{995}{1090}Producing Stargate - with production|demands, staying on schedule -
{1091}{1139}is a huge undertaking.
{1139}{1228}But luckily things around here|work like a well-oiled machine.
{1259}{1343}True. To make a show like this succeed|you need a talented group of...
{1343}{1453}...writers, producers, directors, cast|and crew, all willing to go that extra mile.
{1463}{1559}They also have to be willing to wake up|way too early in the morning...
{1559}{1627}...and stay way beyond sundown|and way...
{1631}{1713}- You're not complaining?|- Not a chance. Me complain?
{1715}{1781}No, and that's the most important thing.
{1787}{1847}- Me not complaining?|- Right. That's it.
{1847}{1950}- We've come to the root of our problems.|- Let's meet some of those people.
{2027}{2061}Action!
{2711}{2771}We have six people|in the art department...
{2771}{2852}...that generate all of|the concepts and the drawings.
{2855}{2951}We're in control of the props department,|where we design a lot of the props,...
{2951}{3056}...the set-decorating department, where|they decorate the sets that we design.
{3059}{3166}We have a huge construction department,|a paint department, our own model shop.
{3167}{3227}We work closely with visual effects...
{3227}{3323}...because we're ahead, in terms of|our scripts and where we're working.
{3323}{3431}So we'll come up with a design and bring|them in to see if we or they can do it.
{3527}{3619}I'm James Tichenor. I'm the|visual-effects producer on Stargate.
{3659}{3743}Here's an example of how|visual effects are done on our show.
{3743}{3835}This is from "Nemesis".|This is the bugs attacking, obviously.
{3875}{3980}Our original plate, we had to shoot|pretending there were bugs in the corner.
{4007}{4117}Rick had to act as if there were bugs in|the corner and fire his shotgun at them,...
{4139}{4247}...then we pan around to find our tracking|points -those green dots - so that,...
{4295}{4399}...as the camera comes into position,|we can track the 3-D camera into place.
{4415}{4496}These are wireframe passes,|basic tracking of the set.
{4523}{4620}You can see we actually used|the DXF files from the art department...
{4631}{4679}...to help us in our track.
{4679}{4739}And then this is our first pass of the bugs.
{4739}{4835}Basically a low-res render as a test|to make sure the animation is working.
{4835}{4893}Then you have different passes.
{4895}{4994}You can see the shadows underneath|and the mattes combined in one pass.
{5003}{5084}This was from Image Engine.|I think I mentioned that.
{5087}{5147}And then the final cut into the show.
{5147}{5229}A lot of blowing up of the pieces|as they come down,...
{5231}{5307}...a lot of dynamics,|a lot of animation in that.
{5315}{5403}A lot of work for a shot|that's basically three seconds long.
{5495}{5561}"Small Victories" was, at that time,...
{5639}{5728}...the best show for all of us|in a number of different areas.
{5759}{5864}We shot, actually, on a real Russian|submarine - a Russian Foxtrot submarine.
{5867}{5974}We walked into it on the first day of|the scout and nobody could stand upright.
{6011}{6071}We were going|"How many days can we shoot in here?"
{6071}{6174}We had to shoot people running and|shooting with USAs - automatic shotguns.
{6239}{6311}The first day I said|to the camera operator...
{6311}{6421}..."I'd like a shot from inside the torpedo|tube looking out", and he went "No!"
{6443}{6503}"I'm claustrophobic. I can't go in there."
{6503}{6598}So I looked at the B camera operator|and he just ran out of the room.
{6611}{6695}I thought "I can't ask them to do it|if I won't do it myself,"...
{6695}{6767}...so I grabbed the cameras|and said "I'm going in."
{6767}{6854}So I'm 25 feet down a steel coffin|and they close the door.
{6863}{6944}Now, what happens is that|it goes completely dark,...
{6971}{7031}...with no sound and no air moving,...
{7031}{7145}...and suddenly you're going "If they don't|open that door right now, I'll go insane."
{7187}{7259}So I turn on the camera,|I'm looking at the numbers,...
{7259}{7348}...and the door opens,|we shoot the scene and I say "Cut",...
{7415}{7474}...and they close the door again.
{7487}{7560}And I went "Guys!"|I'm yelling and they can't hear me...
{7560}{7638}...cos they think|I'm wanting another one right now.
{7680}{7782}Just know when you watch that, that|my heart is actually touching the lens.
