still is just like all the other bags
you have a mate you'll have a map on top
to show exactly where everything
can be found and also a good aid for uh
restowage when you're trying to put
stuff back for a return
second this bag moves lives on the mid
deck uh usually in the
camera yeah camera lockers usually 57
row about second locker down with a 35
camera they always go in the same locker
all of your stuff is not in here however
because we carry extra mags and film in
the locker adjacent to it where the
fluorescent light is in your 70 mags
we'll have additional film cans and
magazines in there we'll talk about that
here
this is where it looks stowed
the battery
would be under the finder here
and we the battery is too big to put on
the camera we've got that new
double a type battery and it's just too
big to stow on the camera so we
keep it down in the pocket
the camera is stowed with the 5.9 lens
on it we'll talk about the lenses you
know separately later but that was to
help our stowage situation out when we
had to move the battery into its own
pouch
okay
this is the basic camera
and you know itself it's not too bad
it's unfortunate when you get the
battery and the mag and film and all
that stuff on there it becomes a bear
it's about 23 pounds and that's just not
a lot of fun to tote around your
shoulder in one g
consequently we
use the camcorders to try to train in
cinematography
we've got six
sony
camcorders on order right now we've got
a couple of the old co divisions that
are
still working the only one or two of
them and we'll try to augment your eight
millimeter all right
eight millimeters it's just like the one
we're flying on the dto 130 and try to
augment your cinematography with that
checklist yes
absolutely set that thing up for the
deploy
every place in checklist that we call
airflex out we have a note in the
comments too you know
to either have the filter on the easy
way to remember the filters like pair of
sunglasses sunlight you could have
sunglasses on so
easy tool
okay now here's your manual film advance
okay
you have fuses in here you have a 0.75
amp fuse
and a
10 amp fuse that protects camera
electronics
wow
10 amp and 0.75 they're marked to 10 and
0. and 0.75 on the uh on the fuses
themselves
that's just that's the order obviously
well we've um we have called airflex and
we've read all their literature and
we've gotten conflicting information
there so i i i kind of danced around
that issue in the workbook because it
was conflicting
they keep saying camera electronics
so
we pull the fuses at various times to
see what stops and basically most
everything stops when you pull your fuse
you fly spare fuses in the lids pull out
the multimeter to even check the thing
because it's not going to be obvious
that they'd be blown
you're focusing that's right you're
focusing the image on the ground glass
has no has nothing to do with the focus
of the limbs but if this is soft how are
you going to focus the legs
automatically
don't lock
the only thing about the lens is the
aperture temperature not the focus so
that's why it is very
right while you're shooting this lens
you'll always have to focus this lens is
fixed focus so you don't that's not a
problem this lens
since it's
focused in infinity everything looks a
little bit soft it's not the sharpest
image in the world but with this lens
it's very very critical particularly
after you zoom in on something
you will really notice any out of focus
condition so
focus that finder
over here is your
exposure scale uh underexposure to the
top overexposure to the bottom proper
exposure is the dark dot in the middle
lost two packs right you got 15 volts
per pack but then they're in parallel to
provide those about the amperage and one
of the things we don't usually pop these
things off
on each one
and take the whole take one module out
right and you can use batteries from it
to power your
hasselblad
remember that's why we went although we
we do have other batteries you can draw
on before you get to these but there is
that option this back will actually run
longer right
it has run as many as 15 mags full mags
of film and you only fly 12 but of
course that was
not being real sloppy with you know
leave it in standby in the embarrassing
but
it has the capacity to run for the
entire load that you carry
um
battery check we incorporated a battery
test in this thing switching this way
you don't have to use this test button
to test the battery
push the button down you should see hold
it down for two or three seconds
you should see a steady green light
which course which went out on me
so this is uh
we have in your checklist that's the way
it works
no it should not go out it shuts down as
long as i hold the thing on there's a
variety of things you can see steady
green is what you expect to see if you
see the green go out you see a green and
red or if you just see a red that means
it's dropped below the nine and a half
to ten point three volt threshold and
it's supposed to illuminate the red
light
well i mean i just see that little
picture
okay is that all i'm supposed to say
well if you turn the turn the thing on
you'll turn the switch on there
what you want to do is put in standby
and then turn it on while you're looking
at it and you see a little red light
flash on
the
the pictures of the aurora that
they took on on sts
like three are they taken with that
as this lens only stops down to
f-16 or t-16 if you will
that's not stopping down quite far
enough and in some environments looking
out the window we we would be
overexposing and so
they built a little neutral density into
the filter to cut down the light just a
little bit more particularly if you were
having to use a 320 film outside
yeah
yeah it flops around a little bit
the flight ones are a little bit tighter
they've got spacers now
okay
yeah we'll take that up here in just a
second okay okay
it's easier to see this way
this is where john had problems with his
drive belt
is what had happened is it slipped off
of this idler arm
is what it did
and
then there was so much mass over here
