Jacob's cabin on the station: the chair swivels and Earth turns past outside the window.
The camera, where it looks, the chair and how much he faces the camera, at each moment. Pick a key and move it; the scene jumps there so you see it. Add a key at the current time, then Copy settings when it is right and I will bake it in.
In free look, place the camera where you want it, pick a key and press "Use this view": the key takes the camera's place and what it looks at. Changing a key's sliders from free look does the same first, so the camera stays where you put it. Editing holds the timeline; scrolling the scene lets it play on.
The site's first shot: he is at the desk, someone comes in, he turns and waves, the greeting forms, then he gets up and walks off as the camera goes over the computer, out of the window, and outside: it turns to find the station, pulls out, and closes on a hangar. It plays on its own, or the wheel scrubs it either way.
Takes seconds out of the film, or makes room, from a point on: every key, the greeting, his actions, the flybys, the fighter's walk, canopy and roll-out, and the map's tour and dive all move with it. Keys inside a cut are removed; events inside it land at its start. Copy settings then carries the new times for me to bake.
The wave is a standing wave laid over his sitting pose, in three parts, each with its own strength.
Free look takes the camera off the intro: drag to orbit, wheel or pinch to zoom, right-drag or two fingers to slide, and it can go through walls. The named views below are the intro's fixed shots.
Extra models in the room. Pick one and nudge it; Copy settings writes the numbers out to be baked in.
Globe: the real sphere, 55k triangles; it turns, and shifts between the two windows. Picture: the old site's photograph of Earth on one flat rectangle below, 2 triangles, drifting past.
The live screens are sized from the bezels they find. Where one comes up short of the painted display, set its real size and nudge it.
How he sits in the cockpit (from 39 s). Pick a key in the hangar and move these; the frame follows.
Model 5, sitting, turning with the chair. He is put on the seat pan from the chair's own shape; nudge him if he is not quite on it.
The states are fitted to the photograph from five landmarks; these nudge the whole map about the middle of the country.
Pick a state and the film jumps to it; the sliders move its pin across the state. Each pin stands on a place: Cortez, Alamogordo, Columbia, Biloxi, Seattle. Copy settings gives the spots.