dripping down the side of [the Borg's] faces—it looked like they were leaking oil! So, at the very end [of the film], they're more ferocious." The Borg Queen was a challenge because she had to be unique among Borg but still retain human qualities; Westmore was conscious of avoiding comparisons to films like Alien. The final appearance involved pale gray skin and an elongated, oval head, with coils of wire rather than hair. Krige recalled the first day she had her makeup applied: "I saw everyone cringing. I thought, great; they made this, and they've scared themselves!" Frakes noted that the Queen ended up being alluring in a disturbing way, despite her evil behavior and appearance. Zimmerman, Everton and Westmore combined their efforts to design and create the Borgified sections of the Enterprise to build tension and to make the audience feel that "[they are being fed] the Borg". Filming Principal photography took a more leisurely pace than on The Next Generation because of a less hectic schedule; only four pages of script had to be filmed each day, as opposed to eight on the television series. First Contact saw the introduction of cinematographer Matthew F. Leonetti to the Star Trek franchise; Frakes hired him out of admiration for some of his previous work on films such as Poltergeist and Strange Days. Leonetti was unfamiliar with the Star Trek mythos when Frakes approached him; to prepare for the assignment, he studied the previous four films in the franchise, each with a different cinematographer—The Voyage Home (Donald Peterman), The Final Frontier (Andrew Laszlo), The Undiscovered Country (Hiro Narita), and Generations (John Alonzo). The cameraman also spent several days at the sets of Voyager and Deep Space Nine to observe filming. Leonetti devised multiple lighting methods for the Enterprise interiors for ship standard operations, "Red alert" status, and emergency power. He reasoned that since the ship was being taken over by a foreign entity, it required more dramatic lighting and framing. While much of the footage was shot at 50–70 mm focal lengths using anamorphic lenses, 14 mm spherical lenses were used for Borg's-eye-view shots. Leonetti preferred shooting with long lenses to provide a more claustrophobic feel, but made sure the length did not flatten the image. Handheld cameras were used for battle sequences so that viewers were brought into the action and the camera could follow the movements of the actors.