was based upon the feature film and re-created by Kent Matheson. A miniature model death glider, based around a similar craft from the feature film, was used for the film's climax. The model was created from Styrofoam and shot using a motion control rig by John Gajdecki's visual effects team, mostly out his own studio in Toronto. The Stargate effect itself was shot as production for the pilot and would be reused throughout the series to save money. What was known as the kawoosh effect was shot in a similar fashion to the feature film, although due to budget constraints when the gate opens it would not recede into an introverted cone behind the Stargate as it did in the feature. The effect was created by firing an air canon into a 5'×5'×5' tank of water, with some Sapphire Sparks to add glows. Michelle Comens, who originally worked on the pilot as a coordinator, oversaw the updates for the visual effects as part of the 2009 Final Cut. This included supplementing Death Glider sequence from the end of the pilot with new computer-generated imagery, including a second Death Glider and adding a Cargo Ship, retconning the Death Glider from being used as a transport (which had only been done in the pilot). New scenic shots for the alien planets of Abydos & Chulak were also created. Musical score Joel Goldsmith, who had previously worked with Brad Wright and Johnathan Glassner on their series The Outer Limits, was hired to score the series, with Rick Chadock editing. Early in production, Goldsmith opened a dialog with David Arnold, composer of the 1994 film Stargate, as he looked to incorporate the main theme from the film, as well as draw and expand upon some of the other cues. Whilst all subsequent episodes of Stargate SG-1 would be scored with an electronic orchestra, Goldsmith utilized an orchestra to bring his score to life. Goldsmith worked on the score at his own private studio, Goldmore Studio in Sun Valley, Los Angeles, with Rick Chadock producing. Despite resistance from Brad Wright and Joel Goldsmith, during post-production, executives at MGM and Showtime made the decision to use David Arnold's score from the 1994 film more extensively, both in-place and in some cases directly on top of Goldsmith's score. Alex Wilkinson's music editing on the pilot was nominated for a Golden Reel Award. The interlaced mix combining both