Since the rest of the Enterprise-E, as well as the backdrop of Earth, were to be added later in post-production, it became confusing to coordinate shots. Moore used a laptop with digital reproductions of the set to orient the crew and help Frakes understand what the finished shot would look like. A one-armed actor portrayed the Borg whose arm Worf slices off to accurately portray the effect intended, and the actors' shoes were fitted with lead weights to remind the actors they were to move slowly as if actually wearing gravity boots. McDonough recalled that he joined Stewart and Dorn in asking whether they could do the shots without the weights, as "they hired us because we are actors", but the production insisted on using them. The last scene filmed was the film's first, Picard's Borg nightmare. One camera shot begins inside the iris of Picard's eyeball and pulls back to reveal the captain aboard a massive Borg ship. The shot continues to pull back and reveal the exterior of a Borg ship. The scene was inspired by a New York City production of Sweeney Todd: the Demon Barber of Fleet Street in which the stage surrounded the audience, giving a sense of realism. The shot was filmed as three separate elements merged with digital effects. The crew used a 50 mm lens to make it easier for the effects team to dissolve the closeup shots with the other elements. Starting from Stewart's eye, the camera pulled back , requiring the key light to increase in intensity up to 1,000 foot-candles so that there was enough depth to keep the eye sharp. The surface of the stage proved too uneven to accomplish the smooth dolly pullback required by the effects team, who needed a steady shot to blend a computer-generated version of Picard's eye with the pullback. The dolly track was raised off the stage floor and layered with pieces of double-thick birch plywood, chosen for its smooth finish. The entire set for the scene was wide and high; gaps left by the dolly reveal were filled in later digitally. Principal photography finished on July 2, 1996, two days over schedule but still under budget. Shooting took a total of sixty days. Effects The majority of First Contacts effects were handled by Industrial Light & Magic under the supervision of John Knoll. Smaller effects sequences, such as phaser fire, computer