Mudd's gobos

[GSchnitzer]

So would these gobos, or whatever they're called, include effects like casting light reflecting off water in a window to suggest that the set is on the seaside? I noticed this on one of the regular sets of an old show that I've been watching.

Aside from the light rippling effect which is done as Maurice suggests (since they don't actually go and build a set seaside in order to get the effect), cucoloris come in all kinds of different stencl-like patterns to get the lighting effect desired. I.e., the lighting team doesn't actually need to set up a chain link fence if they want the effect of light shining through a chain link fence:

 

[Doug Otte]

This is a very interesting and informative discussion. Thanks, Maurice and Gary.

I still need to watch that scene in Mudd's Women again, because although I do remember the light coming in at the top of the wall, I don't remember it moving.

Edit: Excuse me. I thought I remember someone mentioning in this thread that the light was moving, but I just re-read it, and don't find any reference to its moving.

 

[Ssosmcin]

Re-re-rewatching "Mudd's Women" on MeTV (incidentally, watch TOS with commercials for a true 1960s experience)

Commercials about reverse mortgages and pain-free catheters recreates a "true 1960's experience" exactly how?

 

[Doug Otte]

I did rewatch it last night, and thoroughly enjoyed Hart's beautiful setups and Finnerman's lighting. And, I did notice the static gobos on the conference room walls - circles bisected by crossed lines. Very nice.

The early first season episode were the most gorgeous due to the moody lighting.

In a way, Hart exposed some set flaws that other directors mostly avoided, such as uneven control panels in the early bridge scenes or uneven ceiling in the transporter chamber because he insisted on shooting from the floor up toward the ceiling.