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breathe

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description and then I gotta turn it

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what

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we're proposing to do today is to

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familiarize you with the equipment we're

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not planning to take any pictures today

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first down laughter then that

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here and

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oh it into the payload Bay which is

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maybe a better way to get the

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perspective what a lens cover is

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relative to them they although you're

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not going to be shooting the day so much

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in distance it's a bit better than just

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working inside soap is that Eau Claire

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is important so this is this is

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essentially the flight hardware with the

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exception

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you see on the table years

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there's various ways of mounting this

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camera and in 1g and they don't really

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affect you very much except that we do

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use the same two holes here when we put

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the handles on on the bottom and a

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camera into that a little while other

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than that there will be some velcro down

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here to to actually take the camera onto

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the locker wall at the floor to work on

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but that's on the camera doesn't

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so

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two

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hear that you're bouncing if you all

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have to look at the image which is

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there's a checklist here which

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21 points on

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and

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man if you follow the checklist it seems

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last time we

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straight up

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magazines are we launched Logan

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and a particular emotion that will be in

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that load will be determined i guess by

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the cap depending on what we get to

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and that cadet emotion will be defined

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by a piece of tape like this one which

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would be

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take the cross the latch of the magazine

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that tape will follow the roll of film

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around it and while

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a little latch back here dispatches

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don't have on the ground because but

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it's there to keep the magazine from

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floating off during them during the

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loading procedure engages a couple of

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so then you open up the camera

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everything you got it grab is is marked

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in red

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they trapped a film against the

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there is a registration for the symbol

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here and we can get access to this guy

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but I lifting up this top half of it

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go straight across the back

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and then you can check your routing

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once you feel like you got it on the

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right side of the rollers that's when

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grappling

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follow me

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next thing you need to do is get the

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film down into the into the game here

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that's riding riding properly

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the aperture played skating along a slot

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which is the counterpart of what's going

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to trap it up here

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watch the tricky part right here I'm

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going to a spot so what happens is you

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can get hung up when you're not with

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clothes are anything up would you prove

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got it in there like Olympia

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you can put in them

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Oh

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for it before you take in tape off

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Magister

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and so it comes off data White House is

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right now

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age

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how this is going to this

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it doesn't doesn't engaged it which is

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way down stair to hold it down and turn

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it on or what it's doing is it's pulling

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a whole movement over now what we're

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concerned about is the shutter so we're

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we got your glasses bingham maintain

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then

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yeah spin tomorrow morning we're going

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to do the same thing in pebble in the

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full huge religion ff2 you going to do

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that essentially the same thing there

98
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will work with with the same things

99
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accepted with the life so you get used

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to working with the light so David first

101
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thing we want to do is fine just setting

102
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it up for your eye your eye relief and

103
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it folks it on the ground glass and then

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we'll start dealing with the brown glass

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and the markings on the ground glass and

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how they relate to I'm actually is and

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how they relate to harmonize do so would

108
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you would like to open the camera up and

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set up for your eye on on the ground

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you want to do that before us as well

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back to something is ready to do also

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with cameras often you'll find the

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camera at all closed up when you come to

114
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it close it left them open you should

115
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get a feel for how that button he wants

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to say open the camera as the shutter

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the camera is apt to stop it no stopping

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position for it says it's likely to be

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okay the ground glass cake across across

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horizontally across the frame there are

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there are two dash lines one its parks

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downwards and comes up to the birth it

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starts at the third of the way up for

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the Arts down comes up again there's

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when it's sort of straight across at

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that position and those what those are

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therefore is to for you to understand

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where where the people are in the

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theater and how they're they're seeing

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the screen there they're essentially

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they were originally putting this kind

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of horizon lines that have been always

133
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uses horizon lines with it but they give

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you the relationship for for the

135
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audience's natural horizon in relation

136
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to the screen itself so that the

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straight one is for the rectilinear

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theaters to the imax theaters it's the

139
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crosses in that in that area are more or

140
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less directly in front of the audience

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there are in front of the majority of

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the audience and the same is true for

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the for the arcing line in the omni dome

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theaters it's much lower down because

145
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the dome ram of course extends right up

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she's

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shoot John and the way that you select

148
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punches once you've decided what the

149
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witch with the key element of the

150
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again me by having different sources

151
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different you gotta go somebody's rim

152
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lighting around Hank and he got nice

153
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laid in Mike space and everybody got

154
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some light it actually when the shot

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hands would you down below which it was

156
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a really pretty see Judy she's nice as

157
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that too so he found a way to get

158
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everybody to get some light we just put

159
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seemed like a long long question how

160
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much you want us to work it through on

161
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this about 150 years yeah k zone 8 183

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on that when they run support okay are