{7896}{7981}In the show "Upgrades",|Carter runs into a force field.
{8040}{8137}We couldn't think of a way to make|this happen, until we came up with -
{8160}{8265}again it was the director of photography|that came up with this - Saran Wrap.
{8280}{8381}Big four-foot pieces of Saran Wrap|that are stretched across the hallway.
{8388}{8492}So they actually are running and they|smash into these things and fall back.
{8496}{8599}And if you watch Rick when he lands in it,|his nose gets mushed sideways...
{8604}{8659}...and his face flattens out.
{8676}{8730}It's a really great effect.
{8796}{8911}"Crystal Skull" was a big challenge for us|because it involved our first virtual set.
{8964}{9065}So on Stage Two at our other studio,|we were surrounded by greenscreen...
{9120}{9228}...and we had a little walkway and a plinth|where the actors could stand and act.
{9228}{9276}Everything else was a virtual set.
{9276}{9348}We learned so much|during that production...
{9348}{9437}...that the next time we do a virtual set|it'll be much better.
{9900}{9999}Hi, I'm Thom Wells. I'm the construction|coordinator for Stargate SG-1.
{10020}{10129}We build the props, we build the scenery,|the construction, the paint, the model.
{10140}{10243}We have fun doing it, so come in and|meet some of the people doing the work.
{10284}{10390}This is the model shop. When we started,|we did 10% of the models for Stargate.
{10440}{10535}We're now up to... Probably 90%|of the work is being done in-house.
{10572}{10676}We're proud of this achievement and|we're hoping to do one of the aliens soon.
{10692}{10764}Here we are, we've arrived|into our casting room.
{10764}{10881}All these sculptures... This particular case|is our Goa'uld lights for our Goa'uld ships.
{10920}{11033}They're sculpted, built, cast and painted|here, then go to the different departments.
{11052}{11146}All the staff weapons, the guns -|everything is done in this shop.
{11160}{11261}We do rubber castings of all|the military stuff so that nobody gets hurt.
{11268}{11340}We have our laser gun,|which is close to completion,...
{11340}{11454}...and Russ, our very skilled and finickety|painter that loves to get into the details.
{11508}{11605}Here we are on a set for "Ascensions" -|episode three, season five -
{11628}{11734}a set with many ruins. We come to our|main set with the laser gun that we saw.
{11772}{11840}Inside, this is what protects our heroes.
{11904}{12011}There's a big laser gun that we saw|in the prop shop that fits on top of this,...
{12012}{12101}...and all the energy's|gonna be created by visual effects,...
{12120}{12204}...and it'll be shooting|outside this hole into outer space.
{12204}{12310}Here we are at Stage Three, building|the friar's room for an upcoming episode.
{12336}{12414}We have the Tok'ra caves|stored in the background.
{12420}{12504}And with this crew and|the production designer involved,...
{12504}{12596}...the challenge to build anything|and go to a new world is ours.
{12612}{12692}And it's been a lot of fun|and we hope it carries on.
{12780}{12876}My name is Christina McQuarrie|and I'm a costume designer on Stargate.
{12876}{12960}One of the best episodes for us|was "Jolinar's Memories"...
{12960}{13032}...and "The Devil You Know",|which was a two-parter.
{13032}{13128}We introduced some interesting|characters, like my favourite red guard,...
{13128}{13197}...who is, I think, sitting behind me here!
{13200}{13284}That was quite neat because|it was a background character,...
{13284}{13377}...it wasn't that prominent,|but we were able to go to town on him.
{13392}{13498}And he ended up to be one of our more|interesting costumes I think we've done.
{13536}{13626}And he has reappeared manytimes,|and that was quite wonderful.
{13656}{13761}Then we had the denizens in the prison,|which, although it was background,...
{13764}{13824}...things like that are interesting to do...
{13824}{13933}...cos they're all very textural and you can|do some fairly extreme things with it.
{14052}{14162}My job as the head ofthe department is|to make sure that every area is covered,...
{14196}{14256}...as far as make-up is concerned.
{14496}{14609}In "The Broca Divide" there was a disease|that created a neanderthal appearance,...
{14688}{14785}...with the full eyebrow across|the forehead and the bulging forehead.
{14820}{14922}For Jack O'Neill's character, we went|without the hair on his forehead,...
{14952}{15055}...but he still had that neanderthal look,|and it was extremely effective...
