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NASA's Apollo TV Lies Revealed - PART 1 - The Truth Behind The Tones
LunaCognita | January 08, 2009
The Truth Behind The Tones - this multi-part series will begin to break down the truth about the incredible levels of manipulation and fakery that the Apollo lunar landing program TV footage was subjected to prior to being seen by public eyes.
This is some rather complex subject matter, and cannot be even close to adequately explained in a brief 10 minute video. Because of this, I think the best way to present proof of this magnitude is to do so methodically, explaining various primary facets of the manipulation in parts. This first part of the presentation focuses primarily on the initial basics of discrete recognition or rejection of objects in scene, which was the most important component of the Apollo GCTA-TV lie (but certainly not the only component - not by a long shot). Other presentations will cover many facets of the TV coverup, revealing not only how they did it, but why.
To the skeptics - I am NOT cherry-picking scenes here, and am not showing you only a few coincidentals from the hours of footage available. I have THOUSANDS of examples catalogued, and can and will back up what I am showing over and over and over again in coming presentations as I dissect this portion of the Apollo lie further. I will say right now that you have NO idea how deep the lies go, and you have NO idea what their true technological capabilities REALLY were back then - let alone today. I have researched this subject matter for years, I have personally interviewed an individual directly involved in this coverup, and I can back up what I am saying and showing here with countless examples. My intention however is not to overwhelm the viewer with examples (particularly due to the 10-minute-per-segment time constraints I am trying to adhere to), but rather it is to show and tell you what is really going on so that you can begin to analyze the TV footage for yourself. This is as REAL (and FAKE, if you get my drift) as it gets!
Stay tuned for Jose Escamilla's new motion picture documentary "MOON RISING", where we will go into much further depth about what is, without exaggeration, the most monumental coverup in human history. You have NO idea what you have been missing!
Link - https://www.youtube.com/watch?v=PMax7EGyQSQ
NASA's Apollo TV Lies Revealed - PART 2 - Breaking The Skeptics Back
Link - https://www.youtube.com/watch?v=BbgNg1gtl4I
NASA's Apollo TV Lies Revealed - PART 3 - The cropping games continue
Link - https://www.youtube.com/watch?v=QKqMhp038Zk
Link - https://www.youtube.com/watch?v=BbgNg1gtl4I
NASA's Apollo TV Lies Revealed - PART 3 - The cropping games continue
Link - https://www.youtube.com/watch?v=QKqMhp038Zk
LunaCognita Wrote: Hello everyone,
I just want to make a few more comments here regarding these three videos that I released, because I am very appreciative of the fact that I have not really explained much of anything yet in them, other than demonstrate a very vital and incredibly important FACT - that NASA's official story related to the quindar tones and the GCTA-TV footage is clearly a lie.
Just to reiterate NASA's official position on the quindar tones - the space agency asserts that the quindar tones you hear in the GCTA footage soundtrack are ONLY supposed to be related to the voice transmissions from the CapCom in Mission Control Houston. NASA claim the tones are nothing more than audible markers that designate the beginning and end of any CapCom audio transmissions sent from the Earth to the Moon, and the space agency has always denied that the quindar tones have ANYTHING to do with the video portion of the feed at all.
Because of the multi-faceted nature of the GCTA coverup, my goal with those first three videos above was merely to (hopefully) begin to open the viewers eyes to the fact that NASA's official cover-story regarding the purpose of the tones is clearly a lie, and at this early stage of explanation, just to show that the tones are indeed connected to the action in the video portion of the feed. I felt that was an important first step to take when attempting to present this very complicated evidence and explanation, because before I decided to go public with this information I was well aware the standard skeptic argument of "cherrypicking" and "coincidence" would come into play.
At this early stage of explanation, admittedly all I have done is try to demonstrate in a very basic manner that the quindar tones are indeed related in some way to the video footage, which is of course in direct contradiction to anything NASA has ever stated about the tones purpose. Essentially, my goal was to first demonstrate that NASA are most definitely lying to you about this GCTA footage, highlighting examples that primarily dealt with basic astronaut recognition and tracking within the visible FOV. I was aware going in that no one would take any of this seriously initially unless I first demonstrated that kind of very basic connection between the audible tones and the video feed, for the most part highlighting just one primary facet (astronaut recognition and tracking) and showing it over and over and over again to demonstrate that a lie of some sort is clearly in place involving the GCTA-TV audio and video feed. However, I said this in the videos and I will say it again here - the tones are not only related to astronaut movement in the FOV - not by a long shot. There is a LOT more going on that just that.
