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Chris Davidson

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  1. Answers above in red text. P.S. The math doesn't lie, you just need the proper conversions and equations.
  2. The variation starts at Station# 2+00. The parallel track is 100ft from Station 2+00 to 3+00 (extant Z133) = 208 frames The altered(forwarded) track is 100ft @166frames Relink in case you forgot from what document you saw the 100ft/166frame split: https://drive.google.com/file/d/1CiFoD500L2lnrkEPnWZ4RTgZk6hdLyfT/view?usp=sharing 100ft/208frames = .48ft per frame 100ft/166frames = .60ft per frame .12ft per frame difference created by a 42 frame total difference. Towner’s line of site plotted to the signal light post in the background crosses Station# 2+00. Then connect back to the Z pedestal. Common landmark among both filmers. It’s also where they start the cycle cop pre-limo tracking coverage. Look closely and you can see his cycle being traversed by Z’s LOS at bottom and the signal light post above. His body is actually one frame from reaching the traversing lines. That signal light-post was surveyed in by Robert West in a completely separate document which placed it in line with the CriminalCourts building corner and 2ft in from the curb.
  3. Look no further for a distance given that can be used to tie together Myers and the WC relating to dealing with more than one film. In this instance, a contiguous film starting with 208 frames. .12ft x 208 frames = 24.96ft .12ft x 18.3fps(1sec) = 2.196ft per sec/1.47(1mph) = 1.493mph It's much easier dealing with this sh_t from a macro instead of micro perspective. Unfortunately, all the previous work had to be completed from within. My image hosting site is having problems, so it's Google Drive links for now. https://drive.google.com/file/d/1kDgm2NpbFxgjwYyq9BA2keE0suLyK95V/view?usp=sharing
  4. Allow me to answer this way: Imagine that the spliced extant z212 frame(supposedly 212 is the bottom part and 208 the top) was actually two 1/2 frames from two different films. And, when they were filming Shaneyfelt and cohort upon the pedestal, that other film was from a location/LOS similar to the person filming Shaneyfelt. We then needed to keep our 1.3° to 3.13°(street slope) angle rotation relationship. Scale it and move the top half (supposedly extant 208) down to accommadate for the parallax effect. What would it look like:
  5. Two separate (8mm 16 and/or 18fps) cameras shooting a partial overlap of the same footage. The same frame rate is necessary for a "frame x frame" sync according to Myers. The frame rate is 22.8fps/16(1.42x faster than rated) or 22.8fps/18(1.266x faster). I have shown you partially(purposely) why the frame rates were increased. These two cameras did/do not possess that fps capability. Please find a probabilities expert and ask them what the odds of this previous scenario are? SLIM AND NONE There is no speculation. There is the realization that the WC/FBI/SS etc... and Myers knew exactly what happened and from there created an alternate reality. So, I will not be wasting any more of my time with your speculations. It's onward with more revelations. A much wiser use of my time.
  6. Backfill #2: Myers frame rate for Towner 8mm camera = 22.8fps for his"frame x frame" syncs to work Zapruder frame rate for 8mm =18.3fps Towner extant frames according to Myers = 167 167/22.8 = 7.324 sec 167/18.3 = 9.125sec 1.8sec x 18.3fps = 33frames = Myers backfill below +/- 1 frame P.S. Towners camera did not have a setting for 24fps
  7. And, if you want to add more of the "CoverYourA_s" pre-assassination frames besides the 132 (cycle cop) frame segment, look no further than the Kodak report: Once again, 132 + 117
  8. Which is why this paragraph from Myer's "frame for frame" sync study is one of the most important in the entire document: https://drive.google.com/file/d/1wxBvFXRuh0THH_ATp_6LwOqqClLuP6JT/view?usp=sharing Because he shows you not where the hypothetical Z118 resides. He shows how many frames he had to remove(33 + 42 + 42) from the real Zfilm for it to reside there. His method of backfilling. Their are two more backfilling confirmations within this paragraph, one of time and the other distance, but I'll wait until this is clear to those following to sync them for you.
