Babylon 5 2×01 Effects Update Supplemental- The Three-Edged Sword

The surprise Babylon 5 HD remaster came out on Blu-Ray recently. Something I was curious about was how difficult it would be to combine the 4×3 Blu-Rays with the 16×9 DVDs to get a 16×9 pseudo-HD version of the show, with the edges upscaled but the center using real film.

I did a quick test on a frame from “Points of Departure,” and the answer is “not as easy as I hoped.” I’ve tried this technique before, matching and blending the same film from two different releases (and, apparently, two different digital scans), and I’ve also run into this problem of the film not scanning perfectly flat, and having some amount of distortion. I’d have to do further research to see if there are tools to address this that I have access to,1It feels like a combination of technologies should be able to solve this; I’ve got two slightly different sources of the same ground-truth. The HD frame shows exactly how 3/4th of the SD frame should look after it’s upscaled, so it should be possible to have a computer program compare the two, adjust the color, size, rotation, and proportion of the SD frame to match the HD one as closely as possible, apply some ML upscaling (ideally using the very shot that’s being upscaled as training data so the computer can extrapolate the lost detail at the sides of the frame from the existing detail in the middle), and blend the two sources. I know all these features exist independently, but I have no idea how to get them all into one tool. There might also be some complications with the DVDs needing to be detelecined and having scanline issues in the raw data. so this is just a quick test and comparison using Photoshop. The vertical framing of the DVD and Blu-Ray don’t match exactly, and the DVD’s colors are a little more contrasty, so I had to make some adjustments to match better.

First off, the test image merging the two sources. I upscaled the DVD frame using an AI tool, color-corrected it as described above, and added some grain, while softening the border between the HD frame and the widescreen one:

It could be worse!

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References
1 It feels like a combination of technologies should be able to solve this; I’ve got two slightly different sources of the same ground-truth. The HD frame shows exactly how 3/4th of the SD frame should look after it’s upscaled, so it should be possible to have a computer program compare the two, adjust the color, size, rotation, and proportion of the SD frame to match the HD one as closely as possible, apply some ML upscaling (ideally using the very shot that’s being upscaled as training data so the computer can extrapolate the lost detail at the sides of the frame from the existing detail in the middle), and blend the two sources. I know all these features exist independently, but I have no idea how to get them all into one tool. There might also be some complications with the DVDs needing to be detelecined and having scanline issues in the raw data.

Tech the Tech: White Star Insignia

While the White Star was introduced in the third season of Babylon 5, for most of it, only the prototype was seen. It wasn’t until season 4 that we began seeing scenes set on multiple different White Stars. The set for the White Star bridge was also redesigned and rearranged for the fourth season, and the new design seemed to take into account that there would be times when different characters would be seen on different (but identical) ships in the same episode.

From what I can tell, there were four main ways to redress the White Star bridge to represent different specific ships. There were lights in the supports for the railing around the command chair that were changed to different colors, the large light panels on the aft bulkhead had their color changed, some of the computer screens on the aft bulkhead were changed out, and a lit plaque above the main door to the bridge would be changed. For now, I’ll just be going into that last one.

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Stargate 2020 Effects (Film Version)

The Stargate VFX from the original film, my recreation, and a side-by-side comparison

“Stargate 3.0 Effects (Film Version)” for Lightwave 2020, Released December 25, 2021 (CC0) —142 MB

After a year and a half, I’m running out of steam on the Stargate project for now, so I pushed myself to finish up the part I was currently working on, the version of the “kawoosh,” “strudel,” and “puddle” effects as seen in the movie.

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Stargate 2020 (Pegasus Version)

Orthographic diagrams of the model1Atlantis Expedition Logo by CmdrKerner
Showcase animation of the model and effects

“Stargate 3.1 (Pegasus Version)” for Lightwave 2020, Released July 30, 2021 (CC0) —53 MB

Conversion Kits:

After over a year, I’ve reached the end of my 2020 pandemic modeling project with the completion of the version of the stargate used in Stargate Atlantis. Alongside the movie and SG-1 versions, that makes a complete set for this basic design.2The Universe version being a totally different design, and the Origins version being intended to match the movie version, even if it didn’t quite hit the mark perfectly. While I don’t think I’m quite done with Stargate just yet, I’m probably done with modeling actual stargates for a while.

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References
1 Atlantis Expedition Logo by CmdrKerner
2 The Universe version being a totally different design, and the Origins version being intended to match the movie version, even if it didn’t quite hit the mark perfectly.

