Reading Time: 9 minutes In the ever-evolving landscape of customer engagement, staying ahead of the curve is not just advantageous, it’s essential. That’s why, for Chapter 7 of “The Customer Engagement Book: Adapt or Die,” we sat down with Mirela Cialai, a seasoned expert in CRM and Martech strategies at brands like Equinox. Mirela brings a wealth of knowledge in aligning technology roadmaps with business goals, shifting organizational focuses from acquisition to retention, and leveraging hyper-personalization to drive success. In this interview, Mirela dives deep into building robust customer engagement technology roadmaps. She unveils the “PAPER” framework—Plan, Audit, Prioritize, Execute, Refine—a simple yet effective strategy for marketers. You’ll gain insights into identifying gaps in your Martech stack, ensuring data accuracy, and prioritizing initiatives that deliver the greatest impact and ROI. Whether you’re navigating data silos, striving for cross-functional alignment, or aiming for seamless tech integration, Mirela’s expertise provides practical solutions and actionable takeaways.   Mirela Cialai Q&A Interview 1. How do you define the vision for a customer engagement platform roadmap in alignment with the broader business goals? Can you share any examples of successful visions from your experience? Defining the vision for the roadmap in alignment with the broader business goals involves creating a strategic framework that connects the team’s objectives with the organization’s overarching mission or primary objectives. This could be revenue growth, customer retention, market expansion, or operational efficiency. We then break down these goals into actionable areas where the team can contribute, such as improving engagement, increasing lifetime value, or driving acquisition. We articulate how the team will support business goals by defining the KPIs that link CRM outcomes — the team’s outcomes — to business goals. In a previous role, the CRM team I was leading faced significant challenges due to the lack of attribution capabilities and a reliance on surface-level metrics such as open rates and click-through rates to measure performance. This approach made it difficult to quantify the impact of our efforts on broader business objectives such as revenue growth. Recognizing this gap, I worked on defining a vision for the CRM team to address these shortcomings. Our vision was to drive measurable growth through enhanced data accuracy and improved attribution capabilities, which allowed us to deliver targeted, data-driven, and personalized customer experiences. To bring this vision to life, I developed a roadmap that focused on first improving data accuracy, building our attribution capabilities, and delivering personalization at scale. By aligning the vision with these strategic priorities, we were able to demonstrate the tangible impact of our efforts on the key business goals. 2. What steps did you take to ensure data accuracy? The data team was very diligent in ensuring that our data warehouse had accurate data. So taking that as the source of truth, we started cleaning the data in all the other platforms that were integrated with our data warehouse — our CRM platform, our attribution analytics platform, etc. That’s where we started, looking at all the different integrations and ensuring that the data flows were correct and that we had all the right flows in place. And also validating and cleaning our email database — that helped, having more accurate data. 3. How do you recommend shifting organizational focus from acquisition to retention within a customer engagement strategy? Shifting an organization’s focus from acquisition to retention requires a cultural and strategic shift, emphasizing the immense value that existing customers bring to long-term growth and profitability. I would start by quantifying the value of retention, showcasing how retaining customers is significantly more cost-effective than acquiring new ones. Research consistently shows that increasing retention rates by just 5% can boost profits by at least 25 to 95%. This data helps make a compelling case to stakeholders about the importance of prioritizing retention. Next, I would link retention to core business goals by demonstrating how enhancing customer lifetime value and loyalty can directly drive revenue growth. This involves shifting the organization’s focus to retention-specific metrics such as churn rate, repeat purchase rate, and customer LTV. These metrics provide actionable insights into customer behaviors and highlight the financial impact of retention initiatives, ensuring alignment with the broader company objectives. By framing retention as a driver of sustainable growth, the organization can see it not as a competing priority, but as a complementary strategy to acquisition, ultimately leading to a more balanced and effective customer engagement strategy. 