10. The first nine minutes of the movie could change.

Though audiences will surely like what they see when they check out the prologue to Star Trek Into Darkness, Giacchino admitted that when he completes the rest of the score, some of the music could change. “This is much earlier than we ever would have touched the movie,” he said. “[Once the film is complete] we might even go and adjust some of the stuff in that opening, you never know.” And, it’s possible (but unlikely) that maybe the film could change too. It’s simply too early in the process to say for sure. “This is [the film] in its state today, but a month from now it could be a totally different cut which would require going back and rescoring so it feels like one whole piece,” Giacchino said.

11. The London of 2259.55 looks a lot like London of 2012.

If the first 9 minutes shown to us are retained for the final cut, Star Trek Into Darkness begins in London, StarDate 2259.55. While it certainly has many futuristic characteristics, the visual effects crew were very careful about updating the city. “We worked very hard to be respectful to the styling and architecture of the city,” said Roger Guyett, who also worked on the first film. “It’s fun but an enormous design challenge.” They did flyovers just before the Olympics to look at the city from a different perspective and chose which major landmarks would appear in the film. One example of a landmark that stands the test of time: St. Paul’s Cathedral.

12. 3D, IMAX and especially 3D IMAX makes digital effects more difficult. 

Star Trek Into Darkness is the first-ever feature film shot on real IMAX film and then converted to 3D. This should make for a great theatrical experience, but it’s a lot more work for the digital effects artists. “[The extra time] is considerable,” said Guyett. The 3D alone doubles the amount of effects work and then the IMAX frame is so much bigger and clearer. Apparently, the trick is scheduling because a computer taking a week to render a shot is a common occurrence.

MINOR SPOILERS FOLLOW

 

13. Two major digital action beats were shot small and made big.

In the prologue to the film, two pieces of action are both taking place simultaneously. One involves Kirk and Bones on the red planet, the other Spock in a volcano. As is usually the case with scenes like this, both were shot on outdoor sets that were built as one very small piece. Later, that piece would be duplicated, enhanced and enlarged digitally into a massive, engrossing location. Because both of these early scenes were shot outdoors, paparazzi were able to sneak a peek of the cast.

14. Spock wears a heat resistant Volcano suit, and it took four months to create.

One of the major costumes from the beginning of the film is a orange, leather and metal concoction that – in the film – is meant to allow Spock into the middle of a volcano. The suit was one, if not the, most complicated created for the film as it took about four months to make. Also, be on the lookout for all kinds of cool little improvements to the costumes and sets. Metal insignias, IKEA coffee mugs, leg thrusters on wetsuits to help swimming and more.

15. A character has the ceiling in his head.

This one takes some explaining and careful tiptoeing. While walking around, we saw a curious character who was referred to as Gatt 5000. He’s played by Joseph Gatt and seems to play a very important role. What exactly that is has yet to be revealed, but he has a compass sized digital readout embedded in the back of his head. Think Lobot from Empire Strikes Back meets Neo out of the Matrix. However, when deciding on what would be seen on the digital display, LeRoy Anderson picked an image no one has seen, the ceiling of the Enterprise bridge, and just duplicated it. It looks like a compass or a clock, but blue. So that’s what the Bridge looks like. On the back of this mysterious character’s head.

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