Tech the Tech: How to Dial a Stargate

Or, “Mother, the chevrons are locking!”

Considering it’s just a big, spinning wheel, there’s actually a surprising amount of ambiguity about exactly how the Milky Way version of the Stargate dials. The basics are obvious. There’s an inner ring, which rotates alternatively clockwise and counterclockwise to indicate specific symbols on it, each of which is represented by one of nine corresponding chevrons on the main ring of the device. The chevrons are numbered one through seven, proceeding clockwise, ending with seven at the top, and skipping the bottom two chevrons.1In the subsequent television shows, we saw eight- and nine-chevron addresses. The nine-chevron address engaged each chevron in clockwise order, with the bottom-right chevron becoming chevron four and the normal chevron four being chevron six, and so on. The implication in “The Fifth Race,” the first episode where it was done, is that the first six symbols encode under the normal chevrons, while the additional seventh symbol encodes at the bottom right chevron (briefly seen on a computer screen), with chevron eight at the top, which is confirmed by comparing the visible symbols on the Atlantis stargate in the episodes “No Man’s Land” and “The Pegasus Project” with the published eight-symbol address for Earth.

So the question left is, exactly what position on the main ring indicates which symbol is being encoded or locked by a given chevron?

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References
1 In the subsequent television shows, we saw eight- and nine-chevron addresses. The nine-chevron address engaged each chevron in clockwise order, with the bottom-right chevron becoming chevron four and the normal chevron four being chevron six, and so on. The implication in “The Fifth Race,” the first episode where it was done, is that the first six symbols encode under the normal chevrons, while the additional seventh symbol encodes at the bottom right chevron (briefly seen on a computer screen), with chevron eight at the top, which is confirmed by comparing the visible symbols on the Atlantis stargate in the episodes “No Man’s Land” and “The Pegasus Project” with the published eight-symbol address for Earth.

Tech the Tech: The Glyphs on the Abydos Stargate

I’ve been working on a new 3D model of the stargate. For the moment, I’ve been working in parallel on the variations seen in the original movie and the SG-1 television series, since they share nearly all of the same parts.1The Atlantis stargate, while superficially similar, actually has enough unique aspects that it makes more sense for me to build a separate model based on the parts I’ve made for the movie/SG-1 version. One of the elements I’d like to recreate is that in the original movie, the stargate on the alien planet Abydos had different symbols on its inner ring than the one on Earth. I’ve never seen any listing of these alternate symbols, so I investigated the film to see what I could figure out.

NO MATTER WHERE YOU GO, THERE YOU ARE

First, let’s talk about the point of origin symbol. For the TV series Stargate SG-1, the concept of the stargate was simplified, so that rather than each stargate having a unique set of symbols on it based on the stars as seen from its particular location in the universe, every stargate used the same symbols, based on the constellations as seen from Earth, aside from one unique symbol, which represented that particular stargate itself. Finding the symbol that represented the “point of origin” was a major plot-point in the film, though it was only occasionally touched on in the series; unique point of origin symbols were designed for other stargates just twice during the entire run of the show,2The stargate in Antarctica in “Solitudes,” and the stargate on the planet where the population was living a VR simulation in “The Gamekeeper” with other planets normally having one of the regular 38 “address” symbols substituted in their place (another reason I wanted to recreate the Abydos stargate was to have a supply of plausible stargate symbols to use as point of origin symbols for alien stargates on my SG-1 gate model).

Glowing buttons with the Antarctic stargate origin symbol, a large circle over a horizontal line, and the P7J-989 origin symbol, a series of curved lines tapering to a point, similar to an icon of a tornado or vortex
The Point of Origin symbols for the Antarctic stargate (left) and the stargate on P7J-989

In SG-1, the origin symbol for the stargate used by Earth during most of the show was carried over from the film, a triangle pointing upward at a circle, representing a pyramid with the sun directly above it.3The pyramid symbol, and all the other stargate symbols, were remade from scratch for the series stargate setpieces, and don’t precisely match the symbols used in the movie in size, orientation, or proportion. The symbol for Abydos in the series was three equilateral lines extending out from a center point, with two triangles flanking the vertical line.

