for the sixth film of the franchise. Design Meyer attempted to change the look of Star Trek to match the nautical atmosphere he envisioned while staying within budget. The Enterprise, for example, was given a ship's bell, boatswain's call, and more blinking lights and signage. Meyer had a "No Smoking" sign added to the Enterprises bridge, which he recalled "Everyone had a fit over [...] I said, 'Why, have they stopped smoking in the future? They've been smoking for four hundred years, you think it's going to stop in the next two?'" The sign appeared in the first shot of the film, but was removed for all others appearing in the final cut. To save money on set design, production designer Joseph Jennings used existing elements from The Motion Picture that had been left standing after filming was completed. Sixty-five percent of the film was shot on the same set; the bridge of the Reliant and the "bridge simulator" from the opening scene were redresses of the Enterprises bridge. The Klingon bridge from The Motion Picture was redressed as the Regula I transporter room and the Enterprise's torpedo bay. The filmmakers stretched The Wrath of Khans budget by reusing models and footage from the first film, including footage of Enterprise in spacedock. The original ship miniatures were used where possible, or modified to stand in as new constructions. The orbital office complex from The Motion Picture was inverted and retouched to become the Regula I space station. Elements of the cancelled Star Trek: Phase II television show, such as bulkheads, railings, and sets, were cannibalized and reused. A major concern for the designers was that Reliant should be easily distinguishable from Enterprise. The ship's design was flipped after Bennett accidentally opened and approved the preliminary Reliant designs upside-down. Designer Robert Fletcher was brought in to redesign existing costumes and create new ones. Fletcher decided on a scheme of "corrupt colors", using materials with colors slightly off from the pure color. "They're not colors you see today, so in a subtle way [they] indicate another time." Meyer did not like the Starfleet uniforms from either the television series or The Motion Picture and wanted them changed, but could not be discarded entirely because of the budget. Dye tests of the fabric showed that the old uniforms took three colors well: blue-gray, gold, and dark red. Fletcher decided to use the dark