Analysis of information sources in references of the Wikipedia article "Prometheus (Stargate)" in English language version.
WE HAD ABOUT FIVE WEEKS from the time Bridget came up with the initial concept of the ship and how big it was supposed to be until the cameras began rolling. So we gritted our teeth, hunkered down and got to work. The inspiration behind the Prometheus was modern day military technology. So we had to look at interior images of aircraft carriers and submarines and then mix those with a bit of alien technology. Basically I began by building a three-dimensional or virtual set on the computer. That allows me to experiment with various views and develop a sense of depth. This step is instrumental because if I can get everything to work on the computer, then it will all fit together in the real world. From these drawings I then developed the blueprints from which the actual set was built. We had three construction crews working independently on the same set. One built the beams, another the bulkheads. and a third group built the windows and the walls. Much to our delight all the pieces fit together perfectly. There's an incredible amount of creativity and a great deal of discipline that goes into a project like this. Everyone really pulled together and it shows.
The X-303, though, is a lot larger than the X-302. This design has been jointly developed and the process is always the same. It starts with Bridget, who comes up with a concept. She'll give me some quick sketches from which I'll do some basic drawings. We'll then work together to decide on a more definite look. With the X-303, James [Robbins] developed its exterior schematics and Interior workings. Meanwhile, I was responsible for developing the actual set interiors including the bridge, corridors. engine room and air lock. "Much of the inspiration for the X-303's interior came from contemporary American aircraft carriers," adds Bodnarus. "At the very beginning of the design process, the art department researcher Noeleen (Tobin) will put together a book of photos based on the look we're going for. Bridget will then be given a copy of that material and she'll refer to those images when working up her initial concept. With the X-303, we felt that the high tech environment of an aircraft carrier was perfect. So that's what we're working on at the moment.
One of Tobin's biggest undertakings so far this season was doing research for the X-303 spacecraft. "They wanted to go with the look of an aircraft carrier," she says. "Well, I was on the Kitty Hawk when I was 12 years old, but my memories of that were a little bit cloudy! So instead I had to use a variety of resources and was able to provide Bridget, the production designer, with pictures of the bridge, engine room and other areas aboard US aircraft carriers. It's really cool to see how a number of these images have now been re-created on our set.
We were asked to design a spaceship," she enthuses, "but not a futuristic alien craft. This spaceship is one built by and for the US Air Force. It's more or less a destroyer in Space and we're using lots of elements found in an aircraft control tower and a submarine. These include confined spaces, low ceilings and plenty of exposed conduits and piping. We have a bridge, which is a proper bridge insofar as there's a place for the captain to sit. Navigation is behind you, systems and ops up in from along with your gunners as well as a window that looks out into space. "The ship has the capacity to be an aircraft carrier, so we can land the X-302 in its hangar base. We haven't actually built a hangar, but the spaceship has been designed to accommodate one if need be. There's also an engine room, or should I say a control room for engineering. It's equipped with consoles, monitors and lots of fun little screens the room also has a window that looks out onto the ship's massive CGI [computer-generated imaging] engines. In the story, the ship hasn't been finished being built yet. It's a work in progress. "This project has probably been one of the more challenging this season mainly because of time," continues the designer. "Spaceships are loads of fun to design and build. You want to make them really special but co be able to do that in a short space of time isn't easy. One of the most time- consuming jobs is creating the panels with all the small detailed controls that the actors are going to touch. The only way to get the job done within the time we have is to have everyone working on it simultaneously. "We have one person who's designing the layout for all the buttons and switches. However, he first worked up a template that he's given to the guys in construction so that they can start building the console to fit the board he's now working on. A copy of that same template was also sent to the model shop. The people there are preparing all the buttons, switches and dials that will be placed on the board. The board itself will then be sent over to an outside shop to be wired up. This is all happening at the same time.
The show's graphic artist Krista Mclean has been busy helping come up with the interior look of the X-303. "We're trying to establish a look that is a cross between military and alien," she says. "So that's been a challenge, but a fun one. The basic concept is a battleship in Space. So we're looking at the inside of a real aircraft carrier and then taking that and combining it with something a bit more futuristic in style. For example, we put a number of ordinary radar screens behind a row of cut-outs on the set to give them a different look. When you turn all the lights on it definitely looks like this ship - or set - is ready to fly through Space.
When it comes to my job, which is set decoration and adding details to props, the biggest challenge for me this year was the Prometheus. We knew it was going to be an Earth based spaceship and Peter, the fellow who designed it, basically gave us carte blanche to run with the graphics the way we thought they should look. Of course, it's every little boy's dream to do something like that, and here we were as adults getting to 'play' as well. With this set, the challenge wasn't so much the size of the job but the time frame in which we had to finish the job. We probably could have gone 10 steps further given more time, but they began shooting on the set as the paint was drying. Still, the end result was something to be very proud of.
One of the challenges with this story was filming the Prometheus. When I'd seen the ship in prior episodes I felt it wasn't as dramatic as it could be. I met with Peter Woeste [director of photography] and explained to him, 'It's too bright inside the ship'. Light in Outer Space is a commodity, and because of this the interior of the Prometheus should be darker and moodier. Peter agreed with me. So in Memento there's an entirely different look to the spaceship. It's very dark with swatches of blue and red in the background, which gives it that aircraft carrier feel. I thought Peter did a great job.
Knowing that this is season six and that this is likely the last season of the show, we're going to show the fruit of the technical developments that you you've seen for the past few years.
The idea is that it's time to start seeing some of the benefits, some of the repercussions of what we've learned and the technology we've brought back from all the places we've been. That's going to happen on a couple of levels and with a couple of ships, in fact, because we know that Anubis is coming and we're going to have to defend ourselves. We have to get ready for that.
You might say we're sort of straying into Star Trek territory now that we've got our own ship and are able to head our into Space. If we could only compensate for the Naquadria problem we'd be all set. However, things could never be that easy
Prior to this, we'd done four stories involving the ship. However, Rob Cooper said, 'We have the sets, which are spectacular, and loads of VFX shots revolving around the ship. It'd be great to do another Prometheus episode.'
Fans will also get a glimpse of the Daedalus, which is the new and improved version of the Prometheus.
As I developed the story further we actually play a bit of the Titanic with the Prometheus because it comes up against a weapon that is far more powerful than its crew realizes.
There are so many scenes that were shot but didn't actually make it into the final cut just because of time. There's one where alternate Daniel's being interviewed by Mitchell and he takes an allergy pill. If you recall, Daniel had these terrible allergies in Seasons One and Two of SG-1 that then just kind of disappeared. Then there's a walk and talk aboard the Prometheus with Daniel and the alternate Teal'c, who remarks how weird it feels to be on the Prometheus because in his reality it was destroyed. Remember that as the season continues.
