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Originally posted by Phage
Brought to you by Jaime Maussan...again.
Mister birds, balloons (including flying horses), and hoaxes. One of the men who is singlehandedly contributing to making ufology a laughing stock.
www.ufowatchdog.com...
uforeflections.blogspot.com...
www.eyepod.org...
Originally posted by Lee_K
Is there any sort of space webcam setup anywhere? Probably a silly question really, but thought i'd ask anyways. Would be amazing if there is such a camera setup in space that anyone can view.
Originally posted by Exopolitico
Let's not forget how during Apollo they had two feeds being broadcast (secret frequencies) to two locations on Earth: one in Camberra, Australia and the other one in California. What we saw (Armstrong stepping out, etc.,) was a picture of a television. In other words, there was a camera filming what was being displayed on a TV. That is why it was so blurry.
So yes, NASA likes to blur, smudge, obfuscate, hide, [keep adding here], etc.
Originally posted by alyosha1981
NASA does scrub all images that the public are able to see, when something of question comes into the shot they simply move the focus or use their famous "blur" blacking out the object(s)
Originally posted by RFBurns
There is no way No Anomaly Seen Alright would EVER allow a public controlled camera up there.
Originally posted by JimOberg
The down-the-ladder scene was transmitted from one TV standard to another by having a TV camera watching the screen of the other system (computers weren't fast enough for real-time re-formating), but the 16-mm of the ladder descent from a camera in the LM window are as crisp as you could want -- just not viewable until the camera was brought back to Earth.
Try to get the 'real' space history right.
Originally posted by JimOberg
Originally posted by RFBurns
There is no way No Anomaly Seen Alright would EVER allow a public controlled camera up there.
Not by Dennis Tito, or Anousheh Ansari, or Richard Garriott, or Mark Shuttleworth -- or by Russians, or Belgians, or Japanese? How far does this invisible-cover-up arm reach, do you think?
The theory explains a lot. Too much, in fact -- enough reason to be wary of it.
Originally posted by JimOberg
There's a camera called EarthCAM controlled by High School classes. Does that count?
Originally posted by JimOberg
Uh, no. The NASA Apollo downlink frequencies were all known, and monitored by real amateurs (Richard Flagg, for example, and others at ARRL) who heard the same stuff as the 'released' official version. The down-the-ladder scene was transmitted from one TV standard to another by having a TV camera watching the screen of the other system (computers weren't fast enough for real-time re-formating), but the 16-mm of the ladder descent from a camera in the LM window are as crisp as you could want -- just not viewable until the camera was brought back to Earth.
Try to get the 'real' space history right.
Originally posted by Phage
Brought to you by Jaime Maussan...again.
Mister birds, balloons (including flying horses), and hoaxes. One of the men who is singlehandedly contributing to making ufology a laughing stock.
www.ufowatchdog.com...
uforeflections.blogspot.com...
www.eyepod.org...
Three black-and-white scan converter units have been designed and built for the NASA Goddard Space Flight Center (GSFC) for use in the Manned Space Flight Network...A fourth unit is being built, in order that deep-space signals can also be recieved at Canberra, Australia.
www.parkes.atnf.csiro.au...
For Apollo 11, an RCA scan-converter was used, which operated on an optical conversion principle. The pictures were displayed on a 10-inch black-and-white monitor and a Vidicon TK22 camera was pointed at the screen. As each frame of the 10 frames per second picture was received, it was displayed on the monitor. The camera was gated to scan a single field at the EIA (NTSC) rate of 1/60th of a second, that is it did not take a picture until the 10-inch monitor had completed displaying a full frame. The output of the camera was transmitted and simultaneously recorded on magnetic disc. The disc recording was then played back a further five times and transmitted. While the disc recorder was playing back, the monitor screen was blacked out and the next frame started displaying. The monitor had enough persistence that it retained the picture, and RCA built special circuits to adjust for any loss of brightness between the top and bottom of the picture. In this way, a 30 frames per second (60 interlaced fields per second) TV was produced - with only one in six fields being live.