compositing artist, Bruce Woloshyn, worked approximately 10 months a year in close collaboration with SG-1 visual effects supervisor/producer James Tichenor and visual effects supervisor Michelle Comens. Many companies were hired to create the Stargate's water-like event horizon in the beginning, but Rainmaker eventually became the only company to create those visual effects. Rainmaker's regular effects shots included the activation and use of the Stargate itself (with well over 300 event horizon shots in the first few years), the transport rings and the blast shots of the staff weapons and zat guns. They created the visual effects for Goa'uld cargo ships and death gliders on a less regular basis. Lost Boys Studios provided visual effects for SG-1 from the very beginning of the series up to the end of Season 5, and Image Engine worked on the show from Season 2. Stargate SG-1 and Stargate Atlantis were responsible for an estimated 30% to 40% of the business of Atmosphere Visual Effects. James Tichenor considered the few episodes with big visual effects budgets the most likely works to contain visual cues that would impress award judges. Stargate SG-1 helped win the local post production shops industry recognition, with Season 4's "Small Victories", Season 5's "Revelations" and Season 7's "Lost City" receiving the most visual effects awards and nominations (see List of awards and nominations received by Stargate SG-1). Music According to composer Joel Goldsmith, Stargate SG-1 had a traditional action-adventure score, "with a sci-fi, fantasy flair" that goes "from comedy to drama to wondrous to suspense to heavy action to ethereal". Brad Wright and Jonathan Glassner had known Goldsmith since the second season of The Outer Limits before they approached him to work on the pilot episode of Stargate SG-1. Goldsmith and David Arnold, the composer of the original feature film score, discussed themes for a television adaptation. The main titles of Stargate SG-1 were a medley of several themes from the feature film, although Goldsmith also wrote a unique end title for SG-1 to establish the show as its own entity. MGM eventually insisted on using Arnold's score in the pilot episode instead of Goldsmith's, but Brad Wright's 2009 direct-to-DVD recut of Children of the Gods uses Goldsmith's original score. For each episode's score, Goldsmith simulated a real orchestra with a synthesizer palette of an eighty-piece symphony orchestra for budgetary reasons, although he occasionally used two or three musicians for added