The Giza stargate symbol, an upward-pointing triangle with a small circle above it, and the series version of the Abydos symbol, three lines radiating from a center point with
The Point of Origin symbols for the Giza (left) and Abydos stargates as seen on Stargate SG-1

That is similar to the way the symbol was described in the film (a pyramid with the three moons of Abydos above it), but it doesn’t quite look like the drawing of the symbol we saw in the film, which consisted of two wide, stacked triangles. And, in fact, there is a symbol of two wide, stacked triangles on the Abydos stargate in the movie. So where’d the symbol used in the TV show come from?

A chalk drawing of a pyramid, with three moons above it, each connected to the others with a line, and two insets of a symbol of a pair of stacked triangles from the Abydos stargate
The pictogram of the Abydos origin symbol seen in the movie, with inserts of the corresponding symbol on the stargate
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References
1 The Atlantis stargate, while superficially similar, actually has enough unique aspects that it makes more sense for me to build a separate model based on the parts I’ve made for the movie/SG-1 version.
2 The stargate in Antarctica in “Solitudes,” and the stargate on the planet where the population was living a VR simulation in “The Gamekeeper”
3 The pyramid symbol, and all the other stargate symbols, were remade from scratch for the series stargate setpieces, and don’t precisely match the symbols used in the movie in size, orientation, or proportion.

Virtual Sets and Educational Animations for UC Scout

For the past couple of years, I’ve been working at the University of California, Santa Cruz, as part of a team producing video lectures for on-line classes in the Scout and University Extension programs. As my time there comes to a close, I wanted to post a retrospective summary of what I’ve been doing. Day to day, the majority of my time was spent assembling and editing individual lessons, though at one time or another I at least touched on all aspects of production, including filming, quality assurance, and asset creation.

As far as 3D work goes, while I did have the chance to produce short explanatory animations for various lessons, something I volunteered for in the first few days on the job was creating virtual sets for our courses. Our presenters were shot on greenscreen, and I though it would add a level of visual interest to place them in a realistic environment, rather than up against some sort of plain color or gradient backdrop. 

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Tech the Tech: The Tenth Planet in “World Enough and Time”

Back in the 1960s, Doctor Who introduced the Cybermen as coming from a “counter-Earth” called Mondas, a twin planet of our own that had escaped detection as it orbited the sun exactly opposite the Earth. Mondas was flung into deep space when the arrival of Earth’s moon disrupted the balance between the planets, and the inhabitants gradually surgically altered themselves to survive the increasingly harsh environment, until they were cold, cybernetic monstrosities who strapped enormous engines to their world, intent on returning to their home star and draining Earth of its precious energy reserves. Mondas itself was depicted as being exactly identical to Earth (except upside-down1While upside-down, it is still rotating in the conventional way, suggesting that the Mondasians also consider “north” to be “up” on their maps. I’m not sure whether that means that, spatially, the planet was upside down relative to Earth and rotating in the same direction, or the surface was aligned the same way but was rotating backwards, like Venus . I doubt anyone gave it that much thought.), complete with humans identical to those on Earth.

There is no prize for finding the most scientific inaccuracies in that paragraph.
“World Enough and Time” and “The Doctor Falls,” the two-part season 10 finale of Doctor Who, revisited the Cybermen’s origin. While set on a ship either constructed by or commissioned for the people of Mondas rather than the planet itself, we do see a computer screen showing a display of the planet. At a casual glance, Mondas still appears to be identical to Earth (though right-side up this time2And still rotating in the conventional direction. Maybe they reversed the planet’s rotation when they attached the engines, like that episode of Futurama.), but the Doctor Who art department took the time to subtly modify the layout of the continents as a freeze-frame bonus. I’d hoped that the BBC’s Production Art gallery for the episode might contain a complete map, but, alas, it is not to be, and it seems unlikely the show will be revisiting Mondas anytime soon, leaving reverse-engineering the planet to fans like me.

First, I had to correct for the prespective distortion of the computer screen, so here’s the straight-on view of Mondas, in both Quicktime and GIF formats. Continue reading

References
1 While upside-down, it is still rotating in the conventional way, suggesting that the Mondasians also consider “north” to be “up” on their maps. I’m not sure whether that means that, spatially, the planet was upside down relative to Earth and rotating in the same direction, or the surface was aligned the same way but was rotating backwards, like Venus . I doubt anyone gave it that much thought.
2 And still rotating in the conventional direction. Maybe they reversed the planet’s rotation when they attached the engines, like that episode of Futurama.

Rogue One Meets Doctor Who (Temp Score Found?)

