Come on over here because this is going to be the hangar.
We're not gonna build it here, it'll just be a visual effect.
lt's gonna be great. You're gonna love it.
We wanna be able to see everything in here as is
so, instead of making it dark and moody like we normally would,
we're gonna shoot a new Fuji film called Reala which is balanced for mixed light.
As you see up there, it definitely qualifies as mixed light.
Film usually has three layers. Reala has four.
lt's got a cyan layer which allows you to balance tungsten, which is orange,
and daylight, which is a blue light.
This will allow freedom for the director.
He'll be able to do Steadicam and see all this cool stuff.
Then, when we do the close-ups, we can go in and fix 'em up, make 'em look good.
We're not gonna do anything:
just bring in the crew and some actors, and shoot it the way it is.
- How long did it take to get into this garb? - About two hours?
Two and a half hours.
This is my Derek Zoolander.
(laughter)
l call it ''Blue Steel''.
So you've worn prosthetics before?
Oh, yeah. Lots of times.
l was Fish Gill Face Man in ''Foothold''.
l was an alien man with you, with a kind of lobster feature.
Unas. The metamorphosis freak.
What about you, Patrick? This is your first time wearing a prosthetic?
First time, yes. Yes.
lt's a wonderful experience. Like a day at the spa.
A layer of aloe underneath, so you get a tingle.
Contacts. Lovely.
lt's best when they rotate and you feel like the world's spinning.
(laughter)
(Andy) This set is in two components.
There's the engine room component and then the cockpit component,
so things like this wall can fly in when it's the engine room.
lt's taken out when it's the cockpit.
We shoot the engine room on the first day
and it's turned overnight into the cockpit for the rest of the episode.
Lots of groovy stuff. Dug it out of storage.
This stuff will blow up later. Special effects will add some sparking devices.
- What's going on? - l do not know.
We are losing engine power.
(Andy) So we pull these panels, and try to get our two-shot this way.
This ship is gonna be gimbaling on a 12° east and west arrangement.
Let's go inside. lt's fun inside.
Ohhh! l don't know if you can see it, but l can sure feel it.
(laughs)
l paid my four tickets! l'm staying on for the ride.
Oh, the ride's over. Back to work.
- Thanks, Wray. - No problem.
The second scene, after the establishing shot, is scripted as a shot of Major Carter.
l'm thinking of it like this -
let's see if it ends up being like that when the show's finished.
lmagine those elevator doors closed, and then the doors open.
Track back, with Carter as she comes out.
We whip around and she heads up the stairs into the briefing room.
Next we take her up the stairs, around the corner.
There's Daniel, Warrick and Hammond and they are have a meeting right here.
The government of your planet is letting you share advanced technology with us
in exchange for us helping you to win a race?
Not exactly.
ENHOH