Starfleet Model Academy

           Starfleet Model Academy

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Welcome to the Starfleet Model Academy, here you will find news about the latest Star Trek Models from Round 2 and others. Share tips and techniques, pictures of your latest Star trek build or even models in general. Thank You for stopping.What you would like to see in our pages or any questions just let us know! Click the links below to go to our Facebook and YouTube pages.
Star Trek Theme v2
Mike Verta
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We have received some questions about the installation of the new lighting sets for the 1:350 scale U.S.S. Enterprise model kits so Ploar Lights put together a quick tutorial video that is available through the Polar lights YouTube channel and our Collector Model Blog. Polar Lights brand manager, Jamie Hood, shows step-by-step how the lights should be installed into the model. This video covers some of the trickier spots that a modeler may encounter as well as some helpful hints to ease the assembly of either MKA005 Deluxe Accessory Set and MKA007 Lighting Kit. As with any of our model kits, we recommend reading all of the instructions completely before you begin any project, but this video should grant a great insight about the installation before the project is begun.

We’ve seen some excellent buildups with the lights installed. We hope this video assists those that have been holding back from lighting their builds. Enjoy!

http://www.youtube.com/watch?v=BPkmbDCQ2mg&feature=youtu.be

Creation Entertainment's
12th Annual Official STAR TREK Convention
Las Vegas 2013

August 8 - 11, 2013
Thursday - Sunday
(with pre-registration and vendor preview on Wednesday night)





The Rio Suites Hotel
3700 W. Flamingo Rd.
Las Vegas, NV

Updated: April 3, 2013

You are cordially invited to "beam down" to the experience like no other: The Creation Entertainment Las Vegas Official STAR TREK Convention celebrates its 12th year and we're out to top the extraordinary fun we've all had at all previous Vegas gatherings! Close the door on the outside world and join thousands of fellow fans from around the galaxy as we honor Gene Roddenberry's legacy and the place that Star Trek holds in our hearts!

Our venue, The Rio Suites in Las Vegas, has proven to be a huge hit with our audiences, everyone loves the super-large suite rooms, the fantastic selection of restaurants, buffets and bars, the exciting casino and its in the sky Masquerade show, and of course the state of the art theatres (featuring built in stages) and tech systems that offers impeccable sound even at the back of the main and secondary theaters. The fact that the entire convention takes place here rather than in a cold concrete convention hall really makes a big difference in enjoying your vacation!

With non-stop, round the clock live entertainment featuring over 70 Star Trek celebrities, the Vegas Convention also offers something no other major fan event does: EVERYONE who attends, no matter what grade of admission ticket, is guaranteed a seat in our main theatre where all the stars appear and all the major attractions take place. No worrying about getting in (or being cut off after waiting in line), no extra hassles and no extra charges to see the biggest stars: just pure fun! This difference is HUGE and we take pride also in the fact that many of our stars do far more than just "Q and A" on stage. We encourage our guests to really perform for the audience and many do live theatrical presentations which are always a highlight.

Along with main stage events, the convention also features a complimentary to all second track of programming that focuses on the science of Star Trek, fan panels and trivia competitions. The huge vendors room is continually bustling and along with cool Trek collectibles you could often catch celebrities at their own booths or just wandering around. ALL the Trek stars win praise from attendees for being so accessible and friendly. Our popular food functions and meet and greets with the celebrities will be scheduled, and many special events are planned. There is something truly unique about Las Vegas and this convention that puts everyone in the best of spirits and makes it a one of a kind celebration.

Tens of thousands of autographs and photo ops take place during the convention and we are very proud to offer these services to our audiences. Here attendees get the meet their favorite Star Trek stars and go home with a commemorative signature or beautifully shot professional photograph. Everyone loves Creation's famed in-house photographers: you will see the immediate difference when compared to other fan events!

