Development As
Star Trek: The Next Generation ended,
Paramount Pictures wanted to continue to have a second
Star Trek television series to accompany
Star Trek: Deep Space Nine. The studio also planned to start a new
television network,
UPN, and wanted the new series to help it succeed. Initial work on
Star Trek: Voyager began in 1993, when the seventh and final season of
Star Trek: The Next Generation and the second season of
Star Trek: Deep Space Nine were in production. Seeds for
Voyagers backstory, including the development of the
Maquis, were placed in several
The Next Generation and
Deep Space Nine episodes.
Voyager was shot on the stages
The Next Generation had used, and where the
Voyager pilot "
Caretaker" was shot in September 1994. Costume designer
Robert Blackman decided that the uniforms of
Voyagers crew would be the same as those on
Deep Space Nine.
Star Trek: Voyager was the first
Star Trek series to use
computer-generated imagery (CGI), rather than models, for exterior space shots.
Babylon 5 and
seaQuest DSV had previously used CGI to avoid the expense of models, but the
Star Trek television department continued using models because they felt they were more realistic.
Amblin Imaging won an Emmy for
Voyagers opening CGI title visuals, but the weekly episode exteriors were captured with hand-built miniatures of
Voyager, its shuttlecraft, and other ships. This changed when
Voyager went fully CGI for certain types of shots midway through season three (late 1996).
Foundation Imaging was the studio responsible for special effects during
Babylon 5s first three seasons. Season three's "
The Swarm" was the first episode to use Foundation's effects exclusively.
Star Trek: Deep Space Nine began using Foundation Imaging in conjunction with Digital Muse in season six. In its later seasons,
Voyager featured visual effects from Foundation Imaging and Digital Muse. The digital effects were produced at standard television resolution and some have speculated that it cannot be re-released in HD format without re-creating the special effects. However,
Enterprise has been released in HD, but the special effects were rendered in 480p and upscaled.
Casting , appearing at the
Creation Star Trek convention in 2010; she joined the cast in Season 4 of the show, as the ex-Borg character
Seven of Nine. In the initial drafts, Captain Janeway was meant to have the name Elizabeth Janeway, and the actress
Geneviève Bujold was cast for the role. Bujold had previous experience in films, but not in long TV series. Feeling uncomfortable with the demanding production, she left after only two days of filming the pilot. To keep production working and meet the deadlines the role was given to
Kate Mulgrew, who had already been considered an option during the casting. Mulgrew also proposed to rename the character as Kathryn Janeway. Mulgrew, with more experience in episodic TV series, soon became a fan favorite.
Robert Beltran knew nothing about the
Star Trek franchise or the significance within it of the role he was auditioning for. He just got the "Caretaker" script from his agent, liked the story and the character, and successfully auditioned for it. He was aware, because of being familiar with the industry, that a pilot episode may eventually lead to an ongoing series.
Robert Duncan McNeill had played the character of Nicholas Locarno in
The Next Generation's "
The First Duty." Initially, Locarno would have returned in the Voyager series, but was later changed to a new character, Tom Paris. The casting notes mentioned that the producers wanted "a Robert Duncan McNeill type", which was noticed by McNeill's agent. He was eager to play the new character. He explained that "I get a call. My agent says, 'Hey, remember that
Star Trek episode you did a few years ago?' He goes, 'They’re making a new show called Voyager and they literally put out a casting notice saying 'a Robbie Duncan McNeill type.' They put my name. Kinda like the character on TNG. Like, my name was in [it]. And I’m like, 'I’m right here! That’s me!' And so [my agent says], 'I think you should… you can do this.'"
Robert Picardo auditioned for the role of Neelix, but his friend
Ethan Phillips got it. Philips had already been cast in several minor roles in earlier
Star Trek productions. Reflecting on that, Picardo said, "And in that moment, I saved myself 6,000 hours of my life spent in a makeup chair." However, after failing in the audition he was suggested to try for the character of the Doctor, which he got. He was initially unsure of his way to manage the character because of his limited participation in the pilot, and feared that he would be compared unfavorably with
Brent Spiner. Spiner played the fan-favorite
Data in
The Next Generation, another non-human being. "I was afraid I would be compared to him endlessly and unfavorably because he was so lovable and kind of childlike in his role and I was kind of, you know, crusty and curmudgeonly, and ... pissed off. And not a very cuddly character". Berman was interested in the character of Data, a machine that wants to be human, but inverted the formula with a human that was turned into a machine and faces humanity as a new thing. For this purpose they used the
Borg, villains from
The Next Generation that had a positive reception. Ryan liked both the premise of the character and the optimist view of the future of the
Star Trek franchise, which she preferred over the darker series she could audition for at the time, and got the job with little problem. In 1996, the theme was also released as a piano solo songbook. In 2017, La-La Land Records issued
Star Trek: Voyager Collection, Volume 1, a four-disc limited-edition release containing Goldsmith's theme music and tracks from
Jay Chattaway's "Rise", "Night", the two-parter "Equinox", "Pathfinder", "Spirit Folk", "The Haunting of Deck Twelve", "Shattered", "The Void", and the two-parter "Scorpion";
Dennis McCarthy's "The 37's", the two-parter "Basics", "The Q and the Gray", "Concerning Flight", "Tinker Tenor Doctor Spy", and the two-parters "Workforce" and "Year of Hell";
David Bell's "Dark Frontier"; and Paul Baillargeon's "Lifesigns". In 2020,
Newsweek magazine said that the
Voyager theme by Goldsmith was the best of all
Star Trek television series' themes. The article elaborates, "...
Voyager recaptures some of the spacey ethereality of Courage's original vocal melody, while adding a deep space resonance that evoked the series' lost explorers, far from home among uncharted stars." Following a path set by
Leonard Nimoy, the first
Star Trek actor to also direct in the franchise, The sets used for USS
Voyager were reused for the
Deep Space Nine episode "
Inter Arma Enim Silent Leges" for her sister
Intrepid-class ship USS
Bellerophon (NCC-74705). The sickbay set of USS
Voyager was also used as the
Enterprise-E sickbay in the films
Star Trek: First Contact and
Star Trek: Insurrection. The
Voyager ready room and the engineering set were also used as rooms aboard the
Enterprise-E in
Insurrection. Production of episodes ran from June or July to March or April each year, with each episode typically taking about seven days to shoot. Shooting started at 7 a.m. each weekday and continued until finished for the day. ==Plot==