Editing Prometheus (Stargate) (section)

===Concept and initial design===

''Prometheus'' was first introduced in the [[Prometheus (Stargate SG-1)|episode of the same name]], which was written by [[Joseph Mallozzi]] and [[Paul Mullie]]. Work on designing the spaceship began in 2002, with the ''Prometheus'' being imagined by the shows writers as Earth's answer to the [[Goa'uld]] mothership.<ref name="full alert commentary 1" /> Mullie described wanting to create a ship that was "exactly the opposite of the Goa'uld ships, which are basically big empty rooms", explaining that executive producer [[Brad Wright]] wanted a set with objects that could be interacted with by the actors, such as screens, buttons, chairs and flashing lights; none of which could be found on the shows Goa'uld sets.<ref name="full alert commentary 1">{{Cite AV media |title="[[Full Alert (Stargate SG-1)|Full Alert]]" |date=27 February 2006 |last=Mullie |first=Paul |type=[[audio commentary|DVD commentary]] |language=en |publisher=[[MGM Home Entertainment]] |series=''[[Stargate SG-1]]'' |minutes=31:48 |quote=The Prometheus, going way back, was our answer to the Goa'uld ships. We wanted to build something that was exactly the opposite of the Goa'uld ships, which are basically big empty rooms. You know, we always used to complain that we'd fly in those Goa'uld ships and there was nowhere to sit, no screens, no buttons to press, so when we came up with the idea for the Prometheus, back whenever that was, season five or whatever, Brad was like 'I want buttons, I want switches and flashing lights'. I think the original concept was to look like an aircraft carrier. |last2=Mikita |first2=Andy}}</ref> The shows production designer Bridget McGuire and her team began their work around five weeks before filming commenced.<ref name="Bodnarus prom">{{Cite magazine |last=Bodnarus |first=Peter |date=March 2003 |title=Design: Prometheus |magazine=[[TV Zone]] |publisher=[[Visual Imagination]] |issue=Special 50 |page=56 |issn=0960-8230 |quote=WE HAD ABOUT FIVE WEEKS from the time Bridget came up with the initial concept of the ship and how big it was supposed to be until the cameras began rolling. So we gritted our teeth, hunkered down and got to work. The inspiration behind the Prometheus was modern day military technology. So we had to look at interior images of aircraft carriers and submarines and then mix those with a bit of alien technology. Basically I began by building a three-dimensional or virtual set on the computer. That allows me to experiment with various views and develop a sense of depth. This step is instrumental because if I can get everything to work on the computer, then it will all fit together in the real world. From these drawings I then developed the blueprints from which the actual set was built. We had three construction crews working independently on the same set. One built the beams, another the bulkheads. and a third group built the windows and the walls. Much to our delight all the pieces fit together perfectly. There's an incredible amount of creativity and a great deal of discipline that goes into a project like this. Everyone really pulled together and it shows. |interviewer=Steven Eramo}}</ref><ref name="Bodnarus 02">{{Cite magazine |last=Bodnarus |first=Peter |date=July 2002 |title=Peter Bodnarus Set Designer |department=SG1 The Production Design Team |magazine=[[TV Zone]] |publisher=[[Visual Imagination]] |issue=Special 46 |page=42 |issn=0960-8230 |quote=The X-303, though, is a lot larger than the X-302. This design has been jointly developed and the process is always the same. It starts with Bridget, who comes up with a concept. She'll give me some quick sketches from which I'll do some basic drawings. We'll then work together to decide on a more definite look. With the X-303, James [Robbins] developed its exterior schematics and Interior workings. Meanwhile, I was responsible for developing the actual set interiors including the bridge, corridors. engine room and air lock. "Much of the inspiration for the X-303's interior came from contemporary American aircraft carriers," adds Bodnarus. "At the very beginning of the design process, the art department researcher Noeleen (Tobin) will put together a book of photos based on the look we're going for. Bridget will then be given a copy of that material and she'll refer to those images when working up her initial concept. With the X-303, we felt that the high tech environment of an aircraft carrier was perfect. So that's what we're working on at the moment. |interviewer=Steven Eramo}}</ref> According to McGuire, the writers wanted a ship "that looked less like a hi-tech alien vessel, and more like one that had been built for the [[United States Air Force|USAF]]".<ref name="prometheus illustrated">{{Cite interview |last=McGuire |first=Bridget |title=Stargate SG-1: The Illustrated Companion: Seasons 5 and 6 |publisher=[[Titan Publishing Group]] |place=London |date=2004 |pages=78 |quote=Production designer Bridget McGuire beams with pride when asked about the subject of the episode, the custom built Prometheus: "This project has probably been one of our most challenging of the year, and it certainly needed all of our collaborative ingenuity. We were asked to design a spaceship, which was great because spaceships are a lot of fun to design and build! In this instance, they wanted one that looked less like a hi-tech alien vessel, and more like one that had been built for the USAF. We decided to incorporate many features we see in military vessels today, and adapt them for space travel. Basically what we have with the Prometheus is a destroyer in space, so we started by looking at lots of elements from current sea-going military craft. The ship has the capacity to be aircraft carrier, for the X-302, so we adapted some of the elements of an aircraft control tower. We also wanted to have a proper bridge, so we have this wonderful area that has the captains chair, with navigation behind, and systems and operations up front along with the gunners. There's also the requisite big window that looks out into space. In the story, the ship is a work in progress," the designer confirms, "so there are still elements waiting to become fully functional. We do have a control room for engineering, complete with consoles, monitors and the like." The interior of the Prometheus was designed to resemble the inside of the a submarine. "We've incorporated low ceilings, confined spaces and everywhere you look there's exposed conduits and piping," McGuire says. "It's a huge vessel, but if you really were on board with a full complement of crew, then it would be pretty claustrophobic." |chapter=Prometheus |isbn=184023606X}}</ref>

