included the Gateway Arch, Lake Powell, Monument Valley, and Yosemite Falls. The barnstorming scene was filmed in California. A barn raising scene from the opening was cut from the final release. Space sequence To Fly! has a space sequence, beginning with the launch of a Saturn IB rocket. As it exits Earth's atmosphere, viewers are engulfed in the dark vacuum of outer space, aided by the existential narration, as the rocket fictionally drifts beyond the Solar System. Five nebulae are depicted, before ending with a view of Earth. The filmmakers were given special permission to film the launch, marking the first time a rocket launch was filmed on IMAX. They took this part of the production more seriously because it could not be repeated, unlike the other scenes, despite their equal level of difficulty. They left their camera outside for a day, allowing condensation to form inside it; this was exacerbated by seasonal thunderstorms. The camera was found wet and jammed, and they immediately cleaned it for around three hours. Eventually, the recording was recovered. With a low budget, the film crew initially conceived the space sequence as merely a compilation of astronomical images but realized they needed some kind of movement for a giant-screen film and thus saved money on the live-action filming in order to achieve a better space sequence. They expected To Fly! to be compared with the Cinerama classic 2001: A Space Odyssey (1968) and, despite their limited resources, tried to make the space sequence as reminiscent of that film as possible. When reading about the film's production, they learned that small objects like stars on an IMAX presentation is much smaller on a traditional presentation; after some difficulty, they created stars on a Kodalith sheet negative. They also learned about the importance of movement from 2001. Because of the nature of IMAX, they could only film the space sequence at six and twelve frames per second (fps), and the use of stop motion is impossible. Additional limitations prompted detailed communication with the NASM to help assist the production. George Casey and Lester Novros of Graphic Films provided planetary models and studio facilities, and also assisted production. According to Blyth, "The [space]ship was a transparency of a starship model rear-lighted on a stationary glass frame"; MacGillivray and Freeman constructed it, and Blyth designed it to have the same color palette as the 747. The starship's components