Darrell Anderson Darrell Arthur Anderson was a cinematographer , specialized in devising and executing ( VFX ) , in the 1960 still called , or opticals , who co - owned and operated with his older brother , Howard A . Anderson , Jr . , their own effects company , the Howard Anderson Company , a VFX house working on numerous Hollywood film and series productions . In the 1960s , the company , taken over by the two brothers from their father and namesake , Howard A . Anderson , resided on the Desilu lot . It was their company that was approached in 1964 to provide the VFX for the television pilot episode , which was ultimately to become . The choice was a logical one , as , aside from the close proximity to Desilu , the two brothers had already provided the animated title sequence for Desilu ' s main production at the time , " The Lucy Show " . Both brothers jumped at the opportunity with enthusiasm and confidence that they could deliver . The enthusiasm was not lost on Executive Producer Gene Roddenberry , as he wrote in a memo to the head of Desilu Business Affairs , Argyle Nelson on 24 August 1964 , " " I am delighted Anderson and others find the project interesting and fascinating . It will take a lot of corporation and creative thinking to bring this in exciting and on budget . " " ( " The Making of Star Trek " , p . 89 ) Anderson was assigned to design and film the VFX for the two " Star Trek " pilots along with his brother Darrell , and later the series itself . In conjuncture with Roddenberry , the brothers worked together to create the transporter beam , starfields and other effects including developing cost effective techniques of integrating matte painting s of alien worlds into live footage . The younger Anderson in particular , was credited by Producer Robert Justman for conceiving the transporter effect visual , " " When I first viewed the transporter effect , I was as curious as anyone else might be and asked the inventive Darrell Anderson how he achieved it . Darrell said , " I just turned a slow - motion camera upside down and photographed some backlit shiny grains of aluminum powder that we dropped between the camera and a black background . " " " ( " " , 1997 , p . 51 ) However , as soon as production on the regular series had commenced , it was soon realized that the Anderson brothers were in over their head , as the new television show was the most VFX laden show ever produced up to that point in time . The stress of providing the visuals in time and on budget was particularly telling on the younger Anderson , as Justman recalled when he and Roddenberry came calling in August 1966 on the status of the " Enterprise " footage for the first regular production episode , " " We had seen maybe six good shots and some others that were partially usable . We had expected many more angles , some of which were badly needed for our series main title . " Where ' s all the other shots , Darrell ? " Darrell began to shake . He jumped to his feet , screaming , " You ' ll never make your first airdate . " Bursting into tears , he ran out of the room , still screaming , " You ' ll never make your first airdate ! You ' ll never make your first airdate ! " Gene sat there in shock . I raced after Darrell and caught him outside . He was weeping . And no wonder . We later found out he had been working both day and night for months , trying to satisfy our needs . That afternoon , Darrell went to Palm Springs for a rest cure . " " Roddenberry and Justman managed to compose a title sequence from the footage already shot , the same day . ( " " , 1997 , p . 261 ) Despite the toll it took on the younger Anderson , he remained as committed to the work as when he accepted the commission , as his older brother later clarified , recalling the long hours they made at their company , " " I remember that . We ' d come in at ten a . m . , and deliver that day ' s work to the lab the following two a . m . , sleep in the studio , and be up at ten a . m . again to start all over . We slept at the studio for up to a week during those early days . Darrell had actually three breakdowns , due to nervous exhaustion from each of the two pilots and the first filmed episode " The Corbomite Maneuver " . But I recall him being involved after that . He ' s playing down his involvement , but he was there for almost every show . Darrell took only a week to recover after the first breakdown , about two weeks after the second breakdown , and about a month after the third breakdown . Roddenberry depended on him a lot ; Darrell met with Roddenberry every day in the evening , and when Darrell was in the hospital , he did consulting work from his bed . I recall that we worked on the first seven shows before Desilu before started bringing in other effects houses . " [ remark : Anderson was partly in error in his recollections here , as The Westheimer Company was already brought in on the third episode ] " ( " Cinefantastique " , Vol . 27 , No . 11 / 12 , p . 69 ) William Shatner also related the episode in his autobiography , " Star Trek Memories " ( pp . 204 - 205 ) , albeit somewhat sensationalized , which was met with disdain by the older brother , " " There are a lot of inaccuracies in the book . Shatner got all his information from Bob Justman , but Justman wasn ' t around our facility every day . He spent a lot of time working on scripts with Gene . I question how much Bob could know in detail about Darrell . They even misspelled Darrell ' s name throughout the book as Daryl . " " ( " Cinefantastique " , Vol . 27 , No . 11 / 12 , p . 69 - 70 ) It was due to this state of affairs that a dedicated VFX supervisor was brought in , Edward K . Milkis , and he , together with Justman , realized that they had to employ the services of virtually every other VFX house in existence at the time , besides the Anderson Company . Nevertheless , the Anderson company has remained the lead VFX house during the entire run of the " Original Series " , with Milkis serving its primary liaison between the company and the studio . ( " " , 1997 , p . 262 ) Still , for all the personal sacrifices Darrell Anderson made , his work on the series was acknowledged with an individual Emmy Award nomination in 1967 , supplemented with a collective one for his company in 1969 . Neither he , not his brother , or anyone else of their production staff for that matter , were ever individually credited for their contributions to " The Original Series " , instead being officially credited collectively under the company name . Career outside " Star Trek " . Darrell Anderson started to work in his father ' s company in the early 1950 ' s , while still in his teens , and has prior to " Star trek " worked on productions like " Tripoli " ( 1950 , his first recorded individual credit ) and " Seven Days in May " ( 1964 ) . By this time he and his brother had taken over the company from their father , and he continued to accumulate credits for productions such as the science fiction series " The Invaders " ( 1964 - 1968 ) . After " Star Trek " , Anderson accumulated few other individual credits , such as " The Dirt Gang " ( 1972 ) , " Superman " ( 1978 ) and " J - Men Forever " ( 1979 ) . Robert Justman has reported that Darrell Anderson has left the motion picture industry , presumably shortly after his last credit . ( " " , p . 437 ) Emmy Award nominations . Anderson received the following Emmy Award nomination in the category Individual Achievements in Cinematography for his work on " Star Trek " : On behalf of their company , he received , together with his brother , the following Emmy Award nomination in the category Special Classification of Individual Achievements : Special Photographic Effects :