The score over the climactic sequence of “Rogue One” always reminded me of something. I tried laying over “The Life and Death of Amy Pond,” from the end of the Doctor Who episode “The Pandorica Opens,” and the pacing and tone matched pretty well. I suspect it may have been the temp score for the sequence.

You can see the waveforms for both tracks here; the film track, “Your Father Would Be Proud” is on top, with “The Life and Death of Amy Pond” is on the bottom. Also, I did slightly adjust the speed (about 1% faster or slower, I can’t remember) of the music so it would hit a couple beats slightly more precisely.

Tech the Tech: The Battlestar Pegasus’s Hangar Deck

And here we are again. And so much faster! This time, we’ll be going over the hangar of the Battlestar Pegasus, our first upside-downy hangar, and also the final canonical hangar.1Yes, there’s also the Osiris, but we see very little of it, and it seems pretty straightforward; There’s an airlock at the base of the aft fantail for launching and recovering, the whole bay seems to depressurize, and there are Viper tubes opening to the sides near the top of the ship. There are apparently elevators somewhere to take the Vipers from the hangar up to the tubes, but they aren’t obvious in the virtual set. There, write-up done.

Exterior:

The Pegasus has doubled-up flight pods. On top is a landing deck aligned with the main axis of the ship, but attached to the bottom is one which is, relatively speaking, upside-down. In between is a narrower area that joins the two sections, and this is where the launch tubes are, square in the middle between the dorsal and ventral2The mnemonic I use is that dolphins and sharks have “dorsal fins” which are on top of their body; thus “ventral” is the bottom decks. The launch tubes are all in a single row, but alternate between being aligned with the upper and lower decks.

Like Galactica, Pegasus has forty launch tubes per pod. They are in three groups, with fourteen tubes on the ends and twelve in the middle. The gaps between them are about six launch tubes wide (or, alternatively, as wide as three Galactica-style aircraft elevators).

There is one other minor detail, which I don’t believe has been identified publicly before. I found it when I first began researching this post, and I could hardly believe my eyes when I stumbled onto it.

Do you see it? Zoom and enhance!

Once I noticed, I looked back at the orthographic renders provided through Modeler’s Miniatures and Magic. Now that I knew to look for them, I could see them easily. So let me amend that last statement.

Pegasus has forty launch tubes per pod— 37 Viper launch tubes, and three Raptor launch tubes. The Raptor tubes are the forward-most tubes in each of the three groups. They are, apparently, compatible with Vipers as well, given I only noticed they exist because one caught the light from the engine of a Viper launching from it. We never saw one used to launch a Raptor, but we only ever saw a Raptor in the act of launching from Pegasus a couple times, so that doesn’t mean much. It’s a little tough to be sure from the angle, but I suspect they’d also accommodate the “Assault Raptors” with additional weapons mounted, and the Blood & Chrome version. The forward aspect of the various version of the Raptor aren’t that different, and the silhouette of the tube doesn’t seem to conform very tightly.

The gap between the three clusters of launch tubes is about three or four Galactica-elevators in length, suggesting either multiple adjacent elevators, or that Pegasus has fewer, longer elevators. What we see in the “Razor” suggests the elevators are the same as those on Galactica, though not conclusively.

There’s a cutout on the dorsal pod, directly under the ship’s nameplate. The majority of the time, it was filled with nondescript tanks and greebles. In the shipyard sequence of “Razor,” this cutout was transformed into a sort of exterior loading dock. I’m going to ignore it, because I don’t understand what it could be for, aside from making the ship look like a hive of activity. If it’s a pass-through to the landing deck, it’d be just as easy to land ships normally from the ends. If it opens to the interior of the ship, anything being delivered would have to be taken around the open landing deck and, again, it’d make more sense to deliver it from the regular landing area inside of the pod.

Interior:

The Pegasus hangar deck was seen twice, in “Resurrection Ship, Part II” and “Razor.” Both times, it was a redressed version of the Galactica deck. In “Resurrection Ship,” they kept the lighting dim and avoided showing as much of it as possible. Indeed, aside from plot logic, the only indication this was the Pegasus deck was that they added the double fluorescent light fixtures to the hangar arches. They probably didn’t want to paint themselves into a corner so they kept things as vague as possible.

