Spacelog Apollo 11

Yes. We're going to tape that one over.

Roger.

We're going to tape that one over.

We concur.

The restraints in here do a pretty good job of pulling my pants down.

Roger. We haven't quite got that before the 50,000,000 TV audience, yet.

11, Houston. That's a good view of the eight ball. We see—You can even read the OFF flag, there.

You can see the signal strength meter for the radar, read the numbers on it.

Houston, did you want us to test the cameras in the LM and—I was wondering about that. I saw it in the flight plan, but I'm just wondering if you want to do that on CSM power, or do you want us to take both of the 16mm cameras back in the CSM and test them there? Over.

Stand by, Buzz.

As an alternative to that, why, we could wait LOI day and do it then when we transfer over to LM power.

Roger. Stand by. We'll have an answer.

11, Houston. On that TV, our commentary—The monitor I was looking at was delayed about 12 seconds, 12 to 15 seconds while it went through our color converter. It was probably—You thought I was crazy, but we were looking at it 15 seconds after you broadcast it. 11, Houston —

We understood that, Charlie.

Okay. On the LM cameras, we'd like you to do it on LOI day with the LM power. Over.

Okay. That's what we'll do.

Houston, we're showing you something that came out of the Commander's checklist stowage packet. It's got a 16-millimeter camera in it, and it's got this little cylinder; and I guess—I don't understand what it is. Maybe you can tell us.

Roger. Stand by. We can't figure it out either.

It's got an arrow on the back, and it says “turn,” but I'm afraid to turn it.

11, your friendly geologist says it's the camera cank- crank, excuse me, for the 16-sequence camera if it jams. Over.

All very well. Thank you.

There's that word again. The ancillary stowage container.

Roger.

The shades couldn't quite hack it, there, Buzz. Over.

Houston, 11. Are you still getting high bit rate off the OMNI's at this distance?

Stand by, Mike.

Apollo 11, Houston. About 50 percent of the time, we're getting high bit rate off the OMNI's when you're in PTC. Over.

Okay. Thank you.

You're welcome.

Apollo 11, Houston. Neil, at this attitude you look like you're about 12 feet long.

It seems like I always find myself upside-down in whatever I'm doing around here.

Apollo 11, Houston. Could you give us a few comments on your crew comfort with the CSM hoses moving the air around? Over.

Well, it's picking up a little bit on circulation in here.

What do you estimate the temperature is, Buzz? Over.

Oh, I'd say maybe 73, 75.

Roger.

It's hard to tell at this density and pressure of gas, but comfort level is about the—about the same as the command module.

You probably —

It was a little warmer or stuffier when we first got in, but it seems to be improving.

Houston copies. Out.

11, Houston.

You may be able to see some —

Go ahead.

— some particles jumping around on your screen. That's just dust particles that are being illuminated by Sun shafting in the window.

Roger. They're very clear now. Over. And that's a good view of Neil's—correction, of Buzz's circuit breaker panel, there.

I can just barely see the handrail on the front porch from the position on the right-hand window.

Roger.

11, Houston. Our view of the Panel 11 is—gets brighter, then darker. Are you changing the f-stop at all? Over.

No, what's happening is, we get pretty close to the window now and then, and it drives the automatic light control into the stop, I think.

Roger.

11, Houston. We seem to be picking up a few more dust particles now. We see them quite clearly in the screen now. Over.

Yes, I'm choking on one every so often.

11, Houston. Your show is going out to the U.S. now. We're about to get the satellite up. It'll be transmitted to some other countries after that. Over.

Roger. I'm checking out this window bracket where I'll be putting it for the EVA pictures of Neil going down the ladder.

Roger.

Apollo 11, Houston. We keep marveling about the color and the clarity of the picture. It's really difficult to describe. It's—It's just perfect. Over.

And, 11, it doesn't look like you're having too much trouble with that bracket up there, Buzz.

I'll tell you, those new knobs really make it easy to twist the thing and get it cinched down quite tight.

Roger.

11, Houston. Buzz, how does the alignment look, there?

It looks pretty good, as well as I can tell without the gear extended. I can't get a real definitive answer, but you couldn't fix it any place to see much more out of the window without hand-holding it for the whole time.

Roger. Looks like to us it's going to work real well.

Give it enough room to—Yes, I think so.

Buzz, we see you putting your window guard in place there, and back up to the ISA now.

Houston, ask FAO if the 90-degree bracket isn't stowed in the Commander's stowage assembly.

Stand by.

11, Houston. Buzz, you still looking for that 90-degree bracket? Over.

Yes, he is looking for it now.

Roger. We'll have a word for you in just a moment.

Our monitor shows pretty good, clear pictures from this angle. I already found the 90-degree bracket.

Roger, Neil. It's really a super picture. We've got the ACA, your ACA, the picture of the throttle, the 90-degree bracket. We see your handles, and now over to the bracket.

That's about the position we'll be putting the camera in after the initial descent on the ladder, and it'll be taken 1 frame a second for most of the EVA.

Houston copies. Out. That's a real good view of that camera.

Our monitor is a little bit wavy, so it's hard for us to tell when we're—when we've got a steady picture for you.

11, we have no complaints at all. We don't see that waviness on our picture. It's just really great. Over.

Do the edges of the window look like straight lines to you?

That's affirmative.

Okay. They don't in our monitor, and that leads us to make some corrections to the camera, which probably aren't required sometimes.

Buzz, we have no complaints at all. It's a magnificent picture.

What was that, Buzz, you're chasing now?

That was—That was me picking up some particles of paint that were floating through the air in front of the camera, there.

Roger, Neil. We got it. It appears to us that Neil's about to check the Velcro mat, there.

Okay, Buzz. We see the card up now.

Okay. For those of you that don't know, this is where we log most of our data for each of the LM maneuvers, and we have another card like this that the timeline book that is laid down on the table in front of the data display keyboard; and it's on this timeline that we have all our procedures. But we obviously have to hold these in place in zero g, so we make use of the Velcro patches on the back and on the table so we can attach these down here; and then we just turn the pages over when we go to new sequences in our timeline of procedures.

Roger.

And we're ready to copy DOI PAD.

Roger. We'll have the FIDO's work that one up for you momentarily.

11, Houston. That was a good shot of Panel 2. Now we got Panel 3 in view with the TEMP MONITOR switch. The stabilization—station and control panel, we see now, with the MODE CONTROL switches. Now over to the rendezvous radar. Real good.

11, that's real good camera work.

That'll be the most unusual position a cameraman's ever had, hanging by his toes from a tunnel and taking the picture upside-down.

Roger. Well you're doing a super job. We got a good view of the cross pointer, there. Had a good view of the tape meter.

We're giving you a picture now of the floor of the cabin. I think you can see the—one of the two portable life support system backpacks here in the center, and on each side, we have the two helmet visors. I'll remove one of them and show you a little closer view of what this looks like.

Roger.

Inside the helmet visors are the EVA gloves with the blue tips. I'm about to take those out now.

Roger, Buzz. That's a great shot now that we're getting of the helmet, the EVA visor, and also the—the EVA gloves in the background.

Okay. You did say this was going out now, didn't you?

Standby. I think so.

11, you got a pretty big audience. It's live in the U.S. It's going live to Japan, western Europe, and much of South America. Everybody reports very good color. Appreciate the great show.