"Robert A. Heinlein - Shooting Destination Moon (Article)" - читать интересную книгу автора (Heinlein Robert A)

man; he searched around and found one he likedтАФthe crater Harpalus, in
high northern latitude, facing the Earth. High latitude was necessary so
that the Earth would appear down near the horizon where the camera
could see it and still pick up some lunar landscape; northern latitude was
preferred so that Earth would appear in the conventional and recognizable
schoolroom-globe attitude.
Having selected it, Mr. Bonestell made a modeftf it on his dining room table,
using beaverboard, plasticine, tissue paper, paint, anything at hand. He then
made a pinhole photograph from its centerтАФ Wait; letтАЩs list the stages:

1. A Mount Wilson observatory photograph.
2. BonestellтАЩs tabletop model.
3. A pinhole panorama.
4. A large blowup. -


4
5. A Bonestell oil painting, in his exact detail, about twenty feet long and
two feet high, in perspective as seen from the exit of the rocket, one
hundred fifteen feet above the lunar surface.
6. A blownup photograph, about three feet high, of this painting.
7. A scenic painting, about four feet high, based on this photograph and
matching the Bonestell colors, but with the perspective geometrically
changed to bring the observer down to the lunar floor.
8. A scenic backing, twenty feet high, to go all around a sound stage,
based on the one above, but
with the perspective distorted to allow for the fact that sound stages are
oblong.
9. A floor for the sound stage, curved up to bring the foreground of the
scene into correct perspective with the backing. -
10. A second back drop of black velvet and тАЬstars.тАЭ


The result you see on the cover of this issue. It looks like a Bonestell
painting because jt is a Bonestell paintingтАФin the same sense that a
Michelangelo muraI~ is still the work of the master even though a dozen
of the masterтАЩs pupils may have wielded the brushes.
Every item went through similar stages. I was amazed at the
thoroughness of preliminary study made by the art departmentтАФErnst
Fegte and Jerry PychaтАФbefore any item was built to be photographed.
Take the control room of the spaceship. This compartment was shaped
like the frustrum of a cone and was located near the nose of spaceship
Luna. It contained four acceleration couches, instruments and controls of
many sorts, an airplane pilotтАЩs seat with controls for landing on Earth,
radar screens, portholes, and a hatch to the air lockтАФan incredibly
crowded and complicated set. (To the motion picture business this was
merely a тАЬset,тАЭ a place where actors would be photographed while
speaking lines.)
To add to the complications the actors would sometimes read their lines
while hanging upside down in midair in this set, or walking up one of its