In “Razor,” since they spent a good deal more time there, they used the whole set. In addition to the light fixtures, the set was also un-distressed, the hangar doors were painted silver and blue-gray instead of red, the wayfinding signs, phones, and intercoms were replaced with ones using the Pegasus graphic design language (complete with futuristic Eurostyle rather than Spaceage, which was standard on Galactica), and the Galactica-style manual doors and the launch tubes were hidden by strategically placed fighters and piles of crates. The scenes depicted were also generally shot with angles and compositions that downplayed the overall arrangement of the set.

Beyond the set itself being obscured, there’s also very little use of CG set extensions. We see an aircraft elevator, but the far side is in shadow, so it’s difficult to tell anything about its size or what may be beyond it. There’s also one shot of an additional length of CG hangar, but it’s brief and out-of-focus, suggesting the production team took into account that the layout should be noticeably, if subtly, different from Galactica, even if it wasn’t worth it to construct it in fullIndeed, if it weren’t for the CG Raptor visible in it (the big giveaway is the black canopy glass), I would doubt it was a CG hangar extension at all.

Landing Deck:

The Pegasus CG model was not overbuilt like Galactica, given that it was always going to be a secondary ship and not the focus of every episode of an ongoing series. Thus, the original Pegasus model didn’t have any landing deck detailing, aside from some small suggestions at the ends, where they’re most likely to be seen. There are relatively few angles that allow you to see down the length of the pod from the outside.

Since “Razor” featured the Pegasus more heavily, the model was done up a bit,3The Pegasus had a great many one-off modifications which were not incorporated into the main model, and thus were only ever seen once or twice each in shots where they were specifically called for. These include large fixed cannons in the bow in “The Captain’s Hand,” an extra gun battery on top of the flight pod in “Exodus, Part II,” and the external loading deck on the flight pod and bow-mounted reversing thrusters, both in “Razor.” Personally, aside from the bow battery, I ignore all of these when imagining the “real” Pegasus. adding interiors to the dorsal and ventral hangars. They’re based on the Galactica hangar deck, featuring similar jetways and other details. Oddly enough, we also see access airlocks which use Galactica-style manual doors, rather than the automatic pocket doors that are normally seen on Pegasus. I suppose it makes sense. When you have a door that opens to space, you probably want it be pretty easy to close and seal manually.

Side-note: While there was only one shot of the ventral hangar, it was smooth and had no zooms, so I was able to get a decent photogrammetry solve.

Even in “Razor,” we don’t see the landing deck in much detail, but we do get some suggestions of what may be the aircraft elevators on the dorsal deck. It’s tough to gauge the distance, so it’s hard to see if or how they match up with the gaps between launch tubes, but we’ll assume the elevators do. There are two kinds of outlined areas on the side of the runway which should have the elevators, but it’s hard to tell if these are parking spaces or elevators.

Synthesis:

First off, let’s take the obvious stuff: There are two hangar decks in each pod, sitting floor-to-floor. I’d assume there’s a mechanism in the aircraft elevators allowing them to rotate, so you can directly move ships from one deck to the other without flying them out of the ship and around. The Viper launch tubes have elevators which drop them down to the pod’s centerline for launch. This might seem wasteful compared to just having two parallel sets of tubes, but I’d propose that this arrangement allows a second set of Vipers to be pre-loaded into the tubes, above the first wave of Vipers. Thus, when launching an attack, Pegasus can launch eighty Vipers per pod nearly as fast as she could if she had eighty tubes installed, but with half the launch mechanisms to maintain. A much more efficient solution, which also allows for greater storage space on the hangar deck.

The launch tubes aren’t tip-to-tip, as they are on Galactica, so each tube and berth will be made a bit wider. This also helps solve the problem that the Viper Mark VII is too wide to fit into the launch tubes on the Galactica set.

As an aside, there is just enough vertical clearance to accommodate the Blood & Chrome hangar deck as seen in that film. I kind of wish we’d seen less of the Pegasus in “Razor,” so I could steal more from B&C. I’d really love to be able to include those elevated control rooms. The multiple parallel hangars would also fit in easily, with the launch tubes being on a lower level. And don’t get me started on the CIC.4I’ve actually come around to thinking Pegasus had a larger fleet command center that we never saw used (perhaps it was being renovated during the refit, perhaps it was overkill without escorts, perhaps Cain just didn’t like it), and the room we normally saw was the bridge. My understanding that on modern navel ships, the bridge and CIC are two separate rooms, and it helps to explain why a massive flagship like Pegasus would have a CIC exactly the same as the Valkyrie, a ship a fraction of the size.

