Prometheus (Stargate)

La Prometheus o X-303 i posteriorment BC-303 és una nau espacial fictícia que apareix a la sèrie de televisió de ciència-ficció militar Stargate SG-1. La

Prometheus (Stargate)
Infotaula personatgePrometheus
Tipusnau espacial fictícia
nau estel·lar Modifica el valor a Wikidata
EpònimPrometeu Modifica el valor a Wikidata
Context
Present a l'obraStargate SG-1 Modifica el valor a Wikidata
UniversStargate Modifica el valor a Wikidata

La Prometheus o X-303 i posteriorment BC-303 és una nau espacial fictícia que apareix a la sèrie de televisió de ciència-ficció militar Stargate SG-1. La nau es va introduir per primera vegada durant la sisena temporada de la sèrie a l'episodi titulat "Prometeu", i es convertiria en un escenari recurrent durant la resta de la sèrie, a més de ser representada en diversos mitjans derivats.

La nau va ser escrita per primera vegada a la sèrie per Joseph Mallozzi i Paul Mullie, i va ser dissenyat per la dissenyadora de producció Bridget McGuire. A més de McGuire, Mullie i Mallozzi, el productor executiu Brad Wright i els directors d'art James Robbins i Peter Bodnarus també van tenir un paper important en la conceptualització i el disseny del vaixell.

Els vaixells de guerra moderns van ser la principal influència en el disseny del vaixell, amb McGuire basant gran part de l'interior en submarins, mentre que els destructors i els portaavions van ajudar a informar gran part de l'exterior de la nau.

Desenvolupament i producció

Concepte i disseny inicial

Prometheus es va introduir per primera vegada a l'episodi del mateix nom, que va ser escrit per Joseph Mallozzi i Paul Mullie. El treball en el disseny de la nau espacial va començar el 2002, i els guionistes de la sèrie van imaginar el Prometheus com la resposta de la Terra a la nau nodrissa Goa'uld.[1] Mullie va descriure el seu desig de crear una nau que fos «exactament el contrari de les naus Goa'uld, que bàsicament són grans habitacions buides», i va explicar que el productor executiu Brad Wright volia un decorat amb objectes amb els quals els actors poguessin interactuar, com ara pantalles, botons, cadires i llums intermitents; cap dels quals es va poder trobar als platós dels Goa'uld.[1] La dissenyadora de producció del programa, Bridget McGuire, i el seu equip van començar a treballar unes cinc setmanes abans que comencés el rodatge.[2][3] Segons McGuire, els guionistes volien una nau "que s'assemblés menys a una nau alienígena d'alta tecnologia i més a una que s'havia construït per a la USAF".[4]

Les actrius de Stargate Universe Alaina Huffman i Elyse Levesque amb el decorador Mark Davidson al pont de navegació del Portaavions USS Carl Vinson. L'interior i l'exterior dels portaavions, destructors i submarins dels Estats Units van ajudar a informar el disseny de Prometheus.

McGuire es va centrar en la idea que les embarcacions militars marines contemporànies influïssin tant en l'interior com en l'exterior del disseny de la nau i va fer que la directora d'art adjunta Noeleen Tobin investigués una col·lecció d'imatges i esquemes de referència per ajudar en el procés.[4] Tobin va tornar amb material de referència que els dissenyadors podien utilitzar per inspirar-se. Imatges de ponts de vaixells, sales de màquines i altres zones de diversos portaavions i submarins de la Marina dels Estats Units.[5][2] McGuire volia "incorporar moltes característiques que veiem avui en dia als vaixells militars i adaptar-les per als viatges espacials", imaginant-se la Prometheus com "més o menys un destructor a l'espai".[6] McGuire volia incloure específicament "espais confinats, sostres baixos i molts conductes i canonades exposats" de submarins i torres de control d'aeronaus en el disseny de la nau.[4][6] En el seu concepte, McGuire sabia que la nau es centraria al voltant d'un espai al pont, sala de màquines i que la nau també contindria un hangar per allotjar la nau de caça X-302 més petita, tot i que inicialment no construirien aquesta part del conjunt.[4][6]

Després de fer alguns esbossos, McGuire va compartir el seu concepte amb els directors d'art Peter Bodnarus i James Robbins, els quals van construir a partir d'això les idees de McGuire, elaborant els seus propis dibuixos abans de reunir-se de nou per decidir un aspecte més definit i final per a la nau.[3] Robbins va ser llavors responsable de desenvolupar els esquemes exteriors i el funcionament interior de la nau.[3] En els seus plans per a la nau, Robbins va triar expressament "la funció per sobre de la forma", fent que la nau fos "utilitària" en el seu disseny, descrivint-la com "una nau no gaire bonica".[7] A més, Robbins va reflectir el desig dels escriptors que la nau "tingués tecnologia alienígena, però nosaltres no ho vam veure".[7] Robbins va crear els plànols de la coberta de la nau, incloent-hi el posicionament de tots els diferents components i sistemes vitals per al funcionament de la nau.[8] Robbins també va imaginar la propulsió, l'armament i el complement de la tripulació de la nau a les seves especificacions.[9] Tot i que finalment no es va utilitzar, Robbin va conceptualitzar que el Prometheus tindria el seu propi hiperpropulsor únic, pel qual la nau viatjaria a través de l'hiperespai sobre rails que sobresortien des de les góndoles, en lloc de formar una finestra com altres naus de la sèrie.[10][11] Mentrestant, Bodnarus va ser responsable de desenvolupar els dibuixos dels interiors del decorat, com ara el pont, els passadissos, sala de màquines i resclosa d'aire.[3] Bodnarus va començar construint un decorat tridimensional o virtual a l'ordinador i es va dedicar a experimentar "amb diverses vistes i desenvolupar una sensació de profunditat" als espais interiors del vaixell. Un cop acabat, Bodnarus va ser responsable de crear els plànols finals a partir dels quals es construiria el decorat.[2]

Construcció i decorats

El decorat es va construir originalment a l'Escenari 6 dels The Bridge Studios a Burnaby, Canadà.[12][13] El decorat es va dissenyar i construir de manera que es pogués desmuntar fàcilment, ja sigui completament o com a seccions individuals; amb parets, finestres i portes construïdes sobre rodes o frontisses que permeten moure-les per a un millor accés durant el rodatge.[14][15] Inicialment es van construir dos espais principals, el pont i una sala polivalent, que estaven interconnectats per un passadís.[6] La sala polivalent es va dissenyar per ser remodelada, i inicialment servia com a sala de màquines, menjador i magatzem de la nau.[16] Els passadissos es van construir en una configuració de figura de 8 que permetia que les escenes de caminar i parlar giressin al voltant de la nau segons les necessitats de l'escena, mentre que les portes i els mampares es podien moure al seu lloc per canviar la disposició dels passadissos.[17] [18][19] La construcció del decorat es va fer amb un "termini molt ajustat", i el decorador Mark Davidson la va descriure com "una col·laboració increïble de diferents departaments per aconseguir-ho tan ràpid com ho vam fer".[20][21] Es van reunir tres equips de construcció diferents, un per construir les bigues, un altre els mampares i el tercer equip va construir les finestres i parets.[2] Com que el decorat no estaria completament complet quan estava previst que comencés el rodatge, la història del primer episodi que presentava la nau es va canviar lleugerament per reflectir el fet que la nau encara estava en construcció.[12] Un cop va començar el rodatge de l'episodi "Prometheus", el decorador del decorat Mark Davidson i l'equip de construcció encara estaven construint activament el decorat del pont, cosa que significava que el director, Peter Woeste, es va limitar a filmar només a la sala polivalent durant el primer dia de rodatge.[22][23]