So, the goal of those first three quindars videos was just to attempt to point out that the tones are in SOME WAY directly related to the activity on the video feed and have been made to appear as if they are only related to the audio signal in order to try to match NASA's official cover-story explanation. I have not even begun to explain what the purpose to doing this was for though. I admit that fully, because I believe that there has to be a host of other related points explained (and evidence properly presented to try to support the explanations) in order to really appreciate the deeper question of "why" the tones were sounding. I am talking about things like:
- how and why they established and maintained complete control of "scene geometry" in the GCTA-TV, 16mm DAC, and Hasselblad imagery shot from the lunar surface;
- the use of small-scale models composited into scenes to account for objects or cover up things in the FOV they did not want you to see;
- the use of computer-generated 3D scene models to aid in the obfuscation and scene geometry efforts;
- the idea of "astronaut accountability and scripting" in the footage and why that was so important to covering up the real covert activities on the lunar surface;
- the FACT that the GCTA-TV footage that was shown to the public was not "live" footage and in fact had been handed over to a private third-party for "enhancement" PRIOR to ever being shown to the media or public;
- the editing/sanitizing of the GCTA audio track and the replacement of some communications entirely by mixing in pre-flight simulation audio recorded during training;
- the introduction of artificial camera shake, noise and glare effects as obfuscation measures in the footage and imagery;
- NASA's use of "frame-stacking" on the GCTA-TV footage to aid in the obfuscation and for the purpose of building 360-degree mosaic panoramics directly from the TV signal for covert scene analysis;
- the assorted methods of "padding the timeline" and "tape-delay" playback that were employed
These are just some of the factors that were related to the GCTA-TV feed that are vital to understanding for one to appreciate how the obfuscative efforts all came together to produce the sanitized public Apollo GCTA-TV footage that can be found in NASA's archives today. There is most definitely evidence available that will support each of these claims as well.
I also have to say that in retrospect, I must admit that I probably should have waited to present my case for the Apollo GCTA-TV lies until I had put together the full presentation of evidence I have about this, rather than doing it piece-meal as I have done thus far. Part of the issue that I am struggling with is that I just don't know if this is the sort of evidence that can be adequately presented and explained in just a series of videos on Youtube. Some of the evidence is definitely going to have to be accompanied with some significant explanation in order for it to be properly broken down for a mass audience, probably requiring a comprehensive article (or articles) in addition to compiling all the clips necessary so I can attempt to demonstrate the various obfuscative and editing processes in action.
I don't think it would be a proper approach for me to merely try to explain many of these vital steps and facets of the GCTA-TV lie without also adequately attempting to support each claim with evidence and demonstrate how and why these techniques were being applied to the archive footage. I have no problem telling everyone that I would not expect them to, nor should they, ever take my word for anything just because I say I believe it to be true. This is the kind of incredibly serious subject matter that people must make their own minds up about based on the evidence that can support the claims being made.
One thing I have learned in my years of investigating this subject matter is that you don't ever believe things to be true just because someone tells you it is true - that goes for me, NASA, or anyone! Always be skeptical of everything, because we all must attempt to form our own personal conclusions based not merely on claims made but on the evidence presented to support those claims, and it would be rather hypocritical of me to expect people to take my word for anything unless I was willing to put in the effort to attempt to back the claims up with something either.
Of course, we also have to keep in mind that NASA was not going to make it easy to present this case against the GCTA-TV footage. This is a brilliantly designed cover-up we are dealing with here, and one of the primary facets of a cover-up is obviously to hide the evidence of the lies being told. Thankfully however, I believe that enough key evidence remains scattered throughout the archives to allow us to piece together this incredible facet of the Apollo lie, and I am slowly working on several different presentations that will try to further explain and support the various aspects of all this to allow you to better piece the big picture together and understand how and why you have been lied to all this time.
I will also take this opportunity right now to quickly answer a question I have been repeatedly asked about these quindar tone claims I am making, because demonstrating this particular bit of evidence does not require much in the way of in-depth explanation. The question is, are there any examples from the Apollo lunar surface archives where we can hear the CapCom communicating with the astronauts on the surface but do NOT hear the quindar tones sounding at the beginning and end of his transmission? After all, that would directly contradict NASA's claims about the tones true purpose, right?
