breathe
description and then I gotta turn it
over to David um
what
we're proposing to do today is to
familiarize you with the equipment we're
not planning to take any pictures today
probably do that at the next section
first down laughter then that
here and
oh it into the payload Bay which is
maybe a better way to get the
perspective what a lens cover is
relative to them they although you're
not going to be shooting the day so much
in distance it's a bit better than just
working inside soap is that Eau Claire
is important so this is this is
essentially the flight hardware with the
exception
your magazines will be
you see on the table years
there's various ways of mounting this
camera and in 1g and they don't really
affect you very much except that we do
use the same two holes here when we put
the handles on on the bottom and a
camera into that a little while other
than that there will be some velcro down
here to to actually take the camera onto
the locker wall at the floor to work on
but that's on the camera doesn't
he was very much up there
so
two
hear that you're bouncing if you all
have to look at the image which is
formed here in this grand lass
there's a checklist here which
21 points on
and
and it refers to the letters
which represent positions in the
man if you follow the checklist it seems
like it's worked pretty well even
last time we
Phil anybody was
straight up
magazines are we launched Logan
and a particular emotion that will be in
that load will be determined i guess by
the cap depending on what we get to
Cepeda needed
and that cadet emotion will be defined
by a piece of tape like this one which
would be
take the cross the latch of the magazine
that tape will follow the roll of film
around it and while
a little latch back here dispatches
don't have on the ground because but
it's there to keep the magazine from
floating off during them during the
loading procedure engages a couple of
little details here on the bar
so then you open up the camera
everything you got it grab is is marked
in red
am
they trapped a film against the
sprockets
there is a registration for the symbol
here and we can get access to this guy
but I lifting up this top half of it
swinging it out the way
go straight across the back
and then you can check your routing
once you feel like you got it on the
right side of the rollers that's when
you
grappling
follow me
next thing you need to do is get the
film down into the into the game here
that's riding riding properly
the aperture played skating along a slot
which is the counterpart of what's going
to trap it up here
I'd slot
watch the tricky part right here I'm
going to a spot so what happens is you
can get hung up when you're not with
when you're not
clothes are anything up would you prove
that
got it in there like Olympia
you can put in them
pressure
Oh
for it before you take in tape off
Magister
know where their stuff is impossible
and so it comes off data White House is
clockwise
right now
age
how this is going to this
sit down
it doesn't doesn't engaged it which is
way down stair to hold it down and turn
it on or what it's doing is it's pulling
a whole movement over now what we're
concerned about is the shutter so we're
trying to get
we got your glasses bingham maintain
better see the lights
then
what
yeah spin tomorrow morning we're going
to do the same thing in pebble in the
full huge religion ff2 you going to do
that essentially the same thing there
will work with with the same things
accepted with the life so you get used
to working with the light so David first
thing we want to do is fine just setting
it up for your eye your eye relief and
it folks it on the ground glass and then
we'll start dealing with the brown glass
and the markings on the ground glass and
how they relate to I'm actually is and
how they relate to harmonize do so would
you would like to open the camera up and
set up for your eye on on the ground
glass
you want to do that before us as well
sure
back to something is ready to do also
with cameras often you'll find the
camera at all closed up when you come to
it close it left them open you should
get a feel for how that button he wants
to say open the camera as the shutter
the camera is apt to stop it no stopping
position for it says it's likely to be
closed as open all right
okay the ground glass cake across across
horizontally across the frame there are
there are two dash lines one its parks
downwards and comes up to the birth it
starts at the third of the way up for
the Arts down comes up again there's
when it's sort of straight across at
that position and those what those are
therefore is to for you to understand
where where the people are in the
theater and how they're they're seeing
the screen there they're essentially
they were originally putting this kind
of horizon lines that have been always
uses horizon lines with it but they give
you the relationship for for the
audience's natural horizon in relation
to the screen itself so that the
straight one is for the rectilinear
theaters to the imax theaters it's the
crosses in that in that area are more or
less directly in front of the audience
there are in front of the majority of
the audience and the same is true for
the for the arcing line in the omni dome
theaters it's much lower down because
the dome ram of course extends right up
over your head and behind it
she's
shoot John and the way that you select
punches once you've decided what the
witch with the key element of the
picture is if it's here there
again me by having different sources
different you gotta go somebody's rim
lighting around Hank and he got nice
laid in Mike space and everybody got
some light it actually when the shot
hands would you down below which it was
a really pretty see Judy she's nice as
that too so he found a way to get
everybody to get some light we just put
a big favor
seemed like a long long question how
much you want us to work it through on
this about 150 years yeah k zone 8 183
on that when they run support okay are
you done what I'd like you to do change
the lighting
you