in Braga's beat-sheet. The description he had to work from was "a sleek, sparkling STARSHIP (which we'll call the "silver bullet") floating in space. Scans reveal – it's a Starfleet vessel!" James took into account the set space available, with the primary position located on Stage 16 at the Paramount lot between the museum set built for "Living Witness" and a set under construction for "One". James decided that the majority of the sets would have to be redresses of the Voyager standing sets in order to reduce cost, but that new bridge and engineering rooms would need to be built for the Dauntless. The bridge set would be difficult as despite it needing to look like a Starfleet vessel, but would need to "instantaneously change" to an alien bridge as required by the beat-sheet. He wanted to repeat the sleekness of the exterior design by curving the walls of the bridge, something which was too difficult with a wooden set. Instead, he used several steel grids with a muslin cover. He hit upon the idea that these would be backlit in Starfleet colors, and when required they could switch instantly to a different color for the alien design. The new bridge was built in the alien configuration but with additional panels and props created which could affix to the set in order to lend it a Starfleet appearance. Director Winrich Kolbe had some ideas about how the engineering set, suggesting that it should be a dangerous place with the Voyager crew looking down on the engine core. Braga compared the idea to the Foucault pendulum in the rotunda at Griffith Observatory. James' designs were not as elaborate as Kolbe suggested, but together with visual effects supervisor Ronald B. Moore they worked out a means of enabling the director to film from above. They raised the set over a blue screen to enable it to be backlit properly. Kolbe had a further impact on the design of the set; he suggested in a production meeting on February 25 that the change of lighting suggesting by James for the bridge should shift from the Starfleet colors to orange in order to maximise the alien effect. James produced a foamcore model of the Dauntless bridge, to both illustrate the final construction and to enable Kolbe to plan out his camera angles while it was still being built. The exterior of the Dauntless