Aside from control interfaces, the bridge set was populated with monitors looping animations. Each oval monitor was a rear-projection screen on which super 8 mm and 16 mm film sequences looped for each special effect. The production acquired 42 films for this purpose from an Arlington, Virginia-based company, Stowmar Enterprises. Stowmar's footage was exhausted only a few weeks into filming, and it became clear that new monitor films would be needed faster than an outside supplier could deliver them. Lee Cole, Michael Minor and Rick Sternbach, worked together with Povill to devise faster ways of shooting new footage. Cole and Povill rented an oscilloscope for a day and filmed its distortions. Other loops came from Long Beach Hospital, the University of California at San Diego, and experimental computer labs in New Mexico. In all, over two hundred pieces of monitor footage were created and cataloged into a seven-page listing.

Film

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