Reference photos of studio models, production stills, and concept art reproductions were also extensively used.ĭetailed “in-universe” information about the vessel’s history, crew, weapons, and technology was explored within starship profiles and in other feature articles. In addition to using archival material, new interviews with Star Trek cast members and production staff were conducted for the publication. 2D renders were often used for the publication’s illustrations and newly-created annotated schematics by its art editors in the UK.Įach accompanying twenty-page magazine (measuring 219 × 284 mm, except as noted) contained in-depth articles about the design, filming, and on-screen appearances of the original studio model(s). These contractors modified, retexturized, and converted the models into CAD files before CAD tooling masters were produced at the Holinail Group, Eaglemoss’ manufacturing partner in Dongguan, China. When existing models were not available, unusable, or considered unsuitable, many models were commissioned by the company and entirely recreated by independent contractors, including Bonchune, Lebowitz, Fabio Passaro’s Meshweaver Productions, and Ed Giddings of Cgreactor. Original models were also provided by other former production staff and producers, including David Lombardi and Dave Rossi. In addition to studio assets, starship designers such as Rob Bonchune, Adam Buckner, David Carson, Dan Curry, Daren Dochterman, Doug Drexler, Pierre Drolet, John Eaves, Sean Hargreaves, Alex Jaeger, Matt Jefferies, Greg Jein, Joe Jennings, Koji Kuramura, “Mojo” Lebowitz, Jim Martin, Brandon MacDougall, Ed Miarecki, Michael Okuda, Andrew Probert, Mark Rademaker, Alain Rivard, Nilo Rodis-Jamero, Rick Sternbach, Sean Tourangeau, and “Meni” Tsirbas contributed to building or assisting in the creation of these models, supplied original CG files, or shared design background material. Numerous production-used 3D studio models were adapted as miniatures. He worked alongside Marcus Riley and Mark Wright, both former Fact Files team members, and continued to contribute starship articles, with much of his work eventually appearing in the company’s spin-off reference book series. Robinson also co-authored and co-edited the magazine content, which featured a combination of “in-universe” articles and real-world production point-of-view articles about the design and use of the models. John Ainsworth, Hero Collector’s Development Manager, took over many of Robinson’s roles for the production of miniatures after the first 120 issues. As a veteran of Star Trek Fact Files, reference book author, and owner of a Star Trek production art archive, Robinson managed the magazines’ preparation and the selection, commissioning, and decoration of the starship miniatures. Considering the similar follow-up collections like Discovery, Online, Universe, and Lower Decks, Eaglemoss’ Star Trek starship model line became the largest starship model line for any entertainment media franchise ever released by a single company.īen Robinson and his team used original CGI studio models for reference when available. This collection boasts a remarkable range of ship designs, many of which have been produced as display models for the first time, surpassing all other mass-production manufacturers. With authorization and licensing from Paramount Consumer Products, it was made available in several countries worldwide.Įvery two weeks, an issue was released featuring a hand-painted ABS and die-cast metal-scaled replica of a starship from the Star Trek universe. Star Trek: The Official Starships Collection, a UK partwork magazine and product line, was published by Eaglemoss Collections.
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