Pel que fa a la decoració, es va continuar amb el tema naval, alhora que es va intentar fer la decoració una mica més "futurista". i una "creu entre militar i alienígena". Inicialment es van utilitzar 15 monitors de pantalla plana per decorar la nau, mentre que els monitors CRT més antics es van integrar en peces d'escenografia, amb retalls a la part superior "per fer-los semblar una mica més d'alta gamma".[24][25][26] Es van instal·lar escales al voltant de la nau per donar la impressió de l'abast del Prometheus i que la nau tenia diversos nivells.[27] També es van comprar nombroses peces d'aparells de mesura electrònics i després es van desmuntar, reconfigurar, combinar amb diverses peces fetes pel taller de models i després integrar-les en diverses consoles i peces d'escenografia per proporcionar als actors interruptors, botons i llums per interactuar.[28][6][1] Altres característiques, com ara la consola del mapa estel·lar al pont, es van fer de plexiglàs mentre que Davidson va construir les safates de cristall de la nau a partir de calaixos de l'ordinador central.[29][30] Davidson va combinar els elements més futuristes amb el que considerava peces més "retro", com ara telèfons amb cable i extintors i un unitat de pica/vàter d'un avió.[31][32][33]

Com a mesura d'estalvi de costos, el conjunt Prometheus es va reformar per servir també com a nau terrestre Daedalus que es va introduir a la segona temporada de Stargate Atlantis. El decorat es reutilitzaria de nou com a escenari per a més naus espacials i estacions terrestres, incloent-hi l'"Apollo" i la "Midway Station" a "Stargate Atlantis", l'"Odyssey" i el "Korolev" a "SG-1" i finalment el "Hammond" a "Stargate Universe".[34][35] El conjunt es va ampliar per al seu ús com a naus i estacions posteriors, amb noves consoles, accessoris, passadissos i habitacions.[36][34][37] El 2010, al final de la primera temporada de Stargate Universe, el set va ser desmuntat i emmagatzemat, abans de ser finalment completament desmantellat per a la subhasta.[38]

Rodatge i il·luminació

El plató estava equipat amb centenars de llums fluorescents integrats directament a les parets, els sostres i els terres. El director de fotografia Jim Menard va assenyalar que això significava que el rodatge sovint podia confiar en la il·luminació pràctica, "podem rodar només amb la il·luminació de la nau i després, si feu un primer pla, podeu arreglar les seves ombres als ulls i coses així".[39][40] Quan va arribar el moment de filmar al plató, el director Peter Woeste, juntament amb el tècnic de llums en cap Rick Dean i els directors de fotografia Jim Menard i Andrew Wilson, van haver de treballar molt ràpidament en el seu disseny d'il·luminació inicial per a Prometheus, ja que només tenien accés al plató des del dia abans que comencés el rodatge.[13][20][41]

Wilson i Woeste van decidir que mentre el "Prometheus" encara era a l'hangar si bé, com passaria en escenes anteriors de la història, seria sota una il·luminació interior industrial blanca, cosa que permetria un cert marge de maniobra per aconseguir completament l'aspecte totalment operatiu de la nau.[42][43] Després dels episodis introductoris de "Prometheus" i "Selecció no natural", Menard va considerar que la il·luminació del vaixell era "una mica vermella, blanca i blava" i esperava "allunyar-se'n", mentre que el director Peter DeLuise va considerar que era "massa brillant" a bord i, juntament amb Woeste, volia que l'aspecte del vaixell fos "més fosc" i "més taciturn" per a futurs episodis.[44][45] La parella va implementar els seus canvis a l'episodi "Memento", buscant reflectir més de prop el pont d'un portaavions, basant-se predominantment en la il·luminació blau fosc, amb DeLuise creient que això es podria justificar, ja que aquesta era la primera vegada que la nau es representava com a completament operativa.[46][47][48]

Models CGI i exterior

El model de nau Prometheus va ser creat completament com una imatge generada per ordinador per l'estudi d'efectes visuals Image Engine, basant l'estudi en els dibuixos de Robbin. Rainmaker Digital Effects també va treballar en diverses preses de la nau durant el transcurs de la sèrie.[49][50][7] Moltes de les preses d'efectes visuals es van dissenyar per ser reutilitzades al llarg de la sèrie. com un esforç per estalviar diners.[51] Això incloïa plans com ara Frank Simmons (John de Lancie) sent expulsat per una resclosa d'aire a l'episodi “Prometheus”, que més tard es modificaria per a l'episodi "Memento", substituint Simmons pel mòdul central d'hiperimpuls.[52] També es van modificar i reutilitzar imatges del Prometheus volant o aterrant en diferents planetes en episodis com ara "Record" i "Beachhead".[53][54][55]

A l'exterior del plató del pont es va penjar una pantalla verda que permetia afegir-hi plans d'efectes visuals, però com a alternativa econòmica a un camp estel·lar, la producció d'efectes visuals podia canviar la pantalla verda per una cortina negra que tenia petits trossos de mirall enganxats, que quan s'encenien donaven l'efecte d'un camp estel·lar..[19][56] La finestra de la sala multiusos també presentava una finestra i una pantalla verda que s'utilitzarien per a imatges del nucli del motor de la nau.[6]

De la sisena a la vuitena temporada, la nau tenia dues càpsules, o navetes, a cada costat. A la pantalla i als dibuixos originals de Robbin, aquests estaven pensats per ser una forma de propulsió.[57][10] A la novena temporada, aquests van ser reconcebuts com a hangars des dels quals es podia llançar l'F-302.[57]

Escriptura

Per justificar la despesa de construir un decorat tan gran, es pretenia que Prometheus aparegués al llarg de múltiples episodis de sisena temporada.[12][58] En aquell moment, el productor executiu Brad Wright esperava que aquesta fos la temporada final de Stargate SG-1 i va sentir que era "hora de començar a veure alguns dels beneficis, algunes de les repercussions del que hem après i la tecnologia que hem portat de tots els llocs on hem estat", imaginant tant el Prometheus com l'X-302 com a desenvolupaments tècnics derivats del programa Stargate.[59][60] Wright també esperava que la temporada s'acostés a un enfrontament amb Anubis, i planejava utilitzar el Prometheus en un llargmetratge Stargate SG-1 que hauria conclòs la sèrie i hauria preparat la sèrie derivada Stargate Atlantis.[60][61] En conceptualitzar i escriure material ambientat a bord del Prometheus, els guionistes van dedicar temps a teoritzar què "farien les Forces Aèries dels Estats Units amb una gran nau a l'espai exterior", combinant elements no només de les Força Aèria, sinó també de la Marina i imaginant com funcionaria.[62]