4. What are the key steps in analyzing a brand’s current Martech stack capabilities to identify gaps and opportunities for improvement? Developing a clear understanding of the Martech stack’s current state and ensuring it aligns with a brand’s strategic needs and future goals requires a structured and strategic approach. The process begins with defining what success looks like in terms of technology capabilities such as scalability, integration, automation, and data accessibility, and linking these capabilities directly to the brand’s broader business objectives. I start by doing an inventory of all tools currently in use, including their purpose, owner, and key functionalities, assessing if these tools are being used to their full potential or if there are features that remain unused, and reviewing how well tools integrate with one another and with our core systems, the data warehouse. Also, comparing the capabilities of each tool and results against industry standards and competitor practices and looking for missing functionalities such as personalization, omnichannel orchestration, or advanced analytics, and identifying overlapping tools that could be consolidated to save costs and streamline workflows. Finally, review the costs of the current tools against their impact on business outcomes and identify technologies that could reduce costs, increase efficiency, or deliver higher ROI through enhanced capabilities. Establish a regular review cycle for the Martech stack to ensure it evolves alongside the business and the technological landscape. 5. How do you evaluate whether a company’s tech stack can support innovative customer-focused campaigns, and what red flags should marketers look out for? I recommend taking a structured approach and first ensure there is seamless integration across all tools to support a unified customer view and data sharing across the different channels. Determine if the stack can handle increasing data volumes, larger audiences, and additional channels as the campaigns grow, and check if it supports dynamic content, behavior-based triggers, and advanced segmentation and can process and act on data in real time through emerging technologies like AI/ML predictive analytics to enable marketers to launch responsive and timely campaigns. Most importantly, we need to ensure that the stack offers robust reporting tools that provide actionable insights, allowing teams to track performance and optimize campaigns. Some of the red flags are: data silos where customer data is fragmented across platforms and not easily accessible or integrated, inability to process or respond to customer behavior in real time, a reliance on manual intervention for tasks like segmentation, data extraction, campaign deployment, and poor scalability. If the stack struggles with growing data volumes or expanding to new channels, it won’t support the company’s evolving needs. 6. What role do hyper-personalization and timely communication play in a successful customer engagement strategy? How do you ensure they’re built into the technology roadmap? Hyper-personalization and timely communication are essential components of a successful customer engagement strategy because they create meaningful, relevant, and impactful experiences that deepen the relationship with customers, enhance loyalty, and drive business outcomes. Hyper-personalization leverages data to deliver tailored content that resonates with each individual based on their preferences, behavior, or past interactions, and timely communication ensures these personalized interactions occur at the most relevant moments, which ultimately increases their impact. Customers are more likely to engage with messages that feel relevant and align with their needs, and real-time triggers such as cart abandonment or post-purchase upsells capitalize on moments when customers are most likely to convert. By embedding these capabilities into the roadmap through data integration, AI-driven insights, automation, and continuous optimization, we can deliver impactful, relevant, and timely experiences that foster deeper customer relationships and drive long-term success. 7. What’s your approach to breaking down the customer engagement technology roadmap into manageable phases? How do you prioritize the initiatives? To create a manageable roadmap, we need to divide it into distinct phases, starting with building the foundation by addressing data cleanup, system integrations, and establishing metrics, which lays the groundwork for success. Next, we can focus on early wins and quick impact by launching behavior-based campaigns, automating workflows, and improving personalization to drive immediate value. Then we can move to optimization and expansion, incorporating predictive analytics, cross-channel orchestration, and refined attribution models to enhance our capabilities. Finally, prioritize innovation and scalability, leveraging AI/ML for hyper-personalization, scaling campaigns to new markets, and ensuring the system is equipped for future growth. By starting with foundational projects, delivering quick wins, and building towards scalable innovation, we can drive measurable outcomes while maintaining our agility to adapt to evolving needs. In terms of prioritizing initiatives effectively, I would focus on projects that deliver the greatest impact on business goals, on customer experience and ROI, while we consider feasibility, urgency, and resource availability. In the past, I’ve used frameworks like Impact Effort Matrix to identify the high-impact, low-effort initiatives and ensure that the most critical projects are addressed first. 