Spacelog Apollo 11

Yes, I had the switch on OUTSIDE while I was going through the overhead window. That may be what's contributing to some of it.

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.

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.