The Lost in Space movie came at a perfect storm of a time when remakes of TV shows were huge and they thought CGI could make the show’s cheesy effects look real (spoiler: they actually couldn’t). Netflix would ultimately make a gritty remake, but this 4K UHD makes a good case for the movie as a fun artifact of the late ‘90s so I’m going to go with that too.
Outer space looks pretty good, compared with the Star Wars prequels that began one year later. Physical planets and ships look the best with all the textures of the production design. There are some good, deep shadows in the Proteus ghost ship and decrepit future lair.
Surround sound is more than the space battles, though it fills in those. Dialogue on intercoms comes from behind, and the ship sparks and whirs all around. Those space spiders scamper around too.
The Lost in Space DVD was part of New Line’s Platinum Series to showcase bonus features. Those are still included and Arrow put together an equally expansive set with the benefit of perspective.
Stephen Hopkins describes what sounds like a smooth production with the normal demands of sci-fi effects. It’s news to me Andy Serkis worked on Blarp. That must’ve been RnD for his performance capture work.
DP Peter Levy’s CGI experience goes back to Cutthroat Island when they could digitally remove modern oil tankers. It was still an adjustment working on massive sci-fi with CGI creatures.
Akiva Goldsman’s recollections suggest more anarchy than Hopkins let on, with gratitude for the higher ups who ultimately steered them. He’s produced a lot since so it was a valuable learning experience. He also has a thoughtful explanation for why the effects and live action scenes don’t quite mesh.
Art director Keith Pain has 32 minutes on practical setups. Sound mixer Simon Kaye and re-recording mixer Robin O’Donohue and Henson Creature Shop mould supervisor Kenny Wilson also have brief recollections.
Matt Donato has a sincere appreciation and take on the CGI. It doesn’t ruin it because it shows how far we’ve come. Plus, he highlights the real sets.