After the past 11 years of great successes at The Official Las Vegas STAR TREK Convention we now turn our attentions to the 2013 gathering, scheduled to take place just a few months after the eagerly awaited 2nd JJ Abrams' Star Trek feature film. Excitement will be at an all-time high in Vegas but it just won't be the same without YOU! Keep on the look out for new additions to this site and for our complimentary STAR TREK E-BULLETINS for on-going news. THANK YOU to all our fellow fans for making the Las Vegas Convention the place to be for anyone who loves Star Trek as much as we do! 

Click here for offical site,

http://www.creationent.com/cal/st_lasvegas.html#tix


'Star Trek' is born again with new video game

It’s the kind of paradox that Mr. Spock finds fascinating — and the type of unmet challenge that Capt. James T. Kirk can’t resist: No franchise has a longer history with video game fans than Star Trek, but to today’s Xbox 360 and Playstation 3 audiences it’s a brand that might as well be lost in space.

That may change with the April 23 release of Star Trek: The Video Game (available for Xbox 360 and PlayStation 3 as well as a Microsoft Windows PC version), which seeks a new commercial frontier for a brand that is heavy on heritage but light on contemporary credibility. The project also represents a traditional Hollywood power boldly going where it has never gone before: Star Trek: The Video Game represents the first major console game ever financed and released by Paramount Pictures, a historic studio that had licensed properties out in the burgeoning marketplace.

“For us it represents a huge investment in Star Trek,” says Brian Miller, Paramount’s senior vice president of brand marketing and the executive producer of the game. “We’re all gamers and we wanted to make sure the game was a triple-A game, something Star Trek deserves and frankly may not have gotten for the last several decades.”

Star Trek Into Darkness

RELEASE DATE: May 17th, 2013

DIRECTOR: J.J. Abrams

WRITERS: Alex Kurtzman, Damon Lindelof and Roberto Orci

PLOT:

In Summer 2013, pioneering director J.J. Abrams will deliver an explosive action thriller that takes “Star Trek Into Darkness.”

When the crew of the Enterprise is called back home, they find an unstoppable force of terror from within their own organization has detonated the fleet and everything it stands for, leaving our world in a state of crisis.

With a personal score to settle, Captain Kirk leads a manhunt to a war-zone world to capture a one man weapon of mass destruction.

As our heroes are propelled into an epic chess game of life and death, love will be challenged, friendships will be torn apart, and sacrifices must be made for the only family Kirk has left: his crew.

CAST: Chris Pine as Capt. James T. Kirk, Zachary Quinto as Spock, Karl Urban as Leonard "Bones" McCoy, Zoe Saldana as Nyota Uhura, Simon Pegg as Scotty, Anton Yelchin as Pavel Chekov, John Cho as Hikaru Sulu, Benedict Cumberbatch, Noel Clarke, Alice Eve, Peter Weller, Joseph Gatt

Probing the Ships of
Star Trek: the Motion Picture
Concept designer Andrew Probert discusses his career and work on the Enterprise Refit and Vulcan Shuttle
By Jamie Hood

Andrew Probert is one of the most revered designers in Star Trek's history. Besides Matt Jeffries, no designer has had such a wide ranging influence on the look of the Trek universe. From his work on Star Trek: the Motion Picture to Star Trek: the Next Generation, Andrew has been responsible for the look of two versions of the Enterprise, the 1701 Refit and the 1701D, as well as numerous other ships and designs throughout the production of the film and series. His work has also been seen in several other popular sci-fi film projects. Our discussion starts there...

An Engaging Career
Andrew, Thank you very much for taking the time to answer some questions for us. We're thrilled to be able to have you give us a little insight into your career and work on Star Trek the Motion Picture.
Thanks for asking.
Your body of work is quite impressive. Let's see, the Enterprise Refit, Vulcan Shuttle, Enterprise D, the Back To the Future time machine, Airwolf Helicopter, what have been some of your other high points?
Being the designer of the Cylon warriors for the original Battlestar: Galactica was my first Hollywood job while I was still in school,... a definite high point.
Wow, definitely. They are some of the most iconic villains in sci-fi. Did you have a hand in developing the look of any villains in Star Trek?
I designed the look of the Ferengi Race and their Marauder Starship followed by the Romulan Warbird ships for TNG but that was pretty much it.
What other iconic vehicles have you worked on?
I designed the Motorcycle known as Streethawk, for the TV show of the same name.
As a concept artist/production designer (is production designer your accurate job title?) what does that job entail?

