 This is Don Pickard with a brief description of what I kind of had in mind when I put these scenes together The crew you're looking at is a 26th crew in which They before their flight got together and said you know What are we kind of a story do we want to tell them? What kind of a movie do we want to make when we get back and so they gave it some thought when they when they made their shots This is a good shot in that it shows both the commander and the pilot They shot it long which gives me as an editor more time to Or more footage to select what kind of a shot I want or where in the shot I want to go And uh, it's better to have Too much footage than not enough It gives you an option of cutting this particular sequence several different ways Now I've let these scenes run from camera stop to camera stop So you get an idea of their length and The action that's going on so in some places. I won't have anything to say but it's good as You show each of the crew individually doing something And also This particular shot was the beginning of the deploy sequence Right after we came up on orbit In this sequence They did utilize a zoom They went into close-ups which are good Um The pan in uh, this particular type of pan is a is a good length It goes in it shows the computer shows him doing something And also you can use it as a cutaway because once you get in close to his hand where you can't see what's going on You can cut to hulk or you can cut to uh Lounge or wherever you want to go and it makes sense You don't get a visual jump If like you would if you were on a long shot This is lounge who deployed the satellite This is also a part of the sequence And it's good because in this sequence you can't see anybody On the forward flight deck you just see lounge And even though uh It was a little long I was able to cut it up and really in three different sections And make it play real good with the t-dress deploy It's important if you're trying to Um Here's his close-up you could also also you could also go in just shoot a close-up shot not a zoom Go in close focus it and shoot throwing the switch Then you can immediately cut back to the deploy out the window Which in the final film I did for him. I used it in in that uh mode Now they've been better off to quit right there because as they came up they were out of focus And at this point in time it had been a lot better to cut the camera off Which I believe they do refocus it and start it over again as waste so much film Um shooting it out of focus See that's much much better Now the 34 crew Tried to basically do the same thing but in the next shot You'll see where They had the right idea exists that the shot was too wide The commander at this point in time should be back At the aft station to fly the orbiter away from the satellite But as soon as they open the f-stop here You get the idea lucid is supposed to be deploying the satellite and throwing the switches But don williams would not be sitting in that particular chair. So You need a tighter shot so it doesn't show him they show um Hilmer's to establish him. It's usually good to establish each one of your crew members Isolate him from the other one so you can use it just about any time and anywhere you want They've got some good close-ups Uh again, it probably would have been better to uh To cut the camera off go in for a close-up and shoot the close-up and rather than just kind of pan around But that's your choice I can always work around it I guess he's throwing release rat latches and what have you in preparation for launching the satellite Now the only thing he regretted was he tended to overact and it's coming up In a little while Uh After he saw it. He kind of said well, I wish I hadn't done that And i'll show you where he does it because when he looks around he kind of says You know, oh my gosh, it's gone and In the final film I was able to cut around that so This didn't work out too good Uh, you might have to shoot straight down on it or just forget it It's a good angle as far as showing somebody now He's going to come up and as he makes his turn, I believe and comes up to the window He kind of overreacts Right there But I was able to cut it from that point and use this portion of the shot Now this is a good angle To shoot somebody looking out a window whether it be the back window or the front window You can see him doing something in this case pinkie was taking pictures of the of the tedris and They shot some others with him looking out the front window or the top window Which was good. I was able to use them in conjunction with the tedris launch or the earth scenes Now rick is at the back station where he's preparing to fly the The orbiter back away from the from the tedris And he's looked out the back window and he looked out the top window now. They shot this staged it well after the That was all over with And it worked out real well because they were just too busy at the time that they were Doing it. Okay real quick This particular shot shows you what happens when you shoot too quick to the front of a roll And you needed more on the front of this shot that wasn't fogged They loaded their camera. They started shooting. They should have run at least 10 15 seconds into the roll Before they started their con camera consequently The front of it was fogged to the point where it just really wasn't usable It would also have been nice to have a shot of the tedris laying down in the bay The other point I want to make and I'm not quite sure what your training is They Most of these launches are anywhere from 40 to 40 seconds to a minute prior To deploy And you know you're looking at 36 to 40 maybe 50 feet of film Going through the camera of the thing just sitting there before you ever deploy it and I would think unless there was a certain reason I would think 15 seconds would be enough but But don't know if If they give you that pad in case you have a camera problem still gives you a chance to get your camera running or what but This is a great shot They went from the deploy they could have let it go out of frame and immediately move up here That would have been all right, but it's uh, it's massive. It looks So big as it comes over the head and what I did was Let it kind of come up And before you got that real bad camera movement I cut to rick looking at from his position out that top window as he looks right up at this As a tedris as it goes overhead They did a great job of tracking it It's great against that earth earth background And as it moves out of the shadow of the orbiter, then it really becomes extremely pretty It might have been better To just cut the camera off Go into a full zoom Focus it and shoot this As it would be To kind of zoom as they went in even though they stayed in focus that that part of it was good But here pretty quick you'll see where they weren't