8. How do you ensure cross-functional alignment around this roadmap? What processes have worked best for you? Ensuring cross-functional alignment requires clear communication, collaborative planning, and shared accountability. We need to establish a shared understanding of the roadmap’s purpose and how it ties to the company’s overall goals by clearly articulating the “why” behind the roadmap and how each team can contribute to its success. To foster buy-in and ensure the roadmap reflects diverse perspectives and needs, we need to involve all stakeholders early on during the roadmap development and clearly outline each team’s role in executing the roadmap to ensure accountability across the different teams. To keep teams informed and aligned, we use meetings such as roadmap kickoff sessions and regular check-ins to share updates, address challenges collaboratively, and celebrate milestones together. 9. If you were to outline a simple framework for marketers to follow when building a customer engagement technology roadmap, what would it look like? A simple framework for marketers to follow when building the roadmap can be summarized in five clear steps: Plan, Audit, Prioritize, Execute, and Refine. In one word: PAPER. Here’s how it breaks down. Plan: We lay the groundwork for the roadmap by defining the CRM strategy and aligning it with the business goals. Audit: We evaluate the current state of our CRM capabilities. We conduct a comprehensive assessment of our tools, our data, the processes, and team workflows to identify any potential gaps. Prioritize: initiatives based on impact, feasibility, and ROI potential. Execute: by implementing the roadmap in manageable phases. Refine: by continuously improving CRM performance and refining the roadmap. So the PAPER framework — Plan, Audit, Prioritize, Execute, and Refine — provides a structured, iterative approach allowing marketers to create a scalable and impactful customer engagement strategy. 10. What are the most common challenges marketers face in creating or executing a customer engagement strategy, and how can they address these effectively? The most critical is when the customer data is siloed across different tools and platforms, making it very difficult to get a unified view of the customer. This limits the ability to deliver personalized and consistent experiences. The solution is to invest in tools that can centralize data from all touchpoints and ensure seamless integration between different platforms to create a single source of truth. Another challenge is the lack of clear metrics and ROI measurement and the inability to connect engagement efforts to tangible business outcomes, making it very hard to justify investment or optimize strategies. The solution for that is to define clear KPIs at the outset and use attribution models to link customer interactions to revenue and other key outcomes. Overcoming internal silos is another challenge where there is misalignment between teams, which can lead to inconsistent messaging and delayed execution. A solution to this is to foster cross-functional collaboration through shared goals, regular communication, and joint planning sessions. Besides these, other challenges marketers can face are delivering personalization at scale, keeping up with changing customer expectations, resource and budget constraints, resistance to change, and others. While creating and executing a customer engagement strategy can be challenging, these obstacles can be addressed through strategic planning, leveraging the right tools, fostering collaboration, and staying adaptable to customer needs and industry trends. By tackling these challenges proactively, marketers can deliver impactful customer-centric strategies that drive long-term success. 11. What are the top takeaways or lessons that you’ve learned from building customer engagement technology roadmaps that others should keep in mind? I would say one of the most important takeaways is to ensure that the roadmap directly supports the company’s broader objectives. Whether the focus is on retention, customer lifetime value, or revenue growth, the roadmap must bridge the gap between high-level business goals and actionable initiatives. Another important lesson: The roadmap is only as effective as the data and systems it’s built upon. I’ve learned the importance of prioritizing foundational elements like data cleanup, integrations, and governance before tackling advanced initiatives like personalization or predictive analytics. Skipping this step can lead to inefficiencies or missed opportunities later on. A Customer Engagement Roadmap is a strategic tool that evolves alongside the business and its customers. So by aligning with business goals, building a solid foundation, focusing on impact, fostering collaboration, and remaining adaptable, you can create a roadmap that delivers measurable results and meaningful customer experiences.     This interview Q&A was hosted with Mirela Cialai, Director of CRM & MarTech at Equinox, for Chapter 7 of The Customer Engagement Book: Adapt or Die. Download the PDF or request a physical copy of the book here. The post Mirela Cialai Q&A: Customer Engagement Book Interview appeared first on MoEngage.

