 Many of The Search for Spock's dialogue sequences feature tight close-up shots. During Kirk and Sarek's mind meld, Nimoy chose cuts that focused on accentuating the dialogue; "Instead of watching people's faces, all you see is the mouth or the eyes and you have the tendency to hear better," Correll explained. Correll was unhappy that every scene save one was filmed on a soundstage. Feeling that recreating everything on set resulted in a fake look, the cinematographer suggested that Genesis be filmed on Kauai in Hawaii, and that Red Rock Canyon stand in for Vulcan. The production did not have the money to shoot on location, meaning that Nimoy was preoccupied with making sure the various outdoor settings felt believable. While the various vessel exteriors were handled by ILM, Correll was responsible for the look of the interior sets. He preferred to treat these as actual locations inside the ships; although the sets' ceilings were designed to be removed so that lights could be rigged in the rafters, Correll used other lighting methods. In the Bird of Prey, he used fluorescent tubes to pick up the walls' metallic paints, and kept the set smoky to convey a dirty atmosphere.
