Apollo 16 Grand Prix sequence was filmed with small scale models and radio controlled car which means that all of the lunar surface Hasselblad pictures have been taken with small scale models. Small scale models have been photographed with periscope cameras and snorkel lenses which makes small scale models look like life-size.
Comparison of the LM (Lunar Module) in the lunar surface Hasselblad pictures and liftoff videos to the LM in the lunar orbit docking sequence pictures and films shows that they look exactly the same. This means that all of the Hasselblad lunar surface pictures and lunar orbit docking pictures and films have been taken with same size or different size small scale models.
These high quality small scale model Hasselblad pictures are mixed in with low quality tv transmission videos which have been taken on a different life-size circular set.
There is also a third major set type for the high quality DAC (Data Acquisition Camera) film sequences. All of the high quality DAC films are little areas that don't require large sets.
Exception is the long distance moving LRV (Lunar Roving Vehicle) DAC films which have been taken with simulator ride and convex screen setup. In these sequences the bouncing LRV rig is life-size, but the material projected on to the convex screen has been filmed with small scale sets (periscope/snorkel). In all of the long distance moving LRV DAC films the viewer never sees the LRV wheel or the astronauts boots hitting the ground.
There are other exceptions as well like the Apollo 16 Grand Prix sequence which is high quality “DAC” (periscope/snorkel) film sequence, but with small scale models and radio controlled car.
All of the different set types are mixed in together so that the viewer cannot tell which is what.
1. Life-size low quality set for the “live” action requires approx. 150m circular set according to MB Enhanced. Standart football stadium pitch is 120m by 90m.
2. High quality small scale model set requires approx. 50m circular set according to me. Periscope/snorkel camera which takes the small scale model Hasselblad pictures is on a rig that is moving on a studio ceiling. That is why the camera can be placed anywhere and has 360° panorama view. Periscope/snorkel camera setup is lowered from the ceiling to the chest height of the small scale astronauts.
3. High quality lunar surface DAC film sequences are little areas on a basic life-size set that don't require circular set or anything else high-end.
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Example of the low tech version of the convex screen periscope camera “LRV” rig setup from the year 1968 (LRV was first time in use on Apollo 15 in the year 1971). 1968: Inside the APOLLO COMMAND MODULE | Tomorrow's World |Retro Tech| BBC Archive. https://youtu.be/agOK5a2enxA?t=226
Example of the high quality lunar surface DAC film sequence that is filmed on a small life-size set (note the wall of the set in the upper left corner). THE APOLLO DISCUSSIONS “APOLLO 2.0” PART 2 OF SHOW 10. https://www.youtube.com/watch?v=TjNKg…
Possible light equipment is hanging on the studio ceiling and is reflected on the astronaut's visor 1/2. AS12-48-7071. https://www.flickr.com/photos/project…
Possible light equipment is hanging on the studio ceiling and is reflected on the astronaut's visor 2/2. AS12-48-7074. https://www.flickr.com/photos/project…
It's gonna be so cool when the NASA boffins build back the technology to go back to the moon.
“I'd go to the Moon in a nano second. The problem is we don't have the technology to do that anymore. We used to but we destroyed that technology and it's a painful process to build it back again.”
– Donald R. Pettit
1968: Inside the APOLLO COMMAND MODULE | Tomorrow's World | BBC Archive
“Before the end of next year, men could be flying across the moon's surface and preparing to land.” – John Parry.
James Burke and John Parry report from inside an Apollospace capsule simulator at the NASAspace research centre in California. Every effort has been made to ensure these simulated flights are as authentic as possible, so that astronauts Michael Collins, Buzz Aldrin and Neil Armstrong are prepared for every eventuality.
A bespoke camera system is trained on a large model of the Earth, to give the illusion of the capsule orbiting high above the surface, while another camera and model setup accurately recreates the positions of some 1353 stars.
An artist's impression of the moon is used to create the moonscape, which is used for simulating the – until now – top secret ‘Moon Scooters'.
Originally broadcast 21 August, 1968
Last Takeoff from the Moon – Apollo 17's Lunar Module blastoff!
When examined in-depth with a critical eye, these staged events are found to be nothing but a monumental hoax perpetrated upon a gullible and unsuspecting public.
This compelling film throws into serious doubt the authenticity of the Apollo missions and features information that challenges the declared abilities of NASA to successfully send a man to the Moon and return him safely to Earth.
Astronauts Gone Wild: An Investigation Into the Authenticity of the Moon Landings, is a 2004 documentary film produced and directed by Bart Sibrel, who charges that the six Apollo Moon landings were elaborate hoaxes.
Why We Never Went Back To The Moon. On December 11, 1972, Apollo 17 touched down on the Moon. This was not only our final Moon landing, but the last time we left low Earth orbit.
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