Missing Nix frames

[Frank Agbat]

dgh: you've better eyesight than me, or a better NIX film to review... frankly I see no blood/brain matter at all in NIX... Wasn't Nix's camera rated at 18fps?

Bill Miller

David,

There is clearly bloodsplatter in the Nix film. Nix re-started his camera while the limo was on Elm and captured the headshot, along with the resulting aftermath. On the NFV DVD (Groden) it is quite visible. The visible splatter occurs at NS-23 (the 23rd "sequence" frame after the restart). However, close examination of the film shows that skull shape distortion is visible in NS-22. This is why I'm currently leaning toward NS-22 preceding Z313 slightly.

According to a message I received from Gary Mack, the Nix camera was tested and found to operate at 18.5 fps.

[Thomas H. Purvis]

Thank you Ashton, that sounds like a good idea. I'll go back and locate where the various images were and edit in a note and zip up the images and send them to you. I'll PM for the email.

The point to me was that it is a good idea to look at the stationary objects, it hadn't occurred to me. I first noticed the 'anomaly' when looking at Toni so I kind of froze my mindset there. The varied input shakes it and moves things along. Possibly by having a thorough look at all the possibilities will enable in time an understanding whereby each frame can be easily explained. Already, I think, the understanding has progressed significantly.

I'll do a 'stretch' tomorrow. I'm interested to hear how you would read the result.

____________

Bill, I'm aware that it would be called blur, but it's peculiar in how it seems to be two distinct images slightly offset with no apparent smear in between. Shouldn't a blur of whatever kind for the duration the aperture is open register all the time and not just as if at two separate moments? What exactly causes this particular kind of blur? A number of the frames around the headshot has this kind of blur. It particularly stands out with Jeans red coat. Other blurs like a few frames after the headshot (crossbar) is a smear, etc.

_______________

Tom, I'm not entirely sure what you mean but it sounds interesting. As I understand, we have a graph of horizontal movements and a graph of vertical movements, and one should be able to combine that into something meaningful. When having a limo speed as well, should it be possible to derive an exact understanding of all movements and then see whether there are 'anomalies'?

Tom, I'm not entirely sure what you mean but it sounds interesting. As I understand, we have a graph of horizontal movements and a graph of vertical movements, and one should be able to combine that into something meaningful. When having a limo speed as well, should it be possible to derive an exact understanding of all movements and then see whether there are 'anomalies'?

Appears to me that you grasped the concept quite well.

The leading edge of the yellow stripe & it's relationship to Mary Moorman provide a fixed point on the Elm St. Curb.

Additionally, this fixed point can be utilized and thereafter transferred to the trailing edge of the yellow stripe ( or vice/versa) to further establish a continued extention of known points.

By utilization of absolute fixed points on the limo such as radio antenna's; rear hand holds; edge of sun visor shade; vertical rail of hand hold bar; etc; then one can work from fixed points (on the street) to fixed points on the Limo.

http://www.assassinationresearch.com/zfilm/z307.jpg

And, although one can not see the leading edge of the yellow stripe here, it is relatively well established as to it's location.

http://www.assassinationresearch.com/zfilm/z298.jpg

http://www.assassinationresearch.com/zfilm/z295.jpg

Sometimes, one must think "backwards" in order to move forward.

Hope that helps.

Tom

[John Dolva]

Frank:

... "tracking error" is Zapruder's ability to accurately follow what he was attempting to film.

I put together a conceptual example of this by using Z-300 to Z-320 (from the MPI set). I created a vertical yellow line to mark the right hand edge of the frame. I then created a horizontal line and extended it to the crossbar junction on the limo windshield. The following picture shows Z300, Z320, and the position of the limo relative to the edge of the frame.

There is a delta of 2-3 pixels on where MPI "registers" the right hand portion of their frame, so there is some "thickness" to the composite vertical line for this reason. Also, some frames were blurry, and my horizontal length indicator was (honestly) just a best guess.

I see what you mean re the couple of blurry ones. This estimate, which also logs the vertical, compares well with your estimates.

Edited December 15, 2006 by John Dolva

[Ashton Gray]

I just wanted to mention how heartened I am to see representatives from all camps and theories working in harmony on this to get at the truth.

Ashton

[Frank Agbat]

Frank:

... "tracking error" is Zapruder's ability to accurately follow what he was attempting to film.

I put together a conceptual example of this by using Z-300 to Z-320 (from the MPI set). I created a vertical yellow line to mark the right hand edge of the frame. I then created a horizontal line and extended it to the crossbar junction on the limo windshield. The following picture shows Z300, Z320, and the position of the limo relative to the edge of the frame.

There is a delta of 2-3 pixels on where MPI "registers" the right hand portion of their frame, so there is some "thickness" to the composite vertical line for this reason. Also, some frames were blurry, and my horizontal length indicator was (honestly) just a best guess.

