If I were in charge of the universe, I’d create a Visual Effects Hall of Fame, an inductee would be this shot from "Star Trek: First Contact" (1996), directed by Jonathan Frakes. In a movie filled with spectacle, it's a quiet, jaw-dropping moment.
The first part of the shot is a challenge unto itself: a severed human torso being lowered by cables onto a body. The extra added challenge is that the body needs to be assembled and walk toward camera in an uninterrupted shot.
The massive shot required assembling two different pieces of performance (Krige on crane/Krige walks toward Data), blended with morphs and secondary animation (check out the hooks that pull the skin on her chest into place). Also the massive paintout of the camera and Krige's body.
And there's nowhere to hide the transitions. No lightning flashes, no smoke, no camera shake, no characters walking in front of camera (to hide a transition). It's all right there, in front of you.
Up to this point in film history, the accumulated cinematic vocabulary of a shot like this instructed audiences to expect a cut just as she's lowered into her body, since a shot like this had never really been done before. NO CUT. Then she walks toward camera. Awesome.
The Borg Queen shot: visual effects by Industrial Light & Magic, visual effects supervisor John Knoll, visual effects art director Alex Jaeger, makeup effects by Todd Masters. Read more about the making of the film's effects in Cinefex 69.
Here's John and Alex talking about the shot in an 11-minute featurette.