I have not officially been a production designer... yet. Back in 1980 I was working in that capacity on the film: Starhunt, written by David Gerrold, but that project was canceled for some reason.

As a Concept Designer, my job is to provide conceptual visions of futuristic settings, props, or vehicles to help the crew start thinking about what everything might look like. Starting with a script and/or a description, I sketch up ideas of what the 'item' might look like and how it might be used. Having an education in Industrial Design gives me a bit of an edge in providing designs that look as if they could be real. Usually, my sketches visually reinforce what's written but can occasionally spark an idea that's actually added to the story.

At what point do you step away to let the set or modeling team do their thing?
Once my designs are approved they are pretty much out of my hands. Hollywood loves to boast that movie-making is a collaborative business but once a design leaves my desk that's where a designer's ability to collaborate usually ends.
To what extent do you get to supervise or review their work?
Never, unless I'm specifically put in charge of supervising the 'item' through to completion. That rarely ever happens but it did happen for me on Star Trek: the Motion Picture, during the time Robert Abel & Company was still creating the SFX.
So ST:TMP was a special circumstance where you worked beyond the design phase?
Trying to remember it, after all this time, it seems like Richard wanted me to spend time with the painters while the models were being finished, making sure the final results matched what we'd had in mind. I don't know if this had ever been done in previous miniature work to any great extent, but I went out and bought a whole bunch of decal sheets, mostly aircraft of various scales, and chose certain ones be applied to a couple of the larger models (most notably the travel pod). I then created a variety of custom decals of details like vent slots, graphics, and other small items in several sizes that were added all around with a great many of them ending up on the Vulcan Shuttle. Then, with all the various panels painted and "decaled", I began working with them in applying layers of 'weathering'... a scary thought to me now, but we took it slowly and tried to stop before it all became too heavy.
Who (or what) are your design influences?
Syd Mead and Luigi Colani are my strongest industrial designer influences but I can be influenced by anything I see, hear, or read,... sometimes unexpectedly. For instance, while I was sitting in an outer room, waiting to talk to Gene Roddenberry about something, an electrician walked through the room holding a piece of electrical conduit in his hand, forming a loop. At that moment, I was struggling with how I could join the Enterprise-D saucer with it's connecting dorsal that didn't look 'stuck on' when I looked up and saw that conduit-loop. Suddenly I saw how it represented the aft edge of my new dorsal as it elegantly blended into the saucer.
I've read that you have a sensible design theory that great space ship designs are those that have features or details that make us believe the ship can really fly. Please comment on your approach to spacecraft design.
I start by getting a description of the ship I'm asked to design. I approach it with the time-proven idea that "Form follows function" and find out as much as I can about what the ship is to do (in the story), how many crew it has, how big it is, how it's powered, does it have weapons, does it land or stay in space, does it carry auxiliary craft, what set interiors will be featured and how will they effect the exterior, and so on. Once I understand all that, I start sketching. Sometimes those sketches will start as a bubble diagram, indicating placement of the scripted sets while adding any additional spaces I think would be needed in a real ship. Other times, I simply start sketching exterior shapes while keeping in mind needs for visual continuity (such as in Star Trek) or uniqueness, not wanting to copy other designs. Once I have a couple of directions, I show them to my production designer, producer(s), or director... or everyone in a meeting. Once a design direction is established, I start solidifying the concept into the final design, adding any remaining details as needed.
Constituting a New Enterprise
When you were first assigned to work on the Enterprise Refit, some work had already been begun on the ship as part of Star Trek Phase II. What state was the ship in when you joined the project?
The Enterprise had been designed & pieced together along with the Phase II Drydock and Space Office Complex. Those miniatures, being built for a television pilot, were a bit on the small side and my art director, Richard Taylor, determined a grander scale would be needed to provide a successful level of believability for the large screen.
The ship was given a very distinctive surface quality often referred to as "Aztec" paneling. Did you have that planned or were those choices made by others later on?
Richard asked me to come up with an overall scheme of surface paneling to give the ship another level of detailing. I agreed that it would give the Enterprise more credibility as a manufactured spacecraft, even though panel lines wouldn't be visible at the scale distance needed to encompass the entire ship in a shot. Richard thought a subtle differencing of the paint scheme would accentuate those panels and that worked really well. For the saucer, I came up with "Aztec Pattern" panels providing a series of interlocking edges in order to reinforce the ship's surface tensile strength.
Besides the surface quality and a few shape changes here and there, the ship maintained a look reminiscent of the version from the television show. How concerned were you with staying close to the original Enterprise?
Gene always said the Enterprise is a definite 'character' in the show and it's look was well established on television (not to mention all the merchandising and advertising), so I was very concerned about keeping the character of what Gene had originally established.
I'd have to agree. Many of my favorite TOS episodes were the ones where the crew stayed on the ship. Was the Refit really intended to be the same underlying ship we had seen in the television series?
Richard asked me to start my concepts from Joe Jenning's / Matt Jefferies' Phase II Enterprise but then ours took on a more elegant look under Richard's influence, quickly evolving beyond the original series Enterprise with it's different proportions and lines... a visual upgrade, if you will. It looked like a "totally new ship", to quote Captain Decker, and I was thinking, for a while, that the script might further indicate that it was. To that end, I had tentatively referred to it as an Enterprise-Class ship with the designation of NCC-1800 but that idea dissolved pretty quickly.
In hindsight, the whole registry/name of the ship probably deserved a bit more consideration but who knew there would have been even more versions of the ship to come later on? I know that you and Rick Sternbach and others have taken the time to explain some of the mechanics of how the ships work.
Rick is much better at it than I am.
Okay, but how much thought goes into the mechanics of a ship design at the concept and modeling stage? (like figuring out how the impulse engines would get their power, etc?)
As indicated earlier, I'll either start sketching shapes, trying to come up with a unique look, or start laying out the interior, beginning with a bubble diagram dictated by how the script describes the way compartments are connected to each other. After those initial stages, I then start to look at where the engines might be placed along with their power source(s) and soon other details emerge such as weapon placements, lifeboats, hanger bays, docking ports, windows, and moving back into the interiors for the all-important bathrooms.
Well, of course. Even the captain of the Enterprise has to go, right? I mean we are talking five-year missions here...
How much of the design is really nailed down at the early stage versus going back to it and kind of finding an explanation for this detail or that?

