Spacelog Apollo 8

Apollo 8, Houston.

Go.

Roger. For Bill—the voice quality on the backside DSE is extremely poor. We consider it unusable, and we recommend that all pertinent comments be hand recorded so we don't lose them. We should not count on using the tape at low bit rate for voice.

Okay, Houston. We're getting so busy that we are having a hard time trying to do a neat job of logging. I'll try to do it on the flight plan; and if I make any visual observations, we'll put them on the DSE, and I'll try to scribble some notes here and there.

Roger. Understand. Now high bit rate is working great.

Roger.

Hey, Houston, Apollo 8.

Apollo 8, Houston. Over.

How about giving us the TV times for the ninth REV, will you please?

Yes, we sure will, Frank. Stand by.

Apollo 8, Houston.

Go ahead.

Roger. We were checking into precise start and stop times for TV, and you are GO for the next REV. Over.

I understand; go for the next REV. Mike, we'd like to, if we could, time the TV to a passing over the terminator. We would like to track the terminator with the TV; think that's the most impressive thing we've seen, and that might be the best thing rather than trying to acquire the earth.

Okay, Frank. That's one of the things we are looking at right now. We have you ending at about 86 hours, and we're looking at extending that few minutes to include that terminator view. Over.

Okay. I don't want us to run into REV 10 very much at all, though.

Roger. Understand.

Houston; Apollo 8.

Go ahead, Apollo 8.

Apollo 8, Houston.

… since the DSE qual is not so good. How do you read, Mike?

I read you loud and clear. You were cut out about the DSE. Say again.

Roger. Since the qual isn't so good, let me give you a quick rundown of the status of photo targets. You ready to copy?

Ready to copy.

Okay. At REV 1, we got photo target 90 and terminator photography south for near-side terminator. Starting on REV 2, we've got target 12 and targets 10, 14, 16, 19, 20, 21, and 23. Unfortunately, we got into a high—I got into the high-speed film there somewhere, and I think those 250mm targets were on high speed. We did change film, and starting out in Tex—Crater, Texas, with target 28, 31, 40, 36, plus several targets of opportunity that were recorded on the DSE, but apparently lost. Have you been able to copy?

Yes, I'm with you, Bill. Keep going.

Okay. I might be calling up too fast. Okay. On the third REV, we got target 58 and 63 and 65. The training photography was accomplished, and it was done on magazine D, which now has—correction, that's magazine E—which now shows 95 exposures. Magazine D is fresh. Magazine K was also used for training photography, and it's showing 0.51.

Roger. We copy all that, Bill.

Apollo 8, Houston.

… Mike, this is Frank again.

Go ahead,Frank.

Go ahead.

Roger for Bill.

… around.

Apollo 8, Houston standing by.

I said is Rod Rose around?

Stand by one, Frank; we'll look for him, and while we're doing that, for Bill the DSE voice quality on high bit rate is very good, so if he wants to use the DSE in high bit rate for a limited amount of time to record important things, we suggest that he do that. We would like him to wait 20 seconds after turning it on prior to talking. Over.

Roger. Copy.

Thank you, Bill.

Apollo 8, Houston.

Go ahead.

Rod Rose is sitting up in the viewing room; he can hear what you say.

I wonder if he is ready for experiment P1?

He says thumbs up on P1.

Houston, with reference to the DSE on high bit rate, what I would like to do this is—if you got the last pass—I'd like to play it—run it back and start at AOS on low bit rate and then go to high when we need it. How would that be?

John Aaron buys it.

Okay, Mike. This is Frank again.

Go.

Roger. Rod and I got together, and I was going to record a little—say a little prayer for our church service tonight. And I wonder—I guess that's what we are ready on?

Stand by one, Frank.

Houston, Apollo 8. Are you still there?

You're still loud and clear, Frank.