{15072}{15161}...because Richard did a fabulous job|creating that character.
{15240}{15313}I'm Wray Douglas,|special-effects supervisor.
{15432}{15528}You get to do what everybody|wants to do - make little explosions,...
{15552}{15643}...do the nice big explosions that are,|especially, a lot of fun.
{15684}{15756}It's everything from bullet hits on people...
{15852}{15939}When they're getting shot|by machine guns by our heroes,...
{15960}{16031}...we place in many squibs,|sparking squibs.
{16080}{16171}On this one we have 16 of 'em|and we'll show you a test of that.
{16188}{16223}1, 2, 3.
{16416}{16521}Two of these are the mechanical staffs,|which have a fully mechanical head,...
{16524}{16621}...which fire four small charges|so they can sink the laser effect in.
{16692}{16764}We'll give you a demonstration|on how they work,...
{16764}{16836}- ...if Wray's ready there. You ready?|- Ready.
{16836}{16891}OK. I'll just arm the staff.
{17196}{17302}In "Into The Fire", there was a large|gun tower, 30 feet high, that we used.
{17328}{17418}On the tower, there was a Jaffa guard|firing at our good guys.
{17424}{17520}You had explosions all through fields,|and it was quite spectacular.
{17520}{17603}Then they came to us|and asked us to blow up the tower.
{17616}{17721}It was a structural piece so it was made|out of steel, wood, glass and Plexi:
{17760}{17868}products we normally don't put into an|explosion cos they're hard-flying debris.
{17868}{17972}So we rigged it, sent everybody|to a safe distance and did the explosion,...
{17988}{18053}...and it worked out quite spectacular.
{18168}{18252}My name's Dan Shea.|I'm the stunt coordinator for Stargate.
{18252}{18339}I'm Richard Dean Anderson's|stunt double - Colonel O'Neill.
{18648}{18755}Today we're choreographing a fight.|We're trying to incorporate Jaffa t'ai chi.
{18792}{18888}They tend to use their staff weapons|a lot for sweeping and shooting,...
{18888}{18975}...so we're trying|to incorporate that stuff into the scene.
{18996}{19044}A lot of prep goes into it for safety.
{19044}{19149}If you're doing a ratchet pull, you're|jerking a body violently backwards,...
{19164}{19270}...so you have to work out when and how|hard you're gonna jerk the person back.
{19272}{19344}Then you have to cut it|at the point of impact,...
{19344}{19404}...so it looks like|you're smashing into the wall,...
{19404}{19482}...but in fact you're deaccelerating|down the wall.
{19500}{19594}It looks hard, but in fact|the stunt guy is not hitting that hard.
{19728}{19835}I also have a recurring thing on the|show as the technician, Sergeant Siler,...
{19836}{19925}...who walks around with a huge wrench|and fixes the Stargate.
{19932}{19981}- Hey, Siler.|- Argh!
{20148}{20249}Hi, my name is Lynn Smith and I'm|the location manager for Stargate SG-1.
{20256}{20340}We're on Mount Seymour,|North Vancouver, British Columbia,...
{20340}{20414}...at yet another one|of our unusual locations.
{20436}{20546}We have many locations that we go to for|Stargate - several reoccurring locations.
{20604}{20712}This is our first time on Mount Seymour.|These are not rain towers, this is real.
{20736}{20846}It's not supposed to be raining, but we|can't back out now. We've a full day here.
{20880}{20952}We have a lot of weather problems|in British Columbia,...
{20952}{21021}...as you can see, but we take it as it is.
{21024}{21108}We can make a rainy day look sunny,|but often we shoot it like it is.
{21108}{21168}If you don't backlight rain,|you don't see it.
{21168}{21276}Filming is a cheat anyway. We go to other|planets, which in reality we can't do.
{21300}{21384}The challenge for us,|and a lot of the fun we have, is...
{21408}{21492}...give us a script with a desert in it -|if we don't have one, we make one.
{21492}{21588}We say to the writers "You write it|and we'll figure out how to do it."
{21588}{21660}If there's something we can't overcome,|we go back to them.
{21660}{21765}Brad Wright, Jonathan Glassner and|Robert Cooper - all the guys are fabulous.
{21768}{21864}They're versatile. They can come up|with new ideas and ways to do stuff,...
{21864}{21948}...so we work together as a team|and figure out how to do it.
{21948}{22027}The challenge is|give us a problem, we'll solve it.