[[File:Alaina Huffman, Elyse Levesque and Mark Davidson on Carl Vinson.jpg|thumb|left|''[[Stargate Universe]]'' actors [[Alaina Huffman]] and [[Elyse Levesque]] with set decorator Mark Davidson on the navigation bridge of the [[United States Navy]] [[Aircraft Carrier]] [[USS Carl Vinson]]. The interior and exterior of United States aircraft carriers, destroyers and submarines helped inform the design of ''Prometheus''.]]

McGuire focused in on the idea of having contemporary sea-going military craft inform both the interior and exterior of the ship's design and had Assistant Art Director Noeleen Tobin research a collection of reference images and schematics to help the process.<ref name="prometheus illustrated" /> Tobin came back with reference material the designers could use for inspiration. Images of ship bridges, engine rooms and other areas of various [[United States Navy|United States]] [[Aircraft carrier]]s and [[submarine]]s.<ref name="noeleen 02">{{Cite magazine |last=Tobin |first=Noeleen |date=July 2002 |title=Noeleen Tobin Art Researcher |department=SG1 The Production Design Team |magazine=[[TV Zone]] |publisher=[[Visual Imagination]] |issue=Special 46 |page=38 |issn=0960-8230 |quote=One of Tobin's biggest undertakings so far this season was doing research for the X-303 spacecraft. "They wanted to go with the look of an aircraft carrier," she says. "Well, I was on the Kitty Hawk when I was 12 years old, but my memories of that were a little bit cloudy! So instead I had to use a variety of resources and was able to provide Bridget, the production designer, with pictures of the bridge, engine room and other areas aboard US aircraft carriers. It's really cool to see how a number of these images have now been re-created on our set. |interviewer=Steven Eramo}}</ref><ref name="Bodnarus prom" /> McGuire wanted to "incorporate many features we see in military vessels today, and adapt them for space travel", imagining ''Prometheus'' as "more or less a [[destroyer]] in Space".<ref name="Bridget McGuire 1" /> McGuire specifically wanted to include "confined spaces, low ceilings and plenty of exposed conduits and piping" from submarines and aircraft control towers into the ship's design.<ref name="prometheus illustrated" /><ref name="Bridget McGuire 1">{{Cite magazine |last=McGuire |first=Bridget |date=July 2002 |title=The Art of the Design |department=SG1 The Production Design Team |magazine=[[TV Zone]] |publisher=[[Visual Imagination]] |issue=Special 46 |pages=46–47 |issn=0960-8230 |quote=We were asked to design a spaceship," she enthuses, "but not a futuristic alien craft. This spaceship is one built by and for the US Air Force. It's more or less a destroyer in Space and we're using lots of elements found in an aircraft control tower and a submarine. These include confined spaces, low ceilings and plenty of exposed conduits and piping. We have a bridge, which is a proper bridge insofar as there's a place for the captain to sit. Navigation is behind you, systems and ops up in from along with your gunners as well as a window that looks out into space. "The ship has the capacity to be an aircraft carrier, so we can land the X-302 in its hangar base. We haven't actually built a hangar, but the spaceship has been designed to accommodate one if need be. There's also an engine room, or should I say a control room for engineering. It's equipped with consoles, monitors and lots of fun little screens the room also has a window that looks out onto the ship's massive CGI [computer-generated imaging] engines. In the story, the ship hasn't been finished being built yet. It's a work in progress. "This project has probably been one of the more challenging this season mainly because of time," continues the designer. "Spaceships are loads of fun to design and build. You want to make them really special but co be able to do that in a short space of time isn't easy. One of the most time- consuming jobs is creating the panels with all the small detailed controls that the actors are going to touch. The only way to get the job done within the time we have is to have everyone working on it simultaneously. "We have one person who's designing the layout for all the buttons and switches. However, he first worked up a template that he's given to the guys in construction so that they can start building the console to fit the board he's now working on. A copy of that same template was also sent to the model shop. The people there are preparing all the buttons, switches and dials that will be placed on the board. The board itself will then be sent over to an outside shop to be wired up. This is all happening at the same time. |interviewer=Steven Eramo}}</ref> In her concept, McGuire knew the ship would focus around a bridge space, engine room and that the ship would also contain a hangar bay to house the smaller X-302 fighter craft, although they would not initially be building that part of the set.<ref name="prometheus illustrated" /><ref name="Bridget McGuire 1" />