  9. Once that sinks in, apply more "outer" frame bracketing from above: For instance, the analagous extant pre-limo footage consists of 132 frames. 132 + 117 (33+42+42) = 249
  10. "or am I mucking this all up… lol" No, your comprehension skills are quite stellar. Now that you have this concept more resolved, let me backfill some more for you. All based on 18.3fps. The WC retarded their frame count at the beginning and used StationC for their adjusted beginning. You can fill in the total missing frame count from the beginning by using the "hide in plain sight" frame designations. 133 - 166 - 208 - 250 133 + 33 + 42 + 42 = 250 604 - 250 = 354 354 = extant z133 - 486. Actually it's 250.66 missing, but I reserve the right for +/- 1 frame https://drive.google.com/file/d/1CiFoD500L2lnrkEPnWZ4RTgZk6hdLyfT/view?usp=sharing
  11. Thanks David, Let me give you a more precise number for this, in a mild brain-busting manner. We have a somewhat analagous Towner film (not including total missing frames) to extant Z We know Z started filming the limo around the Houston/Elm St corner. Use the 207/208 frame count splice in the context of a film beginning. Or, use Doug Horne's research and find a block of continuous frames unaccounted for. Then, subtract 75(see previous postings) from that total. 2ft7inches = 2.5833...ft of 8mm film 80 frames = 1ft of 8mm film 2.5833...ft x 80 = 206.666 total frames
  12. Back to some more numbers. One indicator of those 75 excised frames. Look no further than the frame span from extant Z132/133(splice)-Z207/Z208(splice) = 75 frames
  13. One reason for enlarging would be to accommodate angle changes. The 3.13° slope of Elm is exactly the angle I used to align this next gif, besides scaling it. I suggest watching the faint grass&curbline that appears in the re-enactment as the Zfilm disappears. Then ask why a true grassline/curbline doesn't appear in the reenactment. Notice JFK's head position/alignment among both frames, along with the other passengers.
  14. After the Stemmons sign, the re-enactment film is enlarged within one frame(might want to ask yourself why) moving forward at the new size. Appearing in the enlargement frame is a reminder of the same residual affect from the extant Zfilm. Or, you can look closely at the gif above using the darkened wall holes from the re-enactment and locate those same dark holes in the extant zfilm.
  15. Moorman will show you the third camera person. Just look at the same dark objects(close to the same height) which cross both Z and Sitzman's faces. I believe that is her right hand holding her camera up to her face. My guess is there is a 1.3° camera angle difference between them. A good reason why we never get a clear photo/film footage of them upon the pedestal.
  16. John, It's best to stabilize the elements within the extant Zfilm first, and then analyze them. Here's Jackie for you playing at approx 17fps. It may take a bit of time to load.
  17. Early on, and in more ways than one. Curbline rotation again. A common theme occurring among the extant zfilm and its recreation/reenactments?
  18. The location of the person filming, who films Shaneyfelt up on the pedestal. Does that location look familiar Mr Wiegman? I believe some obstacles had to be considered in the final product.
  19. It is Wiegman 308 which occurs 44 frames after the Wiegman/Z sync of extant Z447. 44/24fps = 1.83sec x 18.3fps = 33.5frames(sound familiar) Z447 + 33.5 = extant Z481 Extant Z481 = five frames before extant Z stops filming.
  20. Throw in an example of: The vertical difference in background objects reflecting the height difference between Shaneyfelt(more than likely) and Zapruder both filming from the pedestal.
  21. And, just as it's impossible for the curb angle differences above, it therefore would be for a lamp-post "between the sprocket holes" too:
  22. TWO CAMERAMEN - TWO DIFFERENT FILMS - TWO DIFFERENT LOCATIONS PROOF OF CONCEPT: The curb angle difference between the sprocket hole area and main frame = 1.3°
  23. TWO CAMERAMEN - TWO DIFFERENT FILMS - TWO DIFFERENT LOCATIONS PROOF OF CONCEPT: Besides the camera heights, a slight size difference of the foreground people(not including between the sprocket holes).
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