|
Art prepares to move the admiral during his spacewalk. The radial arm saw that we would mount cameras and models on is
visible in the shot.
|
Grant poses with the starship models and a rogue tie-fighter lurking beneath the fully illuminated Enterprise.
|
|
Art holds a tiny starship model which will travel through what will become the
Tonly interior. Plastic champagne cups aith red stain and Christmas lights mounted on styrofoam make up the alien set.
|
Grant pilots the ship over the Tonly exterior. It consists of a cardboard tube
encrusted with folded geometric-shaped construction paper . A Radio Shack plastic disco globe caps the end with another plastic
champagne cup. Art is dumb-struck.
|
|
Grant works on the dish of yet another Enterprise model. the interior of the plastic
was painted black so that the light would only spill out ot the desired areas.
|
Grant displays the electrified starships. The new Enterprise had its wiring snaked
in from the bottom while the old version was wired from the top.
|
|
The alien probe was a small fluorescent tube that Art had to animate the characters
around. A bit of a tight squeeze, to be sure.
|
The flurescent tube as it appeared without the cast in the way. Damned carbon units!
|
|
A Klingon on the bridge? We won't see that for another generation.
|
Art lends Klurk a hand on the Egyptian museum set. The gold figure in the display
case on the right is Darth Vader.
|
|
The viewscreen slide had a black area where the crew could see where they
were going and what was coming at them.
|
The fiber optic portholes carry the interior lighting only where Grant wanted it
to go. The black interior paint kept the light from leaking out around the seams.
|
|
The Fulton's Folly II meets its predecessor in this shot revealing the kitchen setup.
|
The charred original Fulton's Folly courtesy of Grant's spray markers. Neither of us was qualified to attempt marking
the model up with gun powder like Ben Bosserman's flame-outs for Star Trix III.
|
