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Lee Forman

Zapruder Film Conspiracy

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Comparison of 'hidden' upper righthand section in z-film, compared with view taken from North Peristyle location 11/04.

The red arrow points to R. Groden, who can be used for scale. The bushes were much shorter in 1963 than they are today.

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Take another look at the rifleman. IMO, these are 2 distinct and separate images.

They could not have been caught by Zapruder's camera, IMO. This appears to be a combination of 2 camera's footage - one possibly from the man in Nix 419, standing behind the retaining wall, as the rifle is positioned at almost a perfect 90 degree angle to the lens. The other, I really am unsure. From inside the pergola, perhaps. It's next to impossible to know, since we can't use the background for reference.

[Attachment 6 - stabilized view of the Rifleman in the panel area, using z196 - z207? The man, who closely resembles 'Badgeman' IMO, can be seen at center].

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Frame One through Frame 39 does have an anomaly in the upper right quadrant.

It is persistent, it looks like a MATTE overlay and it resembles, indeed,

the retaining wall and bushes in Nix and Moorman....

It essentially airbrushes the windows of the building to the right of the three upright narro windows (county records?)

View it in its "original" form here:

http://www.assassinationresearch.com/zfilm/z1.jpg

Shanet

ALSO: The animation above (Lees post of the horizontal shadow man) might be best interpreted as light and shadow falling on the Screen during a cineplex transfer. If one were filming a dub or "doctored"

copy from a screen (or mirror) and someone opened a door, and light fell on the screen briefly, this is what you would see.

This to me is the "watermark" that shows film transfer and duplication in what

is supposedly an original. It didn't happen in the darkroom, because the light would be a dark spoilage, this is a light shining onto the image that is being filmed.

ALSO: what are the strange letters on the left margin in 34-38, some are letters against the tree, some are against a solid background, glimpse of margin of

composite element ...? (these #s return around 160...169 "M" in left margin... ?)

The shadow overlay looks most human and like the Badgeman or gunman in

Frame 170, against the follow up cars black hood --- check it out:

http://www.assassinationresearch.com/zfilm/z170.jpg

Here is another anomaly, visible to the naked eye.

Click on frame 183 -- what is the secondary source of the building?

It is shown in the lower left hand corner and isolated in the upper

bracket fragment ... this looks like the triple overpass or a brick building !

http://www.assassinationresearch.com/zfilm/z183.jpg

ALSO coming and going at random are letters in the left hand margin

M, I, K, D, C, R etc.

Sometimes they are there and sometimes not....

??????????????????????????????????????????????

Duncan's theory comes into play here.

If someone from a nearly identical Point of View as Zapruder were to pan

across the parade route, a few yards before the limo, but with no limo in the frame, then this stock footage could have been used to superimpose the

limo in the bottom of the released zapruder film -- and all the witnesses like

Jean Hill and Mary Moorman would still be in the movie....

That retouching of the first forty frames or so in the upper right hand that Lee Forman points out ... that is the "smoking gun" for forgery,

this is more compelling than the pincushion effect problems

or speed and braking issues.

Some one asked what was the one "flag" for fraud, and here it is,

along with the super fast blood dispersal 313-314.

Edited by Shanet Clark

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Go to frame 461 and look at the ghost image - it is part of a shrub that has branches and foliage on it.

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I googled ZAPRUDER FRAME (no pun intended) and got several good

discussions. The big edit, the jump from no limo to limo in the kill zone,

is supposedly Zapruder turning off the camera, then turning it back on.

However, this would have produced strong overexposure of the First frame

of the "restart" because the Bell and Howell always overexposed the first frame

after a complete stop.

So someone edited out the missing portion and made a spliceless splice,

which means a false master print --- read the various opinions, they range from

TOTAL FAKE to INNOCENT HOME MOVIE.

I am concerned about the letters on the margin, this is evidence of tampering that is not visible when the movie is screened, only when the full frames are inspected.

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Shanet - I believe the letters spell 'Kodak' -- Kodakchrome or Cinechrome or something similar. I do not know whether or not they are consistent throughout the film.

There are strange items that defy explanation throughout the film, but the question I still believe worth asking is whether these images were planted for the purpose of demonstrating the existence of a vast conspiracy - involving numerous films taken from a variety of viewpoints. I am still trying to figure out the sublayer, as opposed to the obvious issues with the primary.

The images you have raised are also curious. I was unable to match that 'window' anywhere - not that I did not make the effort. That is part of a larger 'sequence.' I have seen it explained as a window in the courthouse - which IMO, doesn't work.

What appears, in my view, to be a rifle - aiming, firing and recoiling - there is nothing in the main action area to satisfy the movement of this object. I had originally believed that it was in fact the rifle used to inflict the throat wound, and that it could be correlated with Kennedy's reaction, and perhaps one of Zapruder's 'jiggles' in reaction to the report - I no longer believe this to be the case.

Using the 'primary' layer of the Zapruder film to establish much of anything, IMO, is highly suspect - as will one day be seen when one of the other films emerges - despite the predictable efforts by the disinformationists to discredit entire as a hoax.

There is another section which IMO appears to be a view from behind the picketfence, focused on the action behind the retaining wall. Inconclusive, but would a highly sophisticated computer program be able to separate the cross-talk using some serious algorithms and photogrammetery? I'll offer that one - I may animate it to gauge movement.

Also - don't know if you ever saw my piece on the Shaneyfelt exhibit? I'll post it here, as it may be connected. Edward K. Thompson had a hand in 'filling in the cracks' in the backyard photo. Thompson was C.D. Jackson's editor and apparently had some skill at creating composites. There's a basement/garage I would like to root through. Maybe he has some kin that can be contacted.

The attached from the Warren Report.

