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[[File:Image G logo.jpg|right|150px|Image G]]
  
[[File:Image G logo.jpg|right|150px|Image G]]
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'''Image G, Inc.''' (also credited as '''Image "G"'''), founded in 1984, is a motion picture special effects company specializing in {{w|motion control photography}}, initially of physical [[studio model]]s before branching out to live-action as well. Brought in immediately after the production of {{TNG|Encounter at Farpoint}}, their services in this field were utilized on all other televised ''Star Trek'' productions, where motion control photography was used, comprising ''[[Star Trek: The Next Generation]]'', ''[[Star Trek: Deep Space Nine]]'', ''[[Star Trek: Voyager]]'', and {{film|7}}.
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'''Image G, Inc.''' (also credited as '''Image "G"'''), founded in 1984, is a motion picture special effects company specializing in {{w|motion control photography}}, initially of physical [[studio model]]s before branching out to live-action as well. Brought in immediately after the production of {{TNG|Encounter at Farpoint}}, their services in this field were utilized on all other televised ''Star Trek'' productions, where motion control photography was used, comprising ''[[Star Trek: The Next Generation]]'', ''[[Star Trek: Deep Space Nine]]'', ''[[Star Trek: Voyager]]'', as well as the feature movie {{film|7}}.
   
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Image G started its association with the ''Star Trek'' franchise through a happy coincidence. At the time of production of {{e|Encounter at Farpoint}}, newly appointed Visual Effects Supervisor [[Robert Legato]], was looking for an additional supplier for motion control photography. Legato decided to come calling on his former employer Image G. "''"One day Rob came in the back door with this rock! He literally comes knocking on the door and says, "Hey look, you guys shoot stuff and you got spare time in your schedule. Shoot me this thing." I'm not exactly the most aggressive executive producer around, and we didn't have anything else going on that day, so we shot it."'', Image G's executive and founder [[Tom Barron]] recalled. In the days following that incident, Barron's company shot footage of the 2-foot {{ShipClass|Galaxy}}, and the {{ShipClass|Oberth}} [[studio model]]s as well for eventual use in {{TNG|The Naked Now}}, as a courtesy to his former employee. Image G was from that episode onward the regular supplier of motion control photography for the remainder of the television franchise, until the technique became obsolete. (''[[Star Trek: The Magazine Volume 3, Issue 1]]'', pp. 60-61) At first it was by no means a certainty that Image G was to be retained as a regular supplier, but as time went on, Legato found the library of stock-footage insufficient to fulfill the producer's need and continued to make use of Image G's services.
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Image G started its association with the ''Star Trek'' franchise through a happy coincidence. At the time of production of {{e|Encounter at Farpoint}}, newly appointed Visual Effects Supervisor [[Robert Legato]], was looking for an additional supplier for motion control photography. Legato decided to come calling on his former employer Image G. "''"One day Rob came in the back door with this [[:File:SS Tsiolkovsky-core fragment.jpg|rock]]! He literally comes knocking on the door and says, "Hey look, you guys shoot stuff and you got spare time in your schedule. Shoot me this thing." I'm not exactly the most aggressive executive producer around, and we didn't have anything else going on that day, so we shot it."'', Image G's executive and founder [[Tom Barron]] recalled. In the days following that incident, Barron's company shot footage of the 2-foot {{ShipClass|Galaxy}}, and the {{ShipClass|Oberth}} [[studio model]]s as well for eventual use in {{TNG|The Naked Now}}, as a courtesy to his former employee. Image G was from that episode onward the regular supplier of motion control photography for the remainder of the television franchise, until the technique became obsolete. (''[[Star Trek: The Magazine Volume 3, Issue 1|Star Trek: The Magazine]]'', Volume 3, issue 1, pp. 60-61) At first it was by no means a certainty that Image G was to be retained as a regular supplier, but as time went on, Legato found the library of stock-footage insufficient to fulfill the producer's need and continued to make use of Image G's services.
   
 
[[File:Image G's Dennis Hoerter taking care of studio models in their care.jpg|thumb|[[Dennis Hoerter]] looking after studio models]]
  
[[File:Image G's Dennis Hoerter taking care of studio models in their care.jpg|thumb|[[Dennis Hoerter]] looking after studio models]]
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Quite early on, due to the by then, close working relationship with [[Paramount Pictures]], "Image G" unofficially doubled as a repository of all the physical studio models of the ''Star Trek'' franchise, saving VFX supervisors like Legato and [[Gary Hutzel]] the time and effort of shuttling the models back and forth the Paramount warehouse and Image G. At the time still relatively small housed and yet without a formal contract, Barron, worrying about liability if something was to happen to the models recalled, "'' We had an unsecure location in Hollywood ''[rem: then Ventura Blvd, Studio City, CA.]'' that could be robbed. A guy walked in once, grabbed a TV, and walked up the alley with it.(...)Rob finally had to bring [[Peter Lauritson]] by to meet us and certify that this was the real deal. I remember vividly the day he came by; we had a folding table about 12 feet long, we put fresh brown paper on it, and we took all of the ships they had left behind. So I had all these ships lined up on this folding table; no cases, no letters saying that we would be OK if somebody stole them. I had this agenda with Peter. "So look, Peter, we're going to make this real, right?''" (''[[Star Trek: The Magazine Volume 3, Issue 1]]'', pp. 62-64) Barron got his formal commitment during the run of season two.
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Quite early on, due to the by then, close working relationship with [[Paramount Pictures]], "Image G" unofficially doubled as a repository of all the physical studio models of the ''Star Trek'' franchise, saving VFX supervisors like Legato and [[Gary Hutzel]] the time and effort of shuttling the models back and forth the Paramount warehouse and Image G. At the time still relatively small housed and yet without a formal contract, Barron, worrying about liability if something was to happen to the models recalled, "'' We had an unsecure location in Hollywood ''[remark: then Ventura Blvd, Studio City, CA.]'' that could be robbed. A guy walked in once, grabbed a TV, and walked up the alley with it.(...)Rob finally had to bring [[Peter Lauritson]] by to meet us and certify that this was the real deal. I remember vividly the day he came by; we had a folding table about 12 feet long, we put fresh brown paper on it, and we took all of the ships they had left behind. So I had all these ships lined up on this folding table; no cases, no letters saying that we would be OK if somebody stole them. I had this agenda with Peter. "So look, Peter, we're going to make this real, right?''" (''[[Star Trek: The Magazine Volume 3, Issue 1|Star Trek: The Magazine]]'', Volume 3, issue 1, pp. 62-64) Barron got his formal commitment during the run of season two.
   