Designs continue to evolve from the first sketch but obviously if set concepts are part of my job, those need to be nailed down right away, in order to start construction. When those are pretty much underway, I can get back to the exteriors.

That's basically what happened on Next Gen when I was originally asked to provide concepts for the main bridge. While working on those, I was also doodling out ideas I had for the Enterprise-D exterior, sticking them on the wall in front of me as I continued to work on the bridge. Writer David Gerrold was working on the show and would drop by every so often to see what was going on. One day he noticed my current Enterprise sketch and asked me if that was what the ship was going to look like. I told him I didn't know and he snatched it off the wall and walked out saying, "let's find out", or something to that effect. Maybe twenty minutes later he came back and slapped it down in front of me saying, "Yep, that's the new Enterprise". In answer to my astonished look & babbling he explained that he took it into a producers' meeting and they all agreed that was to be the new ship. Yeah, that really sent my head spinning. From that point (as I also continued to work on the bridge), it was a matter of refining the shapes and adding details.

Wow. It sounds like that design was chosen pretty quickly. What did you think about the design they chose?
I was happy with it. Putting it on the wall above my drawing table and living with it awhile, gave me some time to determine what refinements I thought it might need.
Did you agree that it was the best look?
It must have been or the producers wouldn't have all agreed on it so quickly. And, yes, I agreed with them.
Did you have enough of an opportunity to fully explore the possibilities? As a designer, I know what its like to submit a group of sketches and have my favorites right along designs that I think are "just okay"...
In my own design process, I'd only dwell on designs I felt were going in the right direction... with the "just okay" versions falling by the wayside. Looking at each 'latest version' for a while, helps me determine if I might quickly get tired of it, or discover if it could look like a cliché, or discover a refinement that wasn't immediately apparent. Besides, you never want to show decision-makers anything that is "just okay" because that might be the one they choose.
I know from experience... a designer's nightmare.
Touching back on the painted details of the Motion Picture Enterprise, some seem pretty specific to indicate a kind of mechanical marking such as showing the energy paths going from engineering up the dorsal towards the impulse engine and up the inboard side of the pylons to the nacelles. Can you comment on those?
Looking at contemporary jet fighters, I noticed that there were material differences sometimes around the tail sections and that started me thinking of ways to visually break up the surface expanse of white on white. I thought some sort of different materials might be used around the engineering spaces as some sort of radiation shielding or as structural materials less effected by what was going on inside... something like that. Anyway, that was the basis for those surface differences and I think that helped the believability-factor you asked about before. I think it just looked and felt like it belonged there.
What other marks can you comment on?
The original Enterprise had a set of red pinstripes running down the back of the saucer and engineering hull and I wanted to build on that idea of using various graphic markings on the hull. That idea evolved into a full pattern of red lines all over the hull becoming more of a visual enhancement beyond operational notations & section lines. We added a subtle blue-grey material to the leading edges of the dorsal, warp engines & pylons which created a subliminal kind of an 'all-American' Red White and Blue color scheme. The pin-striping encircled the saucer and various details, parts of the warp engines (still visible in some of my renderings), and other details. These were added by using custom decals, which were at their size, difficult to apply while keeping a smooth look. Consequently, when the ship's paint scheme was changed to a pearlescent finish, the modelers talked Trumbull (then in charge of SFX) into dropping the whole idea. A few of the red-striped details remained but are not nearly as prevalent.
Didn't the model have greenish paint on the engineering section when the model was originally filmed? Were the other areas that are blue also greenish at the time?
The leading edges of the warp engines & pylons were a gray-blue as was the leading edge of the dorsal. All engineering spaces were shielded with a green covering. Notice, however, that painted areas of the leading-edge blues as well as the engineering green have a flatter specularity than the pearlescent whites around them... contributing to more contrast at certain angles.
What was it like to be involved in designing the new version of one of the most iconic spacecraft in sci-fi history?
I'm pretty sure every Star Trek fan can imagine what they would feel like if they were asked to redesign the Enterprise... and get paid for it. Well, that was me.
And may I congratulate you? Somebody had to be the lucky guy I guess.
The design of the new movie Enterprise has stirred quite a debate among Star Trek fans. Do you recall a similar reaction to the appearance of the Refit in TMP?