{22104}{22191}Peter DeLuise was a famous actor|in a long-running TV show.
{22212}{22308}Never listened to producers, so he|became a director so he wouldn't have to.
{22308}{22354}See how that works?
{22356}{22465}There are a lot of producers on this show,|but only one creative consultant - me.
{22500}{22596}Nothing can happen creatively|on the show unless I'm consulted first.
{22596}{22679}So this is what we want.|If you just go "Pow!" Right?
{22704}{22776}Yeah, you're pulling it,|straining against that.
{22776}{22879}On this show we have many examples|of where we have to turn around a set...
{22884}{22965}...from one look to another.|I'll give you an example.
{22968}{23050}You'll recognise this|from the episode "Nemesis",...
{23052}{23144}...where the replicator bugs come in|and start making a big mess.
{23196}{23290}And the silver at the top ofthe set|is the remnants of Thor's ship.
{23352}{23402}Now you see below that.
{23412}{23505}And Richard Hudolin and the|incredibly talented art department...
{23532}{23599}...is able to make a whole new ship here.
{23604}{23700}This particular ship will be|a ship that is from "Scorched Earth".
{23808}{23881}See that big circle piece,|that header piece?
{23904}{23953}That big circle there.
{23976}{24045}Man! I can't believe they still have that.
{24048}{24154}There's an episode called "Urgo", in|which my dad played the character Urgo.
{24204}{24289}And the alien lab had that big circle|as the centre piece.
{24408}{24480}Sometimes we scout a location|and it's a sunny day...
{24480}{24577}...and we go "The sun's gonna be|right there, and it'll be backlit."
{24588}{24693}Then we get up there and you can't see|your hand because there's so much fog.
{24696}{24732}Here's an example.
{24732}{24842}Because we're such a big unit and we try|to achieve a special look on the show,...
{24888}{24953}...we don't usually brave the elements.
{24960}{25045}We have fog today,|which is limiting our view, our depth.
{25068}{25169}We were prepared to create some|atmosphere with our fires and smokers,...
{25200}{25293}...but the big guy upstairs is, uh...|had his own plan in mind,...
{25356}{25439}...so he's created a ton of fog|so we can't see anything.
{25452}{25534}So having had to come up here|maybe is a moot point...
{25548}{25645}...because we could have probably|achieved this look in a sound stage.
{25764}{25851}Conceptually we're on|a whole bunch of different worlds,...
{25860}{25920}...so that in itself offers a huge range.
{25920}{26004}We've come to the point now|where we're given a lot of leeway.
{26004}{26105}We can really go almost anywhere|we like, in terms ofthe look of the show.
{26112}{26148}That's what we do.
{26148}{26242}We can experiment, we can go|over the edge sometimes if we want to.
{26256}{26316}The worlds are our oyster, basically.
{26316}{26366}They've rarely said no.
{26388}{26442}We can take it as far as...
{26460}{26573}That expands our creative abilities, and it|lets us practise everything we want to do.
{26616}{26664}That's what's exciting about it.
{26664}{26767}The crew we work with is amazing and|what they do on a week-to-week basis -
{26784}{26894}the visual-effects people, directors, most|notably Martin Wood and Peter DeLuise -
{26976}{27024}you write it on the page...
{27024}{27125}...and in your wildest dreams you couldn't|imagine it coming off the way...
{27144}{27203}And it somehow turns out better.
{27216}{27282}You walk on the sets and you're like...
{27288}{27379}..."I imagined something|a lot smaller than this, believe me"!
{27384}{27468}It amazes you when|you finally see it all come together.
{28764}{28872}Now we hope you can better understand|the work that goes into making the series.
{28884}{28930}Well-oiled machine.
{28932}{28998}Rick, I think you're needed on the set.
{29016}{29088}That's the most important aspect|of all production.
{29088}{29134}You're right again.
{29148}{29178}Go.
{29364}{29430}- (Dr Fraiser) Oh, please!|- (laughter)
{29460}{29544}- Teryl's the best, pound for pound.|- Did you hear that?
{29544}{29634}- She is the best actress on this show.|- I'm totally the best.
{29652}{29688}And action.
{29688}{29750}- (Hammond) A Stargate?|- Exactly.
{29772}{29834}Yeah, I'm ready(!) What's the line?
{29940}{29976}You're doing a wonderful job.
{29976}{30052}That's a Canadian thing.|It's a two-dollar coin.