fondo,
las estrellas, que es una simple esfera.
Y luego hay varios elementos
que se colocan en primer término.
Pueden ser varias naves, asteroides...
cada elemento se añade individualmente.
Por ejemplo,
puedo cargar la nueva Enterprise...
Aquí está nuestra, por cierto
bastante repleta, carpeta de modelos.
Y cargaremos la Enterprise.
Así podéis ver cómo se incluye una nave.
Este es el modelo 3D,
el modelo 3D actual.
Aquí podéis ver
la actualización.

English: 
Zoom, and it is gone!
Now we have still not yet said
how the whole thing moves.
In principle, the whole thing is
built up with separate 3D elements.
First of all the background, the stars,
which is simply a geometric sphere.
And then there are several elements
that are placed on the foreground.
It can be various starships, asteroids,...
each element is added individually.
For example, I can load
the new Enterprise.
Here is our, in the meantime,
very well filled models folder.
And we will load the Enterprise. So you
can see how such a ship is put together.
That is the 3D-model,
the current 3D-model.
Here you can see the updated

English: 
Warp nacelles. They are not round anymore,
but based a little more on the Star Trek I film.
The slightly changed shape of the pylons.
At the front, these photon-torpedo launcher.
Otherwise, it is relatively similar
to the other model.
These red elements are for example all
lamps, lights that in the scene then...
represent the lights of the ship,
its own lighting that is.
The whole thing...
is available in different layers.
There is. like in a real model,
a so called "Beauty Pass,"
where we set the external lights.
Usually, there are two to
three lights, one main light,
and a so-called "rim-light" on the edges in 
order to illuminate the edges at the corners.
That is for our "Beauty Pass" where you
see the ship as you would really see it.
There is a "Lighting Pass"
where all the (flashing) lights that are 
on it, are seen as the only element.

Spanish: 
Las barquillas no son tan redondas,
se basan en la película "Star Trek I".
El ligero cambio
en la forma de los soportes.
Delante están
los lanza-torpedos de fotones.
Por lo demás, es relativamente parecido
al otro modelo.
Estos elementos en rojo son por ejemplo
todas las luces que luego en escena...
...representan las luces de la nave,
su propia iluminación.
Todo...
...está dispuesto en capas,
como en un modelo real.
Está la llamada "Beauty Pass",
donde ponemos la luz ambiental.
Suele haber dos o tres focos de luz,
con uno principal.
Una llamada "Rim-light"
para destacar los contornos.
Esto es nuestra "Beauty Pass",
donde se ve la nave como es en realidad.
Hay una "Lighting Pass"...
...donde todas las luces (intermitentes)
se activan como un único elemento.

English: 
Warp nacelles. They are not round anymore,
but based a little more on the Star Trek I film.
The slightly changed shape of the pylons.
At the front, these photon-torpedo launcher.
Otherwise, it is relatively similar
to the other model.
These red elements are for example all
lamps, lights that in the scene then...
represent the lights of the ship,
its own lighting that is.
The whole thing...
is available in different layers.
There is. like in a real model,
a so called "Beauty Pass,"
where we set the external lights.
Usually, there are two to
three lights, one main light,
and a so-called "rim-light" on the edges in 
order to illuminate the edges at the corners.
That is for our "Beauty Pass" where you
see the ship as you would really see it.
There is a "Lighting Pass"
where all the (flashing) lights that are 
on it, are seen as the only element.

English: 
We have a pass where these lights
at the front here are shown.
We have a pass where
we have just the interior,
as the ship also has
its own interior fittings.
As you can see here. The whole
thing is kept relatively simple,
yet especially where the
camera flies close by,
then you can recognize
it quite well,
that there is something there and you can 
even add little digital people who walk past.
That is yet another level of
reality that can be added.
And the actual animation.
The main part of the work is in
general to build the models.
Once that has been done, then the
actual animation is not that difficult.
We can move this around in space

