Kiwi, thanks for the info on Aulis, Clavius and Telus - I'm not as schooled in hoax theory as you think.
You're welcome, particularly because you don't sound quite the same as some of the hoax-believers who pop in here at times. Mind you, it's not too hard for ordinary mortals to be unlike some HBs.
Aha, our friends Percy and Sibrel. Yes, we've had dealings with them. This post has some info about Bart Sibrel about six months ago:
apollohoax.proboards.com/index.cgi?board=theories&action=display&thread=2595&page=1#74254Stick around, because the more you learn about Apollo and the related sciences, the more you'll realise that those movies are somewhat unconvincing.
Here are some of my comments on them, mostly in square braces. If you send me a personal message with an email address, you can have the entire transcripts and commentaries.
Percy, WHOTM, part 1:
0:10:16 David Percy: We've dubbed this the jump salute. [There were actually two of them.] When the astronaut reaches the peak of his jump, his colleague takes a snap with the Hasselblad stills camera. Let's ignore the reasons as to why such a small jump in the much-reduced one-sixth gravity of the moon, and continue, instead, with the discontinuities revealed by these images.
0:10:21 [The flap can be clearly seen at the top of the first jump. Percy freezes the second jump.]
0:10:34 David Percy: This is the resulting Hasselblad photo of that event. [Photograph AS16-113-18339, the photo of the first jump.] The most significant difference between these two images of the same action, is that in the still photo, there is a triangle of fabric that should be absolutely secure and motionless, that has flapped up from the top of the PLSS, the personal life support system, as the astronaut jumps into the air. [There is no air on the moon.]
0:10:52 David Percy: In the TV freeze frame we can see this triangular flap is correctly fastened [No we can't] and is therefore not visible. It's not flapped up. [Not true. We can see its tip above the right-hand red stripe on the PLSS.] If it had done so, it would be very obvious in this rear view, the TV image.
0:11:02 [The finger points to the wrong part of the PLSS.]
0:11:06 [Photo of the top of the PLSS in the docu-drama, From the Earth to the Moon, in 1998.]
0:11:06 David Percy: You can see the size and detail of the triangular flap from this view of the top of the PLSS.
0:11:12 David Percy: How could this part of the vital life support pack not be correctly fastened in place on a real Apollo situation on the moon? [It's only an exterior fabric flap — no oxygen would escape.] In any event, actions taking place simultaneously, such as TV and stills photography of the same event and the same time, must show the same detail. [Not when the cameras are viewing the event from completely different angles, as occurs here.] Both versions cannot be correct.
0:11:32 David Percy: In other words, this piece of TV footage [of the second jump] and this still picture [of the first jump] cannot possibly have been taken at the same time. [Percy is actually correct, although he doesn't seem to know why, or seems to hope that we are unaware of what he has done. AS16-113-18339 shows the first jump, but his TV freeze-frame shows the second jump, which is shown in the next photo, AS16-113-18340, and he neglects to show. The flap is visible in both photos due to the completely different view from that of the TV camera.]
0:11:38 David Percy: This is, in our view, a designer continuity error that cannot have occurred by mistake. [Dead right – it's David Percy who has made the mistake.] The triangular flap would have had to have been intentionally unfastened and hinged upwards and secured in an open position to be visible from the front as is recorded in the still photograph. [No it wouldn't. See it flapping up and down between 10:12 and 10:23, particularly at the end of the first jump.]
0:23:58 Shadows in photos
0:24:07 David Percy: In these earth pictures of typical tree shadows, notice the parallel lines of shadow on the ground. [Not true — check this. Two pieces of paper laid along the shadows will meet just outside the top right of the screen.]
0:24:08 Tree shadows — two trees
0:24:13 David Percy: And also that the shaded side of the trees is very dark, which does not allow for any visible detail. These points are both logical and unsurprising. [It's also logical and unsurprising that the shaded side of tree trunks is dark because their colour is dark, just like the rocks on the lunar surface. And it is logical and unsurprising that they could be lightened by a suitable increase in exposure, just like subjects on the moon. Note also that the distant buildings are lit up, even though they are in shadow too. This is logical and unsurprising too, because they are light-coloured, although nowhere near as light as a white spacesuit.]
0:24:14 Tree shadows — three trees. [Two pieces of paper laid along the left and centre shadows will meet just outside the top left of the screen.]
0:27:50 Percy's shadow analysis is wrong — shadow directions can vary depending on what they fall on. The correct method is to connect part of an object with the corresponding part of its shadow. With a single light source, all the lines will then meet at some point — either where the light source is or at its opposite point.
