Discussion in 'Star Trek - The Original & Animated Series' started by Warped9, Aug 1, 2015.
Yup that was it
One has to wonder what three centuries of progress will do to technologies like LIDAR, photogrammetry and 3-D ray-tracing. There are already efforts to combine the first two to produce accurate 3d models of existing objects without the need to manually create them using CAD software. Who knows what the future holds?
Do a search over at i09 for night vision.
Real tech guys..that’s not a movie or game play. Jukedeck writes songs...lyrebird emulates voices. Euphoria teaches game characters to flinch and not just rag doll.
Getting AI to do close-ups is nothing in comparison
Yeah, all "camera footage" is actually what we would today call a CGI rendering based on subspace sensor data. This applies to both the view screen and security footage. So the "camera" can move anywhere.
The use of Enterprise internal view camera footage in the Klingon Ambassador's presentation to the Federation Council in TVH could have been explained simply by the retrieval of the Enterprise's disaster recorder.
Kirk likely would have turned over any records in his possession of the incident at the Genesis Planet over to the Federation when he transferred custody of his Klingon prisoner to them, including Klingon sensor logs, as records of the Klingons' crimes. If Kirk had ordered the retrieval of the Enterprise's log buoy before they headed to Vulcan, he would have given them either it or at least all recoverable data from it, too. Or, perhaps the log buoy was recovered by Federation ships exploring the remains of Genesis.
In any case, there was evidently another Klingon spy at work, or others, because Kirk's Genesis presentation that Kruge had stolen and never shared with anyone after he got it was also presented by the Klingon Ambassador. So, the presence in that presentation of any records in Federation possession, including an external view of the Enterprise's destruction, was not inconsistent.
The use of the precise vantage points of the dramatic footage in TSFS... eh... not so much.
By the way, as per the communication relayed by Uhura, the real Mendez and Starbase 11 also receive images from Talos IV.
Flint probably was several famous film directors in his life time.
Also worth noting that the Talosians also used such dramatic visuals when viewing--on their own screen--the initial contact between the landing party and the 'survivors.'
I'm ready for my close-up, Mr. Methuselah.
"Requiem for Methuselah": There is a way Flint's flat screen TV could show such marvelous camera work. He's not using the simple nanny cam we always imagined. He's using some kind of 23rd century LIDAR system that continuously (in many frames per second) maps the room and both people in it. It's a high-res sensor sweep.
So now his computer has a full-motion, 3D digital map, running in real time. AI software can render any part of the map (an angle on Kirk's face, for example) as if it were a camera view. And this computational "camera" can zoom in or swoop around any way you want.
The final touch: add a simple camera, even a still frame camera, hidden in the room to provide the computer with color information, so instead of gray ghosts or wireframe people, your full-motion, 3D rendering is painted in accurate flesh-tones and shirt color. The whole bit.
I couldn't agree more about the possibilities you mention...
Yeah, I must have gotten the idea from you, forgot about it, and then it came back to me afresh as if it were my own, and I fleshed it out. Good thinking, BK.
The subspace camera allows you to connect with any point in space (as long as it's within range of your camera, the standard model allows a distance of two light-years give or take) and see everything from that point of view. If you pick two separate points you can even have holographic vision. New technology allows to screen against such cameras but a cutting-edge new type of camera can even pierce those screens.
The sighting scope used on that fancy weapon in DS9's Field of Fire seemed to have no problem generating a real time video feed of events happening behind solid walls.
True, with a camera like that, there's no such thing as privacy. The 24th century is the voyeur's paradise.
Just like Gene Coon and Arena!
No, no, that was supposed to be a 'great minds think alike' comment.
Looking at those stills reminds that Vina is portrayed very differently the next time we see her. This leads me to believe that this Vina image isn't Vina at all, just her image used to draw Pike's interest. It's the only time she speaks so 'scientifically', "Perfect specimen" and all.
That still doesn't explain the dramatic timing of the POV movements, not by a long shot.
Having a dumb automaton write drama today is only mildly demanding, compared, say, to having it compose music in the requested style. Having a dumb automaton edit drama is yesterday's news. Why wouldn't you have your surveillance system fitted with a drama filter? (Or, depending on your mood, a filter that highlights the body language of the targets, the telltale fidgeting and so forth. Or a comedic filter.)
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