English: 
We have a pass where these lights
at the front here are shown.
We have a pass where
we have just the interior,
as the ship also has
its own interior fittings.
As you can see here. The whole
thing is kept relatively simple,
yet especially where the
camera flies close by,
then you can recognize
it quite well,
that there is something there and you can 
even add little digital people who walk past.
That is yet another level of
reality that can be added.
And the actual animation.
The main part of the work is in
general to build the models.
Once that has been done, then the
actual animation is not that difficult.
We can move this around in space

Spanish: 
Hacemos un pase
donde se muestran estas luces de aquí.
Otro pase
sólo para el interior...
...ya que la nave también tiene
sus propias instalaciones interiores.
Como podéis ver,
todo se manipula bastante fácilmente.
Incluso cuando la cámara vuela cerca
podéis distinguir bastante bien...
...que hay algo ahí. Y luego se pueden
añadir personajes digitales paseando.
Eso es otro nivel de realismo
que puede añadirse.
Y la animación final.
La parte principal del trabajo es,
en general, construir los modelos.
Una vez que se han hecho
la animación final no es tan difícil.
Podemos moverla por el espacio.

Spanish: 
Y establecer un fotograma clave
que indique que en este momento...
...estamos en el fotograma cero
y la nave está en esta posición.
Y... dejadme echar un vistazo.
Normalmente tengo una pantalla grande.
Sólo un segundo...
Ponemos la nave aquí
en la posición cero.
Luego la movemos.
Podemos rotarla...
...en uno o varios ejes.
Podemos "escalarla", pero es estúpido.
Las naves no cambian de tamaño.

English: 
and set a key frame which
states that at this time -
we are in frame zero -
the ship is at this location.
and... Let me just have a look,
I normally have a larger screen.
Just a second...
We set the ship here at
position zero, just here.
Then we move it,
we can rotate it.
On an axis, on several axes.
We could also theoretically scale
it, but that would be crazy.
Ships do not normally
change their size.
And we can say that this position is where
the ship is to be at say four seconds.

English: 
and set a key frame which
states that at this time -
we are in frame zero -
the ship is at this location.
and... Let me just have a look,
I normally have a larger screen.
Just a second...
We set the ship here at
position zero, just here.
Then we move it,
we can rotate it.
On an axis, on several axes.
We could also theoretically scale
it, but that would be crazy.
Ships do not normally
change their size.
And we can say that this position is where
the ship is to be at say four seconds.

English: 
The the rest is calculated
by the computer.
It does the transition between
the two points automatically.
And then each image has to
be individually rendered.
When we have four seconds at approx.
25 frames per second, equals 100 frames.
And for each pass,
an image is rendered.
That means when we have a beauty pass,
a lighting pass, interior lighting pass and
still various others, there
are easily 5 or 6 passes,
We have about 600 images that we
have to put together for one sequence.
That is done in another program
For that we use a program
called "Digital Fusion."
There are also other programs
like: "After Effects" or "Nuke"
They are used in order to combine these
rendered images into a sequence.

English: 
The the rest is calculated
by the computer.
It does the transition between
the two points automatically.
And then each image has to
be individually rendered.
When we have four seconds at approx.
25 frames per second, equals 100 frames.
And for each pass,
an image is rendered.
That means when we have a beauty pass,
a lighting pass, interior lighting pass and
still various others, there
are easily 5 or 6 passes,
We have about 600 images that we
have to put together for one sequence.
That is done in another program
For that we use a program
called "Digital Fusion."
There are also other programs
like: "After Effects" or "Nuke"
They are used in order to combine these
rendered images into a sequence.

Spanish: 
Y podemos decir que esta posición es
donde la nave estará en cuatro segundos.
El resto
lo calcula el ordenador.
Hace la transición entre los dos puntos
automáticamente.
Y luego cada fotograma
ha de "renderizarse" individualmente.
Si tenemos 4 segundos a 25 fotogramas
por segundo, serán 100 fotogramas.
El fotograma se "renderiza"
una vez por cada pase.
Eso significa que cuando tenemos
una "Beauty pass"...
...una "Lighting pass",
una "Lighting pass" interior...
...y varias más,
hay fácilmente cinco o seis pases.
Tenemos unas 600 imágenes
que hay que unir en una secuencia.
Eso se hace
con otro programa.
Nosotros usamos para esto
un programa llamado "Digital Fusion".
Hay otros:
"After Effects" o "Nuke".
Se usan para combinar estas imágenes
"renderizadas" en una secuencia.

