Production designer Harold Michelson was responsible for the ship's interior design, though director Robert Wise was responsible for the ship's drab interior color scheme. A new bridge had been designed and partially built for "Phase II", and Michelson largely retained the design and its consoles. Rear projection films for bridge displays came initially from Stowmar Enterprises of Arlington, Virginia. When production exhausted the films faster than Stowmar could supply them, production designers manufactured their own from oscilloscopes, medical imagery, and an experimental computer lab. Corridors were initially a straight-wall design similar to the television series; Michelson changed them to an angular design with light radiating upward. Set designer Lewis Splittgerber described the engine room set as the most difficult to realize. Through forced perspective and small actors, the set was depicted as a engineering space. Robert Wise wanted the corridors to be narrower than on the television series, and mirrors gave the impression that they were longer than they actually were.