 Re-stowage is like all the other baggage you'll have a map on top that will show exactly where everything can be found and also a good aid for re-stowage when you're trying to put stuff back for return, which Lives on the mid-deck, usually in the Camber lockers usually 57 row about second locker down with a 35 camera They always go in the same locker. All of your stuff is not in here however because we carry extra mags and film in the locker adjacent to it Where the fluorescent light is and your 70 mags will have additional film cans and magazines in there This is where it looks stowed The battery would be under the finder here and we the battery is too big to put on the camera We've got that new AA type battery, and it's just too big to stow on the camera. So we Keep it down in the pocket Camera is stowed with the 5.9 lens on it We'll talk with lenses separately later, but that was to help our stowage situation out when we had to move the battery Into its own pouch This is the basic camera So it's not too bad For somebody to get the battery in the mag and film and all that stuff on there becomes a bear It's about 23 pounds, and that's just not a lot of fun to tow around your shoulder in 1g Consequently we Use the camcorders to try to train you in cinematography. We've got six Sony Camcorders on order right now. We've got a couple of the old co-divisions that are still working Don't want one or two of them and we'll try to augment your It's just like the one we're flying on the DTO in 30 and try to augment your cinematography with that Every place in checklists that we call Airflex out We have a note in the comments to you know, you have the filter on these way remember the filters like personal glasses sunlight Okay, down from here is your manual film advance Okay, you have fuses in here you have a point seven five amp fuse And a 10 amp fuse that protect camera electronics Ten amp and point seven five they're marked to ten and point and point seven five on the on the fuses themselves Well, we've we have called Airflex and we've read all their literature and we've gotten conflicting information there So I I kind of danced around that issue in the workbook because we was conflicting They keep saying camera electronics So we pull the fuses at various times to see what stops and basically most everything stops When you pull pulling your fuse you fly spare fuses in the lids pull out the multimeter They even check the thing because it's not gonna be obvious that they'd be blown They've fallen on the force so many times You're focusing that's right you're focusing image on the ground glass has no has nothing to do with the focus of the lens But if this is soft Lens No Don't anything auto about the lens is the aperture aperture That's why it's very Right this lens you'll always have to focus this lens is fixed focus Focused in infinity everything looks a little bit soft. It's not the sharpest image in the world But with this lens it's very very critical particularly after you zoom in on something You will really notice any out-of-focus condition. So focus that finder Over here is your exposure scale Under exposure to the top over exposure to the bottom proper exposures the dark dot in the middle Right you got 15 volts per pack And one of the things we don't really pop these things off The whole take one module out right and you can use batteries from it to power your Although we do have other batteries you can draw them before you get to these but there is that option Run as many as 15 mags full max film and only fly 12 But of course that was not being real sloppy with you know leaving and stand behind the inverse It has the capacity to run for the entire load that you carry Battery check we incorporated a battery test in this thing so it's this way you don't have to use this test button to test the battery Push the button down. You should see hold it down for two or three seconds You should see a steady green light, which of course was one out on me. So this is a We have in your checklist No, no should not go out just down as long as I hold the thing on There's a variety of things you could see steady green is what you expect to see if you see the green go out You see a green and red or if you just see a red that means it's dropped below the nine and a half to ten point three Volt threshold and it's supposed to illuminate the red light Well if you turn the turn the thing on you'll switch on there Which one do is to put it in standby and then turn it on while you're looking at it. You can see the little red light flash on Is this lens only stops down to f16 or t16 if you will That's not stopping down quite far enough and some environments looking out the window we would be overexposing So they built a little neutral density into the filter to cut down the light just a little bit more Particularly if you were having to use a 320 film outside Yeah The flight was a little bit tighter. They've got the spacers Almost home Okay, let's let me close this thing Yeah, we'll take that up here This is where John had problems with his drive belt is what had happened is it slipped off of his idle arm Then there was so much mass over here can get started again, so you got to watch that we're fixing that so that hopefully that That's what should visit the belt only goes on one direction. It's like putting a bicycle chain and get one side started and then just rotate That's good Gotta be careful One way to do that Reality It'll it'll pull those right in That's okay, yeah, but you're just slipping the drive belt They're not really These are not affected by anything that happens up here once these two pins are captured And see we have this only direction in this era That's the way it goes if you turn it backwards what happens it starts piling up because this doesn't take up And to take up real Just took up this tension. Oh, that's why we pulled it in down here that remember it was kind of bunched up down there And you can see the way this is working Opening and closing In front of the What's happening is as the film is being exposed it is pin registered in place It's not moving at all while that shutters open As the shutter closes it's closing now this pin grabs it pulls the next frame down. These are going to go back in It's gonna make the next exposure So it's going round and around and around like that doing that 24 times a second Which gives you 160th about yeah, what what's 60th and second exposure? So you can imagine that stuff's flying around in there Pretty pretty quickly. So whenever you're doing this on fire That's not a twist that's just a 90 degree turn there It doesn't Is this a flight camera? Yes, so that what I feel here for pressure Doesn't even doesn't even get tight as long as we're going to direction the arrows in the cage fine Yeah Now You tell you got power to the camera whenever you've got digits in that lower display Now you can push power comes from really two sources Easy, it's no it's the you see it comes off cabin payload bus A or B No, this is this is all Mechanical counter just push that button These two are nothing more than redundancy for these right these are electronic these are mechanical Circuit record the one amp is for the display And the five out of this for the electronics the camera We have just you know exposure reminder again one sixty the second of the spot meter Orange filters for outside filming their filters for inside The settings are on There's no you can't control that 60 There's a way to do it On off switch just that's what it does turns on and off which is duplicated by the buttons on Yeah Check the lenses make sure the elements are clean especially the back one before you put it out Make sure there's no big things growing on the beam splitter in there and One of the simplest ways to make sure it seats right is to always hold the locking ring so it doesn't slip over you hold it Fly the lens in line this sort of up with the longitudinal axis of the camera Should just go right in the right in the place like that There's no there's no detail or no positive just as a clamping ring It's not a locking look at the same determine where you want to frame What you're shooting what the action is Once you determine all that you can go ahead and focus the lens And you want to make the scene sharp like And the scene that you focus so you want to be where your main action You know you may have something going on over in the corner if that's not your main action Get dawn he looks wide awake Check your eye-pacing Up here and do your eyepiece again just looking at that black spot Yeah Hold still there Mike. I'm gonna have a great deal of different feel you just look at look at where it says Mike on a shirt Just get that in focus Not not painting the attention to that little circle There you go, that's it Okay, well, okay, that's good On the ground glass You