Spanish: 
Tomemos como ejemplo...
¿Tenemos una secuencia aquí?
Sí, exacto, esta.
Aquí podéis ver el denominado
"Flow" ("Árbol de nodos").
Podéis ver...
Estas son las imágenes elementales.
Como por ejemplo el campo de estrellas.
Aquí tenemos la Luna... Esta es
la secuencia de antes, ya completa.
Tenemos la atmósfera
de nuestro planeta.
Tenemos
la superficie real del planeta.
Aquí
una capa de nubes.
Tenemos nuestro dique seco
en la esquina.

English: 
Let us take as an example...
Do we have a sequence
here, yes exactly, this.
Here you can see
a so-called "Flow".
You can see here...
These are the individual picture elements.
We have for example our star field.
We have here the Moon. This is the
sequence that we saw earlier.
We have, further forward from
our planet, the atmosphere.
We have the actual
surface of the planet.
Here the cloud layer.
We have our dry-dock
in the corner.
Before that a so called "Light Pass"
for everything which is illuminated

English: 
Let us take as an example...
Do we have a sequence
here, yes exactly, this.
Here you can see
a so-called "Flow".
You can see here...
These are the individual picture elements.
We have for example our star field.
We have here the Moon. This is the
sequence that we saw earlier.
We have, further forward from
our planet, the atmosphere.
We have the actual
surface of the planet.
Here the cloud layer.
We have our dry-dock
in the corner.
Before that a so called "Light Pass"
for everything which is illuminated

English: 
is stored here separately.
We have the ship
which is in the dry-dock.
The dry-dock has been
rendered out as a mask.
Which simplifies things.
We have, when you get closer, various
little ships, work-bees that fly around.
And, of course, our freighter.
And when we combine it all...
There we perform various
operations, color corrections,
a little blur here and there.
And when all of it is converged...
It comes piece by piece, together.
The planet has to be added.
The clouds are added and then we
have a little atmosphere on top.
Then we have the dry-dock.
We have the lights from
the dry-dock, separately.

Spanish: 
Antes de la llamada "Light Pass",
para iluminar cada elemento...
...todo se ubica aquí
por separado.
Tenemos la nave
del dique seco.
El dique seco
se ha usado como máscara.
Lo cual
simplifica las cosas.
Tenemos,
si te acercas...
...varias naves pequeñas,
"abejas obreras", que vuelan alrededor.
Y, por supuesto,
nuestro carguero.
Y al combinarlo todo...
...realizamos varias operaciones...
corrección de color...
...un leve desenfoque
aquí o allí.
Y todo se conforma...
...paso a paso.
Hay que añadir el planeta...
...las nubes
y un poco de atmósfera encima.
Después tenemos
el dique seco.
Tenemos las luces del dique seco
por separado.

English: 
is stored here separately.
We have the ship
which is in the dry-dock.
The dry-dock has been
rendered out as a mask.
Which simplifies things.
We have, when you get closer, various
little ships, work-bees that fly around.
And, of course, our freighter.
And when we combine it all...
There we perform various
operations, colour corrections,
a little blur here and there.
And when all of it is converged...
It comes piece by piece, together.
The planet has to be added.
The clouds are added and then we
have a little atmosphere on top.
Then we have the dry-dock.
We have the lights from
the dry-dock, separately.

English: 
The ship that is in there, where is it?
Now it's in.
Has been added here.
And so forth until,
we have at the end,
the complete picture.
And as we can see along the time-line.
We go from frame zero to 400 frames,
that this entire sequence has.
This is 400 images altogether, times...
1, 2, 3, 4, 5, 6, 7, 8, 9, a lot.
There is about 4000 to 5000 images that
are merged just for this one sequence.
And then, rendered again.
At the end, we have a sequence of individual
images that create the final sequence.
They are then converted into
Quicktime and sent to the editor
And he can then insert it into the film.