Els guionistes eren conscients de les comparacions amb les sèries de ciència-ficció Star Trek, i Paul Mullie va reconèixer que, en ambientar episodis a bord de Prometheus, "es podria dir que ara ens estem desviant cap al territori de Star Trek", mentre que Peter DeLuise va qualificar l'episodi "Memento" com a "molt divertit poder fer la nostra pròpia cosa a l'estil Star Trek".[63][64] Malgrat això, Joseph Mallozzi va declarar que la sèrie no es convertiria en "Star Trek", mentre que Cooper va justificar la construcció de naus terrestres com el "Prometeu" com "una progressió natural", proclamant "M'encanten les naus. Crec que són genials, i crec que els espectacles de naus són genials. No crec que estiguem mai en perill de convertir-nos en "Star Trek".".[65][66] En escriure episodis ambientats a bord de la Prometheus, escriptors com Damian Kindler van sentir que era important que no perdés de vista de què tractava Stargate SG-1 i en escriure "Memento" explicava que "no et pots enamorar massa del fet que tens una nova joguina gran amb què jugar", creient que les històries relacionades amb la nau haurien de tornar totes a lStargate.[67][68]

A la setena temporada, el registre de "Prometheus" va canviar de "X-303" a "BC-303". L'escriptor Joseph Mallozzi va confirmar que la nau ja no es considerava "experimental" i que BC era l'abreviatura de Battle Cruiser.[69] A mesura que la sèrie continuava cap a la seva setena i vuitena temporada, Joseph Mallozzi va sentir que la "Prometheus" s'havia convertit en un personatge que la sèrie necessitava "veure de tant en tant" i el productor executiu Robert C. Cooper va animar els guionistes a ambientar històries a bord del vaixell per justificar mantenir la configuració, donant lloc a episodis com "Memento", "Grace" i "Prometheus Unbound".[70][71][72]

Daedalus, la nau germana del Prometheus, va ser originalment imaginada com una "versió millorada del Prometheus" pel director d'art James Robbins quan es van mostrar per primera vegada els plànols de la nau a l'episodi. "Moebius", però aquests plans es van abandonar i el director d'art Peter Bodnarus va reimaginar completament la Daedalus com la seva pròpia classe de nau.[73][36]

Destrucció

En escriure la novena temporada de Stargate SG-1, el productor executiu Robert C. Cooper va prendre la decisió que la Prometheus seria destruïda. Això va ser en resposta al fet que el plató del Prometheus en aquell moment també s'utilitzava com a nau terrestre Daedalus a la sèrie derivada Stargate Atlantis.[74] Tot i que es basaven en el mateix decorat, els interiors de les dues naus tenien diverses diferències, com ara la finestra principal, diverses consoles i altres elements del pont, que s'havien de canviar segons la nau que s'utilitzés a l'escena.[36][75] Per estalviar temps i diners a la producció de tancar el conjunt, Cooper va decidir que destruir la Prometheus permetria a la Stargate SG-1 introduir la seva pròpia nau de classe Daedalus: l' Odyssey.[74][75]

La destrucció de la nau tindria lloc a l'episodi "Ethon", a mans d'una arma Ori. Cooper volia que la seqüència de destrucció fos "Titanic a l'espai", ja que creia que era important mostrar que SG-1 i Prometheus "ho desordenaven tot" i provocaven una "tragèdia massiva".[76][77] Jugant amb la imatgeria de l'enfonsament del Titanic, Cooper volia que la destrucció de la Prometheus "prengués molt de temps i era dolorosa" i va animar la supervisora d'efectes visuals Michelle Comens a fer que la gravació dels efectes visuals fos el més llarga possible.[78][79] Els guionistes Joseph Mallozzi i Paul Mullie havien escrit originalment escenes per a l'episodi "Ripple Effect" que prefigurarien la destrucció de la nau, però finalment es van retallar per falta de temps.[80][81]

Representació

L'"X-303" s'esmenta per primera vegada a la segona part de l'episodi inicial de la sisena temporada, "Redempció".[82] La Prometheus, també conegut com a X-303 apareix per primera vegada a l'episodi del mateix nom, on encara està en construcció en una instal·lació subterrània secreta a Nevada. La nau ha estat construïda per les Forces Aèries dels Estats Units utilitzant una combinació de tecnologia humana i alienígena que ha estat adquirida pel Comandament Stargate al llarg dels anys. La nau incompleta és robada per agents rebels del NID, incloent-hi Frank Simmons i el Goa'uld, Adrian Conrad.[83] Després que la Prometheus sigui recapturat per SG-1, a "Selecció no natural", l'Asgard Thor recluta SG-1 i la nau per ajudar a fer front a una amenaça replicador al món natal d'Asgard.[84] A l'episodi "Memento", la Prometheus se sotmet al seu vol de shakedown i ara està sota el comandament del coronel William Ronson. Durant les proves, el motor d'hiperimpuls se sobrecarrega i la tripulació es veu obligada a expulsar el nucli, deixant-los encallats en un món anomenat Tagrea, on han de localitzar l'Stargate que ha estat enterrat.[85] Sense un motor d'hiperimpuls que funcioni, la Prometheus roman encallat a Tagrea i a l'episodi "Mina enemiga" el Comandament Stargate extreu el mineral alienígena Naquadah per construir més naus BC-303.[86]

A l'episodi "Grace" la nau inicia el seu viatge de tornada a la Terra utilitzant un hiperimpulsor adquirit d'un Goa'uld Alkesh a l'episodi "Venjador 2.0".[87] Un cop de tornada a la Terra, el general George Hammond assumeix el comandament de la nau per defensar el planeta contra les forces d'Anubis a "La ciutat perduda".[88] Després de la batalla, a l'episodi "New Order" el coronel Lionel Pendergast és nomenat comandant del Prometheus i a "Endgame" la nau se sotmet a una reforma, amb els Asgard instal·lant tecnologia de raigs i un motor d'hiperpropulsor.[89][90][91] El general George Hammond torna a assumir el comandament del Prometheus a l'episodi "Prometheus Unbound" quan lidera una missió de rescat per trobar l'expedició Atlantis, però durant el camí és segrestat per Vala Mal Doran i finalment es veu obligat a tornar a la Terra.[92][93] La Prometheus havia de ser equipat amb nous canons de rail, però aquests van ser enviats a Atlantis per ajudar a defensar-los contra els Wraith a l'episodi de Stargate Atlantis "The Siege".[94]

