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

Ship

 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.

Bridge

Much smaller than other Starfleet bridges of the era, the 

’s bridge was as focused and utilitarian as the rest of the starship’s design. The captain’s chair was placed on a raised platform at the center of the room with a single helm console directly in front of it. The sides of the room featured four seated stations, two of which were tactical consoles and the others were engineering and science. Directly behind these stations were the egress doors, which connected to the rest of deck 1. The back of the bridge featured a retractable situation table for the crew to gather and discuss matters of importance, such as upcoming mission briefings

Crew Quarters

Unlike larger starships of the era, due to the limited habitable space on board all crew members had to share accommodations on the 

. All crew quarters were small rectangular rooms, equipped with two bunk beds on one of the walls. The only other accommodations in these quarters were a work desk with a computer terminal, a food replicator, and an emergency medikit.

 NX-74205 Transporter Bay | Deck 1 (2373)

Transporter Bay

 had a transporter pad incorporated into the corridor directly aft of the bridge. While somewhat unusual for starships of its era, this arrangement was fitting for its mission profile as an escort. This small transporter was surrounded by a handrail to provide support during combat, and could accommodate three people at a time in normal operation, half of what standard pads could do in larger  ships. The transporter controls were arranged vertically and located on a small console next to the pad, directly on the corridor wall. A more traditional transporter room was also available on deck 2.

e, as the writers felt they needed a powerful starship to realistically defend the station after the Jem’Hadar were introduced at the end of the previous season. The 

was designed by Jim Martin, who after many iterations, ended up basing the shape of the vessel on his unused concept for a Maquis raider. The 

’s design thus eschews many of the established design guidelines for Federation starships, such as having a raised bridge module or nacelles separated from the main body of the ship.

 was constructed over the summer of 1994, under production designer Herman Zimmerman, for its introduction in the series’ third season. In a departure from previous Federation ship interiors, it featured smaller hatch-style doors that didn’t reach all the way to the floor and a raised platform at the center instead of a sunken pit. These elements, along with the darker color scheme and lighting, gave the bridge a somewhat claustrophobic feel. After filming was completed on “The Search”, the bridge was extensively modified before its next appearance in “Equilibrium”.

were purposely made as cramped as the needs of a filming set would allow. The set, almost never adorned with any sort of personal belongings or decor, served as the quarters for any member of the crew that the story required. While the wall that connected the set to the corridor was static, the other three walls could be removed or rearranged as needed, and multiple different layouts were shown through the show. The Roddenberry Archive has included two quarters accessible through the ship’s corridor to illustrate these variations.

The small transporter bay set was originally incorporated directly into the end of one of the 

corridors. Since the somewhat claustrophobic setting wasn’t easy to film, midway through season 4 the mess hall set was sometimes redressed to serve as a larger, dedicated transporter room. While this meant that the corridor transporter bay never appeared beyond that point in the series, many displays around the ship indicate that both transporter locations were meant to have coexisted all through the ship’s lifespan. For that reason, the Roddenberry Archive has included this bay into the season 5 recreation of the ship.