Spanish: 
La nave de dentro...
¿dónde está?
Ya está dentro.
Ya se ha añadido.
Y así,
sucesivamente...
...hasta que el final
completamos la imagen.
Y según
la "línea de tiempo"...
...vamos desde el fotograma cero al 400
para completar esta secuencia.
Eso son 400 imágenes en total,
multiplicadas por...
1, 2, 3, 4, 5, 6, 7, 8, 9...
un montón.
Hay de 4000 a 5000 imágenes combinadas
sólo para esta secuencia...
...que se "renderizan" de nuevo.
Y al final...
...obtenemos la secuencia de imágenes
que forman la secuencia final...
...que se pasan a un archivo "Quicktime"
y se envía al editor...
...para que pueda añadirlo
en la película.

English: 
The ship that is in there, where is it?
Now it’s in.
Has been added here.
And so forth until,
we have at the end,
the complete picture.
And as we can see along the time-line.
We go from frame zero to 400 frames,
that this entire sequence has.
This is 400 images altogether, times...
1, 2, 3, 4, 5, 6, 7, 8, 9, a lot.
There is about 4000 to 5000 images that
are merged just for this one sequence.
And then, rendered again.
At the end, we have a sequence of individual
images that create the final sequence.
They are then converted into
Quicktime and sent to the editor
And he can then insert it into the film.

English: 
That is a quick overview of how
the working sequence takes place.
There are a few things that come about,
that you first see after it has been filmed.
For example.
I said earlier we have a complete
bridge set standing there.
One films the scenes one by one.
That is from Going Boldly,
which we saw earlier.
This is a sequence that we had to re-film
as we had earlier filmed a sequence with
Lt. Arex, this digital character.
But with a different person
in the captain’s seat.
That means, they had to re-film it in order
to be able to combine it afterwards.
We will see it again in a moment.
That's the temporary sound from the 
microphone, that will all be processed, later.

English: 
That is a quick overview of how
the working sequence takes place.
There are a few things that come about,
that you first see after it has been filmed.
For example.
I said earlier we have a complete
bridge set standing there.
One films the scenes one by one.
That is from Going Boldly,
which we saw earlier.
This is a sequence that we had to re-film
as we had earlier filmed a sequence with
Lt. Arex, this digital character.
But with a different person
in the captain’s seat.
That means, they had to re-film it in order
to be able to combine it afterwards.
We will see it again in a moment.
That's the temporary sound from the 
microphone, that will all be processed, later.

Spanish: 
Esto ha sido una visión general de cómo
se lleva a cabo la secuencia de trabajo.
Algunas cosas surgen después,
tras ver lo que se ha rodado.
Por ejemplo...
Antes dije que tenemos
un decorado completo de un puente.
Uno rueda escenas sin parar.
Esto es de "Ir audazmente".
Lo hemos visto antes.
Esta secuencia tuvimos que
volver a rodarla, ya que se rodó...
...con el teniente Arex,
el personaje digital...
...pero con alguien
en el sillón del capitán.
Eso implica tener que volver a rodar
para poder combinarlo...
...como veremos
en un momento.
El sonido del micrófono
se procesará después.

English: 
What one can perhaps notice,
or better was missed at the time,
because it was something you
only see when editing, is...
The door is closed at the
beginning of the scene.
And they should be just coming out and
it looked extremely daft upon editing.
When the door is already shut
and they are walking quickly.
That means, James
came and told me
"We have a problem,
we have to open the door"
So then I go there,
and open the door.
Very simply in that we made a photo
from the same camera position.
Which was then added behind them
and the door by-hand, with masks
frame per frame, demasked.
Which is a lot of work, but luckily
it is only for a few frames.