A l'episodi "Avalon", la nau ha estat equipada amb sensors Asgard, que utilitza per ajudar l'SG-1 a localitzar una estructura Antiga sota la Torre de Glastonbury.[95][96] Després que els Ori ataquin un món Jaffa Lliure a "Beachhead", SG-1 viatja a bord de la nau per intentar aturar la invasió Ori i finalment aturar la construcció de la primera Supergate Ori.[97] El transportador Asgard de la nau s'utilitza per ajudar a impedir que Ba'al destrueixi part del centre de Seattle a "Ex Deus Machina".[98] A l'episodi "Ripple Effect" SG-1 juntament amb una altra versió de l'equip d'una realitat alternativa utilitzen la nau per tancar una bretxa a l'espai.[99] Jared Kane demana al Comandament Stargate que ajudi a destruir un satèl·lit Ori que ha estat construït pel seu poble, el Protectorat Rand, que té la intenció d'aniquilar la nació rival del seu món, Caledònia. L'SG-1 i el Prometheus viatgen al món natal de Kane, Tegalus, però aviat s'adonen que el satèl·lit és més del que la nau pot gestionar. Com que la nau està inutilitzada, Pendergast ajuda a transportar la tripulació a un lloc segur abans d'enfonsar-se amb la nau.[100] Aproximadament un any després, mentre està atrapada en una realitat alternativa, Samantha Carter és portada a bord de la Prometheus, que ara és utilitzada com a Air Force One pel president Hank Landry.[101]

El Prometeu es va incloure com a vehicle no jugable al videojoc cancel·lat Stargate SG-1: The Alliance, que estava en desenvolupament al voltant del 2004.[102][103] El 2021, el Prometheus es va afegir com a vehicle controlable al videojoc per a telèfon mòbil AstroKings, juntament amb altres elements de la franquícia televisiva Stargate.[104][105]

Impacte

Sean Ferrick per a WhatCulture va anomenar Prometheus "una mena de símbol per a la primera i mitjana edat de la sèrie, voluminós però encara completament funcional", assenyalant les possibilitats narratives que la nau va crear per a Stargate SG-1 en expandir-se més enllà de simplement utilitzar el Stargate "mentre mantenia la sèrie ancorada on havia de ser".[106] També escrivint per a WhatCulture, Alastair Greenwell va qualificar la introducció de la nau com "valia la pena esperar", creient que els problemes inicials en episodis com "Memento" "només fan que la nau sigui més estimada pels fans".[107] Keith DeCandido de Tor.com va considerar que la nau era representativa de la Terra "convertint-se en un poder real a la galàxia per oposar-se a una amenaça".[108] A Darren Sumner, fundador de fansite Gateworld, no li agradava el disseny del Prometheus, i tot i trobar emocionant que la Terra hagués desenvolupat un creuer de batalla interestel·lar, el va trobar "ridículament lleig".[109] El presentador del fansite Dial the Gate, David Read, va compartir els sentiments de Sumner i també va destacar la seva insatisfacció per l'existència que la «Prometheus» no s'hagués preparat ni prefigurat abans de la seva revelació a l'episodi del mateix nom.[110]

En parlar del paper de les naus espacials, inclòs la Prometheus, i com va afectar Stargate SG-1, David Read de Gateworld va considerar que el Stargate i la nau sovint entraven en conflicte com a recursos narratius, i es considerava que les naus havien de "portar històries el mínim possible", per por que la sèrie es convertís en "Star Trek". Sumner considerava que a la sisena i setena temporades les naus espacials "no estaven infringint" els drets de l'Stargate, però creia que a la novena i desena temporades "realment estaven envaint l'Stargate com a peça central de la sèrie", creient que episodis com ara "Memento" i "The Pegasus Project" eren "bons exemples de com utilitzar les nostres naus per explicar històries interessants que crec que es basen en el món de Stargate, en lloc de substituir l'Stargate".[109]

Subhastes de decorats, models i joguines

Moltes de les peces del decorat es van reelaborar en els posteriors decorats de les naus de la classe Daedalus. Després de ser deconstruït el 2010, algunes peces del decorat i accessoris de la nau es van vendre a una subhasta, incloent-hi les consoles del pilot i tàctiques que es van vendre per 600 i 1.250 dòlars estatunidencs respectivament, mentre que la cadira del capità es va vendre per 1.750 dòlars estatunidencs.[111][112][113][114][115] També es van subhastar cadires de pont, safates de cristall de control, bigues del conjunt del passadís i panells de control.[116][117][118][119][120] Els plànols del conjunt de 23 pàgines també es van vendre a una subhasta per 1.600 dòlars estatunidencs.[121][122]

El novembre de 2023, l'empresa de joguines BlueBrixx va anunciar la seva línia Stargate, que incloïa un Prometheus per construir.[123] També el novembre de 2023, Master Replicas va llançar un model de la nau.[124][125]