I see what you mean re the couple of blurry ones. This estimate, which also logs the vertical, compares well with your estimates.

John,

Terrific work. I had it in my queue to track the vertical error, but I've been running on overload over the past few days. I also need to get back to the Zapruder-Nix synchronization details. Perhaps this weekend will yield some free time. There are several other opportunities to establish a baseline sync estimate.

Anyway -- I think the next thing to do is look at how factoring your previous example (with the vertically stacked Z-frames and lines) might be impacted by adjusting the lines relative to the tracking error. I honestly don't know if this accounts for the anomalous areas...

[Ed O'Hagan]

Would it be helpful to conduct a comparative study of the early frames in the Nix film depicting the motorcade on Houston St. to those depicting the limousine as it was driving down Elm St.?

The assumption being that no frames would have been removed from the former.

[Bill Miller]

Terrific work. I had it in my queue to track the vertical error, but I've been running on overload over the past few days. I also need to get back to the Zapruder-Nix synchronization details. Perhaps this weekend will yield some free time. There are several other opportunities to establish a baseline sync estimate.

Anyway -- I think the next thing to do is look at how factoring your previous example (with the vertically stacked Z-frames and lines) might be impacted by adjusting the lines relative to the tracking error. I honestly don't know if this accounts for the anomalous areas...

Here is something for you guys to chew on for awhile .... some years ago I checked the camera movement of Zapruder in a stabilized Nix film to see if it matched the movement in reverse seen on the Zapruder film. I tested it in a couple of places and I noticed that they matched.

Bill Miller

[John Dolva]

I think so Ed, I wonder if you could start that and later the results could be checked.

It should be known that (AFAIK) the cameras were wound and a clock mechanism which slowly wound down drove the film feed.

IOW the beginning of a filming may run at slightly above the tested speed, then for some time the tested speed applies with a slight decrease, and at the end a more rapid decrease. IOW the earlier sequences and the later, with no rewinding, could mean that the frame speed at the time of Nix film headshot is already degraded. IOW at the time of the headshot the camera may have been running at, say 17.5 fps. ???

Bill, is there a more exact answer re the blur issue looked at before? A more clear sample is in Z-frame 311, Jean and Moorman.

[Bill Miller]

Bill, is there a more exact answer re the blur issue looked at before? A more clear sample is in Z-frame 311, Jean and Moorman.

John, it is really a simple rule of motion IMO. Zapruder frame 311 not only shows Hill and Moorman blurred, but Toni Foster and the people walking behind her as well. Foster and the people behind her are slighlty less blurred than Moorman and Hill because they are at least moving in a forward/left to right direction ... as the limo was when Zapruder moved his camera. This caused stationary objects like Hill and Moorman to be blurred the most - Foster and the people behind her to be blurred slighlty less, and the limo is the sharpest because it was moving closer to the rate of speed that Zapruder moved his camera.

Below is a still frame from a current movie which shows a woman in motion. Notice that the sitting man and the background appear sharp while we can see through the edges of the woman - motion blur. The opposite would have happened (the stationary objects being blurred and the woman being sharp) had the camera of moved with the woman.

Unlike Zapruder's camera of the early 60's, todays cameras have a built in stabilization function because people do tend to not hold their cameras perfectly still which would cause noticeable blurring when looking at stills made from the movie. One of the reasons I have previously menetioned Zapruder's camera movements as seen in a stabilized Nix film is because the effects of Abe's vertigo is quite noticeable and it is those camera movements that caused constant blurring of objects in the Zapruder film. What was blurred and how badly it was blurred depended on how well Zapruder held his camera still.

Bill Miller

Edited December 16, 2006 by Bill Miller

[John Kennedy White]

Hi Jack, a full size gif (5+ meg) is here

http://i27.photobucket.com/albums/c168/yanndee/c.gif

It would be good to get a number of opinions about how it looks speed wise. Gary has informed me that the 40 is a misread by Orville regarding film not camera speed. I've set this gif to run at 54 ms or 18.5 fps. The black flashes are frames inserted where I think frames are missing. More later.

As well as the reactions of Newman and Toni, the inside right motorcycle cop slows dramatically. Wonder what his testimony was?

This is riveting... and, I recall a discussion about this before, but am I the only one who sees what appears to be a bullet zipping from the fence high above the target after the last few black frames? Is it possible to see that with this frame rate? It appears halfway down the knoll, in a perfect line from the fence. I wasn't able to pause the loop to study it more closely...

[John Kennedy White]

I just wanted to mention how heartened I am to see representatives from all camps and theories working in harmony on this to get at the truth.

Ashton

Yes! I haven't seen this kind of genuine teamwork since I started coming here (on a daily basis) a couple of years ago.

Keep up the amazing work.