No, because the TMP Enterprise made more sense visually I think... it was designed as a whole with each area relating to the next in a logical manner.
That's a great point. I'm not one who hates the new ship's design but there are a few quirky things about it here and there. This might be a hairy question but what are your feelings about the design of the Enterprise from the new film?
Even though the "new"-alternate Enterprise was designed by committee, it did manage to attain a level of visual continuity up until they got to the saucer which is way too close to the TMP saucer, presumably just stuck on to appease the Trek aficionados. I would have been much happier (since they simply HAD to change it anyway), if they would have extended the same pimping all the way into the saucer, providing a unified look to the whole ship.
I agree that the saucer was the part that was most reminiscent of an earlier version but I thought it took more cues from the Refit. I'm looking at the upper and lower domes and the surface detail and markings. I think if they had stuck to Ryan Church's surface quality and color, the ship may have been received a bit more openly having a skin more like the TOS version.
The exterior? JJ Abrams specifically did not want anyone on the production that was a Star Trek fan. Having said that, I would have been quite happy redesigning his alternate time-line Enterprise but instead it looks like they attempted to appease die-hard Trekkers by plopping a TMP saucer on a VERY different engineering section producing a visually awkward hybrid which just doesn't work.... for me.
A Little Vulcan Goes a Long Way
Besides the Refit, you designed the Vulcan Shuttle. The ship has relatively little screen time yet it has become a fan favorite. What was your thought process when working on the shuttle?
In the script, this was a shuttle with "long-range" capabilities. Gene wanted it to have (relatively) huge warp engines to indicate how it could reach the Enterprise quickly. Starting with the original TOS shuttlecraft design, I visually peeled it down to its basic cabin and then started updating that, adding (at first) large TOS-style warp engines. The problem I was fighting was how to hard-dock with the Enterprise (an unexplained requirement overriding the transporters) while keeping those large engines out of the way. Sketching extended warp engine pylons, to help solve that problem, it occurred to me that those extensions and warp engines could be detachable during the docking process and the idea of a separate Warp Sled soon came to mind. From that point, it was a matter of refining the details and, since this was to be a Vulcan Shuttle, many of those details were derived from the Vulcan society itself. I observed, in the TOS episode #30: Amok Time, a six-sided-diamond shape as part of their motif, especially in the ceremonial gong at the center of the featured arena. I applied this motif to various parts of the shuttle as well as using it as a cross section for the new warp engines.
The filming model features a rather complex mauve color. What was your reasoning for that choice?
At first I was thinking of various grays for the coloring but quickly realized how tired I was of gray ships... boring. Imagining what a gray ship would look like in the red atmosphere of Vulcan, I came up with a cross between red and gray, sort of a magenta, accented in mauves and purples.
Its onscreen appearance looked somewhat bronze or copper in color. Were you surprised at that?
More like shocked... and then angry at how supposedly "creative" people can be so un-creative at times.
Was it intentionally shot to shift the color that way?
These people can shoot every color there is, so, yes, it was intentionally compromised... providing another example of that Hollywood "collaboration" process.
I'm sorry to hear that someone in Hollywood didn't think much of your chosen color scheme but we were very happy to have you paint the ship in all of its glory for our re-release of the model kit.
Happy to have been asked.
What was it like coming back to render the ship?
Revisiting an old friend... one of my all-time favorite personal designs.
One of the details clearly seen in the illustration is that there are windows on the sides of the ship. Some fans held the perception that the ship had no windows at all.
Interesting. It's true, there is only a heat shield on the front, but this shuttle has always had those side windows along with one on the back. The tall windows were designed that way in order for travelers of any eye-level height to see out. The same reasoning is behind the longer windows on the Enterprise-D, which followed years later.
What is the square shape on top of the front wedge? It lights up in the film. Is that another window?
Nope, it's just a light... kind of a formation light or location beacon corresponding to another one like it on the Warp Sled.
My understanding is that your original concept for the shuttle was that it was to be replacement for the Galileo style seen in the TV series.
When I was asked for ideas on the Enterprise cargo decks, part of those ideas included new hanger deck spaces where one would logically expect to see shuttlecraft. Since the larger long-range shuttle had already been designed, I thought it made sense to have the Enterprise shuttles look the same, although smaller, to fit the spaces below deck. Logically if we were updating the Enterprise, the shuttles should be updated as well. Someone disagreed with that, of course, providing us all with a totally empty area back there.

