Chris Davidson

Richard, Even sooner than the newspapers: https://drive.google.com/file/d/1zO7LKB7G08D2QPrmIMLlfgxH5XJKbJU_/view?usp=sharing

Using the WC documentation and working backwards from z161 will give you the entries entered in red above for StationC and PositionA. The elevation conversion from PositionA to z161 in horizontal distance = 2.72ft x 18.3 = 49.776ft. So, approx 50ft retarded from extant z161(start of the zframe data) is PositionA. This correlates with the (zframe1 to the snipers nest) distance. If you use the chart above with those entries you get 329.2 - 278.5 = 50.7ft. Or, a difference of approx .9ft horizontal in relation to the true elevation change, which is then assigned to z166. Red flag warning.

The distance from StationC to Station 2+50 = 15.5ft. 74frames/16fps = 4.625sec x (2.24mph) 3.294ft per sec = 15.23 ft = 10” vertical drop. Mr. SHANEYFELT. Station C is on a line drawn along the west curb line of Houston Street in a direct line, and station C is at a point along that line that is in line with where the car would have turned coming around that corner. It is on a line which is an extension of the west curb line of Houston Street. Translation: We had to retard the measurement starting point in relationship to the 6th floor snipers nest the approx distance of a 10” vertical drop for the ballistics to sync. This came about because of the frame removal process which advanced the limo further ahead than the extant film portrays.

The limo on film at Station 2+00 = Z frame1 This is 50 ft retarded from the 6th floor snipers nest east side window aligning with Station# 2+50 on Elm St.

I'll start you off with this: When the WC created CE884 they used 3.27ft as the shot elevation above the street on JFK's body throughout the entire document. Therefore, they determined the street elevation for JFK at extant z313 to be .98ft higher in elevation than the southknoll video shows. .98 x 18.3ft(1ft elevation change = 18.3ft horizontal) on a street slope of 3.13° = 17.934ft Off to the races you go.

Chris, Much Appreciated. Thanks for the video links. I am familiar with the website: http://www.jfksouthknollgunman.com/index.php/9-2/ but the new videos have added more than were on the website when I was referencing them a few years back. It was nice to see them add specific measurements such as roof heights, windshield bullet height etc etc. This was the main reason for the research I did awhile back. I will have to go back and revisit what I posted pertaining to it. Posting on an aspect more important to me at this time. If you are interested, start here and read on and you'll gain a better understanding of what I was trying to add to the southknoll scenario. http://educationforum.ipbhost.com/topic/22692-swan-song-math-rules/?do=findComment&comment=390901

Zapruder frame#1 and the location of the cycle cop(the one within the red triangle) in relationship to the lightpost. Station# 2+00 is in the red box. Besides intersecting z171, later renumbered as z166 (for later discussion) note where the Towner/Z LOS parallel each other moving past station# 2+00.

Orientation rotated to match the graphic above. Adding more to what created the facade. PositionA and Station# 2+00 are in the red boxes. Red X's are the lightpost (z166 background alignment) and Towner's filming position.

Speaking of Cohen's daughter: Now, years later, Samantha Cohen tells Vanity Fair that the incident with Trump wasn’t the first time she was sexualized by the men her father surrounded himself with. “There are so many creepy men, and it was hardly the first comment like that I’d heard,” she said. “It was almost meaningless to me at the moment because I’d heard them before. If you can hit on a 15-year-old, I am pretty sure there is something wrong with you, and when you allow someone with that little integrity to be in the most powerful office, that sets the tone for the rest of the country’s culture.” She goes on to tell the publication that she remembered the incident her father described just a little bit differently: “My dad always tuned out everything negative Trump said about him, but what I remember was Trump saying, ‘Thank God she got those looks from her mother. She certainly didn’t get them from you,'” Samantha recalled. “I was not desensitized to someone putting down my dad and insulting him and degrading him. That was one of the reasons I hated Trump so much.”

Putting this into a ratio context for all that believe the original was filmed at 18.3fps. That, which I am not a part of. 74/560 = .1321 16/18.3 = .8743 = 1.0064 whole frames Feels like a trap either way you interpret it. I suggest rereading UPI's description of their film.

David, Please note the divisor being used, carried over from 560frames/35sec = 16fps 74/16 = 4.625sec 4.625sec x 3.294ft(2.24mph) = 15.234ft 10" vertical drop should have moved the limo forward 15.25ft All film alterations+math(trig-trajectories included tying it back to the 6th floor) had to account for the limo moving forward approx 15.25ft further than an original, uncut version showed. Mr. SHANEYFELT. Yes; there was. After establishing this position, represented by frame 161, where the chalk mark was about to disappear under the tree, we established a point 10 inches below that as the actual point where President Kennedy would have had a chalk mark on his back or where the wound would have been if the car was 10 inches lower. And we rolled the car then sufficiently forward to reestablish the position that the chalk mark would be in at its last clear shot before going under the tree, based on this 10 inches, and this gave us frame 166 of the Zapruder film.

