page_title: Hope and Fear
section_title: Set and ship design
hierarchical_section_title: Hope and Fear / Production / Set and ship design
caption_attribution_description: English: Griffith Observatory.
context_page_description: "Hope and Fear" is the 26th and final episode of the fourth season of the American science fiction television series Star Trek: Voyager. The episode first aired on the UPN network on May 20, 1998. Directed by Winrich Kolbe, it was developed from a story by Rick Berman, Brannon Braga and Joe Menosky into a teleplay by Menosky and Braga. "Hope and Fear" was the final episode of the Star Trek franchise to be worked on by executive producer Jeri Taylor.
  Set in the 24th century, the series follows the adventures of the Starfleet and Maquis crew of the starship USS Voyager after they were stranded in the Delta Quadrant far from the rest of the Federation. In this episode, the Voyager crew discover a ship sent from Starfleet that could take them back to the Alpha Quadrant in just 3 months, but it will mean abandoning their vessel. However, it is all revealed to be an elaborate trap as the alien Arturis attempts to gain his revenge on the crew for preventing the destruction of the Borg.
  A variety of ideas were proposed for the season finale, with focus given to those plots relating to "slipstream" technology. The alien, named Arturis, was referred to as Yoda prior to being properly named.
context_section_description: Set design began on February 9, with production designer Richard James looking at the creation of the new Starfleet vessel specified in Braga's beat-sheet. The description he had to work from was "a sleek, sparkling STARSHIP (which we'll call the "silver bullet") floating in space. Scans reveal – it's a Starfleet vessel!" James took into account the set space available, with the primary position located on Stage 16 at the Paramount lot between the museum set built for "Living Witness" and a set under construction for "One". James decided that the majority of the sets would have to be redresses of the Voyager standing sets in order to reduce cost, but that new bridge and engineering rooms would need to be built for the Dauntless. The bridge set would be difficult as despite it needing to look like a Starfleet vessel, but would need to "instantaneously change" to an alien bridge as required by the beat-sheet. He wanted to repeat the sleekness of the exterior design by curving the walls of the bridge, something which was too difficult with a wooden set. Instead, he used several steel grids with a muslin cover. He hit upon the idea that these would be backlit in Starfleet colors, and when required they could switch instantly to a different color for the alien design. The new bridge was built in the alien configuration but with additional panels and props created which could affix to the set in order to lend it a Starfleet appearance.
  Director Winrich Kolbe had some ideas about how the engineering set, suggesting that it should be a dangerous place with the Voyager crew looking down on the engine core. Braga compared the idea to the Foucault pendulum in the rotunda at Griffith Observatory. James' designs were not as elaborate as Kolbe suggested, but together with visual effects supervisor Ronald B. Moore they worked out a means of enabling the director to film from above. They raised the set 20 feet (6.1 m) over a blue screen to enable it to be backlit properly. Kolbe had a further impact on the design of the set; he suggested in a production meeting on February 25 that the change of lighting suggesting by James for the bridge should shift from the Starfleet colors to orange in order to maximise the alien effect. James produced a foamcore model of the Dauntless bridge, to both illustrate the final construction and to enable Kolbe to plan out his camera angles while it was still being built.
  The exterior of the Dauntless was developed by illustrator Rick Sternbach, who had previously designed several vessels and props for the Star Trek franchise including the USS Voyager itself. He created a series of diamond shaped designs for the Dauntless, featuring a protruding bridge. The producers approved one of the designs, but asked him to remove the bridge protrusion in order to give as sleek an appearance as possible. He created a series of drawings to that specification on March 5, passing them to Moore, who sent those designs onto Adam "Mojo" Lebowitz at Foundation Imaging to create a CGI model of the ship. The production team had opted for a computer generated version of the ship rather than a physical model due to the time constraints, and the difficulty that would have caused for the effects shot when the slipstream drive is activated. Sternbach suggested to Moore that the hull of the Dauntless should have a warmer coppery color rather than the typical Starfleet grey.
  A temporary CGI version for the production team was created using LightWave 3D by Lightwave employee Brandon McDougal while the final version was under construction. The visual effects on "Hope and Fear" were extensive for a Voyager episode, which usually averages around 40 such shots. While some had been as low as 12 effects, there were more than 70 for "Hope and Fear". Foundation Imaging delivered the required effects on time, prior to the deadline of April 30, even though they were still working on other episodes until two days prior. One shot which was not requested, but was created was the final image of the Dauntless as it arrives in Borg space. The composit
caption: Brannon Braga compared director Winrich Kolbe's idea for the alien engineering set to the Foucault pendulum in the rotunda at Griffith Observatory (pictured).
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