Errand of Mercy - I didn't notice until the hi-def remasters that, when Kirk and Spock beam down, the goat that somebody walks by with is spray-painted:
Poor goat. Even back then things were getting tagged with spray painted graffiti.
Errand of Mercy - I didn't notice until the hi-def remasters that, when Kirk and Spock beam down, the goat that somebody walks by with is spray-painted:
I wonder how the Organians and The Talosians would interact with each other?
JB
I wonder how the Organians and The Talosians would interact with each other?
JB
Errand of Mercy - I didn't notice until the hi-def remasters that, when Kirk and Spock beam down, the goat that somebody walks by with is spray-painted:
http://tos.trekcore.com/hd/albums/1x26hd/errandofmercyhd081.jpg
http://tos.trekcore.com/hd/albums/1x26hd/errandofmercyhd103.jpg
That’s why I’m still following TOS after all these years. This entire thread is a testament to the attention to details that were never expected to be seen. The panels, displays, even the buttons were labeled as if the “operators” needed that information.I wonder if anybody watching Star Trek in the CRT era ever noticed the color of that goat. You'd need a big, top-quality set, perfect reception, and you'd have to be paying close attention, even to details that aren't the usual obsessions of sci-fi fans. And even then, you might chalk it up to an artifact of the TV picture, a faulty bit of color akin to the "aliasing" we used to see in venetian blinds and fine-striped clothing.
I'd say painting that goat was a waste of time. It was too subtle for the SD television medium, unless the director was going to a close-up and make a point of it.
Here's one I picked up on the last time I saw "The Cage." This is about thirty seconds before Pike says he can't get used to a woman on the bridge, Number One excepted. It's probably a pretty easy prejudice to hold on to if you can't even see who you're standing next to.
I wonder if it was just cut for time, though. It's not particularly relevant to the plot.
I know they cut out the bit about Spock abandoning Pike on Talos IV because it didn't paint Spock in a particularly good light and it certainly didn't jibe with the framing story where Spock was willing to risk his career and his life for Pike's happiness.
That’s why I’m still following TOS after all these years. This entire thread is a testament to the attention to details that were never expected to be seen. The panels, displays, even the buttons were labeled as if the “operators” needed that information.
Take the Talos IV dossier, for example. The text in the folder follows the script and is even signed by Robert Comsol. In my mind, the script reference was to COMSOL — Commander of something something, much like CINCPAC. But not to the production staff at Star Trek.
Leave it to Beaver, on the other hand, was a little more whimsical.
Errand of Mercy - I didn't notice until the hi-def remasters that, when Kirk and Spock beam down, the goat that somebody walks by with is spray-painted:
http://tos.trekcore.com/hd/albums/1x26hd/errandofmercyhd081.jpg
http://tos.trekcore.com/hd/albums/1x26hd/errandofmercyhd103.jpg
Come to look at it, that crowd scene is the same dozen extras walking back and forth.![]()
The purple transporter room never really looks "right" to me, partly because I don't rewatch the third season episodes that much.During S1 and S2 the wall color of the Transporter Room is a light grey color. Another S3 oddity....the Transporter Room is now purple with yellow highlights.
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That link just gets me a "Failed to connect to database" message. Happens with the main site, too. Maybe that's temporary, but if anyone else runs into that problem, here's the same page via the WayBack Machine (link).Leave it to Beaver, on the other hand, was a little more whimsical.
I thought that was the lighting for a long time because I’d read that Jerry Finnerman would “paint with light,” and this was supposed to be a cost saving measure. We saw less of this as the seasons went on and eventually Al Francis replaced Finnerman as cinematographer.The purple transporter room never really looks "right" to me, partly because I don't rewatch the third season episodes that much.
The sets had to be lit regardless, but it might've added a tiny bit of time to where the lights were pointed. And gels are pretty cheap but when you're pinching pennies I can see where this could have been cut back.I thought that was the lighting for a long time because I’d read that Jerry Finnerman would “paint with light,” and this was supposed to be a cost saving measure. We saw less of this as the seasons went on and eventually Al Francis replaced Finnerman as cinematographer.
This would require drilling down into the data, but I wonder if there was ever a cost/benefit analysis of this practice. Between labor and gels I would think the cost was non-trivial.
Klingon spy?His self doubt was always very high according to Spock but maybe it was the fact that his blood was a tad pinker than everyone else's that finally drove him over the edge!
JB
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