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.

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.

How does that work, Charlie?

Houston, 11.

11, Houston. Did you call? Over.

Roger. Just noticed that the mast that the EVA light is on is charred brown. It looks as though it took quite a beating during launch.

Roger.

The EVA light still does work.

Roger. We'll let this—the SPAN guys look at this, and we'll be back with you with what we think. Over.

Okay.

11, Houston. We were wondering, Neil, with your closing comment on the TV, if you were going to turn it off. It indicated that you might be considering turning it back on. We were wondering whether we want to keep the lines up. Over.

Well, we want your recommendation on that, but I think we would just as soon, ourselves, terminate the TV. But if you have a commitment to keep, we'd be more than willing to turn it back on.

Roger. Stand by.

Apollo 11, Houston. We'd like to terminate the TV. We don't—We think we got a really—a good tape. That hour and a half show was superb. And we'd like to pick up TV—correction—PTC at about 58 hours. Over.

Roger. PTC at 58 hours.

And we'll have the remaining functions in the flight plan soon. Over.

Apollo 11, Houston. Our recommendations on the activities for the next hour or so, as far as flight plan goes, are: Continue your LM familiarization as desired until about 58 hours, then ingress to the CSM, close the hatch, and establish PTC shortly thereafter. Over.

And, Apollo 11, Houston. Terminate the —

Okay.

— the water dump. Over.

Okay, Charlie. Thank you.

Houston, Apollo 11.

11, Houston. Go ahead.

Roger, Houston. I'd like to do a P52 option 3 and tweak the platform up prior to starting the PTC. Over.

Roger, 11. Stand by.

11, Houston. That sounds like a good idea to us. Go ahead.

Okay. And the platform's looking pretty good to me. It looks like the worst axis drift is 0.01 something degrees per hour. Is that about what you figure?

11, Roger. We've had reports all the marks have been good all the—the last couple of times you've run them. Just a moment; I'll get you some information on the apparent drift rate.

Okay, Owen. Thank you. You got the maroons on?

Say again, 11.

I say you got the maroons on now?

Not permanently, Mike. Just have a stand-by here while Charlie's out checking how to use that special tool on the camera. The maroon team will be on tomorrow.

Okay. Nice to hear your voice. How's everything going?

Everything's going smoothly here. We sure enjoyed the show this afternoon, Mike.

Okay.

11, Houston. We suggest you go ahead and do the P52 first, and we'll take a look at the angles and give you some new drift rates after taking a look at them. Over.

Apollo 11, Houston. Over.

Go ahead. 11, here.

11, Houston. A little information to you there, CDR. We've all taken a momentary brief respite from out work here to have some special—to have a bite of special moon cheese that is—I understand it's been sent to us directly from Wapakoneta, your own hometown. Over.

No, we can't—we can't pronounce it either. I think you'll enjoy that. They make a fine brand of cheese.

Roger, there, and I'll polish up the grammar for the next trip.

Houston, 11. You are looking at the NOUN 93, and I'll proceed when you copy them.

11, Houston. We've got them.