Spacelog Apollo 11

We're going to go ahead and take all the Moon data on back into the command module, Charlie.

Roger.

Apollo 11, Houston. Buzz, it appears that you're intending to put on the Sun filter and view the Sun through the AOT. Over.

Yes, unfortunately it looks like it's down a little bit more towards … than I can be able to see in the AOT.

Roger.

We got a beautiful view of the side of the command module out of the AOT looking in the left rear detent.

Roger.

I can see the hatch and all the—all the EVA handrails. First time we've seen the silvery outside of the command module.

I can read the letters on the hatch cover. It's a boost cover release; and the big yellow arrow that points toward the opening—place where the tool B goes.

Roger. Great shot now back down into the -

And left on the —

Go ahead, Buzz. Over.

Say again.

I was just saying we got a great shot looking back into the command module.

…

Okay. And the left detent, I can see the AO—or the rendezvous radar, and I move to the forward detent and that's about all I've got. I'm looking eyeball to eyeball.

Roger.

Charlie, is there any concern about the duration that we ought to have the window shades open?

Stand by.

We don't have—We don't have any circulation in here, and it might get a little on the warm side.

Roger.

We'll—We'll put up a couple of hoses in the command module here and get a little circulation going.

Sounds like a good idea. Over.

Apollo 11, Houston. As far as the window shades go in this LM, there's nothing except for crew comfort. I don't think we've got any systems problem. Be sure to put them back up when you egress. Over.

That we will do.

Charlie, I'll give you a view out of the overhead window, back looking at the command module right-hand rendezvous window.

Roger.

Well, we see it now. Thanks a lot, Buzz. That's a good view through the overhead.

One washer on -

One washer's on by the overhead.

Roger.

There we go. We got it now.

There wasn't very much debris in the command module or the LM. We found very few loose particles of bolts, nuts, and screws and lint and things. Very few in each spacecraft. They were very clean.

Roger. Sounds good.

11, Houston. We have a good view out of the rendezvous—correction, the overhead window of the LM. We don't see anybody staring back at us, though. Over.

Charlie, can you see Mike's two eyeballs staring out through the rendezvous window?

11, Houston. Stand by. We haven't picked him up yet.

You are looking through a lot of layers of glass.

11, Houston. We had a —

… on my monitor.

We had a slight glimpse of Mike in the rendezvous window at that time. It's pretty murky looking into there, though.

Okay. Here he is; I've got him. I've got, him on the monitor now.

Okay. We see him staring back at us now. Hello, in there.

Apollo 11, Houston. Our recommendation for the ISA is to stow it back over the instrument panel. Over.

Roger. Will do.

11, Houston. We can make out the markings on the panel. We read SYSTEM A ASCENT FUEL, ASCENT OXIDIZER. Quad 1, quad 4. The—It's really unbelievable, the definition we're getting down here off that little camera. Over.

We can even see the barber pole on the talkbacks.

We can read the markings on the instruments for the glycol pressure, quantity, PCO₂. You can even read the scale on the eight ball. Over.

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.

I think that's right.