Chris Davidson

Great, Chris! Can you post the FULL FRAMEs of each image? If they have different image coverage but are different sizes, your find would be very significant, since she was not using a zoom lens. Have you tried the overlay gif with all five images? Jack Jack, Here are the original images I started with. The later in-sequence Bond (file 63) was scaled to 105.25 % and rotated 1.4 degrees CW to create the fitted composite. I then reduced the composite to 50% and posted it. John, I'm trying to follow Tom's lead. Forgive me if you have already done this. Please link us to your previous study if possible, it would save a lot of work/time. Not seeking credit for new discoveries, as Tom has shown how little I know, when it comes to the underhanded work of the WC. But, as you expressed, hopefully others are catching on. chris

Bond over Bond ? LOS appears the same. Location does not. Size of lamp-post bases at far right not even close. chris

Frames extracted from 3 different (on pedestal) filming sequences. Each sequence was from the Elm St. corner to the triple underpass. Sprocket holes show the difference in camera position. Animation and individual frames provided. chris

Jack, The Z pedestal is to the east/left of the tree. The re-creation cannot be shot from the Z pedestal because the "top of the tree" appears as they are filming Eastward up Elm and the lightpost is captured. The lightpole LOS in the recreation and Z are not even close. chris

Tom, This might help in pinpointing a filming location for you. X marks the spot. The re-creation crew on the pedestal makes it look rather convincing. chris

Jack, The best I could do with what I shot from the pedestal. chris

There is always a "flaw" when dealing with such small scales as we are having to deal with. However, perspective, often comes in various forms and formats. One at times must "envision" as if they were a bird and that they could therefore fly directly vertical to a line drawn onto the ground. So long as that line passes directly through two seperate and distinctive objects, then it's termination point as well as origin can be determined relatively accurately. Great work Chris (IMO) particularly attention to the birdsview correction Tom alludes to. Still it's an aerial with diferences arising from elevations apart from a swinging angle of photons from the ground. Thanks for the topic Tom. Bond took a number of pics some from different positions. Muchmore and Bonds comments re their movements are relevant. John/Tom, All the different perspectives are hard to comprehend, primarily for me, and when trying to scale different plats/photos, this compounds the problem. Let me start with this: Tom has supplied me with part of the original West plat. What I am supplying is at 100% received from Tom. 1 inch = 10Ft. according to the West plat. If I "grid the plat"(blue lines) with connections from 4+00 to 3+00 the grid measurement is not 100Ft. What is wrong with my method? If possible, Take this gridded plat and show me how to get 1inch=10Ft so the distance between (3+00 to 4+00) = 10 inches, which=100Ft. thanks chris

Better view of those lamp-post-patches. chris

There is always a "flaw" when dealing with such small scales as we are having to deal with. However, perspective, often comes in various forms and formats. One at times must "envision" as if they were a bird and that they could therefore fly directly vertical to a line drawn onto the ground. So long as that line passes directly through two seperate and distinctive objects, then it's termination point as well as origin can be determined relatively accurately. Tom, Using Drommer at full size and drawing the LOS from the Z pedestal through the lamppost still yields the same result as the previous aerial composite I supplied. Could the original Drommer (pre-revision) have the lamppost just east, still at the curb, of where it appears now? While the latest Drommer(1981 revision) and aerial I previously provided coincide. That's from one of my movies shot from the pedestal. chris

This is the Drommer plat laid over a modern day Google aerial. The Drommer plat has the location of the lightpost as it was back in 1963. The Google aerial shows it's modern day position. I have drawn line of sights from the Z pedestal, through the lightpost extending outward. If there is a flaw in this please correct me. Hope this helps others who lack perspective, as I do. Chris.

Robin, In case you had forgotten the aerial you introduced some time ago. For tentative plotting of course. chris

Jack, From Robert Hughes. I believe sometime after the assassination on 11-22-63. Not from the pedestal. chris

Tom, The Hughes composite might be a little easier on the eyes (viewing angle) that is. Also, Do you know the distance from lightpost at left in animation, to first yellow curb mark just ahead of the red car, if the lightpost was on the south side, inline with the yellow curb marks? thanks, chris P.S. Compositing as much of the West plat you have provided me with Drommer, I get a distance of 20 Ft. from lightpost to first yellow mark.

In fact, I believe if you look closer, you'll probably see where Moorman's leg used to be. chris

If you work your way down to the Newman's, it would appear they are right next to the curb. The Newman children appear to be similar in height. I don't believe Moorman was wearing a red cap that day. Where would Moorman have to stand, in order to see the Newman boy's red outfit above her? Of course you might ask: Why doesn't her head/black hair "appear in full", since she is closer to the camera? Thought I'd work from the other end of the photo. chris

DCM arm fully raised at 228. I would guess sometime before that frame. chris

Robin, I don't believe you can determine that to an exact frame. Apparently, the umbrella and DCM reaches its ceiling for more than 1 frame. Does this help? chris

Robin, Same footage. chris

Craig, Which Z frame did you use for comparison? To clarify, The previous photo I labeled "wide-angle/normal was shot on wide angle. The photo in this post was shot on the "normal" setting. chris

BTW, This is what it looks like on the wide angle/normal setting. If it helps. chris

These are the original frames I started with, if interested. I did create contrast in the original, so the wall holes in movie 1 would show up a little better. chris

This movie is a comparison between the Z frame and my frame. I used this Z frame because the aspect ratio from this version more closely matches my film. In order to get the sprocket holes and frame size the same, I had to reduce only the Z frame WIDTH by 5%. The rotation of the frames in both movies was 2-2.5 degrees. Parallax still a factor, but not sure if that should affect the distance between wall holes and tree. Phil's and my frames obviously were not in the same filming position, yet the wall holes and tree line up. chris

I thought it might be interesting to align what Jack has supplied and what I shot with my B/H 414 on telephoto. The first movie is my frame(sprocket holes included) reduced to 65% and placed over Phil's frame. I believe they pretty well match each other except for the parallax factor ( curb line). Movie2 in next post. chris

A few Tom. chris