Referències

  1. ↑ 1,0 1,1 1,2 Mullie, Paul; Mikita, Andy (27 February 2006). Full Alert (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 31:48 minuts en. «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.» 
  2. ↑ 2,0 2,1 2,2 2,3 Bodnarus, Peter (March 2003). «Design: Prometheus». TV Zone (Special 50) (Visual Imagination): 56. ISSN 0960-8230. «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.» 
  3. ↑ 3,0 3,1 3,2 3,3 Bodnarus, Peter (July 2002). «Peter Bodnarus Set Designer». SG1 The Production Design Team. TV Zone (Special 46) (Visual Imagination): 42. ISSN 0960-8230. «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.» 
  4. ↑ 4,0 4,1 4,2 4,3 McGuire, Bridget (2004). «Prometheus». Stargate SG-1: The Illustrated Companion: Seasons 5 and 6. London: Titan Publishing Group. p. 78. ISBN 184023606X. «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."» 
  5. ↑ Tobin, Noeleen (July 2002). «Noeleen Tobin Art Researcher». SG1 The Production Design Team. TV Zone (Special 46) (Visual Imagination): 38. ISSN 0960-8230. «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.» 
  6. ↑ 6,0 6,1 6,2 6,3 6,4 6,5 McGuire, Bridget (July 2002). «The Art of the Design». SG1 The Production Design Team. TV Zone (Special 46) (Visual Imagination): 46–47. ISSN 0960-8230. «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.» 
  7. ↑ 7,0 7,1 7,2 Robbins, James. «047: James CD Robbins, Art Director and Production Designer, Stargate (Interview)». Youtube. Dial the Gate, 31-01-2021.
  8. ↑ Mallozzi, Joseph. «The Prometheus in-depth! And a few Stargate-related links!». josephmallozzi.com, 13-03-2018.
  9. ↑ Robbins, James. «Prometheus Specifications». josephmallozzi.com, 2002.
  10. ↑ 10,0 10,1 Robbins, James (22 July 2023). «206: SG-1 Seasons 6-7 Concept Art with James CD Robbins (Special)». Youtube (Dial the Gate). 
  11. ↑ Robbins, James (22 July 2023). «206: SG-1 Seasons 6-7 Concept Art with James CD Robbins (Special)». Youtube (Dial the Gate). 
  12. ↑ 12,0 12,1 12,2 Ritter, Kate. «ON THE SET - DAY ONE». rdanderson.com, 15-07-2002.
  13. ↑ 13,0 13,1 Mikita, Andy (2 February 2004). Unnatural Selection (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 1:01 minuts en. «This set we built in Stage 6 at The Bridge Studio facility and we put it up rather quickly and had to light it rather quickly as well. As you were saying, Andy Wilson the director of photography on the part 1 "Prometheus" episode, directed by Peter Woeste, he had to do a lot of the lighting very, very quickly before they started shooting and you [Jim Menard] had a few things that you had changed.» 
  14. ↑ Mikita, Andy (2 February 2004). Unnatural Selection (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 10:48 minuts en. «This is a really great set design that Bridget and the rest of the design and construction people did. The wall are all on hinges and slide out very, very easily.» 
  15. ↑ Mikita, Andy (2 February 2004). Unnatural Selection (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 13:28 minuts en. «That front window is really cool, the whole thing just rolls on wheels which makes it really easy to shoot in.» 
  16. ↑ Davidson, Mark (3 May 2004). "Grace" (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 2:00 minuts en. «It's quite a large set, it actually takes up the entire interior of a warehouse. This is the bridge, we have hallways, an engine room which we change over to dining rooms, storage rooms, what-have-you.» 
  17. ↑ Woeste, Peter (2 February 2004). Prometheus (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 11:05 minuts en. «it's not apparent in this shot, but the set is octagonal and fairly small. So what we had to do is we had to walk actors through the same area in two different directions and do sort of a figure of eight through the middle of the octagon, and sold the allusion that it's a lot of corridors, and bigger corridors, than were really available to us.» 
  18. ↑ DeLuise, Peter (2 February 2004). Memento (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 4:18 minuts en. «The design of the ship by the art department was so clever that they put so many blast doors that meant you could change the configuration of the hallways and make it look like a new space every time.» 
  19. ↑ 19,0 19,1 Deluise, Peter (2 February 2004). SG-1 Directors Series Peter DeLuise: Memento (DVD Featurette). Stargate SG-1en. MGM Home Entertainment. 
  20. ↑ 20,0 20,1 Wilson, Andrew (2 February 2004). Prometheus (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 12:00 minuts en. «this ship was actually constructed on a very tight schedule and really finished only the day before we had to work in there, so Rick and I were in there late one night lighting the ship, literally the night before we had to shoot in the set.» 
  21. ↑ Davidson, Mark (3 May 2004). "Grace" (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 8:10 minuts en. «The art department did do a very good job when it came down to designing this because it was a very, very fast drawing, they did this very quickly within a 3 month period to design the look, to build it, to put all the applicator that you see on the walls. There was an incredible collaboration of different departments to get it as fast as we did. Was that faster than usual? It was, the scheduling made it happen that way.» 
  22. ↑ Dean, Rick (2 February 2004). Prometheus (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 14:10 minuts en. «Well they were actually still building parts of the ship whilst we were shooting in there, and we had to shoot around construction.» 
  23. ↑ Davidson, Mark (3 May 2004). "Grace" (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 8:43 minuts en. «When we first did it for the first episode, we were still working in the bridge whilst you guys were shooting in the engine room because we hadn't finished it yet, which of course on the day wasn't a very happy thing for production because of the noise factor. We had to stop between takes.» 
  24. ↑ Mclean, Krista (July 2002). «Coming Up, On SG-1...». Season Six Preview. TV Zone (Special 46) (Visual Imagination): 76. ISSN 0960-8230. «The show's graphic artist Krista Mclean has been busy helping come up with the interior look of the X-303. "We're trying to establish a look that is a cross between military and alien," she says. "So that's been a challenge, but a fun one. The basic concept is a battleship in Space. So we're looking at the inside of a real aircraft carrier and then taking that and combining it with something a bit more futuristic in style. For example, we put a number of ordinary radar screens behind a row of cut-outs on the set to give them a different look. When you turn all the lights on it definitely looks like this ship - or set - is ready to fly through Space.» 
  25. ↑ Godfrey, Boyd (March 2003). «Design: Prometheus». TV Zone (Special 50) (Visual Imagination): 56. ISSN 0960-8230. «When it comes to my job, which is set decoration and adding details to props, the biggest challenge for me this year was the Prometheus. We knew it was going to be an Earth based spaceship and Peter, the fellow who designed it, basically gave us carte blanche to run with the graphics the way we thought they should look. Of course, it's every little boy's dream to do something like that, and here we were as adults getting to 'play' as well. With this set, the challenge wasn't so much the size of the job but the time frame in which we had to finish the job. We probably could have gone 10 steps further given more time, but they began shooting on the set as the paint was drying. Still, the end result was something to be very proud of.» 
  26. ↑ Davidson, Mark (3 May 2004). "Grace" (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 10:36 minuts en. «The other aspect of this is all of the computers. The monitors that you see, all the monitors in the Prometheus, I believe there's 15 flatscreen monitors and there's a variety of regular old monitors - there's 8 of those but we built them into cabinets to make them look a little more high end.» 