really checking their camera as they should be at least their focus And they shot a heck of a nice shot or it would have been Had the camera stayed in focus I guess they forgot because of the depth of field That and they're moving away from each other to uh Keep a keep a check on that focus Full telephoto unless you can really steady yourself Or put it in a bracket now. This is the shot where it would have been a just a just a great shot had they just Rerack their focus and and uh And put it in sharp focus We had intended originally to lay this all in and kind of edit it down at the time we were transferring it to video But they they ran out of time over there and so we just didn't have the time But really this would have been a good length and um edit and then they just Sharpened that image up This is a pretty shot With a t-dress to the right and the earth to the left You can see how unless you go unless you brace yourself good how how uh Jerky it gets when you go full telephoto although that's a great shot, but If it's just a little steadier if there's some way you can brace that camera yourself To where you can Hold it steadier. All right. This is the 29 t-dress. This first shot was a little bit on the short side Again they uh They went 40 seconds before they deployed As steady as it is I'd say they had it mounted in a bracket Now if they're raising it up then you may want as long as the lead is that but really 10 15 seconds on the front of That would have been more than enough Most satellites come out fairly slow least big ones like this And uh, so you have a lot of time It's a good shot There's the pitch Excuse me Where the commander is moving the orbiter back away from the the satellite You really don't need to carry it this long once it gets up out Out of your view five seconds is plenty To go ahead and unless there's really some spectacular piece of earth down below it This is a Pretty shot And it doesn't hurt to show the window Um, you show the window it shows your relationship between you and them Here they would have been much better off though. I think to cut the camera And and focus it get it in close focus it do what they wanted And then shoot it they uh, they lost a lot of film here just kind of trying to Get it and focus it They kind of did what I call I guess tromboning in that If they went in and they got it in focus they should have held it for Probably 10 seconds before they started back. They just about got it there got it and focused and then pull back again Uh, it's going to be out there a while and unless it's really moving away from you to hurry You've got time to To uh To get it in focus and then pull back But this is sts 30. I believe it Magellan There, uh, there's no evidence of it being tilted up So they went 56 seconds hanging on this shot Before they um deployed it Which is longer than you'd want you might want them tilting it up because then you can go back inside to your um To your deploy sequence And you can have it going up partially up go the inside come back And have it full up and you accept it If you cut on the outside from it going up to it full up And you didn't change perspective it would jump like mad and and uh, it just kind of jars the nervous system Now this is a good deploy Even for such a thing as a syncon In that there is Sky above the tail the tail's not cut off And if I were going to pick a shot and show the Syncon deploy, I think I'd pick it from about this perspective And that you can see the The earth above the tail and you see the whole tail. This is a good example of full zoom but not Being steadied up to anything And as as hard as you try it just uh, it doesn't take much movement on your account to To jerk all over the place. This is what I was talking about this morning As far as I for this satellite It was good because you're clear back, although it's a little soft The focus a little soft on it It's such a big satellite But I wouldn't use it for a syncon It, uh, it would just be too far away And on this particular one They didn't get any Tracking which would have been nice um They were shooting iamax and between iamax and all the other cameras. They're just I guess there just wasn't room to get a another camera in the In the windows All right, this is 51d This is a syncon deploy Again, I think I'd be back a little bit farther So you could see the top of the tail, especially if there's an earth in the background Uh on some of the flights they They launched it right up the tail and which went right up the edge of the earth because you could see the earth rising in the background And it really makes a pretty shot this comes out of here pretty fast compared to the other ones when you look at How fast this deploys on your flight, I believe You won't have anything in front of it like you do here But it's smooth And it uh it moves pretty good clip I think that slight jerk you saw was when they released it Should have been it'd been nice to have just a little bit above that Like they're taking the camera off the bracket Now they're in the shadow of the orbiter Um They realized that their exposure, I guess isn't all that good here pretty quick Of course, this is the satellite that the antenna failed Had the antenna been going up there. They would probably would have trouble seeing it Go up unless it's unless they're out far enough This is one of the better syncon tracking they they tracked it for a long time, which is great We get a lot of calls for satellites in orbit Just kind of floating around even though it it's not where Up where it belongs, but it's pretty and most people don't know the difference Now in this shot You kind of got to watch when you're shooting something that albukes don't float up in front of your face and Ellen Baker said, you know You need to lock your feet down. She didn't realize it until after she got back That she really need to put her feet down and lock them into someplace because your natural position is your legs up in front of you and consequently She got a lot of legs in that one This shot is Kind of keep an eye on the angles that you shoot thing. This is a eating sequence but You need to watch the pants legs You you got to watch that you don't get around where you're basically looking up the pants legs Now the next series of shots this This one and the next one are really good in that it's a good angle Uh nothing showing you have to worry about because we never want to show anybody in a compromising position or Something that might be embarrassing to them. So we always try to cut the film. So they always look their best It's nice. You got people on the floor. You got people on the ceiling and this is what turns people on they, uh They think it's great other than that it could be a shot in a simulator People floating floating from one place to another or passing objects is always good