Guided by visual effects supervisor John Knoll, ILM embraced continually evolving methodologies to craft breathtaking visual effects for the iconic space battles in First Contact and Rogue One. By Jay Stobie Visual effects supervisor John Knoll (right) confers with modelmakers Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact (Credit: ILM). Bolstered by visual effects from Industrial Light & Magic, Star Trek: First Contact (1996) and Rogue One: A Star Wars Story (2016) propelled their respective franchises to new heights. While Star Trek Generations (1994) welcomed Captain Jean-Luc Picard’s (Patrick Stewart) crew to the big screen, First Contact stood as the first Star Trek feature that did not focus on its original captain, the legendary James T. Kirk (William Shatner). Similarly, though Rogue One immediately preceded the events of Star Wars: A New Hope (1977), it was set apart from the episodic Star Wars films and launched an era of storytelling outside of the main Skywalker saga that has gone on to include Solo: A Star Wars Story (2018), The Mandalorian (2019-23), Andor (2022-25), Ahsoka (2023), The Acolyte (2024), and more. The two films also shared a key ILM contributor, John Knoll, who served as visual effects supervisor on both projects, as well as an executive producer on Rogue One. Currently, ILM’s executive creative director and senior visual effects supervisor, Knoll – who also conceived the initial framework for Rogue One’s story – guided ILM as it brought its talents to bear on these sci-fi and fantasy epics. The work involved crafting two spectacular starship-packed space clashes – First Contact’s Battle of Sector 001 and Rogue One’s Battle of Scarif. Although these iconic installments were released roughly two decades apart, they represent a captivating case study of how ILM’s approach to visual effects has evolved over time. With this in mind, let’s examine the films’ unforgettable space battles through the lens of fascinating in-universe parallels and the ILM-produced fleets that face off near Earth and Scarif. A final frame from the Battle of Scarif in Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). A Context for Conflict In First Contact, the United Federation of Planets – a 200-year-old interstellar government consisting of more than 150 member worlds – braces itself for an invasion by the Borg – an overwhelmingly powerful collective composed of cybernetic beings who devastate entire planets by assimilating their biological populations and technological innovations. The Borg only send a single vessel, a massive cube containing thousands of hive-minded drones and their queen, pushing the Federation’s Starfleet defenders to Earth’s doorstep. Conversely, in Rogue One, the Rebel Alliance – a fledgling coalition of freedom fighters – seeks to undermine and overthrow the stalwart Galactic Empire – a totalitarian regime preparing to tighten its grip on the galaxy by revealing a horrifying superweapon. A rebel team infiltrates a top-secret vault on Scarif in a bid to steal plans to that battle station, the dreaded Death Star, with hopes of exploiting a vulnerability in its design. On the surface, the situations could not seem to be more disparate, particularly in terms of the Federation’s well-established prestige and the Rebel Alliance’s haphazardly organized factions. Yet, upon closer inspection, the spaceborne conflicts at Earth and Scarif are linked by a vital commonality. The threat posed by the Borg is well-known to the Federation, but the sudden intrusion upon their space takes its defenses by surprise. Starfleet assembles any vessel within range – including antiquated Oberth-class science ships – to intercept the Borg cube in the Typhon Sector, only to be forced back to Earth on the edge of defeat. The unsanctioned mission to Scarif with Jyn Erso (Felicity Jones) and Cassian Andor (Diego Luna) and the sudden need to take down the planet’s shield gate propels the Rebel Alliance fleet into rushing to their rescue with everything from their flagship Profundity to GR-75 medium transports. Whether Federation or Rebel Alliance, these fleets gather in last-ditch efforts to oppose enemies who would embrace their eradication – the Battles of Sector 001 and Scarif are fights for survival. From Physical to Digital By the time Jonathan Frakes was selected to direct First Contact, Star Trek’s reliance on constructing traditional physical models (many of which were built by ILM) for its features was gradually giving way to innovative computer graphics (CG) models, resulting in the film’s use of both techniques. “If one of the ships was to be seen full-screen and at length,” associate visual effects supervisor George Murphy told Cinefex’s Kevin H. Martin, “we knew it would be done as a stage model. Ships that would be doing a lot of elaborate maneuvers in space battle scenes would be created digitally.” In fact, physical and CG versions of the U.S.S. Enterprise-E appear in the film, with the latter being harnessed in shots involving the vessel’s entry into a temporal vortex at the conclusion of the Battle of Sector 001. Despite the technological leaps that ILM pioneered in the decades between First Contact and Rogue One, they considered filming physical miniatures for certain ship-related shots in the latter film. ILM considered filming physical miniatures for certain ship-related shots in Rogue One. The feature’s fleets were ultimately created digitally to allow for changes throughout