English: 
What one can perhaps notice,
or better was missed at the time,
because it was something you
only see when editing, is...
The door is closed at the
beginning of the scene.
And they should be just coming out and
it looked extremely daft upon editing.
When the door is already shut
and they are walking quickly.
That means, James
came and told me
"We have a problem,
we have to open the door"
So then I go there,
and open the door.
Very simply in that we made a photo
from the same camera position.
Which was then added behind them
and the door by-hand, with masks
frame per frame, demasked.
Which is a lot of work, but luckily
it is only for a few frames.

Spanish: 
Lo que uno puede apreciar,
que se olvidó en su momento... 
...porque fue algo
que se vio al editar, es...
...que la puerta está cerrada
al comenzar la escena...
...pero acaban de salir, y al editarlo
ves que es una estupidez.
Y que la puerta esté cerrada
y ellos caminando...
...implica que James
viniese y me dijera:
"Tenemos un problema.
Hay que abrir la puerta."
Así que voy...
...y abro la puerta.
Muy fácil, ya que hicimos una foto
desde la misma posición de la cámara...
...que se añadió
tras ellos.
Y la puerta, a mano, mediante máscaras,
fotograma a fotograma, se descubre.
Lo cual es mucho trabajo,
pero por suerte son pocos fotogramas.

English: 
And when you play it,
the door is just closing.
Problem solved!
These are the typical jobs that
are first noticed afterwards.
Another thing was, for example,
this sign, which is on the bridge.
It shows of course
the old Enterprise,
because nobody thought
about updating it.
Here the pylons were still straight and
the old warp-nacelles were to be seen.
That means, it was updated once
and exchanged in all the sequences.
Such small issues, one
doesn't normally notice.
Another example,
is this view-screen.
We unfortunately do not
have an engine room.
Because it would take
too much space.
That means, when we want to
put Scotty in the engine room,
we have to film it in
front of a green screen.

Spanish: 
Y cuando lo reproduces,
la puerta está a punto de cerrarse.
¡Problema resuelto!
Estos son los típicos trabajos
que surgen después.
Otra cosa fue,
por ejemplo...
...este cartel
que está en el puente.
Muestra la vieja Enterprise
y a nadie se le ocurrió actualizarlo.
Aquí los soportes eran todavía rectos
y se veían las viejas barquillas.
Eso implica, que se actualizó
y se cambió en todas las secuencias.
Estos pequeños detalles
no se aprecian normalmente.
Otro ejemplo.
La pantalla.
Por desgracia,
no tenemos una sala de máquinas...
...porque ocuparía
demasiado espacio.
Y si hay que poner a Scotty en la sala
de máquinas se rueda con fondo verde.

English: 
And when you play it,
the door is just closing.
Problem solved!
These are the typical jobs that
are first noticed afterwards.
Another thing was, for example,
this sign, which is on the bridge.
It shows of course
the old Enterprise,
because nobody thought
about updating it.
Here the pylons were still straight and
the old warp-nacelles were to be seen.
That means, it was updated once
and exchanged in all the sequences.
Such small issues, one
doesn't normally notice.
Another example,
is this view-screen.
We unfortunately do not
have an engine room.
Because it would take
too much space.
That means, when we want to
put Scotty in the engine room,
we have to film it in
front of a green screen.

Spanish: 
Significa que esto es
un decorado virtual...
...y la gente,
Scotty, y Rick al fondo...
...se rodaron con fondo verde
y la imagen se compuso.
Aquí podemos ver donde el verde
ya se ha eliminado y está sólo Scotty.
O, análogamente,
sólo Rick.
Y esto es lo que muestra el "render"
de la sala de máquinas en su forma pura.
En la composición
hay algunos efectos añadidos.
Por ejemplo,
las zonas brillantes relucen.
Todo tiene
algo de atmósfera.
Hay una
"Smoke layer".
Pequeñas nubes
que se añaden a la atmósfera.
Pequeños matices
que aportan...
...la sensación de realismo
a la imagen.