 
The company has earned three Emmy Awards for its work on the ''[[Star Trek]]'' series.
 
The company has earned three Emmy Awards for its work on the ''[[Star Trek]]'' series.
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==Further reading==
  
==Further reading==
 
* Glenn Campbell & Donna Trotter, ''Special Effects–The Next Generation'', [[Cinefex]], Issue 37, February 1989, pp.4-21
  
* Glenn Campbell & Donna Trotter, ''Special Effects–The Next Generation'', [[Cinefex]], Issue 37, February 1989, pp.4-21
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*''Behind the Scenes; Image G'', [[Star Trek: The Magazine Volume 3, Issue 1]], pp. 60-65
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*''Behind the Scenes; Image G'', [[Star Trek: The Magazine Volume 3, Issue 1|Star Trek: The Magazine]], Volume 3, issue 1, pp. 60-65
   
 
== External links ==
  
== External links ==

Revision as of 12:53, 19 June 2012

Template:Realworld

Image G

Image G, Inc. (also credited as Image "G"), founded in 1984, is a motion picture special effects company specializing in motion control photography, initially of physical studio models before branching out to live-action as well. Brought in immediately after the production of TNG: "Encounter at Farpoint", their services in this field were utilized on all other televised Star Trek productions, where motion control photography was used, comprising Star Trek: The Next Generation, Star Trek: Deep Space Nine, Star Trek: Voyager, as well as the feature movie Star Trek Generations.

Image G started its association with the Star Trek franchise through a happy coincidence. At the time of production of "Encounter at Farpoint", newly appointed Visual Effects Supervisor Robert Legato, was looking for an additional supplier for motion control photography. Legato decided to come calling on his former employer Image G. ""One day Rob came in the back door with this rock! He literally comes knocking on the door and says, "Hey look, you guys shoot stuff and you got spare time in your schedule. Shoot me this thing." I'm not exactly the most aggressive executive producer around, and we didn't have anything else going on that day, so we shot it.", Image G's executive and founder Tom Barron recalled. In the days following that incident, Barron's company shot footage of the 2-foot Template:ShipClass, and the Template:ShipClass studio models as well for eventual use in TNG: "The Naked Now", as a courtesy to his former employee. Image G was from that episode onward the regular supplier of motion control photography for the remainder of the television franchise, until the technique became obsolete. (Star Trek: The Magazine, Volume 3, issue 1, pp. 60-61) At first it was by no means a certainty that Image G was to be retained as a regular supplier, but as time went on, Legato found the library of stock-footage insufficient to fulfill the producer's need and continued to make use of Image G's services.

Image G's Dennis Hoerter taking care of studio models in their care

Dennis Hoerter looking after studio models

Quite early on, due to the by then, close working relationship with Paramount Pictures, "Image G" unofficially doubled as a repository of all the physical studio models of the Star Trek franchise, saving VFX supervisors like Legato and Gary Hutzel the time and effort of shuttling the models back and forth the Paramount warehouse and Image G. At the time still relatively small housed and yet without a formal contract, Barron, worrying about liability if something was to happen to the models recalled, " We had an unsecure location in Hollywood [remark: then Ventura Blvd, Studio City, CA.] that could be robbed. A guy walked in once, grabbed a TV, and walked up the alley with it.(...)Rob finally had to bring Peter Lauritson by to meet us and certify that this was the real deal. I remember vividly the day he came by; we had a folding table about 12 feet long, we put fresh brown paper on it, and we took all of the ships they had left behind. So I had all these ships lined up on this folding table; no cases, no letters saying that we would be OK if somebody stole them. I had this agenda with Peter. "So look, Peter, we're going to make this real, right?" (Star Trek: The Magazine, Volume 3, issue 1, pp. 62-64) Barron got his formal commitment during the run of season two.

The company has earned three Emmy Awards for its work on the Star Trek series.

Currently located in Valencia, CA., Image G has also worked on such films as The Addams Family, Stargate, and Waterworld and the TV series Lois & Clark: The New Adventures of Superman. With the demise of the physical studio model, the company has struggled to find a new direction, resulting in that several employees had to be let go between 2001 and 2003, among others long time employee Dennis Hoerter (though he has since then returned). However, it has made the successful transition to adopting CGI and computer techniques in motion control photography, and is still in operation.

Staff

Staff members who worked at one time or another during the Star Trek years were among others:

Further reading

  • Glenn Campbell & Donna Trotter, Special Effects–The Next Generation, Cinefex, Issue 37, February 1989, pp.4-21
  • Behind the Scenes; Image G, Star Trek: The Magazine, Volume 3, issue 1, pp. 60-65

External links

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