  27. ↑ Davidson, Mark (3 May 2004). "Grace" (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 12:11 minuts en. «To give the allusion that the size of the set, to have a ladder like you saw on the left hand side there, going up to nothing. It's just there to give you feel of the size and scope of the ship.» 
  28. ↑ Davidson, Mark (3 May 2004). "Grace" (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 14:46 minuts en. «Control panels, like you see behind Daniel, they're always interesting to do, cause you have to get a variety of different testing machines and what-have-you and you take the faces off and what you do is you put blinky lights in and you basically put them on a flat surface to make it look like some sort of high-tech mixing machines per se. But then you don't want to make it look too busy or too much.» 
  29. ↑ Davidson, Mark (3 May 2004). "Grace" (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 6:45 minuts en. «This here is a draw out of a computer unit; a mainframe computer unit.» 
  30. ↑ Davidson, Mark (3 May 2004). "Grace" (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 6:03 minuts en. «The star map behind is just basically routed plexiglass that just really reflects nicely off of light sources.» 
  31. ↑ Davidson, Mark (3 May 2004). "Grace" (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 6:09 minuts en. «In the background there, the red boxes are fire extinguisher containers» 
  32. ↑ Davidson, Mark (3 May 2004). "Grace" (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 7:22 minuts en. «See there, we're on a ship but we have a telephone. You know that's retro.» 
  33. ↑ Davidson, Mark (3 May 2004). "Grace" (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 13:11 minuts en. «That sink is actually out of an aircraft and it pulls down to become a toilet.» 
  34. ↑ 34,0 34,1 Mallozzi, Joseph. «Things Stargate!». josephmallozzi.com, 15-03-2013.
  35. ↑ Mallozzi, Joseph. «February 16, 2008». josephmallozzi.com, 16-02-2008.
  36. ↑ 36,0 36,1 36,2 Bodnarus, Peter; Gosling, Sharon. «Illustration». A: Stargate Atlantis: The Official Companion: Season 2. London: Titan, 2006, p. 134–136. ISBN 1845761634. 
  37. ↑ Mallozzi, Joseph. «Things Stargate! Midway Set» (.jpeg). josephmallozzi.com, 15-03-2013.
  38. ↑ Mallozzi, Joseph. «Sushi at home! More Art Department pics! The power of positive denial! Mailbag!». josephmallozzi.com, 23-08-2010.
  39. ↑ Dean, Rick (2 February 2004). Prometheus (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 13:05 minuts en. «It's an amazing amount of lighting, all these white lights in the tops and the bottoms there; each have to have blue and white light in them and it became hundreds and hundreds of fluorescent lights, some gelled and some white.» 
  40. ↑ Menard, Jim (2 February 2004). Unnatural Selection (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 6:04 minuts en. «The hallways are pretty much practical lights which are built into the set. In here [the bridge] we can shoot with just the ship lighting and then do if you do a close-up you can fix up their shadows on their eyes and things.» 
  41. ↑ Wilson, First (2 February 2004). Prometheus (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 12:30 minuts en. «we had a few pictures to go by, but myself, and Jim Menard, and yourself as well Peter, all collaborated to get the basic design of the ship down.» 
  42. ↑ Dean, Rick (2 February 2004). Prometheus (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 12:50 minuts en. «one thing that was to our advantage was that the ship was not supposed to be finished in this shot, it was still under construction, so we had some leeway of stuff, the background lights and the coloured lights of the machinery and that stuff didn't have to be on for this.» 
  43. ↑ Wilson, Andrew (2 February 2004). Prometheus (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 13:30 minuts en. «my concept really was that when the ship was under construction it was under this white industrial light, and then as it gets powered up and ready to fly the lighting conditions change in the ship; a lot of lights that haven't been on previously come on and also some of operational lights, the large ones you see overhead and also at the feet become blue.» 
  44. ↑ DeLuise, Peter (March 2003). «Season Six Update». TV Zone (Special 50) (Visual Imagination): 52. ISSN 0960-8230. «One of the challenges with this story was filming the Prometheus. When I'd seen the ship in prior episodes I felt it wasn't as dramatic as it could be. I met with Peter Woeste [director of photography] and explained to him, 'It's too bright inside the ship'. Light in Outer Space is a commodity, and because of this the interior of the Prometheus should be darker and moodier. Peter agreed with me. So in Memento there's an entirely different look to the spaceship. It's very dark with swatches of blue and red in the background, which gives it that aircraft carrier feel. I thought Peter did a great job.» 
  45. ↑ Menard, Jim (2 February 2004). Unnatural Selection (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 10:16 minuts en. «One thing that bugged me was that it was a little bit red, white and blue in there and I'd really like to get away from that.» 
  46. ↑ Menard, Jim (2 February 2004). Unnatural Selection (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 1:27 minuts en. «We had to match pretty much, cause it was a two-parter, but then Peter Woeste has since done another episode and we took the look a little darker. The concept was to be like the bridge of an aircraft carrier, the sort of dark-blue lights so that your eyes are accustomed to the exteriors.» 
  47. ↑ DeLuise, Peter (2 February 2004). Memento (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 12:58 minuts en. «The justification for it looking slightly different than how it had looked in previous episodes was that now it is fully operational.» 
  48. ↑ Menard, Jim (3 May 2004). "Grace" (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 5:37 minuts en. «Those were the concept drawings I was given; battleships have a blue bridge and we did that in the lighting here - blue in battle mode and then the back half has a little bit of tungsten to contrast it.» 
  49. ↑ Woloshyn, Bruce. «Bruce Woloshyn answers fan questions» (en german). stargate-project.de, 27-02-2006.
  50. ↑ Woloshyn, Bruce. «Bruce Woloshyn interview». The Scifi World, 03-12-2005.
  51. ↑ Woeste, Peter (2 February 2004). Prometheus (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 38:20 minuts en. «We'll see more of this ship, the Prometheus. It was designed to be seen throughout a number of episodes, in fact a number of visual effect shots were designed to be reused in some of the subsequent episodes.» 
  52. ↑ DeLuise, Peter; Kindler, Damian (2 February 2004). Memento (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 9:23 minuts en. «This is a shot that was stolen. That used to be Frank Simmons flying out the airlock. The exact same shot, expect Frank Simmons has been replaced with the core.» 
  53. ↑ Kindler, Damian (2 February 2004). Memento (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 13:21 minuts en. «We stole so many shots; the effects people did such an amazing job of taking previously used Prometheus shots and redoing them so they look completely fresh.» 
  54. ↑ Savela, Mark; Rorick, James (5 February 2007). "Beachhead" (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 18:10 minuts en. «Another stock shot. A stock effected shot as we had to change the planet and put our blue forcefield in there. Prometheus looks really good throughout this episode. That's Image Engine for you.» 
