The Roddenberry Archive is a multi decade collaboration with The Roddenberry Estate, OTOY, and iconic 

artists Denise and Mike Okuda, Daren Dochterman, and Doug Drexler to collect significant documents and art from Gene Roddenberry’s lifetime of work, beginning with the 

, and to make them accessible through innovative means of presentation. The project aims to preserve this information for those studying his career in the future, for those who appreciate his work, and to provide accurate information for those involved in future productions and other projects based on Roddenberry’s work.

The Roddenberry Archive seeks to honor the work and career of Gene Roddenberry by documenting, preserving, and presenting key aspects of his work, including 

This portal features some of the latest work from the Archive team, allowing visitors to virtually explore the complete history and legacy of every bridge of the 

 - as 1:1 scale “in-universe” experiences.

 bridges are currently in this archive portal (with more on the way) - from the first 1964 concept artwork for the 

Please be sure to visit the archive Youtube’s channel and blog posts for a deep dive on the work being done behind the scenes - and incredible interviews with cast and crew - including William Shatner, Terry Matalas and many more.

All ship animations and CG film scene recreations are original work created by the artists of OTOY / The Roddenberry Archive.

Eugene “Rod” Roddenberry

Jules Urbach

Roddenberry Archive Executive Producer

Daren Dochterman

Doug Drexler

Denise Okuda

Mike Okuda

Roddenberry Archive Leadership Team

Mark Spatny

Roddenberry Archive Virtual Art Department Supervisor

Rob Bryan

Dave Clark

Tadeo D’Oria

James Hibbert

Geoff Holman

Andrew Jarvis

Adam Leader

Richard Leech

Lewis Niven

Bertie Siebrits

Neil Smith

Donny Versiga

Roddenberry Archive Art Team

Alan Bunese

Roddenberry Archive Programmers

Mike Ashton

Phillip Gara

Sarah Gillespie

Chris Hekman

Sajja Johnson

Apryl Krakovsky

John Lee

Ethan Teller

Charlie Wallace

Kristina Wallace

Sam Witwer

OTOY Team

Credits

Directed by: Roger Lay, Jr.

Produced by: Roger Lay, Jr., Denise Okuda, Michael Okuda

Director of Photography: David de Vos

Gaffer: Julian Terry

Camera Operators: David de Vos, Julian Terry, Eric Carnagey, H. Sean Miller

Camera Assistant: Jack M. Barrie

Grip: Bradley den Dulk

Production Sound Record Mixer: Martin Kittappa

Editor: Roger Lay, Jr.

Post-Production Sound Editor and Mixer: Mike Solis

Documentary Narrator: John de Lancie

Documentary Films

Cast: Lawrence Selleck, Mahé Thaissa, Adam Hagenbuch

Director: Carlos Baena

Writer: Jules Urbach

Director of Photography: Leonidas Jarmaillo

Orbital Studios, Studio Head: AJ Wedding

Unreal Operators: Wilder Herms, Emir Cerman

Tracking Operator: Mark Poletti

Gaffer: Hunter Laizure

1st AC: Mac Myers

2nd AC: Theo Malkin

Key Grip: CJ Colace

Dolly Grip: Matt Corder

Art Team: JJ Palomo, Neil Smith, Aaron Westwood, Caleb Westwood

Sound: Ashley Maria

DIT: Colin Mack Nair

Production Assistant: Krí Schafer

Hair and Makeup: Emma Croft and Kyrsta Morehouse 

Costume: Mio Guberinic

SFX Makeup: Hamer FX

Practical Effects: Studio Gillis

Music by Johan Söderqvist

765874: Regeneration

Cast: Lawrence Selleck, Mahé Thaissa

Director: Carlos Baena and Jules Urbach

Director of Photography: Kellen Malloy

1st AC: Richie Truman 

2nd AC: James Choi

LED Screen Operator: Luis Martinez Miller

Steadi-cam Operator: Justin Wilson

Key Grip: Tyler Maynard 

Best Boy Electric: Dylan Krause 

Additional Grip: Josh Birdsel, Abraham Luciano

G&E Swing: John Donadeo 

Production Assistant: MacKenzie Lee

Standard Vision, Production Coordinator: Madison Ziegler

Standard Vision, Production PA: Katie Sherwood 

Standard Vision, Stage Manager: Vaughan Larsen 

Standard Vision, Lead Stage:  Alex Seymour

765874: Memory Wall

Cast: Mahé Thaissa

1st AC: James Choi

2nd AC: Alex Alarcon

Key Grip: Adrian Ramirez

G&E Swing: Colin Pitt

Gaffer: Ryan Apley

Hair and Makeup: Emma Croft, Kyrsta Morehouse, Brigitte Reiss- Anderson 

Standard Vision, Stage Manager: Alex Seymour

Covid Compliance Officer: MacKenzie Lee

765874

Roddenberry Archive Film Cast and Crew

Randall Anderson

Marc Bell

Dave Blass

Matt Boardman

Chris Cushman

Daniel Deleske

Paul Dobson

Lee Hoffman

Serin Jameson

Lora Johnson

Daniel Korican

Alexander Klemm

Justin Lee

Thomas Marrone

Ryan Norbauer

JJ Palomo

Marta Polanska

Mark Rademaker

Tobias Richter

Annibale Siconolfi

Diogo Vincenzi

Aaron Westwood

Contributing Artists

Jaret Sears

Contributing Editor/Writer

David Harper

Russell Meyers

William Smith

Special Thanks

Roddenberry Archive Contributors

About

The Prime Timeline refers to the primary continuity of events related to the 

, launched in 2245 by the United Federation of Planets.