English: 
That means this is a digital set
and the people, that is Scotty
and Rick in the background.
They were filmed in front of a green
screen and composed into the image.
Here we can see him, the green
has already been taken out,
but as we can see,
it is just Scotty alone.
or respectively,
Rick alone.
And that is what the rendering of the
engine room looks like in pure form.
And there in compositing,
there are a few effects added.
For example the bright areas
that they shine a bit.
That the whole thing has
a bit of atmosphere,
That we have a so-called
"smoke layer."
Small clouds that add
to the atmosphere.
Small nuances, that add to the
feeling that it is all realistic image.

English: 
That means this is a digital set
and the people, that is Scotty
and Rick in the background.
They were filmed in front of a green
screen and composed into the image.
Here we can see him, the green
has already been taken out,
but as we can see,
it is just Scotty alone.
or respectively,
Rick alone.
And that is what the rendering of the
engine room looks like in pure form.
And there in compositing,
there are a few effects added.
For example the bright areas
that they shine a bit.
That the whole thing has
a bit of atmosphere,
That we have a so-called
"smoke layer."
Small clouds that add
to the atmosphere.
Small nuances, that add to the
feeling that it is all realistic image.

English: 
I talked earlier about this Arex shot, this
was the original shot that we filmed.
At that time with an
actor in this position.
From whom we copied
the movements a little.
To get inspirations for a 
more realistic movement.
We had the problem that we
could not use this footage
Because the actor for Sulu was no longer available,
and we wanted to see our new Captain here.
What we did was to put the camera
in exactly the same location,
re-filmed this entire area,
and then afterwards
combined the whole thing
along an edge that was a natural form,
for example this edge of the set and
here the chair edge,
as a template we could use,
so that you do not see it.

Spanish: 
Antes hablé de esta toma de Arex.
Esta es la toma original que se rodó.
En ese momento,
con un actor en esta posición.
De quien copiamos
los movimientos.
En quien nos inspiramos
para saber cómo debía moverse Arex.
El problema era
que no podíamos usar este material...
...porque este actor
ya no iba a estar disponible...
...y queríamos ver aquí
a nuestro nuevo capitán.
Lo que hicimos fue
poner la cámara en el mismo sitio.
Volver a rodar
toda esta zona.
Y luego
combinarlo todo.
Usando un límite natural, por ejemplo,
esta línea del decorado y...
...el borde del sillón.
Como si usáramos una plantilla,
así que no se nota.

English: 
I talked earlier about this Arex shot, this
was the original shot that we filmed.
At that time with an
actor in this position.
From whom we copied
the movements a little.
To get inspirations for a 
more realistic movement.
We had the problem that we
could not use this footage
Because the actor for Sulu was no longer available,
and we wanted to see our new Captain here.
What we did was to put the camera
in exactly the same location,
re-filmed this entire area,
and then afterwards
combined the whole thing
along an edge that was a natural form,
for example this edge of the set and
here the chair edge,
as a template we could use,
so that you do not see it.

Spanish: 
Y el resultado...
...es este...
El corte no puede verse...
...y hemos sustituido la imagen.
También suceden
cosas divertidas.
Nuestro Scotty es un tipo alocado
al que le gusta divertirse.
Todos los decorados...
...el cobertizo de madera
donde está el estudio...
...está en una calle algo transitada
por motos los fines de semana.
Y es fácil oírlas
en algún momento...
Scotty reaccionó al ruido.

English: 
And the result, looks like this...
The edge cannot be seen...
[Arex] "We are clear and free to navigate."
... where we replaced the image.
Then of course, there are a few
amusing things that happen.
Our Scotty is our crazy
guy who likes to have fun.
The whole set, the wooden
hut where the studio stands,
is on a relatively busy street where
at the weekend, motorbikes drive past.
And that is easily heard and at some point...
[Loud motorbike noise can be heard]
Scotty reacted to the noise!

English: 
And the result, looks like this...
The edge cannot be seen...
[Arex] "We are clear and free to navigate."
... where we replaced the image.
Then of course, there are a few
amusing things that happen.
Our Scotty is our crazy
guy who likes to have fun.
The whole set, the wooden
hut where the studio stands,
is on a relatively busy street where
at the weekend, motorbikes drive past.
And that is easily heard and at some point...
[Loud motorbike noise can be heard]
Scotty reacted to the noise!