Here’s the hangar layout for the port flight pod.

I’ve decided to assume the Pegasus Viper factories are on the level of the hangar deck, above the launch tubes. There’s a lot of extra room, and it seems like a reasonable use for all that space, which is likely more than is needed for other other non-hangar flight pod stuff like ready rooms, racks, messes, and so on.

I’ve put three adjacent elevators between each launch tube section. There are doors dividing all three elevators, so they can be pressurized independently. Additionally, the middle elevator has side doors, leading to the factory facility and the connecting struts for transport to other parts of the ship. Since the middle elevator connects to the factory floor, it’s still useful even if the side elevators are being used so they can’t serve as pass-throughs. Again, I’ll imagine a pivot in between the dorsal and ventral elevators so ships can be rotated from one hangar to the other.

The storage endcaps also have doors connecting to the factory. In the three launching hangars, I’ll imagine a door on the walls next to the elevators opposite the tool rooms, where a launch tube was in Galactica (as luck would have it, in “Razor,” that tube is just barely out of view, and several extras walk in and out of it, as if it were a door connecting to launch control, the factories, and whatnot).

The fighter compliment of the Pegasus is a bit of an open question. We don’t know much, aside from “a lot.” Enough that the show stopped keeping track of Viper attrition when she showed up, and enough that Galactica had and maintained a full compliment of 80-100 fighters after she absorbed Pegasus’s squadrons, even with losses sustained in… well, there was only one battle on-screen, but I’m sure at least one Colonial fighter had to be shot down in the season 4 premiere, never mind any possible between-episode encounters, suggesting they had spares in mothballs that they didn’t have the room to operate regularly. The only hard numbers we get are in “Razor,” where it’s reported that 32 Vipers were destroyed and 61 were “badly” damaged, but there’s not much to go on regarding what proportion of Pegasus’s  wing these 93 ships represented, and whether that was a full load or if she didn’t leave space dock with a complete set (there were a lot of Vipers and Raptors parked in open space on the dock next to the ship), nor what it might’ve been when they met Galactica six months later, since Pegasus was fitted with a Viper factory on-board. Likewise, all we have to go on with Raptors is that Galactica had less than ten before Pegasus arrived and more than that after. Just to give me some basis for decision-making, I’ll assume the distribution is the same as I decided on for Galactica, with about one Raptor for every four Vipers.

Using our same old method of dropping in a ship everywhere there’s an empty berth, we can get this:

That’s 68 Vipers and 16 Raptors in the dorsal hangar, and 67 Vipers and 17 Raptors in the ventral hangar. That’s a flight pod total of 135 Vipers and 33 Raptors, or 270 Vipers and 66 Raptors (or 336 fighters) total for the Pegasus.  Like the Blood and Chrome version of Galactica, this is a conservative estimate; there’s a lot more space available that could be filled with additional fighter storage, given the squared-off shape of the hull and the massive amount of real-estate opened up by not having the launch tubes on the same deck as the hangar.

References
1 Yes, there’s also the Osiris, but we see very little of it, and it seems pretty straightforward; There’s an airlock at the base of the aft fantail for launching and recovering, the whole bay seems to depressurize, and there are Viper tubes opening to the sides near the top of the ship. There are apparently elevators somewhere to take the Vipers from the hangar up to the tubes, but they aren’t obvious in the virtual set. There, write-up done.
2 The mnemonic I use is that dolphins and sharks have “dorsal fins” which are on top of their body; thus “ventral” is the bottom
3 The Pegasus had a great many one-off modifications which were not incorporated into the main model, and thus were only ever seen once or twice each in shots where they were specifically called for. These include large fixed cannons in the bow in “The Captain’s Hand,” an extra gun battery on top of the flight pod in “Exodus, Part II,” and the external loading deck on the flight pod and bow-mounted reversing thrusters, both in “Razor.” Personally, aside from the bow battery, I ignore all of these when imagining the “real” Pegasus.
4 I’ve actually come around to thinking Pegasus had a larger fleet command center that we never saw used (perhaps it was being renovated during the refit, perhaps it was overkill without escorts, perhaps Cain just didn’t like it), and the room we normally saw was the bridge. My understanding that on modern navel ships, the bridge and CIC are two separate rooms, and it helps to explain why a massive flagship like Pegasus would have a CIC exactly the same as the Valkyrie, a ship a fraction of the size.