The revisions included adding Picard's nephew René to his imagined Christmas celebration with his family. The house of Kirk's Nexus recollections was located in Lone Pine, California, with the cabin filled with props to represent Kirk's career, from a Klingon bat'leth to a painting of "Enterprise". Carson wanted a suitably remote and alien mountain location for the film's climax at Soran's compound. The scenes were filmed over eight days on an elevated plateau in the "Valley of Fire", north of Las Vegas, Nevada. The rise's height and sloped sides required cast and crew to climb using safety ropes and carry all provisions and equipment with them. The heat was difficult for all involved, especially Shatner, whose character wore an all-wool uniform. Safety harnesses and wires were used to keep performers safe from tumbling off a precipice, and were removed digitally in postproduction. As originally filmed, Kirk was shot in the back and killed by Soran. Test audiences reacted negatively to the death, so the scene was rewritten and reshot over two weeks so that instead, Kirk sacrifices himself by leaping across a broken walkway to retrieve Soran's control pad and de-cloak the trilithium warhead. Paramount allowed the film to go over budget to $35 million for the re-shoots. As the production crew had already spent weeks removing traces of their shoot from the Valley of Fire, the set had to be rebuilt under a very tight schedule, followed by effects work to remove wires and rigging in time for the footage to be included in the final cut. "Generations" special effects tasks were split between the television series' effects vendors and ILM. ILM CG Supervisor John Schlag recalled that it was easy to recruit staff who wanted to work on "Star Trek"; working on the film "gave me a chance to be a part of the whole "Trek" thing [...] ILM is practically an entire company filled with "Trek" geeks." Effects supervisor John Knoll recalled that "Generations" screenwriters filled the initial drafts with exciting—and expensive—effects. Knolls's team then storyboarded the effects sequences, figuring out how to best service the script as cheaply as possible. When even those estimates proved too costly, ILM continued cutting shots. "[We had] nothing left to cut, and we still had to cut stuff out," Knoll recalled. The previous "Star Trek" films had used conventional motion control techniques to record multiple passes of the starship models and miniatures.