that the principal actors stood out of the backdrop. The shoot used a ten-piece orchestra, 15 stuntmen, and 120 extras to fill the seats. Among the nightclub patrons were Braga, Moore, and the film's stunt coordinator, Ronnie Rondell. After location shooting was completed, shooting on the new Engineering set began May 3. The set lasted less than a day in its pristine condition before it was "Borgified". Filming then proceeded to the bridge. During normal operation scenes, Leonetti chose to cast crosslighting on the principals; this required the ceiling of the set to be removed and lighting grids to be situated around the sides. These lights were then directed towards the actors' faces at 90-degree angles. The set was lined with window paneling backed by red lights, which would blink intermittently during red-alert status. These lights were supplemented by what Leonetti called "interactive light"; these were off-stage, red-gelled lights that cast flashing rims on the bridge set and heads of the crew. For the Borg intrusion, the lighting originated solely from instrument panels and red-alert displays. The fill light on these scenes was reduced so that the cast would pass through dark spots on the bridge and interiors out of the limited range of these sources. Small 30- and 50-watt lights were used to throw localized shafts of light onto the sets. Next came the action sequences and the battle for the Enterprise, a phase the filmmakers dubbed "Borg Hell". Frakes directed the Borg scenes similar to a horror film, creating as much suspense as possible. To balance these elements he added more comedic elements to the Earth scenes, intended to momentarily relieve the audience of tension before building it up again. Leonetti reconfigured the lighting to reflect the takeover of the ship interiors. "When the ship gets Borgified, everything is changed into more of a squared-off, robotic look with sharp edges but rounded images," he explained. To give the corridor walls more shape, Leonetti lit them from underneath. Since the halls were so small and the ceilings would be visible in many of the shots, special attention was paid to hiding the light fixtures. For the live-action spacewalk scenes, visual-effects supervisor Ronald B. Moore spent two weeks of bluescreen photography at the deflector set. Frakes regarded filming the scene to be the most tedious in the film because of the amount of preparation it took for each day's shoot.