Spanish: 
Sí, estuvo bien.
El rodaje normalmente se detiene
al pasar algún camión u otros tipos.
Hay una cosa más.
Rodamos nuestra "vignette",
"Ir audazmente"...
...de la que vimos antes el final,
con el nuevo capitán...
...al mismo tiempo que rodamos
nuestro episodio: "Bread and Savagery".
Que está en fase inicial
de post-producción.
Y además es el primer episodio donde
Brian Gross aparece como capitán Kirk.
Puedo mostrar
unas fotos...
A esto me refería
con "cobertizo".
 Este es el edificio
que aloja al estudio.
No parece gran cosa desde fuera,
pero por dentro es bastante divertido.
Tenemos nuestro decorado del puente
con Scotty en el sillón del capitán.

English: 
The filming often has to be stopped while
some truck or other guys are passing by.
We have one more thing. We filmed
our vignette: Going Boldly, where
we saw the ending, earlier,
with the new captain.
At the same time, we filmed our latest
episode: "Bread and Savages"
which is still in a very early
phase of post-production
and is also the first episode where
Brian Gross appears as Capt. Kirk.
And I can show a few pictures...
That is what I meant with "hut".
That is the building which contains the studio.
Does not look like much on the outside,
but inside it is quite astounding.
We have our bridge set with
Scotty in the captain's seat.

English: 
The filming often has to be stopped while
some truck or other guys are passing by.
We have one more thing. We filmed
our vignette: Going Boldly, where
we saw the ending, earlier,
with the new captain.
At the same time, we filmed our latest
episode: "Bread and Savages"
which is still in a very early
phase of post-production
and is also the first episode where
Brian Gross appears as Capt. Kirk.
And I can show a few pictures...
That is what I meant with "hut".
That is the building which contains the studio.
Does not look like much on the outside,
but inside it is quite astounding.
We have our bridge set with
Scotty in the captain's seat.

English: 
It is really a 360° bridge, 
you can go anywhere on it.
It is quite impressive when you stand in it.
Here we have our space-suit,
based on the original TOS version,
that we used for "Going Boldly",
in a short effects sequence.
Here is the conference room.
Also for "Going Boldly"
A short camera track that we needed
when the admiral held his speech.
Another thing that we can see,
the panels at the top are all red.
And the one in the middle
is even darker, as well.
At some point, James noticed this and
asked if it was possible to make it blue.
That is again a job for me, that
unfortunately is a bit more involved

Spanish: 
Es un puente de 360º.
Puedes ponerte donde quieras.
Es bastante impresionante
cuando te sitúas dentro.
Aquí tenemos nuestro traje espacial,
basado en el de la "Serie Original"...
...que usamos en "Ir audazmente",
para una breve secuencia de efectos.
Esta es la sala de reuniones.
También en "Ir audazmente".
Un "travelling" corto que necesitamos
cuando el almirante da su discurso.
Otra cosa que podemos ver es
que los paneles de arriba son rojos...
...y el del centro
es más oscuro.
En algún momento, James se fijó y
preguntó si se podía convertir en azul.
Eso es tarea mía,
y por desgracia es compleja...

English: 
It is really a 360° bridge, 
you can go anywhere on it.
It is quite impressive when you stand in it.
Here we have our space-suit,
based on the original TOS version,
that we used for "Going Boldly",
in a short effects sequence.
Here is the conference room.
Also for "Going Boldly"
A short camera track that we needed
when the admiral held his speech.
Another thing that we can see,
the panels at the top are all red.
And the one in the middle
is even darker, as well.
At some point, James noticed this and
asked if it was possible to make it blue.
That is again a job for me, that
unfortunately is a bit more involved

