Unveiling the Mesmerizing Aesthetic of Star Trek: Strange New Worlds Season 2

Being one of Star Trek: Strange New Worlds' cinematographers, Benji Bakshi has played a crucial role in creating breathtaking visuals and captivating environments for some of the standout episodes in season 2.

As the director of photography, Benji Bakshi has lent his talents to two exceptional episodes in Strange New Worlds season 2: "Ad Astra Per Aspera" and "Among the Lotus Eaters," which are the second and fourth episodes respectively. "Ad Astra Per Aspera" delivered an intense Star Trek courtroom drama, while "Among the Lotus Eaters" brought the USS Enterprise back to Rigel VII, a planet originally featured in Star Trek: The Original Series' "The Cage."

Benji Bakshi on Creating Strange New Worlds Season 2's Planets & Environments

One of the standout aspects of Strange New Worlds lies in its episodic nature, with each episode embracing a distinct genre. This distinguishing feature sets it apart from other Star Trek shows and truly encapsulates the essence of the franchise. Every week, viewers are treated to a myriad of new challenges and encounters with diverse alien species. Could you elaborate on how your exceptional visual effects team elevates the genre of each episode?

Benji Bakshi: The involvement of the visual effects department in creating the virtual worlds is significant. Our collaboration with them takes place through the Virtual Art Department (VAD) which consists of the cinematographer, production designer, visual effects team, showrunners, and creative heads. Months ahead of the episodes, we engage in discussions to dissect the story, determine the necessary elements, and establish the lighting, celestial bodies, weather conditions, and the overall interactions within the worlds. These discussions form the foundation of the story, as we all work together in this collaborative process.

Akiva Goldsman and Henry Alonzo Meyers noted that Strange New Worlds was the first Star Trek show to utilize the AR wall ("volume") for shooting. What are the challenges and benefits of using the AR wall in designing show environments?

Benji Bakshi explained that there are both challenges and benefits. One challenge is the constant need for blending, as there can be discrepancies between the virtual world and physical set. Efforts are made to ensure cohesiveness. Additionally, there are technical challenges, such as the inability to use environments with intense sunlight since it cannot be recreated convincingly on the stage. Even if it were possible, the light would not appear natural on the wall.

Cameras need to be tracked using trackers, so hiding them beneath a ceiling or surface will cause them to lose tracking and cause the wall to appear shaky. Additionally, shooting with two cameras side by side is generally not possible because each camera creates a virtual field of view on the wall that moves, resulting in conflicting views. As a workaround, the cameras need to be positioned at angles to each other, which can be more challenging from a storytelling perspective.

Despite these challenges, shooting on the wall allows for immersive experiences, such as space or other planets, that look and feel incredible. The purpose of designing for shooting on the wall is to troubleshoot and optimize the process for the best results. It truly is amazing. On one occasion, the crew took a break due to COVID-19 mask-wearing requirements.

I relocated a chair to the center of our surroundings and simply sat down. It felt as though I was on a different planet, taking a coffee break in this otherworldly realm. The sensation of not being confined to what my eyes could perceive was truly immersive and delightful. Instead of limitations, there was a desire to showcase as much of these extraordinary worlds as possible. This feeling is especially gratifying when working on a show that heavily relies on such displays.

Without a doubt, Strange New Worlds boasts the most stunning sets in Star Trek. From the bridge to Pike's lavish quarters, akin to a multi-million dollar apartment I'd love to inhabit, to the exquisite new bar. I am curious, though, whether every set in Strange New Worlds also utilizes augmented reality walls.

Not every set is equipped with the AR wall, as it presents its own unique challenges. Additionally, there are numerous logistical hurdles involved in building and removing each physical set before shooting the next combination of physical set and virtual environment. This process takes place in a separate stage located a 15-minute drive away from the main building, making it a distinct production in its own right.

On the other hand, all the other sets are dedicated to live-action filming. However, considering the setting of a spaceship, we need to determine what we see outside the windows. This is achieved through a combination of blue screens and live projections onto screens. This approach grants us the flexibility to create and avoid being limited by real-life constraints.