post-production. “If it’s a photographed miniature element, it’s not possible to go back and make adjustments. So it’s the additional flexibility that comes with the computer graphics models that’s very attractive to many people,” John Knoll relayed to writer Jon Witmer at American Cinematographer’s TheASC.com. However, Knoll aimed to develop computer graphics that retained the same high-quality details as their physical counterparts, leading ILM to employ a modern approach to a time-honored modelmaking tactic. “I also wanted to emulate the kit-bashing aesthetic that had been part of Star Wars from the very beginning, where a lot of mechanical detail had been added onto the ships by using little pieces from plastic model kits,” explained Knoll in his chat with TheASC.com. For Rogue One, ILM replicated the process by obtaining such kits, scanning their parts, building a computer graphics library, and applying the CG parts to digitally modeled ships. “I’m very happy to say it was super-successful,” concluded Knoll. “I think a lot of our digital models look like they are motion-control models.” John Knoll (second from left) confers with Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact (Credit: ILM). Legendary Lineages In First Contact, Captain Picard commanded a brand-new vessel, the Sovereign-class U.S.S. Enterprise-E, continuing the celebrated starship’s legacy in terms of its famous name and design aesthetic. Designed by John Eaves and developed into blueprints by Rick Sternbach, the Enterprise-E was built into a 10-foot physical model by ILM model project supervisor John Goodson and his shop’s talented team. ILM infused the ship with extraordinary detail, including viewports equipped with backlit set images from the craft’s predecessor, the U.S.S. Enterprise-D. For the vessel’s larger windows, namely those associated with the observation lounge and arboretum, ILM took a painstakingly practical approach to match the interiors shown with the real-world set pieces. “We filled that area of the model with tiny, micro-scale furniture,” Goodson informed Cinefex, “including tables and chairs.” Rogue One’s rebel team initially traversed the galaxy in a U-wing transport/gunship, which, much like the Enterprise-E, was a unique vessel that nonetheless channeled a certain degree of inspiration from a classic design. Lucasfilm’s Doug Chiang, a co-production designer for Rogue One, referred to the U-wing as the film’s “Huey helicopter version of an X-wing” in the Designing Rogue One bonus featurette on Disney+ before revealing that, “Towards the end of the design cycle, we actually decided that maybe we should put in more X-wing features. And so we took the X-wing engines and literally mounted them onto the configuration that we had going.” Modeled by ILM digital artist Colie Wertz, the U-wing’s final computer graphics design subtly incorporated these X-wing influences to give the transport a distinctive feel without making the craft seem out of place within the rebel fleet. While ILM’s work on the Enterprise-E’s viewports offered a compelling view toward the ship’s interior, a breakthrough LED setup for Rogue One permitted ILM to obtain realistic lighting on actors as they looked out from their ships and into the space around them. “All of our major spaceship cockpit scenes were done that way, with the gimbal in this giant horseshoe of LED panels we got from [equipment vendor] VER, and we prepared graphics that went on the screens,” John Knoll shared with American Cinematographer’s Benjamin B and Jon D. Witmer. Furthermore, in Disney+’s Rogue One: Digital Storytelling bonus featurette, visual effects producer Janet Lewin noted, “For the actors, I think, in the space battle cockpits, for them to be able to see what was happening in the battle brought a higher level of accuracy to their performance.” The U.S.S. Enterprise-E in Star Trek: First Contact (Credit: Paramount). Familiar Foes To transport First Contact’s Borg invaders, John Goodson’s team at ILM resurrected the Borg cube design previously seen in Star Trek: The Next Generation (1987) and Star Trek: Deep Space Nine (1993), creating a nearly three-foot physical model to replace the one from the series. Art consultant and ILM veteran Bill George proposed that the cube’s seemingly straightforward layout be augmented with a complex network of photo-etched brass, a suggestion which produced a jagged surface and offered a visual that was both intricate and menacing. ILM also developed a two-foot motion-control model for a Borg sphere, a brand-new auxiliary vessel that emerged from the cube. “We vacuformed about 15 different patterns that conformed to this spherical curve and covered those with a lot of molded and cast pieces. Then we added tons of acid-etched brass over it, just like we had on the cube,” Goodson outlined to Cinefex’s Kevin H. Martin. As for Rogue One’s villainous fleet, reproducing the original trilogy’s Death Star and Imperial Star Destroyers centered upon translating physical models into digital assets. Although ILM no longer possessed A New Hope’s three-foot Death Star shooting model, John Knoll recreated the station’s surface paneling by gathering archival images, and as he spelled out to writer Joe Fordham in Cinefex, “I pieced all the images together. I unwrapped them into