Here below is a link to an NASA archive audio file from the Apollo 17 mission (in MP3 format). This particular audio clip starts while astronauts Cernan and Schmitt were in the midst of their 3rd and final EVA on the lunar surface, with the dialogue commencing just after their arrival at a location in the northern area of their Littrow LZ that was nicknamed "Tracy's Rock" (Traverse Station Stop #6 - MET 164:51:19).
Take note that this audio clip begins just after the astronauts arrive at Tracy's Rock but PRIOR TO activation of the GCTA-TV camera. At nine seconds into this clip, you hear CDR Cernan call out to CapCom Bob Parker in Houston, asking "Hey Bob, how do you read?"
CapCom Bob Parker immediately responds to the question by saying "Loud and clear 17. How do you read?" Did you notice how there are NO quindar tones surrounding this statement from the CapCom, even though according to NASA's official quindar claims, there is supposed to be?
At 20 seconds, CapCom Bob Parker transmits another response to a different question from Cernan, this time simply saying "Roger. Sounds great." Again, no quindar tones can be heard surrounding this CapCom transmission either, but remember, the GCTA-TV has not been turned on yet.
Now, if you fast-forward to 2:26 into this MP3, you will hear LMP Jack Schmitt speaking, and will also hear the NASA Public Affairs Officer suddenly chime in overtop of Schmitt's transmission to very quickly state that the "TV is coming in". The PAO is announcing here that the GCTA-TV feed has now been activated and the video transmission is being received on Earth. Just let the audio file play and keep listening, and in the next few seconds after the GCTA-TV has been activated you will then hear CapCom Bob Parker respond to another question from Jack Schmitt. Notice how now that the GCTA-TV is active and there is video coming in, all of CapCom Bob Parker's transmissions have now suddenly become surrounded by quindar tones!
As you can plainly hear in this example, it is only after the GCTA-TV is activated that the tones can be heard kicking in, just further demonstrating that the tones are indeed directly related to the video feed, just as I have been claiming. This is by no means the only example of this kind of thing happening during Apollo lunar surface ops that I have cataloged either, so I am not "cherrypicking" anything here and am not suffering from confirmation bias either. The fact is that the tones ARE directly related to the GCTA-TV feed and the action occurring on-screen, which is in direct contraction to NASA's official claims, and as I stated in those three videos, the true purpose to the tones has been cleverly disguised to make you think they are innocuous beeps that are only related to the CapCom voice transmissions.
I will end this post here by reiterating that I am certainly aware there is a lot more evidence and explanation that is going to need to be presented before the "how and why they did this" can all be pieced together and begin to make sense. The GCTA-TV scam that NASA pulled over the world's eyes during Apollo was a very complex affair employing some very impressive techniques and technology, all designed to hide the truth about what is really up there on the Moon. Stay tuned, because there is plenty more evidence and explanation about these lies to be presented yet!
Last edited by Admin on Sun Mar 04, 2012 3:27 am; edited 1 time in total
- Posts : 1476
The quoted transcripts below demonstrate the camera was shut off @ 164:11:48 and the quindar tones stopped and then when the camera was turned back on @ 164:53:45 the tones are heard again.
Quoting the timeline from 164:11:07 -to- 164:53:45
(camera gets stowed - last quindar tone is heard)
MP3 Audio Clip ( 12 min 29 sec ) - http://www.hq.nasa.gov/alsj/a17/A17A1641107.mp3
RealAudio Clip ( 7 min 8 sec )
164:11:07 Cernan: Can you do that likewise (and take my picture)? Or can you hold it with that other camera? It's already set at 30 (feet focus).
[TV off. Gene is handing Jack the CDR camera so that the picture will be in color. He is asking if Jack can use the CDR camera while wearing his own.]
164:11:16 Schmitt: Okay.
164:11:18 Cernan: And you might want to take a couple...(Long Pause; static, even over Bob)
[Jack's pictures of Gene are AS17-140- 21388 to 21391. They show Gene's RCU, the "red apple" at the end of his purge valve release cable, his right thigh pocket, and his left calf pocket. A detail from 21391 shows the OPS activator on the left side (from our perspective), the label at the lower right for the push-to-talk switch, and the camera mount attachment hardware at left center.]