  55. ↑ Mullie, Paul; Mikita, Andy (27 February 2006). Full Alert (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 33:10 minuts en. «This was a stolen shot that visual effect shot, in fact it's actually a shot from another episode where the Prometheus is actually flying away from the camera. We reversed it and put the overlay of the window of the cargo ship, or in this case it's an Alkesh over that shot and reversed it.» 
  56. ↑ Mikta, Andy (2 February 2004). Unnatural Selection (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 3:27 minuts en. «Outside the window, as you can see right now, there's basically a big black cloth with little pieces of glass mirror attached to it which we call a star-field that's just hanging from a pipe grid off the ceiling of the stage. Along that same grid we also have a green-screen which will go right in place of that star-field whenever there's a visual effect out the window. A good, inexpensive alternative to having a vis effect out the window just by having that star-field.» 
  57. ↑ 57,0 57,1 «Stargate's Prometheus Model Lands November 17». Gateworld, 30-10-2023.
  58. ↑ Cooper, Robert C. (18 July 2002). «EXECUTIVE DECISION». rdanderson.com. 
  59. ↑ Wright, Brad (November 2002). «The Wright Stuff». Dreamwatch (98): 43. ISSN 1356-482X. «Knowing that this is season six and that this is likely the last season of the show, we're going to show the fruit of the technical developments that you you've seen for the past few years.» 
  60. ↑ 60,0 60,1 Wright, Brad (November 2002). «The Wright Stuff». Dreamwatch (98): 43. ISSN 1356-482X. «The idea is that it's time to start seeing some of the benefits, some of the repercussions of what we've learned and the technology we've brought back from all the places we've been. That's going to happen on a couple of levels and with a couple of ships, in fact, because we know that Anubis is coming and we're going to have to defend ourselves. We have to get ready for that.» 
  61. ↑ DeLuise, Peter (2 February 2004). Memento (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 8:11 minuts en. «At the time the story was invented we didn't know that there was going to be a seventh season, so getting the Prometheus up and running was moving towards the idea that the Prometheus was going to help us be a weapons platform and our last line of defence on Earth.» 
  62. ↑ Kindler, Damian (2 February 2004). Memento (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 1:45 minuts en. «In having the Prometheus, we had to theorise what would the United States Air Force do with a big ship in outer space and how would that work because suddenly your combining elements of not just the Air Force, but also the Navy.» 
  63. ↑ DeLuise, Peter (2004). «Memento». Stargate SG-1: The Illustrated Companion: Seasons 5 and 6. London: Titan Publishing Group. p. 78. ISBN 184023606X. «Now we have seen Prometheus previously, but this was the ship in full working order and ready to go! It was a lot of fun being able to do our own Star Trek-type thing. We've purposely avoided doing a big spaceships show before now - we had a Stargate! - so to end up doing one was a bit ironic.» 
  64. ↑ Mullie, Paul (January 2003). «Sixth Sense». TV Zone (159) (Visual Imagination): 26. ISSN 0960-8230. «You might say we're sort of straying into Star Trek territory now that we've got our own ship and are able to head our into Space. If we could only compensate for the Naquadria problem we'd be all set. However, things could never be that easy» 
  65. ↑ Mallozzi, Joseph. «Joseph Mallozzi Live Chat». Gateworld, 08-12-2002.
  66. ↑ Cooper, Robert C. «Directing the Future». Gateworld, 14-04-2006.
  67. ↑ Kindler, Damian (2 February 2004). Memento (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 2:27 minuts en. «after six years of going through this [the Stargate], we were like 'oh my gosh we get to be on a ship and "make it so" and "number 1 meet me in my ready-room" and all this, and it was a little intoxicating.» 
  68. ↑ Kindler, Damian (2 February 2004). Memento (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 4:58 minuts en. «You can't get too in love with the fact you've got a new big toy to play with on the show. The whole idea of this story is that all things take us back to the big O.» 
  69. ↑ Mallozzi, Joseph. «Joseph Mallozzi Live Chat». Gateworld, 31-05-2003.
  70. ↑ Mallozzi, Joseph. «Q&A with Joe Mallozzi». Wild Horses, 2003. Arxivat de l'original el 19 August 2004.
  71. ↑ Kindler, Damian (January 2005). «Stayed Tuned». Stargate SG-1 Season Eight, Part II. TV Zone (Special 61) (Visual Imagination): 60. ISSN 0960-8230. «Prior to this, we'd done four stories involving the ship. However, Rob Cooper said, 'We have the sets, which are spectacular, and loads of VFX shots revolving around the ship. It'd be great to do another Prometheus episode.'» 
  72. ↑ Kindler, Damian (2 February 2004). Memento (DVD commentary). Stargate SG-1en. MGM Home Entertainment. 5:50 minuts en. «I was working on another story when Brad said 'we still have the sets up for the Prometheus and we need another story', so we started bouncing that around.» 
  73. ↑ Robbins, James (January 2005). «Citizen Joe & Moebius». TV Zone (Special 61) (Visual Imagination): 56. ISSN 0960-8230. «Fans will also get a glimpse of the Daedalus, which is the new and improved version of the Prometheus.» 
  74. ↑ 74,0 74,1 C. Cooper, Robert (2006). «Ethon». Stargate SG-1: The Illustrated Companion Season 9. Titan Books. p. 78. ISBN 1845763106. «Cooper reveals that actually, the idea for 'Ethon' (the name of the mythological eagle that gnawed at the liver of the Titan Prometheus) primarily arose out of a difficult practical problem on set rather than a desire to revisit Tegalus itself. "That one came from a set," Cooper continues. "We had one set that was swinging between the Prometheus and the Daedalus (on Stargate: Atlantis), and every time we went back a forth between them we would have to change them over. Of course, the Daedalus was a really cool looking ship, and we were looking at the Prometheus going, 'Stargate SG-1's ship is not as cool as Stargate: Atlantis' ship - that's not fair!".» 
  75. ↑ 75,0 75,1 Kindler, Damian; Hope, Barclay (5 February 2007). "Ethon" (DVD commentary). Stargate SG-1en. MGM Home Entertainment. «Barclay: "Was there a reason the Prometheus had to blow up?" Kindler: "There actually was a practical reason for it. We've designed a new class of ship called the Daedalus, and it doesn't look anything like the Prometheus. So in order to basically have two ships, the Daedalus which is in Atlantis, that series, and then we built one this season called the Odyssey. So they're the same class ship, you can have the same interior, use the same exterior. So if you don't need to have another ship, so lets blow it up in a blaze of glory and then just basically use one ship set that we can shoot in and we can call it the Odyssey and the Daedalus.» 
  76. ↑ Kindler, Damian (December 2005). «Season 9: Part 2». TV Zone (Special 67) (Visual Imagination): 15. ISSN 0960-8230. «As I developed the story further we actually play a bit of the Titanic with the Prometheus because it comes up against a weapon that is far more powerful than its crew realizes.» 
  77. ↑ C. Cooper, Robert (2006). «Ethon». Stargate SG-1: The Illustrated Companion Season 9. Titan Books. p. 78. ISBN 1845763106. «Since Prometheus had served the show so very well, the producers were loath to simply retire the ship without a fanfare. Writing it out instead gave the writers opportunity to do something that could really take advantage of the VFX departments talents, inspired by the death of another famous vessel. "We thought, 'We've got to have it go out in a blaze of glory,'" recalls Cooper, "and I said, "Let's do 'Titanic in space' with the Prometheus!' That's always what it was meant to be - that scene where you see Titanic go down. for once, we didn't win. We didn't go in and solve every problem, and we got burnt for it. We go in, mess everything up, and a massive, massive tragedy happens. Every once in a while you have to lose some people, and deal with that reality.» 