texture space and projected them onto a sphere with a trench. By doing that with enough pictures, I got pretty complete coverage of the original model, and that became a template upon which to redraw very high-resolution texture maps. Every panel, every vertical striped line, I matched from a photograph. It was as accurate as it was possible to be as a reproduction of the original model.” Knoll’s investigative eye continued to pay dividends when analyzing the three-foot and eight-foot Star Destroyer motion-control models, which had been built for A New Hope and Star Wars: The Empire Strikes Back (1980), respectively. “Our general mantra was, ‘Match your memory of it more than the reality,’ because sometimes you go look at the actual prop in the archive building or you look back at the actual shot from the movie, and you go, ‘Oh, I remember it being a little better than that,’” Knoll conveyed to TheASC.com. This philosophy motivated ILM to combine elements from those two physical models into a single digital design. “Generally, we copied the three-footer for details like the superstructure on the top of the bridge, but then we copied the internal lighting plan from the eight-footer,” Knoll explained. “And then the upper surface of the three-footer was relatively undetailed because there were no shots that saw it closely, so we took a lot of the high-detail upper surface from the eight-footer. So it’s this amalgam of the two models, but the goal was to try to make it look like you remember it from A New Hope.” A final frame from Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). Forming Up the Fleets In addition to the U.S.S. Enterprise-E, the Battle of Sector 001 debuted numerous vessels representing four new Starfleet ship classes – the Akira, Steamrunner, Saber, and Norway – all designed by ILM visual effects art director Alex Jaeger. “Since we figured a lot of the background action in the space battle would be done with computer graphics ships that needed to be built from scratch anyway, I realized that there was no reason not to do some new designs,” John Knoll told American Cinematographer writer Ron Magid. Used in previous Star Trek projects, older physical models for the Oberth and Nebula classes were mixed into the fleet for good measure, though the vast majority of the armada originated as computer graphics. Over at Scarif, ILM portrayed the Rebel Alliance forces with computer graphics models of fresh designs (the MC75 cruiser Profundity and U-wings), live-action versions of Star Wars Rebels’ VCX-100 light freighter Ghost and Hammerhead corvettes, and Star Wars staples (Nebulon-B frigates, X-wings, Y-wings, and more). These ships face off against two Imperial Star Destroyers and squadrons of TIE fighters, and – upon their late arrival to the battle – Darth Vader’s Star Destroyer and the Death Star. The Tantive IV, a CR90 corvette more popularly referred to as a blockade runner, made its own special cameo at the tail end of the fight. As Princess Leia Organa’s (Carrie Fisher and Ingvild Deila) personal ship, the Tantive IV received the Death Star plans and fled the scene, destined to be captured by Vader’s Star Destroyer at the beginning of A New Hope. And, while we’re on the subject of intricate starship maneuvers and space-based choreography… Although the First Contact team could plan visual effects shots with animated storyboards, ILM supplied Gareth Edwards with a next-level virtual viewfinder that allowed the director to select his shots by immersing himself among Rogue One’s ships in real time. “What we wanted to do is give Gareth the opportunity to shoot his space battles and other all-digital scenes the same way he shoots his live-action. Then he could go in with this sort of virtual viewfinder and view the space battle going on, and figure out what the best angle was to shoot those ships from,” senior animation supervisor Hal Hickel described in the Rogue One: Digital Storytelling featurette. Hickel divulged that the sequence involving the dish array docking with the Death Star was an example of the “spontaneous discovery of great angles,” as the scene was never storyboarded or previsualized. Visual effects supervisor John Knoll with director Gareth Edwards during production of Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). Tough Little Ships The Federation and Rebel Alliance each deployed “tough little ships” (an endearing description Commander William T. Riker [Jonathan Frakes] bestowed upon the U.S.S. Defiant in First Contact) in their respective conflicts, namely the U.S.S. Defiant from Deep Space Nine and the Tantive IV from A New Hope. VisionArt had already built a CG Defiant for the Deep Space Nine series, but ILM upgraded the model with images gathered from the ship’s three-foot physical model. A similar tactic was taken to bring the Tantive IV into the digital realm for Rogue One. “This was the Blockade Runner. This was the most accurate 1:1 reproduction we could possibly have made,” model supervisor Russell Paul declared to Cinefex’s Joe Fordham. “We did an extensive photo reference shoot and photogrammetry re-creation of the miniature. From there, we built it out as accurately as possible.” Speaking of sturdy ships, if you look very closely, you can spot a model of the Millennium Falcon flashing across