The Prime Timeline is the point of origin used to reference several other quantum realities chronicled within this archive. These collectively are part of a larger “Alpha” Multiverse of notable and interconnected parallel universes, which include the “Mirror Universe,” ” Kelvin Timeline,” and the "Alternate Future of 2395”.

Beyond the “Alpha” Multiverse exists a similar but distinct “Beta” Multiverse, and an infinite myriad of parallel realities, each with their own 

 at the center of a branching local multiverse.

The “Prime Timeline” and “Alpha” Multiverse are used to refer to the main continuity of events depicted in the 

 television and film series. It is distinct from the continuity and mythology of 

 stories appearing in other licensed media such as books or video games, which the Roddenberry Archive considers to take place in a separate “Beta” multiverse also worthy of record - especially when these materials later influence or establish details in the Prime Timeline - or are written by Gene Roddenberry himself.


The Roddenberry Archive lists several unrealized “Roddenberry” 

) in the Prime Timeline section. For Gene Roddenbery, these ships represented the primary universe version of the 

 for film and television at the time of their conception, even if they were never released in a finished production.



Prime Timeline

The Kelvin Timeline is a quantum reality that is similar, but not identical, to the Prime Timeline, causally linked as the result of temporal incursions that destroyed the 

 in 2233 in this alternate reality. Ambassador Spock - from the Prime Timeline - traversed to the Kelvin Timeline in 2258 and died in 2263 at the age of 161 on New Vulcan.

Kelvin Timeline

The Mirror Universe is a parallel quantum reality, where events, entities, and societies may somewhat mirror those of the Prime Timeline in the 21st - 23rd centuries, but often with antithetical and inverted outcomes. Notably, the Federation does not exist in this reality; instead, the Terran Empire rules in its place with extreme brutality and ruthlessness.



Mirror Universe

Alternate Timelines typically share an identical past or future history with the Prime Timeline, but splinter into a new independent quantum reality at a single temporal branching event - often the result of time travel - occasionally allowing temporary traversal and exploration of possible futures or past outcomes that diverge from the Prime Timeline.



Alternate Realities

Beyond the original Prime Timeline’s ‘Alpha’ Multiverse of traversable quantum realities (The Mirror Universe, Kelvin Timeline, Alternate Future of 2295), there exists an infinite set of parallel myriad realities, each with its own 

The now defunct “First Splinter Timeline”, part of a larger ‘Beta’ Multiverse, was one notable example of a myriad reality that was causally connected and aware of the Prime (Alpha) Timeline. In another reality, James T. Kirk was resurrected after his apparent death on Veridian III. 

The Roddenberry Archive considers officially licensed literary works and stories - sometimes referred to as “Beta” canon - to be an important aspect of the 

 mythos. While not directly crossing over into the “Alpha” timelines of the films and television series, they nevertheless represent a significant subset of 

 mythology, and often are the source of events and details later adapted in the film and television series. 

 series of novels published by Pocket Books (with crossovers through multiple comic series and publishers including Marvel Comics, IDW Publishing, DC Comics, and others) began in 1979, with Gene Roddenberry’s first and only published 

Subsequent Pocket Books novels and inter-connected comics that follow Roddenberry’s novelization form a parallel “literary” multiverse which shares key events with the Prime Timeline, while diverging from it in others. These modern era 

 novels ultimately established a decades-long coherent continuity in books published from 2002 through 2021. In the novel series “Coda”, this literary universe was revealed to be a splinter timeline that resulted from the events of 

A separate reality depicted in the novels (and DC Comics special) “Ashes of Eden” and “The Return”, in which Kirk returned to life after the events of 

, is colloquially referred to as the “Shatnerverse”, named after the novel’s author, William Shatner. Mr. Shatner reflected on his experience and intent in writing this story in his video testimonial for the Roddenbery Archive.

The Roddenberry Archive chronicles realities and continuities established in video games, role-playing games, and other mediums, notably the alternate timelines established in FASA, Last Unicorn Games, and 

 inspired the canonical version of the ship a decade later. Events in 

’s primordial continuity are also depicted in IDW Publishing’s “Countdown” comics. Later 

storylines establish that the events and realities depicted in its ongoing continuity are distinct timelines unique to 

Rod Roddenberry has tasked the Roddenberry Archive team to also note important contributions from fandom that exist outside of licensed works. This “Gamma” continuity of stories and art includes 

 (which Rod Roddenbery helped produce) and 

Myriad Realities

Notable ships, vessels, stations, crafts, and structures that exist in the Prime Timeline, including those with historic ties to the 

 or its crew, as well as vessels on display in the Starfleet Museum, and early NASA probes such as Voyager 6 (1999).