[Bill Miller]

This is riveting... and, I recall a discussion about this before, but am I the only one who sees what appears to be a bullet zipping from the fence high above the target after the last few black frames? Is it possible to see that with this frame rate? It appears halfway down the knoll, in a perfect line from the fence. I wasn't able to pause the loop to study it more closely...

There is no possible way for a bullet to be seen on a film that was photographing at 18fps. If it could be done, then there would have been no need for high speed photography.

Bill Miller

[Chris Davidson]

Bill, is there a more exact answer re the blur issue looked at before? A more clear sample is in Z-frame 311, Jean and Moorman.

John, it is really a simple rule of motion IMO. Zapruder frame 311 not only shows Hill and Moorman blurred, but Toni Foster and the people walking behind her as well. Foster and the people behind her are slighlty less blurred than Moorman and Hill because they are at least moving in a forward/left to right direction ... as the limo was when Zapruder moved his camera. This caused stationary objects like Hill and Moorman to be blurred the most - Foster and the people behind her to be blurred slighlty less, and the limo is the sharpest because it was moving closer to the rate of speed that Zapruder moved his camera.

Below is a still frame from a current movie which shows a woman in motion. Notice that the sitting man and the background appear sharp while we can see through the edges of the woman - motion blur. The opposite would have happened (the stationary objects being blurred and the woman being sharp) had the camera of moved with the woman.

Unlike Zapruder's camera of the early 60's, todays cameras have a built in stabilization function because people do tend to not hold their cameras perfectly still which would cause noticeable blurring when looking at stills made from the movie. One of the reasons I have previously menetioned Zapruder's camera movements as seen in a stabilized Nix film is because the effects of Abe's vertigo is quite noticeable and it is those camera movements that caused constant blurring of objects in the Zapruder film. What was blurred and how badly it was blurred depended on how well Zapruder held his camera still.

Bill Miller

If the camera movement is the same or very similar, do the objects in the foreground/background,

moving/not moving have to reproduce consistantly?

Here are frames 133-325 on a white background to show camera movement.

A few of the frames (around 309 where Jean Hill is between the sprockets(count back from 313 head shot) she appears to be more in focus, but the camera movement is mild.

chris

[Chris Davidson]

Bill, is there a more exact answer re the blur issue looked at before? A more clear sample is in Z-frame 311, Jean and Moorman.

John, it is really a simple rule of motion IMO. Zapruder frame 311 not only shows Hill and Moorman blurred, but Toni Foster and the people walking behind her as well. Foster and the people behind her are slighlty less blurred than Moorman and Hill because they are at least moving in a forward/left to right direction ... as the limo was when Zapruder moved his camera. This caused stationary objects like Hill and Moorman to be blurred the most - Foster and the people behind her to be blurred slighlty less, and the limo is the sharpest because it was moving closer to the rate of speed that Zapruder moved his camera.

Below is a still frame from a current movie which shows a woman in motion. Notice that the sitting man and the background appear sharp while we can see through the edges of the woman - motion blur. The opposite would have happened (the stationary objects being blurred and the woman being sharp) had the camera of moved with the woman.

Unlike Zapruder's camera of the early 60's, todays cameras have a built in stabilization function because people do tend to not hold their cameras perfectly still which would cause noticeable blurring when looking at stills made from the movie. One of the reasons I have previously menetioned Zapruder's camera movements as seen in a stabilized Nix film is because the effects of Abe's vertigo is quite noticeable and it is those camera movements that caused constant blurring of objects in the Zapruder film. What was blurred and how badly it was blurred depended on how well Zapruder held his camera still.

Bill Miller

If the camera movement is the same or very similar, do the objects in the foreground/background,

moving/not moving have to reproduce consistantly?

Here are frames 133-325 on a white background to show camera movement.

A few of the frames (around 309 where Jean Hill is between the sprockets(count back from 313 head shot) she appears to be more in focus, but the camera movement is mild.

chris

[John Dolva]

Gratitude for being able to procedeed with a minimum of negativities. Congratulations to every one really. It makes it easier to ditch mistakes and change the conclusions to suit the results. No real conclusions yet, just an ongoing check in a number of ways.

John, I think the streak that could be taken for a bullet track, rather than a bullet, is a defect on one particular frame. If you get a copy of irfranview (good freeware widely available latest version : http://www.irfanview.com/ ) you can use it to extract the frames and have a look.

Bill, That doesn't address the question. That motion blur has continuity. Take a look at the frames like 311 at Jeans red coat. There are two much more distinct images making up the blur. What causes this. What causes that PARTICULAR TYPE of blur?

______________

An 'anchor point".

in Z325-Z326-Z327 Jackies hand makes a movement ( across and down ) that matches almost exactly in time and space the hand movement in N35-N36-N37.

This means that N23 is about 2/10th's of a frame time after Z313.

Edited December 17, 2006 by John Dolva