the background as the U.S.S. Defiant makes an attack run on the Borg cube at the Battle of Sector 001! Exploration and Hope The in-universe ramifications that materialize from the Battles of Sector 001 and Scarif are monumental. The destruction of the Borg cube compels the Borg Queen to travel back in time in an attempt to vanquish Earth before the Federation can even be formed, but Captain Picard and the Enterprise-E foil the plot and end up helping their 21st century ancestors make “first contact” with another species, the logic-revering Vulcans. The post-Scarif benefits take longer to play out for the Rebel Alliance, but the theft of the Death Star plans eventually leads to the superweapon’s destruction. The Galactic Civil War is far from over, but Scarif is a significant step in the Alliance’s effort to overthrow the Empire. The visual effects ILM provided for First Contact and Rogue One contributed significantly to the critical and commercial acclaim both pictures enjoyed, a victory reflecting the relentless dedication, tireless work ethic, and innovative spirit embodied by visual effects supervisor John Knoll and ILM’s entire staff. While being interviewed for The Making of Star Trek: First Contact, actor Patrick Stewart praised ILM’s invaluable influence, emphasizing, “ILM was with us, on this movie, almost every day on set. There is so much that they are involved in.” And, regardless of your personal preferences – phasers or lasers, photon torpedoes or proton torpedoes, warp speed or hyperspace – perhaps Industrial Light & Magic’s ability to infuse excitement into both franchises demonstrates that Star Trek and Star Wars encompass themes that are not competitive, but compatible. After all, what goes together better than exploration and hope? – Jay Stobie (he/him) is a writer, author, and consultant who has contributed articles to ILM.com, Skysound.com, Star Wars Insider, StarWars.com, Star Trek Explorer, Star Trek Magazine, and StarTrek.com. Jay loves sci-fi, fantasy, and film, and you can learn more about him by visiting JayStobie.com or finding him on Twitter, Instagram, and other social media platforms at @StobiesGalaxy.

Silhouette photography has the unique power to convey powerful emotions and dramatic narratives by emphasizing shape and form over details and textures. By creatively harnessing silhouettes, photographers can captivate viewers’ imaginations, prompting them to fill in unseen details and engage deeply with the story. Here’s how to master silhouettes to elevate your photographic storytelling. The Art of Silhouettes A silhouette is created when your subject is backlit, making the subject appear completely dark against a lighter background. Silhouettes rely heavily on strong outlines, instantly recognizable shapes, and clear gestures to tell compelling stories. Capturing the Perfect Silhouette Ideal Conditions Sunrise and sunset offer low-angle sunlight, providing ideal lighting conditions to create dramatic silhouettes. Artificial light sources like urban lights, windows, and doorways offer unique creative opportunities for silhouette photography. Camera Settings Adjust your exposure for the brightest part of the scene, usually the background, to render your subject as a dark silhouette. Choose a narrower aperture (higher f-number) to maintain clear, sharp outlines, ensuring your silhouette remains distinct. Composition Techniques for Dramatic Impact Select subjects with strong, recognizable shapes—human figures, animals, architecture, and trees often create compelling silhouettes. Encourage subjects to use clear gestures or dynamic poses to communicate emotion or action effectively. Utilize negative space to emphasize silhouettes, creating visual balance and directing viewers’ attention to the subject. Enhancing Storytelling through Silhouettes Silhouettes simplify your scene, focusing viewers’ attention entirely on the emotional or narrative essence of your image. Obscuring details introduces an element of mystery, inviting viewers to engage actively with your photograph. Silhouettes naturally evoke emotional responses, effectively conveying solitude, contemplation, love, or drama. Post-Processing Tips Enhance contrast and deepen blacks to emphasize your silhouette, strengthening its dramatic presence. Apply subtle color grading or tone adjustments to amplify mood—warmer tones evoke romance or nostalgia, while cooler tones suggest tranquility or melancholy. Creative Applications Silhouettes are versatile across many genres, including intimate portraits, dynamic street photography, and striking nature and wildlife imagery. Using silhouettes thoughtfully allows photographers to communicate powerful forms and actions, creating graphically strong and emotionally resonant photographs. Silhouettes offer photographers an exceptional tool for impactful storytelling, combining simplicity with emotional intensity. By mastering essential techniques, thoughtful composition, and creative execution, you can craft compelling visual narratives that resonate deeply with your audience. Explore silhouettes in your photography, and uncover the profound storytelling power hidden within shadows. Extended reading: Creating depth and drama with moody photography The post Harnessing Silhouette for Dramatic Storytelling appeared first on 500px.