Spanish: 
...ya que no aparece en un único plano
sino en 20 planos...
...donde la gente camina por delante,
por lo que tuvimos que usar máscaras.
Estos trabajos no son tan divertidos,
pero también tienen que hacerse.
Hay muchos ventiladores
ya que hace mucho calor allí.
No hay aire acondicionado
como es habitual en los americanos.
Allí todo hay que hacerlo,
más o menos, de forma "artesanal".
Siempre están funcionando
y sólo se apagan mientras se rueda.
Y tan pronto se oye: "¡Corten!",
lo primero es encenderlos de nuevo.
Tenemos algunas
de las localizaciones.
Este es
nuestro "McCoy".
Nuestro antiguo "Spock",
y el nuevo "Kirk".
Rodamos en la cantera de arena otra vez,
donde hicimos "Enemigo: Flota Estelar".
Es muy versátil para usarla
como planeta alienígena.

English: 
as it does not appear in just
one shot but in twenty shots
where at times people walked through the
red areas meaning we had to use masks.
Those are the jobs that are not so
much fun, but also have to be done.
Many ventilators as it is
very, very warm in there,
no air-conditioning as is otherwise
usual with the Americans.
But there, it has to all be done,
more or less, by hand.
That is why they are always running
and just switched off while filming.
And as soon as "Cut" is called, the
first thing they do is turn them on again.
We have a few pictures from the location.
That is our McCoy.
Here is our old "Spock"
and the new "Kirk".
There we filmed in that sand pit again,
where we also filmed Enemy Starfleet.
It is very versatile for
use as alien planets.

English: 
as it does not appear in just
one shot but in twenty shots
where at times people walked through the
red areas meaning we had to use masks.
Those are the jobs that are not so
much fun, but also have to be done.
Many ventilators as it is
very, very warm in there,
no air-conditioning as is otherwise
usual with the Americans.
But there, it has to all be done,
more or less, by hand.
That is why they are always running
and just switched off while filming.
And as soon as "Cut" is called, the
first thing they do is turn them on again.
We have a few pictures from the location.
That is our McCoy.
Here is our old "Spock"
and the new "Kirk".
There we filmed in that sand pit again,
where we also filmed Enemy Starfleet.
It is very versatile for
use as alien planets.

English: 
And at some time in the lunch break,
there was a package from "Dunkin Donuts"
Where our three main actors
have nourished themselves.
The whole thing took place on Magna Roma
and that is why you have all these guards
that are lying around having
had not such a good day.
Also here, it was a location in Ticonderoga,
that is the next somewhat larger town.
They have this nice town hall which 
allowed us to film in front of it.
So, I am now going to come
down and answer questions.
[We have not yet subtitled the rest of this video]
Subtitles by Peter Walker
www.startrekphase2.de
With corrections by Tobias Richter
www.thelightworks.com

English: 
And at some time in the lunch break,
there was a package from "Dunkin Donuts"
Where our three main actors
have nourished themselves.
The whole thing took place on Magna Roma
and that is why you have all these guards
that are lying around having
had not such a good day.
Also here, it was a location in Ticonderoga,
that is the next somewhat larger town.
They have this nice town hall which 
allowed us to film in front of it.
So, I am now going to come
down and answer questions.
[We have not yet subtitled the rest of this video]
Subtitles by Peter Walker
www.startrekphase2.de
With corrections by Tobias Richter
www.thelightworks.com

Spanish: 
En algún momento del almuerzo
hubo una caja de "Dunkin Donuts".
Nuestros tres actores principales
se han alimentado bien.
Todo transcurre
en "Magna Roma"...
...y por eso tienen
todos esos guardias...
...que están por ahí tirados.
No tuvieron un buen día.
En este caso, son unos exteriores
en Ticonderoga, la ciudad más próxima.
Tienen estas bonitas "termas"
que nos permitieron rodar delante.
Ahora voy a bajar
a responder preguntas.
[Aún no está subtitulado
el resto de este vídeo]
Subtítulos en español por Sergej
de la versión en inglés de Peter Walker.

English: 
[The lighting is poor for a few minutes
until they turned the lights back on]

English: 
[The lighting is poor for a few minutes
until they turned the lights back on]

Spanish: 
[La iluminación es pobre unos minutos
hasta que encienden las luces de nuevo]o