After putting together some sketches, McGuire shared her concept with art directors Peter Bodnarus and James Robbins, both of whom then built upon McGuire's ideas, coming up with their own drawings before reconvening to decide upon a more definite, final look for the ship.<ref name="Bodnarus 02" /> Robbins was then responsible for developing the exterior schematics and the interior workings of the ship.<ref name="Bodnarus 02" /> In his plans for the ship, Robbins purposely chose "function over form", making the ship "utilitarian" in its design, describing it as "not a pretty ship".<ref name="dtg james robbins" /> Furthermore, Robbins reflected the writers desire that the ship "had alien technology in it, but we didn't see that".<ref name="dtg james robbins">{{Cite web |last=Robbins |first=James |date=31 January 2021 |title=047: James CD Robbins, Art Director and Production Designer, Stargate (Interview) |url=https://www.youtube.com/watch?v=ZiiB2tVs1fI&t=3786s |website=Youtube |publisher=Dial the Gate |interviewer=David Read}}</ref> Robbins created deck plans for the ship, including positioning all of the different components and systems vital to the ship's function.<ref name="joe blog 1">{{Cite web |last=Mallozzi |first=Joseph |date=13 March 2018 |title=The Prometheus in-depth! And a few Stargate-related links! |url=https://josephmallozzi.com/2018/03/13/march-13-2018-the-prometheus-in-depth-and-a-few-stargate-related-links/ |website=josephmallozzi.com}}</ref> Robbins also imagined the ship's propulsion, armament and crew compliment in his specifications.<ref name="Specifications 1">{{Cite web |last=Robbins |first=James |date=2002 |title=Prometheus Specifications |url=https://i0.wp.com/josephmallozzi.com/wp-content/uploads/2018/03/prometheus-specifications.jpg |website=josephmallozzi.com}}</ref> Although ultimately not used, Robbin's conceptualised that ''Prometheus'' would have its own unique [[Hyperspace|hyperdrive]] whereby the ship travelled through [[hyperspace]] on rails that projected from the [[nacelle]]s, as opposed to forming a window like other ships from the series.<ref name="dtg robbins prom 1">{{cite interview |last1=Robbins |first1=James |title=206: SG-1 Seasons 6-7 Concept Art with James CD Robbins (Special) |url=https://youtube.com/watch?v=mEP66SpxcBE?t=2722 |interviewer=David Read|website=Youtube |publisher=Dial the Gate |date=22 July 2023}}</ref><ref name="dtg robbins prom 2">{{cite interview |last1=Robbins |first1=James |title=206: SG-1 Seasons 6-7 Concept Art with James CD Robbins (Special) |url=https://youtube.com/watch?v=mEP66SpxcBE?t=5730 |interviewer=David Read|website=Youtube |publisher=Dial the Gate |date=22 July 2023}}</ref> Meanwhile, Bodnarus was responsible for developing drawings of the set interiors, such as the bridge, corridors, engine room and air lock.<ref name="Bodnarus 02" /> Bodnarus began by building a three-dimensional or virtual set on the computer and set about experimenting "with various views and develop a sense of depth" in the interior spaces of the ship. Once completed, Bodnarus was responsible for creating the final blueprints from which the set would be constructed.<ref name="Bodnarus prom" />