- lee

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Here's the Shaneyfelt exhibit. I have enhanced several portions. Note what appears to be a stamp, text, handwriting, etc.

I overlayed this photo with the DeMohrenschildt version to identify the location of the text allegedly written by LHO - not anywhere near the locations of the areas I have highlighted in the attached.

Thompson died in 1996. Why is CD Jackson on the 'Mysterious Deaths' list?

http://www.governor.state.nd.us/awards/rr-...y/thompson.html

A former editor of Life magazine, Edward Thompson received his early journalism experience in North Dakota.

Raised in St. Thomas, North Dakota, Thompson began his journalism career in 1927 as editor of Carrington’s Foster County Independent. Two months later, he was the night city editor of the Fargo Forum. In another two months, he was a reporter for the Milwaukee Journal in Wisconsin. Thompson later became picture editor and assistant news editor at Milwaukee. He joined Life magazine in 1937.

In 1942, Thompson joined the Army, where he edited a magazine for air force intelligence. By 1944, he was in charge of intelligence concerning the German Air Force.

Thompson returned to Life magazine in 1945 and became assistant managing editor. In 1949, he was named managing editor. After his retirement from Life in 1968, Thompson served as special assistant to the Secretary of State for Far Eastern Affairs.

From 1970 to 1980, Thompson became the founding editor and publisher of Smithsonian, one of the largest monthly magazines in the United States. He retired in 1980 and authored A Love Affair with Life and Smithsonian.

- lee

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Sharp eye, Lee, as usual

Looks like the mattes had picked up some text along the way ...

Good stuff on Thompson, that guy was a ranking "lifer" in the agencies.

Edited the Army Intelligence Magazine and was in charge of intelligence

concerning the Luftwaffe....now that is just a good independent journalist, Lee...

:rolleyes:

This whole Zapruder / backyard / Life Magazine connection goes through

an intelligence agent, Thompson...very interesting...

Edited by Shanet Clark

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Shanet wrote:

So someone edited out the missing portion and made a spliceless splice,

which means a false master print --- read the various opinions, they range from

TOTAL FAKE to INNOCENT HOME MOVIE.

I am concerned about the letters on the margin, this is evidence of tampering that is not visible when the movie is screened, only when the full frames are inspected.

[...]

___________

The discussed area is called the "sprocket hole area"...

Much work has been done is this area, if you'd like, I can supply a few websites that will define the 8mm edge markings. KODAK website has the definitions available, too.

I spoke with Roland Zavada of HSCA fame regarding film edge printing, he confirmed to me, over the phone; Kodak double 8mm unsplit may be manufactured without edge markings... take that where you'd like!

Over exposure on first frames is a "gate issue - light leakage" with the B&H camera, see the Zavada Report. I don't have a url handy, it is however, all over the internet...

David Healy

Edited by David G. Healy

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Thanks DHG#1

The edge marking letters wouldn't bother me if they were always present.

But they come and go.

Shanet

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This doesn't exactly belong here, but I thought it should be documented someplace.

These are 2 of the cameramen on the stairs. I created this montage originally under the assumption that there was only one man on the stairs. My mistake.

They appear to be using handheld, portable cameras. Again, the light is refracting from their lenses in a brilliant fashion, making them visible to the naked eye in good quality [early generation] copies of the Moorman. I think it would be very interesting if these were all B&H Director Series Zoomatic 440s - however the B&H is a clunky affair, and difficult to view, grip and shoot with.

Is it out of the question that one or more of these 'cameras' is in fact a high quality spotter's scope?

It's interesting to note that the theory about these individuals being stenciled in after-the-fact [which may be true for some of the 'human shaped objects' behind the fence in Moorman], the montage included has a cut from the UPI Moorman [11/23/63]. I tried to collect as many 'first-day' Moormans as possible, as with later generations, the successive alterations do a fair job of sweeping the stairs clean. At least one of these operatives is still fairly well visible.

I also believe that there may have been an effort to camoflauge a shooter by surrounding him with cameramen [with bags, tripods, and phony press IDs perhaps] - but that's not the focus of this thread.

- lee

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I never figured out why the alterationists would have added this bogus individual, but here he is - from Moorman. I nicknamed him 'The Phantom.'

If you examine Muchmore [inset at bottom right], he is a 'cut and paste.' In Nix, I followed him into the 'tint' and he vanishes. Perhaps he was created to provide cover for some of the many individuals gathered on the stairs. He certainly does not fit the description of Emmett Hudson concerning the 'young man' with whom he was speaking with before and during the assassination.

They should have spent a bit more time on his legs and finishing his left foot. In Muchmore, he is practically transparent, and the green background goes right through his body.

In Nix - he vanishes.

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Last one from this location - this is an interpretive rendition of one of the guys on the stairs with his camera - from Muchmore.

- lee

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The Nix cameraman fell from grace somehow, so here's a new one. Frame 419. The subject of this man's camera does not appear to be the motorcade.

Smoke on the knoll?

- lee

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I have to tell you that when I read over this post that I just shook my head in disbelief. There are some of the most poorly thought out claims being made that I have ever heard. Why in God's name would someone want to sit in the bushes and film the motorcade when they could stand along the street or along the wall next to the reflection pool?

You wouldn't want to be openly seen if you were wearing Cuban Military garb as part of a prearranged plan to record the assassination and place the blame on Castro.

Since you seem to have a very good relationship with Gary Mack, could you find out how we might get access to the Dorman film for some 1mb+ high quality digital scans of the frames of the North Peristyle area? That would be a tremendous contribution, and would either confirm or deny my assumptions concerning the camera team in this location.

All I have to work with is a 17K frame, and a ripped down mpeg. I have written the 6th Floor Museum concerning same with no reply.

- lee

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