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Madeleine remembers more of her dreams. When she tells Scottie of a bell tower in "an old Spanish village" he realizes she is describing the historic mission at San Juan Bautista - he wastes no time driving her there, 90 miles south of San Francisco, in her Jaguar.
... and Now, below is the same view. This is Highway 101 but they are approaching the mission from the south, opposite from the expected direction (map). the only other difference is seasonal - this photo was taken in spring versus in the fall above.
... and Now, today this exit has been made redundant by an adjacent flyover but viewed from the median strip (below) the mission monument is still there, minus its cross, next to the original road, now closed off.
... the original tower ... When Hitchcock first visited the mission there was indeed a tower, but not as tall, there since 1868 and seen below in this vintage image. When he returned to film the movie it was gone, removed in 1949 because of termite and dry rot damage. Undeterred, he recreated it, using a matte painting for the exterior view in the 'Then' image above, and a studio mockup for the interior scenes.
Thosequalities were never demonstrated more dramatically than in the flight of the13th Apollo mission in April 1970, when an oxygen tank exploded en route to themoon. The three astronauts on board - Jim Lovell, Fred Haise and Jack Swigert -were faced with the possibility of becoming marooned in space. Their oxygencould run out, they could be poisoned by carbon dioxide accumulations, or theycould freeze to death. If somehow they were able to return to the Earth'satmosphere, they had to enter at precisely the right angle.
RonHoward's film of this mission is directed with a single-mindedness andattention to detail that makes it riveting. He doesn't make the mistake ofadding cornball little subplots to popularize the material; he knows he has agreat story, and he tells it in a docudrama that feels like it was filmed onlocation in outer space.
Theastronauts are played by Tom Hanks (Lovell), Bill Paxton (Haise) and KevinBacon (Swigert). The pilot originally scheduled for the Apollo 13 mission wasKen Mattingly (Gary Sinise), who was grounded because he had been exposed tothe measles. The key figure at Houston Mission Control is Gene Kranz (EdHarris). Clean-cut, crew-cut, wearing white collars even in space, theastronauts had been built up in the public mind as supermen, but as Tom Wolfe'sbook and Phil Kaufman's movie "The Right Stuff" revealed, they weremore likely to be hot-shot test pilots (with the exception of John Glenn) thanstraight arrows.
Themovie begins with the surprise selection of Lovell's group to crew Apollo 13.We meet members of their families, particularly Marilyn Lovell (KathleenQuinlan), we follow some of the training, and then the movie follows theill-fated mission, in space and on the ground. Kranz, the Harris character,chain-smoking Camels, masterminds the ground effort to figure out how (and if)Apollo 13 can ever return.
With"Apollo 13," he correctly decides that the story is in the mission.There is a useful counterpoint in the scenes involving Lovell's wife, waitingfearfully on the ground. (She tells their son, "Something broke on yourdaddy's spaceship, and he's going to have to turn around before he even gets tothe moon.") But Howard adds no additional side stories, no little paralleldramas, as a lesser director might have.
This intriguing asteroid is now the primary target of NASA's planned Psyche mission. The Psyche spacecraft is targeted to travel to the asteroid using solar-electric (low-thrust) propulsion, following a Mars flyby and a gravity assist.
In the Devil May Cry series, Secret Missions are optional tasks that the player may perform in order to obtain Blue Orbs and Blue Orb Fragments for upgrading the Vitality Gauge. In the first, third, and fourth games, they have requirements that test specific skills (sometimes to the point where certain Missions cannot be completed without particular abilities obtained; particular of which is Devil May Cry 4, where some secret missions are only possible when playing as a certain character), whereas the second game requires the player to combat various groupings of demons in an enclosed room.
In DmC: Devil May Cry, Secret Missions are found beyond Sealed Doors, which are unlocked with keys found throughout the environment. There are four tiers of secret missions: Copper (consisting of 10 secret missions), Argent (6 secret missions), Gold (4 secret missions) and Ivory (a lone one but extremely difficult to complete secret mission). Finishing one of the first 20 Secret Missions will grant Dante a Green Cross or a Purple Cross Fragment while completing the 21st Secret Mission will grant Dante a Purple Cross. Secret Missions can be replayed at any time via an option from the game's main menu.
Two of the awards for the game can be achieved by completing secret missions. The first one, This party's just getting crazy! can be achieved by completing 10 secret missions while One hell of a party! can be achieved by completing all of the secret missions.
The Apollo 15 mission was designed to obtain the most extensive quantity and variety of photography of any mission thus far. There were several different varieties of photographic equipment, both on the surface and in orbit. The camera equipment operated on the lunar surface or in the LM by astronauts Scott and Irwin included three 70-millimeter Hasselblad Data Cameras (HDC, LM1, LM2), a 16-millimeter Data Acquisition Camera (DAC), and a color TV camera (LM4), or Lunar SurfaceTV camera. The main photographic tasks during orbit were performed with the Mapping Camera System and the Panoramic Camera, which were in the SIM bay. Various tasks were also accomplished using four command module cameras: a 70-millimeter Hasselblad electric camera, a 16-millimeter Maurer DAC, a 35-millimeter Nikon, and a Westinghouse color TV camera.
Lunar Surface TV Camera The RCA television camera (LM4) used on the lunar surface could be operated from three different positions--mounted on the LM modularized equipment storage assembly (MESA), mounted on a tripod and connected to the LM by a cable, and installed on the LRV with signal transmission through the lunar communication relay unit. While on the LRV, the camera was mounted on the ground-controlled television assembly. The camera could be aimed and controlled by the astronauts or remotely controlled by personnel in the mission control center. Color was achieved by using a rotating disc driven by a 600-rpm motor. Lunar color scenes were scanned, field sequentially, and down-linked serially to the Manned Space Flight Network. Video was received and recorded from lunar distance at any of the three Deep Space Stations.
The laser altimeter, when operating independently, gave altitude data at a frequency of three data points per minute when the mapping camera was off and approximately 2.5 points per minute when the camera was on. The altimeter malfunctioned during the orbital mission, and no data were obtained after revolution 38. A complete girth of the Moon with the altimeter was acquired on revolution 15/16; sporadic data were recorded otherwise. About 30% of the planned altimeter data was obtained.
Orbital Photography - Photographs taken from lunar orbit provide synoptic views for the study of regional lunar geology. The photographs were used for lunar mapping and geodetic studies and were valuable in training the astronauts for future missions.
Panoramic Camera Photography - The 610-millimeter (24-inch) ITEK panoramic camera obtained high-resolution panoramic photographs, in both stereoscopic and monoscopic modes, of the lunar surface during the Apollo 15, 16, and 17 missions. The camera provided 1- to 2-meter-resolution photography from an orbital altitude of 111 kilometers (60 nautical miles). The panoramic camera was located in the SIM bay of the service module. Panoramic photographs supported photographic data for the other command service module cameras and for the SIM experiments, scanning the lunar surface from lunar orbit, providing greater area coverage and higher resolution for given regions.
Because of the extended capability of the life-support equipment and the new mobility provided by the lunar roving vehicle, the Apollo 15 astronauts explored a much larger area than had been possible on previous missions. The 67-hour stay time of the lunar module on the lunar surface accommodated three EVA periods for a total of almost 38 man hours of lunar surface activity. While on the surface, the crew took 1151 photographs with the Hasselblad cameras. Major photographic tasks were to record surface activities and document sample retrieval. 2b1af7f3a8