 As with previous Star Trek films , time and money were major constraints for special effects . The effects artists were concerned about producing the right look no matter the time involved . While effects cameraman Scott Farrar and his assistants constantly traversed the 400 miles ( 640 km ) separating ILM from Paramount , teams at the effects house organized post @-@ production effects and photography . The constant travel took a toll on Ralston , who began to forget which airlines he was taking and what city he was in . As a pause in work meant wasted time , effects editors Bill <unk> and Jay <unk> produced usable effects shots for the live @-@ action editors at Paramount ; these half @-@ finished , monochromatic composites gave the editors an idea of scene pacing . ILM contributed 120 shots to the film . Like Correll , Ralston used Eastman 94 for all shots that did not require bluescreen and chroma keying . 
