 Let me give you all a brief description, and then I'm going to turn it over to David. What we're proposing to do today is to familiarize you with the equipment. We're not planning to take any pictures today. We'll probably do that at the next section of the session after. We'll do it first down in a while after I've done that for the couple of minutes. You can look through the different lenses out into the payload bay, which is maybe a better way to get the perspective of what a lens covers relative to the bay. Although you're not going to be shooting the bay so much, at least it's a bit better than just going to be here. Is that okay as a plan? So this is essentially the flight hardware with the exception of those two magazines will be our training units only, but much everything else you see on the table here is in terms of the camera system pieces that are flying. There's various ways of mounting this camera in 1G, and they don't really affect you very much, except that we do use the same two holes here when we put the handles on the bottom of the camera, and we'll get to that in a little while. Other than that, there will be some velcro down here to actually stick the camera onto the locker wall or the floor to work on it, but that's not how the camera doesn't use it very much up there at the same place. So, there are two. You can see the mirror that you're looking, you're bouncing your view off of to look at the image which is formed here on this ground glass. There's a checklist here which 21 points on it, and it refers to the letters which represent positions in the loading path. And if you follow the checklist, it seems like it works pretty well. I think the last time we didn't even show anybody, we just used to follow the checklist and see if they loaded, alright? They've gone volunteers. The magazines will launch loaded, and the particular emotion that will be in that load will be determined, I guess, by the cap, depending on what we anticipate you're needing, at what point. And that emotion will be defined by a piece of tape, like this one, which would be taped across the latch of the magazine. And that tape will follow the roll of film around it, you know, while it's in the little latch back here. And this latch is, we don't have on the ground because, but it's there to keep the magazine from floating off during the loading procedure. It engages a couple of little detents here on this bar. So then you open up the camera. Everything you've got to grab is marked in red. They trap the film against the sprockets in the take-up version. There's a registration pin assembly here. And we can get access to that edge guide by lifting up this top half of it and swinging it up the way. It goes straight across the back. Check your routing. Once you feel like you've got it on the right side of the rollers, that's when you... The next thing you need to do is get the film down into the gate. So you're riding properly, skating along a slot, which is the counterpart of what's going to trap the slot in the film. That's the tricky part right there. That's fine. So what happens is you can get hung up if you're in a hurry like this. When you're not waiting... Close everything up, would you move that and it won't move? It's still like the way it is. So know where that is. Know which way stuff is coming off. It comes off that way. It's clockwise. It doesn't engage to you pushing way down. So you gotta hold it down and turn it in order to... And what it's doing is it's pulling the whole movement over. And now what we're concerned about is the shutter. So we're trying to get the lights to... You gotta know. Can you do it without your glasses? Then you'll maintain it better to see the lights. And then tomorrow morning we're going to do the same sort of thing in the full fuselage. FFT is that? We're going to go in and do the... Essentially the same thing there. We'll work with the same things except with the lights. So you get used to working with the lights. So, David? The first thing we want to do is... It's just fine to set it up for your eye and your eye relief and focus it on the ground glass feeling with the ground glass and the markings on the ground glass and how they relate to IMAX leaders and how they relate to the IMAX leaders. So, would you like to open the camera up and set up your eye on the ground glass? You want to do that for us as well? Sure. The camera is closed up. When you come to it... When you close it, I'll let them open it, David. Because you're making me get a feel for how that button is. You want to step up? You say open the camera? The shutter of the camera is after stopping. There's no stopping position for it. It's likely to be closed as open. Okay. Okay. The ground glass. Okay, horizontally across the frame there are two dashed lines. One that's arcs downwards and comes up to about... It starts a third of the way up and arcs down and comes up again. There's one that's sort of straight across at that position. And what those are there for is for you to understand where the people are in the theater and how they're seeing the screen. Essentially, they were originally put in as kind of horizon lines. They're not always used as horizon lines, but they give you the relationship for the audience's natural horizon in relation to the screen itself. And the straight one is for the rectilinear theaters, for the IMAX theaters. In that area are more or less directly in front of the audience. They're in front of the majority of the audience. And the same is true for the arcing line in the on-dome theaters. And it's much lower down because the dome frame, of course, extends right up over your head and behind you. The camera is over there. That's it. That's it. And the way that you select... Once you've decided what the... what the key element of the picture is, if it's here or there... By having different sources, you've got different... some nice rim lighting around Hank. And he's got nice lighting in Mike's face. And everybody got some light. Actually, when the shot ends, which is down below, where you can clearly see Judy, she's nice as that, too. So he found a way to get everybody to get some light, which is quite a successful shot. 150 or...? Okay, because I only went 83 on that. Let me run some more. What I'd like you to do... Change the lighting, then, and do something a bit different.