couldn't get started again so you got to
watch that we're fixing that so
hopefully that won't happen again
that's the way it should be it's a
v-belt it only goes on one direction
it's like putting a bicycle chain okay
get one side started and then just
rotate
i can't drive race cars
there you go right back just like that
and that's going down now you see
there's no
when you do that you're also turning the
film inside right and
also doing stuff
to the film that you just threaded right
so
you got to be careful you've got to be
careful
okay
too much right
one way to do that while you're still
let's see what happens here
you don't want that to happen
and the reason that happened is because
this movement moved
that's okay yeah yeah
cause you're just slipping the drive
belt in there you're not really
really doing anything of major damage at
all okay
so does that mess up the uh
it should
this these are not affected by anything
that happens out here
once these two pins are captured that's
my stuff let's see what you're talking
about
back and forth
and so we have this only direction in
this era
which is
that's the way it goes if you turn it
backwards what happens is it starts
piling up because this doesn't take
up real
tension
kind of bunched up down there
and you can see the way this is working
you can watch this
opening and closing through the front of
the front of the camera
what's happening
is
as the film is being exposed it is pin
registered in place
it's not moving at all while that
shutter is open
as the shutter closes it's closing now
this pin grabs it pulls the next frame
down these are going to go back in it's
going to make the next exposure
and so it's going round and around and
around like that doing that 24 times a
second which gives you a 160th of a just
about
so you can imagine that stuff's flying
around in there
pretty pretty quickly so uh whenever
you're doing this unplug the intricate
little
little gadget there okay so that's it
and that that's not a twist that's just
a 90 degree turn there that's a hole
it's just it's just 360 degrees it
doesn't it doesn't position
is this a flight camera yes
so that what i feel here for pressure
there's not really much of a detent
there or anything on that
yeah see what it is
it's just a
it just can't count and it's not it
doesn't even doesn't even get tight yeah
as long as we're going the direction the
arrows indicate you're fine okay
yeah don't forget to reset your film
counter that's the next step
now
you can tell you've got power to the
camera whenever you've got digits in
that lower display
now that power comes from really two
sources
ac it's no it's dc it comes off cabin
payload bus
a orbiter
no this is this is all
manual mechanically driven
and you reset this mechanical counter
teaching and the mechanical counter just
push that button and it resets your
these two are nothing more than
redundancy for these type right
these are electronic these are
mechanical so you do everything
basically when you reset that you
receive that and use the shadows
the one amp is for the display
it's only the additional display
and the five outputs for the electronics
in the camera
the motor the motor
we have just you know exposure reminder
again 160th of a second on the spot
meter
orange filters for outside filming clear
filters for inside filter
the settings are on the lens the
scene that you're
looking at
there's a way to do it but you won't be
getting into that
uh on off switch just that's what it
does turn it off
which is duplicated by the
buttons on
yeah the hand handle if you were to use
that
so we have to sort of
plan for that
we'll also be looking through the
viewfinder and getting used to seeing
the ground glass and setting up the
eyepiece
check the lenses make sure the elements
are clean especially the back one before
you put it on
make sure there's no big things growing
on the
beam splitter in there
and one of the simplest ways to make
sure it seats right is to always hold
that locking ring so it doesn't slip
over if you hold it
apply the lens in and you align this
sort of up with the longitudinal axis of
the camera
and it should just go right into right
into place like that
and then just go ahead and snug it over
here
there's no there's no detent or no
positive it's just it's a clamping ring
it's not a locking look at the scene
determine where you want to frame
what you're shooting what the action
is once you've determined all that you
can go ahead and focus the lens
and you want to make the scene sharp
like the circle
and the scene that you focus so you want
to be where your main action is
you know
you may have something going on over in
the corner if that's not your main
action you don't want to focus in the
corner you want to focus where your main
action is going on
something here that you can focus on do
you focus
he looks wide awake
a little bit more defined than that
okay
okay you're not quite there yet
you don't think that's focused no i
don't think so it doesn't look right
what's
check your eyepiece again now let me let
me let me put this wide up here
and
do your eyepiece again just looking at
that black spot
eye right eye
focus on
i'm a ghost
hold still there mike
you're not gonna have a great deal of
depth of field you can just look at look
at where it says mike on his shirt
just get that in focus
not not paying any attention to that
little circle
that's gorgeous country yeah
as you get closer to the camera
all right well get down over there go go
before those guys are the boards right
back in there
wait a minute and then you can do
something but i'm going to focus you
now if i have them like out in there
doing something then they're going to go
in and out of focus so how do you keep
getting them focused okay well
okay that's good
well okay what what it is partly is the
low contrast
light that we're in
um
on the ground glass becomes the
edge of the resolution of the whole
system
you always want you always want to go in
the direction of this arrow
otherwise put a little feed slack
there we go
rolling
okay