Motion control consisted of mechanical rigs which were constructed to move a camera and a model in synchronisation with each other. The rigs varied in configuration. The camera was attached to the vertical track and could move up and down. The focus was motor-controlled, and motorised rotators enabled it to pan and tilt. All the moving parts on the rig were controlled by computer through stepper motors and gearing. Specially designed software was used, such as Kuper controls.

David Stipes, who worked on [Star Trek Voyager] for Seasons 1 and 2 then left to work on [DS9], writing in 2000 shortly after he left [Star Trek Voyager] and for the ST:M article:
"Lumbering down the polished rails toward the precious model, the mechanical beast sings as it works: an electronic song composed of progressive stepper motor harmonics. A motion picture camera, mounted on the front of the beast, gently approaches the model and halts less than an inch from a disastrous collision. The model's 'beauty lighting pass' is finished, and one button stroke sends the beast back to its start position to sit in the darkness. It patiently awaits the computer command to repeat the same precise motion seven more times, to photograph all the mattes and interior lights needed to create a starship in flight. For years, visual effects supervisors, cameramen, and modelmakers worked with the beast. Almost every week, one or more of the Star Trek visual effects crews spent long, late hours on the darkened stages at the Image G motion control facility. We designed effects shots, supervised the lighting and the programming, and reviewed move tests. We worked with the beast to accomplish the huge volume of quality shots needed for the various Star Trek television series. The motion control rigs were the beasts. That's how I affectionately think of motion control, even now. Most of the Star Trek visual effects guys don't see the beast any more. They use computer generated imagery (CGI) now. I do, too, but I miss the motion control rigs and process. You see, for years, motion control, the beast, was our friend."

In the thirty-five years or so since Star Trek was first broadcast, television series production and visual effects technology has changed enormously. The Star Trek feature films raised the standards of the visual effects too. Modern cinematography used a fluid 'moving camera' approach to story-telling. The visual effects look of [TOS] was more static, or 'locked off,' and was deemed unacceptable for today's audiences. The visual effects team had to create more realistic spaceship photography and integrate into seamlessly into the live action footage. They achieved this using with motion control photography: they could produce dynamic moves around the models that more closely matched live action photography of the television series which at that time was [TNG]. The visual effects crews were led by producer Peter Lauritson and visual effects supervisors Rob Legato and Dan Curry; Lauritson and Curry were able to bring their considerable experience to [Star Trek Voyager].

David Stipes: "Motion control offered other solutions to many of the production challenges facing the visual effects teams. Specifically, its use of precise camera moves could solve major problems. In order to create [TNG] with a reasonable visual effects budget, it was decided to use as many of the existing spaceship models as possible from the various feature films. Many new spaceship shots were designed to be re-used or re-combined as 'stock shots'."