1:06:47 Ronnie Stronge: Could these two differing flag positions from Apollo 11 be a form of semaphore, signalled to us by whistle-blowers? [Is the writer of this at all familiar with semaphore?]
1:06:56 Ronnie Stronge: Once again, here is the message of the passage of time, symbolised by erect and drooping flags. [Does this sound a little nonsensical and a little sick?]
1:14:17 Bobsleigh, 1990. Here Percy makes an absurd comparison between an open bobsleigh in an atmosphere, compared with the sound received by a noise-cancelling microphone inside a bubble helmet, which in turn is inside an enclosed, pressurised lunar module, with a rocket exhaust on the outside in a vacuum, where the usual noise is not created and, even if it was, where sound cannot travel. Jet engines are very noisy outside an aircraft, but are they equally as noisy to the passengers inside?
1:41:59 David Percy: There appear to be some blatant discrepancies in the location of the LM in relation to the surrounding landscape in Apollo 17.
1:42:26 Map of the Apollo 17 landing site
1:42:40 [TV film of the lunar module (LM) at the landing site. Note the flag at right.]
1:42:54 [Apollo 17 photo — part of a pan which includes AS17-141-21599, Gene Cernan with the Traverse Gravimeter Experiment]
1:43:02 [David Percy points out features on East Massif, but he apparently doesn't know its name and has no idea how far it is from the landing site. Note that the second mound with the "larger, darker crater-like feature" (commonly known as "the dark outcrop") is not obscured by the lower slope of Bear Mountain, which is just to its right and much closer to the camera. Approximate distances in this photo are: Dark outcrop, 18 km; Bear Mountain, 8 km; Bottom of eastern slope of South Massif, 10km; Lunar Module, 3.5 km; Peak of East Massif, 20km — it looks closer to the camera than the outcrop, but the slope to the top is very gradual.]
1:43:25 [The Apollo 17 ALSEP site with Geophone Rock toward centre right and Bear Mountain behind it, nearly obscuring the dark outcrop.]
1:43:44 David Percy: We have confirmation of the LM's apparent close proximity to this location. [No, it's not close at over 13 km away. It only appears close to Percy, who hasn't done his homework.]
1:43:59 [Split Rock or Tracy's Rock, named after Gene Cernan's daughter. Part of a pan which includes AS17-140-21496, which shows Jack Schmitt with the gnomon, and to the right of the top of Tracy's Rock is the lunar module, 3.5 km away in the distance.]
1:44:14 David Percy: Here's another view, looking over Split Rock. Note the crater in the centre [Henry] with no obvious sign of the lunar module at all. [But it's there, on the small light-coloured patch at centre right, above Henry.]
1:44:30 The LM visible from Split Rock
1:44:41 David Percy: What anomalous scaling, compared with the close-up view of the LM we saw earlier. [Not at all. The light-coloured mound against the distant mountain, East Massif, is over 13 km from the LM and about 16 km from Split Rock. The "mini crater" above it is about 150 meters in diameter.]
1:44:51 David Percy: Absolutely enormous mountains. [Exactly, and a long way from the camera too, which are points that Percy is either ignorant of or deliberately choosing to ignore.]
1:45:01 [Amazing. In a cropped copy of AS17-145-22174, Percy circles a small rock at Camelot Crater, then...
1:45:07 ...in TV footage circles the flag beside the LM, as if it is the rock. The flag can also be seen earlier at 1:42:44.]
1:45:18 [Two photos taken at Camelot Crater, AS17-145-22163 and 22164.]
1:45:26 David Percy: Now as we mix through to the TV coverage [EVA 2, Site 6], the LM is clearly at the same location. [No, it's not at the same location. We are seeing the same mountain well over 10 km away from two different locations.]
1:45:35 David Percy: Compare this still image, from which the LM is absent, with what is obviously the same location, where the LM is present. Although the lighting has changed, the mountain is still recognisably the same.
1:45:46 David Percy: All very surprising, because earlier we registered that the LM was absent from this spot. [But it isn't the same spot, as Percy insists.]
1:45:49 David Percy: The LM was absent from this spot. [Of course, because "this spot" is 1.5 km from the LM and the mountain is a long way from both. There is no mystery, but Percy wants us to believe there is.]
1:45:52 David Percy: We also noted that the LM had apparently landed well away from those mountains, but in this TV freeze we see exactly the same mountain yet again, with the LM. [So, what exactly is surprising? The LM is well over 10 km from East Massif.]
1:46:12 David Percy: It looks as though the mountains were moved around. You see, money was no object with Apollo, so we must conclude that this action is a further example of intentional whistle-blowing by those involved. [Only to Aulis, who clearly have no understanding of the location but are convinced that they do.]
It goes on, and on, and on...