164:11:48 Parker: 17, Houston. We think somebody lost their comm. Jack, it's probably Gene going to zero. (Pause) (last time quindar tone is heard)
164:12:01 Schmitt: (Static clears) You read us, Bob?
164:12:02 Parker: Roger. Read you now.
164:12:06 Schmitt: Bob, do you read Gene?
164:12:08 Parker: (Making a mis-identification) Reading you, Jack. I haven't heard Gene yet.
164:12:14 Schmitt: Well, Gene's calling you.
164:12:17 Parker: You read me?
164:12:18 Cernan: How do you read me, Bob?
164:12:19 Parker: Okay, read you now.
164:12:23 Cernan: Okay, I didn't do anything. I just jiggled my Mode switch here. Okay, (reading CDR-6 again) we got 2 and 3 on the EP's (that is, EP's number 2 and 3), plus one under Jack's seat. LCRU blankets are opened 100 percent; battery covers are closed; dustbrush, I've got; TGE, I've got; mags and polarization filter is taken care of; and I'm ready to traverse to the SEP.
164:12:44 Parker: Roger. We understand TV stowed and you're taken care of in the comm. And you might give us a Rover readout either now or when you get to the SEP.
164:12:55 Cernan: Okay; we'll see which is convenient.
[Gene is now on CDR-7. Jack has left for the SEP transmitter. He is on LMP-7.]
164:12:57 Parker: Yeah. (At the) SEP is probably more convenient while you're sitting there waiting for the Nav to warm up or initialize - waiting for us to give you the reading.
164:13:08 Cernan: Okay, taking your TV. (Pause) Mode switch is 1.
164:13:26 Schmitt: Hey, Bob, are you watching LMP?
164:13:29 Cernan: Not any more he (meaning Ed Fendell) isn't. I took the TV.
164:13:30 Schmitt: Okay. (Pause)
[Schmitt - "My guess is that I wanted them to record or time my running motion as I was going out to the SEP transmitter."]
164:13:37 Cernan: Bob, you still read?
164:13:38 Parker: Roger. Read you loud and clear. We aren't watching the LMP.
164:13:43 Cernan: Okay, I just wondered because I just took the TV. I just want to make sure we got comm here.
164:13:48 Parker: Yeah, we're reading you in Mode 1.
[At the end of EVA-2 at 147, Gene turned the LCRU off and lost comm with Houston. The problem was Houston's and, here, Gene is just making sure.]
(no quindar tones)
MP3 Audio Clip ( 14 min 40 sec ) - http://www.hq.nasa.gov/alsj/a17/A17A1642335.mp3
164:23:35 Cernan: Gee, I think you ought to know where we are by now, Bob.
164:23:37 Parker: Roger that.
[It is a little curious that no one has yet told them that Houston thinks they landed just north of Poppie. Bob will, however, tell them in just a few moments.]
164:23:39 Schmitt: Maybe that's Lewis and Clark.
[Meriwether Lewis and William Clark explored the drainages of the Missouri and Columbia Rivers in the years immediately following the 1803 Louisiana Purchase. The pair of craters named for them is about a kilometer NW of the current Rover position.]
164:23:41 Parker: After you give me a mark there, I'll talk to you about it.
164:23:47 Cernan: I'm sorry, Bob. I guess you didn't hear it. We're passed the end of the antenna and we're headed northeast.
(no quindar tones)
MP3 Audio Clip ( 13 min 27 sec ) - http://www.hq.nasa.gov/alsj/a17/A17A1643751.mp3
164:37:51 Schmitt: I thought you were close to Henry.
164:37:52 Cernan: Yeah. (Responding to Bob) 188/1.8.
164:37:56 Schmitt: And we're just southwest of Henry.
164:38:01 Parker: Okay. Copy that.
(Tv camera on again - Quindar tones return)
Audio clip posted above by LunaCognita starts here @ 164:51:03 "That's the best I can do"
164:51:03 Cernan: Let me...They wanted 107. (Pause) That's the best I can do. That's not very level for the gravimeter, but...Let me see if I can get comm.
[There has been little apparent degradation of comm during this bit of maneuvering. Evidently, Houston has been reading them through the LM. They have now parked at Station 6.]
