I animated the Capcom responding to Sergei in the animation file for this shot, but then I realized it took too long to get around to her. So I reblocked the camera move to go more directly to the Capcom. This sacrifices an overview of the big screens and the Mission Control Room set -- but there's another shot, LA-2-C, that shows more of it, so I don't really need it here, and I'd rather show the Capcom.

The blank screen at the beginning will have a video texture of the Soyuz in flight (as if from ground tracking telescope). The idea is to start out with a magical impossible camera shot, but apply filtering to make it look like the video from the telescope, and then smoothly transition to Mission Control and the Capcom. Not there yet.

Still could be a little cleaner, but I think this is an improvement.

I often go through a lot of variations like this to figure out how I want to compose a shot. That's one big advantage of the 3D animation workflow.

This was recorded to check lip-sync, so there is only the "voice stem" -- there's a lot more in the full soundtrack, though I'm still working on that, too.