The Borg scenes were received positively by test-screening audiences, so once the rest of the film had been completed, a Borg assimilation scene of the Enterprise crew was added in using some of the money left in the budget to add action. Since so many new sets had to be created, the production commenced filming with location photography. Four days were spent in the Titan Missile Museum, south of Tucson, Arizona—the disarmed nuclear missile was fitted with a fiberglass capsule shell to stand in for the Phoenixs booster and command module. The old missile silo provided a large set that the budget would have prohibited building from scratch, but the small size created difficulties. Each camera move was planned in advance to work around areas where the lighting would be added, and electricians and grips donned rock-climbing harnesses to move down the shaft and attach the lights. To give greater dimension to the rocket and lend the missile a futuristic appearance, Leonetti chose to offset the missile's metallic surface with complementary colors. Using different-colored gels made the rocket appear longer than it actually was; to complete the effect, shots from the Phoenixs nose downwards and from the engines up were filmed with a 30 mm lens to lengthen the missile. After the completion of the Phoenix shots, the crew moved to two weeks of nighttime shooting in the Angeles National Forest. Zimmerman created a village of fourteen huts to stand in for Montana; the cast enjoyed the scenes as a chance to escape their uniforms and wear "normal" clothes. The last location shoot was at an art deco restaurant in Los Angeles' Union Station, which stood in for the Dixon Hill holonovel; Frakes wanted a sharp contrast with the dark, mechanical Borg scenes. While the cinematographer wanted to shoot the scene in black and white, Paramount executives deemed the test footage "too experimental" and the idea was dropped. The site made using high-wattage lights impractical, so Leonetti opted to use dimmer master lights near the ceiling and took advantage of a large window to shine diffused lights through. To give the scene a black-and-white feel, Leonetti made sure to use light without any coloration. "I like creating separation with lighting as opposed to using color," he explained. "You can't always rely on color because the actor might start to melt into the background." By separating the backlights, Leonetti made sure