Plenty of space to keep Tribbles out of the way I guess.

Was the shuttle to be a Vulcan design used by the Federation?

The back-story in my mind at the time was that the shuttlecraft itself was a Starfleet design, while the warp sled would be contributed through the efforts of the Vulcan Space Authorities.
I notice the yellow corners are somewhat reminiscent of some of the details on the saucer of the Refit. Were those details meant to communicate that idea?
Those yellow details actually represent the (Starfleet) ship's RCS (Reaction Control System) emitter housings. They're coverings that shield surrounding surfaces from the heat/radiation of the emitters, used for low velocity maneuvering. Another name for them is Maneuvering Thrusters. As for the Enterprise, they are not only on the saucer, but can be found on the engineering hull for use when the two hulls (saucer & engineering) are maneuvering separately. That separate RCS arrangement is also on the shuttle and it's sled.
I know you are a regular contributor to the Star Trek Ships of the Line calendars; the newest one is now available. What else have you been working on?
I'm contributing ideas & layouts for the rebuilding of a local amusement park and am involved in various artwork commissions. I'm also in the middle of a book titled: Probert Designs which is taking way too long to finish.
A lot of fans will be looking forward to see that, myself included. Is there anything you would like to promote?
International tolerance & support of human rights, solar energy, and all-electric transportation.