  78. ↑ C. Cooper, Robert (2006). «Ethon». Stargate SG-1: The Illustrated Companion Season 9. Titan Books. p. 78. ISBN 1845763106. «Visual effects are a huge component of both Stargate SG-1 and Stargate: Atlantis, and this time, the team would have their work on screen for a protracted length of time, at the specific request of the executive producer. "The visual effects on this show always tend to be very quick. I talked to them all about this sequence when we were spotting," says Cooper, speaking of the process in which the team sits down and works out where exactly the visual effects will appear and for how long. "I said 'This is supposed to take a long, painful time. This is not one of those shots where it gets shot at and explodes. This is going to be the longest shot you've ever done, just in terms of duration.» 
  79. ↑ C. Cooper, Robert (2006). «Ethon». Stargate SG-1: The Illustrated Companion Season 9. Titan Books. p. 78. ISBN 1845763106. «To get the tensions and tragedy of Prometheus' destruction to hit the right note, VFX supervisor Michelle Comens and her team were called upon to pull something very special out of their hats. "Our VFX team is top notch", adds Kindler, who was very pleased with the outcome of the scene. "Rob, Mihelle Comens and I had many detailed discussions about how the satellite would look, how it would fire and the damage it would inflict." "Troubling, no one felt at all guilty about destroying a ship that had been a stalwart friend to the team since season six!» 
  80. ↑ Mallozzi, Joseph. «Ripple Effect! The deleted scenes!». josephmallozzi.com, 14-06-2011.
  81. ↑ Mallozzi, Joseph (December 2005). «Season 9: Part 2». TV Zone (Special 67) (Visual Imagination): 13. ISSN 0960-8230. «There are so many scenes that were shot but didn't actually make it into the final cut just because of time. There's one where alternate Daniel's being interviewed by Mitchell and he takes an allergy pill. If you recall, Daniel had these terrible allergies in Seasons One and Two of SG-1 that then just kind of disappeared. Then there's a walk and talk aboard the Prometheus with Daniel and the alternate Teal'c, who remarks how weird it feels to be on the Prometheus because in his reality it was destroyed. Remember that as the season continues.» 
  82. ↑ «[Redemption (Stargate SG-1) Redemption]». . Stargate SG-1 (Sci Fi Channel), Temporada:Season 6 , episodi:2, 14-06-2002. «  Dialog Continuity Script  »
  83. ↑ «[Prometheus (Stargate SG-1) Prometheus]». . Stargate SG-1 (Sci Fi Channel), Temporada:Season 6 , episodi:11, 23-08-2002. «  Dialog Continuity Script  »
  84. ↑ «[Unnatural Selection (Stargate SG-1) Unnatural Selection]». . Stargate SG-1 (Sky One), Temporada:Season 6 , episodi:12, 04-12-2002. «  Dialog Continuity Script  »
  85. ↑ «[Memento (Stargate SG-1) Memento]». . Stargate SG-1 (Sky One), Temporada:Season 6 , episodi:20, 12-02-2003. «  Dialog Continuity Script  »
  86. ↑ «[Enemy Mine (Stargate SG-1) Enemy Mine]». . Stargate SG-1 (Sci Fi Channel), Temporada:Season 7 , episodi:7, 25-07-2003. «  Dialog Continuity Script  »
  87. ↑ «[Grace (Stargate SG-1) Grace]». . Stargate SG-1 (Sky One), Temporada:Season 7 , episodi:13, 06-01-2004. «  Dialog Continuity Script  »
  88. ↑ «[Lost City (Stargate SG-1) Lost City]». . Stargate SG-1 (Sky One), Temporada:Season 7 , episodi:22, 12-03-2004. «  Dialog Continuity Script  »
  89. ↑ «[New Order (Stargate SG-1) New Order]». . Stargate SG-1 (Sci Fi Channel), Temporada:Season 8 , episodi:1, 09-07-2004. «  Dialog Continuity Script  »
  90. ↑ «[Covenant (Stargate SG-1) Covenant]». . Stargate SG-1 (Sci Fi Channel), Temporada:Season 8 , episodi:8, 27-08-2004. «  Dialog Continuity Script  »
  91. ↑ «[Endgame (Stargate SG-1) Endgame]». . Stargate SG-1 (Sci Fi Channel), Temporada:Season 8 , episodi:10, 17-09-2004. «  Dialog Continuity Script  »
  92. ↑ «[Prometheus Unbound (Stargate SG-1) Prometheus Unbound]». . Stargate SG-1 (Sky One), Temporada:Season 8 , episodi:12, 21-12-2004. «  Dialog Continuity Script  »
  93. ↑ «[Full Alert (Stargate SG-1) Full Alert]». . Stargate SG-1 (Sky One), Temporada:Season 8 , episodi:14, 11-01-2005. «  Dialog Continuity Script  »
  94. ↑ «[The Siege (Stargate Atlantis) The Siege]». . Stargate Atlantis (Sci Fi Channel), Temporada:Season 1 , episodi:20, 25-03-2005. « »
  95. ↑ «[Avalon (Stargate SG-1) Avalon]». . Stargate SG-1 (Sci Fi Channel), Temporada:Season 9 , episodi:1, 15-07-2005. «  Dialog Continuity Script  »
  96. ↑ «[Avalon (Stargate SG-1) Avalon]». . Stargate SG-1 (Sci Fi Channel), Temporada:Season 9 , episodi:2, 22-07-2005. «  Dialog Continuity Script  »
  97. ↑ «[Beachhead (Stargate SG-1) Beachhead]». . Stargate SG-1 (Sci Fi Channel), Temporada:Season 9 , episodi:6, 19-08-2005. «  Dialog Continuity Script  »
  98. ↑ «[Ex Deus Machina (Stargate SG-1) Ex Deus Machina]». . Stargate SG-1 (Sci Fi Channel), Temporada:Season 9 , episodi:7, 26-08-2005. «  Dialog Continuity Script  »
  99. ↑ «[Ripple Effect (Stargate SG-1) Ripple Effect]». . Stargate SG-1 (Sci Fi Channel), Temporada:Season 9 , episodi:13, 20-01-2006. «  Dialog Continuity Script  »
  100. ↑ «[Ethon (Stargate SG-1) Ethon]». . Stargate SG-1 (Sci Fi Channel), Temporada:Season 9 , episodi:15, 03-02-2006. «  Dialog Continuity Script  »
  101. ↑ «[The Road Not Taken (Stargate SG-1) The Road Not Taken]». . Stargate SG-1 (Sci Fi Channel), Temporada:Season 10 , episodi:15, 23-01-2006. « »
  102. ↑ «Stargate SG-1: The Alliance (2005-12-15 prototype)». archive.org, 2019.
  103. ↑ Stargate SG-1: The Alliance: The Making of The Video Game (DVD Featurette). Stargate SG-1en. MGM Home Entertainment. 2005. 
  104. ↑ «Stargate Will Be Making Another Crossover Into AstroKings». Bleeding Cool, 15-09-2021.
  105. ↑ «Astrokings - Stargate SG-1 Event Trailer». IGN, 21-09-2021.
  106. ↑ Ferrick, Sean. «10 Most Disturbing Stargate Moments». WhatCulture, 01-12-2020.
  107. ↑ Greenwell, Alastair. «Stargate: Every Series And Movie Ranked Worst To Best». WhatCulture, 03-12-2020.
  108. ↑ DeCandido, Keith R.A. «The Stargate Rewatch: SG-1 Season Six». Tor.com, 08-05-2015.
  109. ↑ 109,0 109,1 Read, David; Sumner, Darren. «GateWorld Podcast: Space Ships vs. Stargates». Gateworld, 10-03-2009.
  110. ↑ Mallozzi, Joseph. «043: Joseph Mallozzi Part 4, Writer and Executive Producer, Stargate (Interview)». Youtube. Dial the Gate, 23-01-2021.
  111. ↑ «Stargate Artifacts». Propworx, 26-09-2010. Arxivat de l'original el 20 November 2017.
  112. ↑ «Daedalus-Class Tactical Console». Live Auctioneers, 19-03-2011.
  113. ↑ «Daedalus-Class Pilot Console». Live Auctioneers, 26-09-2010.
  114. ↑ «Daedalus-Class Captain's Chair». Live Auctioneers, 19-03-2011.
  115. ↑ «Stargate Artifacts 2» p. 218–220. Propworx, 2010. Arxivat de l'original el 4 March 2012.
  116. ↑ «Prometheus Bridge Chair». Live Auctioneers, 26-09-2010.
  117. ↑ «Daedalus-Class Crystal Drawer». Live Auctioneers, 26-09-2010.
  118. ↑ «Daedalus-Class Corridor Girders». Live Auctioneers, 26-09-2010.
  119. ↑ «Daedalus-Class Circuit Board Paneling». Live Auctioneers, 26-09-2010.
  120. ↑ «Stargate Artifacts». Propworx, 26-09-2010. Arxivat de l'original el 20 November 2017.
  121. ↑ «Kull Warrior Costume, X-303 Blueprints Up For Auction». Gateworld, 28-02-2014.
  122. ↑ «Stargate SG-1 X-303 Set Original Blueprints». Live Auctioneers, 22-03-2014.
  123. ↑ Sumner, Darren. «BlueBrixx Unveils Its Stargate Brick Toy Line». Gateworld, 09-11-2023.
  124. ↑ «Get A Closer Look At Stargate's New Prometheus Model». Gateworld, 04-11-2023.
  125. ↑ «New Stargate F-302 and Prometheus Eaglemoss Models Are Coming». The Companion, 17-05-2023.

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