MP3 Audio Clip starting at 164:51:11 ( 13 min 25 sec ) - http://www.hq.nasa.gov/alsj/a17/A17A1645119.mp3
RealAudio Clip ( 7 min 12 sec )
164:51:19 Cernan: Hey, Bob, how do you read?
164:51:21 Parker: Loud and clear, 17. How do you read?
164:51:24 Cernan: Okay. We're parked on a heading of 107. (Jack is laughing) Are you happy with that?
164:51:31 Parker: Roger. Sounds great.
164:51:33 Schmitt: (Laughing) You parked on a slope, too.
164:51:35 Cernan: There's no level...There's no level spot to park, here, though.
164:51:40 Schmitt: You want some help getting off? (Laughs)
[Because of the slope, neither Gene - who has to get off the Rover on the uphill side - or Jack - who has to get off on the downhill side - is having an easy time dismounting.]
164:51:42 Cernan: (Laughing) I've got to go uphill!
164:51:44 Schmitt: I just about ended up down at the bottom of the hill.
164:51:46 Cernan: Okay; (static) 192, 3.8, 3.1; 88 and 80; (static ends) 108 and 0 on the batteries. The forward motors are 220 and about 270, and the rears are off-scale low and 220.
164:52:14 Schmitt: You want me to block the wheels? (Both laugh) You got the brake on, I hope.
164:52:20 Cernan: You betcha! (Pause) I don't know if I can lean uphill enough (to get off)! (Hearty, playful Laughter) I can't. Holy Smoley! Boy, are we on a slope!
164:52:35 Schmitt: You okay?
164:52:36 Cernan: Yeah. Let me get this thing set again.
164:52:38 Schmitt: I don't think you can get a (gravimeter reading)...
164:52:40 Cernan: Boy, are we on a slope!
[Cernan - "Even the pan I took from up above Tracy's Rock doesn't really show you the slope; but the comments do. And we were parked cross slope, pointed roughly east, because they wanted us pointed 107. I had to get off uphill, and it was really pretty hard to get off. Jack said he almost rolled to the bottom of the hill. It was almost like parking in San Francisco, except we were parked side slope. Now, when we got back on, it was just the opposite: it was very difficult for him to get on and it was very easy for me. We might have wanted to park uphill or downhill, but we parked at their heading for battery cooling."]
[On Apollo 15, at Station 6a, Dave Scott and Jim Irwin also parked on a steep slope and, in that case, they decided to have Irwin stay with the Rover so that he could hold on to it in case it started to slip.]
[Cernan - "Working on hillsides wasn't something that you couldn't handle. Let's face it, you're on the Moon, it's a new environment, and all of a sudden you're on a hill. It wasn't something that you didn't expect. It's like you get on an airplane and you go to San Francisco and you sort of know what to expect. But you go and park on one of those hills and you still say "Wow"! In one sense, we were trying to relate to the people who were listening what we were confronted with, because they couldn't see any of it."]
164:52:44 Schmitt: Okay. I'm going to stay out from between the rocks. It's a beautiful east-west split rock. It's even got a north overhang that we can work with. (Pause) And let me see what it (the boulder) is! We're right at station 6. You wouldn't believe it.
164:53:08 Cernan: I would. Oh, man, what a slope!
164:53:11 Schmitt: And this boulder's got its own little track! Right up the hill, cross contour. It's a chain-of-craters track, and it looks like it stops (static) off where it started. It starts in, what looks to be, a lighter-colored linear zone. Trying to give you perspective, it's probably only about a third of the way up the North Massif. (Pause)
Video Clip ( 3 min 21 sec RealVideo clip or 35 Mb MPEG )
164:53:44 Cernan: Bob, are you reading us?
164:53:45 Parker: Read you loud and clear; and we've got a picture. (quindar tones heard again)
- Posts : 1476
Document referenced in video 1 .....
Theoretical and experimental processing of lunar television pictures final report
Link - http://ntrs.nasa.gov/search.jsp?R=19650007613
Quote - Page 4
Link - http://ntrs.nasa.gov/archive/nasa/casi.ntrs.nasa.gov/19650007613.pdf
Station-1 video clip showing a Very obvious example ...
Apollo 17 Quindar Tone Example
Link - https://www.youtube.com/watch?v=wrB6uCV2F0k
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