In season 2, Strange New Worlds opted for location shooting as well. Anson [Mount] is seen outdoors in some parts of episode 2, where he endeavors to reach Neera Ketoul’s [Yetide Badaki] office. Additionally, episode 3 unfolds amidst the vibrant backdrop of Toronto. What obstacles arise when filming outdoors in comparison to working in a studio?

Benji Bakshi: It was a blizzard, and Anson found himself caught in the midst of it. We sought shelter indoors, peering through the windows as the snow relentlessly fell. Surprisingly, they decided to keep the snowy scenes in the show. After all, why not capture the challenging weather conditions Toronto is known for? It's actually quite refreshing that a sci-fi series like this one doesn't have to revolve around scheduling conflicts caused by the unpredictable climate.

However, as you may have seen, we also filmed an episode set in the past and present day, which presented its own set of challenges. Working on a show like this is truly rewarding because every location we film at is a world of its own. There's very little connection to the modern world. Anson even walked on an elevated platform outside a real building, but everything beyond that had to be brought to life through imagination and creativity.

During episode 3, while filming in Toronto with Christina Chong and Paul Wesley, the city appeared quite empty. This could be attributed to factors such as the COVID-19 pandemic or the blizzard. Alternatively, it may have been due to the removal of people digitally to create an empty atmosphere. It's important to note that the episode was actually shot by a different cinematographer, Ian Anderson, as we alternate between episodes. Nevertheless, I can provide some insight on this matter. When shooting on location, it is necessary to have background performers to maintain a realistic setting. However, for visual purposes and legal reasons, it is preferable not to have too many members of the general public visible on camera, unless they are far enough in the distance to be unrecognizable. Additionally, having too many people present could potentially disrupt the flow of the story. Therefore, the production team made efforts to contain the presence of bystanders. Nonetheless, shooting in the city on location poses challenges for Star Trek.

During the filming of Star Trek IV in San Francisco, pedestrians casually strolled by and inadvertently appeared in the camera frame, a phenomenon that the crew discovered firsthand. It was also observed that some individuals were not appropriately attired for the scenes being shot.

I'm really excited for fans to see what's coming up in the episodes of season 2. One particular episode that stands out is episode 4 on Rigel VII. Rigel VII is a famous planet that was featured in the pilot of the original show. It's quite a mind-bending experience for Captain Pike when he is confronted with it again. Throughout the episode, he expresses his distaste for Rigel VII and is unexpectedly called back there. As he studies a map of the planet, it's as if he has a personal conflict with it. The world of Rigel VII is immersive and unwelcoming, and the episode delves deep into its complexities. We even get to see a castle, given that Rigel VII is a primitive planet. It's definitely a fun and fascinating adventure.

What does it mean when La’an and M’Benga rub their finger beneath their eye?

Benji Bakshi: It's fascinating that actors Babs Olusanmokun and Christina Chong have created their own secret gesture, which adds a cool element to the show. They are the only ones who know its meaning, so it would be interesting to ask them about it.

Due to the writers' strike, there has been an indefinite delay in the schedule. Season 3 was originally planned to commence in May, but now we find ourselves in a period of anticipation. Are you aware if there are plans for your return in season 3?

Benji Bakshi: I cannot officially confirm it, but we were well-prepared to shoot before the strike occurred. It is my understanding that Paramount and CBS are aware of the high demand for the show. Interestingly, we had already filmed half of season 2 before season 1 even aired. While we were in production, we had no idea how the audience would respond, but everyone involved thought it was great. The validation we sought was not just that it was a successful show, but that our instincts were correct. This encouraged us to continue with our vision.

Similarly, we were planning to begin production on season three before season 2 aired. This upcoming season will be different, and we were curious about people's reactions. Fortunately, it seems that the response has been even more positive. This has motivated us to improve upon season two and push even further in season three. It appears that the show will continue to move in that direction.

About Star Trek: Strange New Worlds Season 2

For more Star Trek: Strange New Worlds season 2 interviews, click here.

Melissa Navia

Christina Chong

Valerie Weiss

Yetide Badaki

Anson Mount & Rebecca Romijn

Ethan Peck & Paul Wesley

New episodes of Star Trek: Strange New Worlds season 2 air Thursdays on Paramount+.