Looking at this some more, the middle part of the journey (while the cab is in motion) may have been a pick-up shot. I'm happy to explain, but this will go deep into the weeds; so those who don't care for such things are encouraged to skip over the rest of my post. (This won't cover all turbolift minutiae, just what seems relevant to @Spock's Barber's Mirror, Mirror observation.)
Turbolift Observations: After extensive cataloging and analysis of all the turbolift journeys in TOS, several patterns emerged. Typically, a trip comprises up to three scenes: the entrance, the ride, and the exit. Sometimes the ride shares a camera setup with either the entrance or the exit, while other times it has its own setup; and things weren't always consistent across the two or three pieces of any given cab ride. This MM scene clearly has three separately filmed segments.
There was one turbolift set on the bridge (position "B"), and at least one more that was moved around the corridor complex as needed to various positions marked on the map here. Both lifts had some wild parts, but it seems that the lift at "B" was probably not moved around (other than perhaps during the first handful of S1 episodes).
In my notes, I number the wall segments according to the hours on a clock, with the flat panel opposite the turbolift doors being panel 12. (To explain my picture a bit, I typically treat the curved panels in the rear quarters as being joined together in two pairs -- 10+11 and 1+2 -- because they're more stable that way and I've yet to find any production reason suggesting why they shouldn't be joined.)
Most of the time, panel 12 contained a silvery moire "swirl" while panels 3 and 9 each held a brownish "mesh." (There were a few exceptions and/or mistakes.) Both kinds let light through to indicate the cab's direction of travel.
Chekov Observations: Chekov's accoutrements on the bridge, from his seated position at his console through walking over to and into turbolift position B, include the dagger, sash, and phaser. His movement into the lift takes him off camera, but by noting his trajectory and shadow it's pretty clear that he walks directly to panel 11 and reaches over to grab the control handle on panel 10. Directly to his left (our right) in panel 12 is a swirl window.
When the lift doors re-open for exit at corridor position C2, these details are all the same. The swirl is still a swirl (albeit with a different moire pattern) and everything else matches as well. Chekov is still standing in front of panel 11, gripping the handle in 10, wearing the same three bits, and with the swirl over his left shoulder. These entrance and exit scenes, though filmed at two different points on Stage 9 that were about as far apart from each other as two bits of the Enterprise interior can get, have complete continuity with each other.
But the in-between separate ride segment is wrong in almost every way...
It's only during this middle scene that everything goes awry. Missing knife, missing sash, added agonizer, Chekov standing in front of a flat panel instead of a curved one, holding a control handle that's only one panel away from the window flat instead of two, and that window having a brown mesh instead of a swirl.
It seems that the director wanted a different angle through the lift rather than a straight line to back center (perhaps because of how the shadows would fall?). The cameraman is positioned somewhat to the right of the turbolift and shooting "diagonally" through its open doors (which would not have been seen or needed during the cab's movement) toward the left rear, thus featuring mesh panel 3 rather than swirl panel 12. (Edit: Hmm, maybe the director just preferred how the motion light looked behind mesh rather than moire?)
With such good continuity between the bookending segments of the journey, but noticeably absent continuity in this scene, I gotta wonder if it was filmed on a different day. Possibly even a pickup shot after photography had already wrapped on MM? @Maurice ?
There was one turbolift set on the bridge (position "B"), and at least one more that was moved around the corridor complex as needed to various positions marked on the map here. Both lifts had some wild parts, but it seems that the lift at "B" was probably not moved around (other than perhaps during the first handful of S1 episodes).
Most of the time, panel 12 contained a silvery moire "swirl" while panels 3 and 9 each held a brownish "mesh." (There were a few exceptions and/or mistakes.) Both kinds let light through to indicate the cab's direction of travel.
Chekov Observations: Chekov's accoutrements on the bridge, from his seated position at his console through walking over to and into turbolift position B, include the dagger, sash, and phaser. His movement into the lift takes him off camera, but by noting his trajectory and shadow it's pretty clear that he walks directly to panel 11 and reaches over to grab the control handle on panel 10. Directly to his left (our right) in panel 12 is a swirl window.
When the lift doors re-open for exit at corridor position C2, these details are all the same. The swirl is still a swirl (albeit with a different moire pattern) and everything else matches as well. Chekov is still standing in front of panel 11, gripping the handle in 10, wearing the same three bits, and with the swirl over his left shoulder. These entrance and exit scenes, though filmed at two different points on Stage 9 that were about as far apart from each other as two bits of the Enterprise interior can get, have complete continuity with each other.
But the in-between separate ride segment is wrong in almost every way...
It's only during this middle scene that everything goes awry. Missing knife, missing sash, added agonizer, Chekov standing in front of a flat panel instead of a curved one, holding a control handle that's only one panel away from the window flat instead of two, and that window having a brown mesh instead of a swirl.
It seems that the director wanted a different angle through the lift rather than a straight line to back center (perhaps because of how the shadows would fall?). The cameraman is positioned somewhat to the right of the turbolift and shooting "diagonally" through its open doors (which would not have been seen or needed during the cab's movement) toward the left rear, thus featuring mesh panel 3 rather than swirl panel 12. (Edit: Hmm, maybe the director just preferred how the motion light looked behind mesh rather than moire?)
With such good continuity between the bookending segments of the journey, but noticeably absent continuity in this scene, I gotta wonder if it was filmed on a different day. Possibly even a pickup shot after photography had already wrapped on MM? @Maurice ?
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