Prime Timeline - Historic Ships and Structures

The “Alien Whale Probe" was an interstellar device whose objective is believed to have been direct communication with Earth’s indigenous humpback whale population. The probe was first observed in 2286 by the 

. The unidentified object was estimated to be about five miles in length and cylindrical in shape, with a spinning lit sphere protruding near the front end. The probe was broadcasting sounds that could not be deciphered or translated. 

 hails of universal peace and hellos received no response from the cylinder, and Starfleet was advised of the probe’s apparent trajectory towards Earth. The probe had a neutralizing effect on spaceships in its path; 

lost all internal power and began to drift. After multiple ships were neutralized and further attempts to communicate with the probe were unsuccessful, Starfleet issued a “Do Not Approach” notice for all vessels inbound to Earth. Both the alien probe message and the distress signals from Earth were received by an inbound vessel carrying Admiral James T. Kirk and five of his former crew from the 

who were able to identify the sounds as recordings of humpback whale songs. 

The humpback whale, a dominant species of cetacean that predated humanity on earth by some 10 million years, had become extinct due to human activity sometime in the 21st century. Admiral Kirk’s daring solution was to execute a slingshot maneuver to travel back in time and bring humpback whales back to the present to reply to the probe. A pair of whales were successfully brought to 2286 and released into the ocean, where they began to “sing”. The probe responded by turning off its power neutralizing field before departing from Earth’s orbit and leaving the solar system. 

This mid-1980s motion picture production, like 

 in the 1960s, looked for ways to minimize expensive post-production effects by building practical models to create effects in camera. The sparse description of the probe in the script called for "a simple cylinder, non-threatening but huge in size, with odd, eye-like antennae." Pre-production storyboards depicting a simple cylinder with a vaguely whale-like feel were designed by Art Director Nilo Rodis-Jamero with creative input from the Film-Maker’s Cooperative in Los Angeles. Actualizing the model became the responsibility of the model shop at Industrial Light and Magic (ILM), who built a prototype of a cylinder covered with barnacles and an antenna made with a section of irrigation pipe. The first models developed and filmed colored the main cylinder blue with a crusty white coloring, but this was re-imagined after the first shots were reviewed; the probe needed a sense of menace that was lacking in this organic rendering. The models were repainted in a shiny black, and the surfaces were pockmarked to provide texture. Backlighting and a fog filter completed the eerie redesign. 

Three separate models of varying sizes were built and filmed from multiple angles. The main model used was an 8’ cylinder that was roughly 2’ in diameter, with a hole at one end for the antenna ball. A 20’ model with a tapered end enabled the team to use forced perspective to evoke a sense of massive scale. The antenna was given its own internal light source: a thin plexiglass tube with a bright tube lamp was placed in the center of the antenna, and halogen  amps were set around to add a diffuse glow. Larger antennas were built for closeups.  

 debuted, an international ban on hunting humpback whales was placed; the population of humpback whales in the Northern Pacific Ocean was estimated to have dropped to a mere 1,400. Scientists and musicians seized upon the whale’s song as the means to raise awareness of the plight of the whale worldwide. 1970 saw the first release of whale sound recordings, a collection of hydrophone recordings by marine biologist Roger Payne. Dr. Payne would later provide the whale sound recordings used in 

directly to director and star Leonard Nimoy. Artists like Pete Seeger and Judy Collins released anti whaling protest songs that same year, and this growing awareness led to the U.S. finally banning all commercial whaling in 1971 and the humpback’s early inclusion in the new endangered species act in 1973. Whale song was featured on the recording launched with the spacecraft Voyager in 1977. The wide release of 

 triggered a new round of public interest in whale conservation, with donations to Greenpeace skyrocketing after the movie’s release. The actor Nimoy and biologist Payne found themselves collaborating again the following year, with Nimoy featured reading poetry and other passages for the album “Whales Alive”. 

In 2016, most humpback whales, including all of the populations found in U.S. waters, were removed from the endangered species list. The North Pacific Ocean population that had bottomed out at 1,400 in 1966 was now estimated at a robust 21,000, with projections that the population would continue to grow at a rate of about 7% per year. 

 role in raising cultural awareness is recognized for contributing to the rebounding of the species. 

Starships

Ship

REGISTRY NO

Bridge

Enterprise

Feature assets

 NX-74205 was a Federation starship launched in 2370 and assigned to the space station Deep Space 9 in the Bajor Sector. The prototype for a proposed new class of escort intended to improve Starfleet’s ability to defend against a possible Borg offensive, the 

was equipped with quantum torpedo launchers and protected by ablative armor plating, giving it exceptional offensive and defensive capabilities. It played a key role in the Dominion War until its destruction during the final days of the conflict.