Well, who wouldn't want that? ... Besides a Klingon...

Thanks again for your time Andrew. It has been a pleasure.

Star Trek® Mr. Spock Lunch Tin

Item No: AMT810
Release Date: June 2013

AMT brings back the classic Mr. Spock model kit in a collectible lunchbox tin! This reissue of the classic AMT Mr. Spock figure model kit is presented for the first time in a lunchbox tin. The decorative retro artwork makes it a great Star Trek collectible. The kit is a simple glue together kit perfect for young modlers that want to take the step from snap to glue. The kit offers the perfect amount of detail to let expert modelers create a lifelike result. The kit includes pictorial assembly illustrations and a bonus collectible sticker.

  • Scale: 1/12
  • Skill Level: 2 (ages 10 and up)
  • Glue assembly, paint required
  • Molded in white
    • Detailed Spock figure kit
    • Collectible decorative lunchbox tin
    • Vintage Star Trek artwork
    • Simple glue kit
    • Bonus sticker
Star Trek® Bridge Set

Item No: AMT808
Release Date: July 2013

The set of the U.S.S. Enterprise NCC-1701 became memorable as the primary location for many of Star Trek?s best episodes. The model kit set originally released by AMT in the mid seventies supplied modelers with an opportunity to build a set of their own. The kit is now re-released with the key addition of new figures and added details. Spock?s and Sulu?s scopes are present for the first time in the set. Parts to build six figures are included with options to build Kirk, Spock, Bones, Sulu, Checkov, Ohura, Scotty or other "red shirts". Additional wall sections are also included for the first time to allow the set to be built completely in the round. New updated decals are included for accurate displays.

  • Scale: 1/32
  • Skill Level: 2 (ages 10 and up)
  • Glue assembly, paint required
    • New figures and additional wall sections
    • 10 character choices to build 6 figures
    • Sulu & Spock scope parts included
    • Build the COMPLETE bridge-in the round!
    • New updated decals for accuracy

Starfleet Model Academy

Transparent Enterprise Uncloaking This Summer
Updated 17 hours ago
Now, this is cool. Diamond Select Toys, this summer, will introduce an 18-inch-long model of the Enterprise NCC-1701 with transparent pieces that reveal the ship’s living quarters and detailed machinery. Designed by the team behind Dragon’s Project Cutaway, the product is made of plastic, is fully painted and comes with a metal display base. The product will be available this summer via online toy retailers and at comic book shops, priced at approximately $174.99. Keep an eye on StarTrek.com for purchasing details.

Like Star Wars, the Star Trek universe just keeps rolling on, with new movies, collectibles, and now, more scale models from Revell. Due to hit the stores shortly are these two fine spacecraft models, both to 1:600 scale, making them a decent size when constructed, and - interestingly - to a scale that means they are common with a great many ocean-going ship models, though sad to say, not Revell’s own USS Enterprise aircraft carriers, which are to 1:720 and 1:1200 scales. Biplane vs Warp Factor? Even so, this modelmaker itches to make a ‘what-if’ diorama featuring a Revell Klingon starship dicing with, let’s say a squadron of Swordfish torpedo bombers from the flightdeck of the same-scale Airfix HMS Ark Royal. Now that’s a sci-fi project that’s just waiting for one of the dark winter nights to come! Federation Starship The USS Enterprise kit looks reasonably simple, with 71 parts, and when assembled, it will measure some 481 mm (18.9 in) long. As fans will tell from the test-shot images here, the model features the NCC-1701 from the original Star Trek series. Five year mission As envisaged, NCC-1701 is a Constitution class starship, built primarily for scientific research and exploration in the far reaches of the universe. NCC-1701 is best known for its five-year exploration mission: "To boldly go," beginning in the year 2265 under the command of Captain Kirk from Earth, and First Officer Spock from the planet Vulcan.dit text.