Zavada quote: "On the original Zapruder film in the Archives, the entire "green chair" footage is missing, and only 14.5 frames (of approximately 117 total) of the Dealey Plaza bystander sequence is present immediately prior to the lead motorcycle sequence. Presumably, someone (at some point subsequent to the exposure of the three first-generation copies on November 22,1963) removed footage that they thought was unimportant from the original film." Who did Zapruder allow to cut his film of the century, knowing the so-called due-diligence incorporated into the preservation of the in-camera original?

2ft 7inches of film = 2.583...ft film footage 2.583... x 80 frames per ft =206.666... rounded to 207 total frames Credit to Doug Horne for the following research and quote below:

560 - 486 = 74 frames

8mm film = 80 frames per 1ft of film x 7ft = 560 frames 35sec x 16fps = 560 frames Credit to Pat Speer for the UPI article.

Richard, Very little on the contents within, mostly from a timing/location aspect.

One more comment on this Muchmore iteration as I want to continue up Elm St for now. I call this the Muchmore Patch.

David J, I don't know the origin of your supplied frame. It looks familiar to me but I just can't place where I've seen it before. If it was posted on the forum previously that's probably my remembrance of it. David B, I rechecked "The Lost Bullet" and did not find any Muchmore footage either original or restored material. As for Muchmore not filming, take a look at what is added to her statement(2 1/2 months later) in a subsequent interview. I guess she must have been a real camera buff to include the film footage length in the interview.(Red flag warning) I have no reason to doubt what she stated about leaving early and not filming. My selection for who possibly filmed this is the gentleman in the black suit standing near Wilma Bond within 1 minute after the extant z313 headshot. P.S. I will be filling in the details for the "Up Elm St" graphic moving forward.

My additions are in red. Moving up Elm St. +/- 1 frame Keep 33,41 and 74 in mind, along with the other labels, if you choose to decipher this.

John, This should fulfill some of your criteria. Whether it was from a firecracker for diversion purposes or a shot, it appears someone tried to disguise it in the version Groden supplied. The red x is Station# 2+99 = JFK within the limo at extant z133 The distance difference between the red x and Euins LOS line intersecting JFK within the limo is right at the gap between the end of Towner and the beginning of extant Z133. Please note the jump in the Hughes' film approx 9 frames after the window flash appears. in the context of Myers multi-sync project, it occurs less than a second before extant z133. https://drive.google.com/file/d/1D2X37WWQUAN0a0XvKOi1GjVJ7dypGY0H/view?usp=sharing

Whole-heartedly agree with your description in the graphic above of no camera start up at extant z133. Had to figure out(math wise) how it fit pertaining to other WC adjustments.

David, This might be a bit confusing for others so just to clarify, during the re-enactment(don't know how many times) shenanigans the limo rear end was used as a place marker for JFK's position(Station#) on Elm St. The wiseman Robert West implemented the little "plus" signs so there would be an accurate way for plotting JFK. He knew the WC was up to no good.

Tony, How do you take the axle gap path, continue it towards the Truly abutment (ending up approx 1 inch away according to Truly) then have the limo front end in the orientation/angle with regards to the first lane divider on Elm St that we see in Towner? Can you show us the rest of the axle gap path and have it continue on to that first lane divider? I mentioned previously about the after splice which aligns JFK's head with the corner of the TSBD. Now extend a LOS from the tree through PositionA and back to Towner's filming location or closely thereto.

The relationship of the cycle cops to the limo front end(flashing red lines) at least at this point in the Dorman film. Matches the plotting laid out by Robert West fairly well. imo Items to keep in mind: 1. What did West use to plot JFK's position in the limo around the Elm St turn. I vote for the missing part of the original Z film since "bulls--t" the Towner film was undiscovered at that time. See Mack below for Towner comments. Obviously someone did some splicing early on, without the Towners knowledge. 2. A splice doesn't necessarily mean the limo was redirected through Position A, it could indicate a longer period of time expired between the splices than we are led to believe. 3. If Truly was lying, his wide turn scenario could be a cover for the extended time lost between the splices. 4. After the first splice, JFK's head is aligned with the TSBD corner. Syncing purposes. 5. Information from Gary Mack: In reply to your questions, the camera original Towner film has one splice about 2/3 of the way through the limo turn onto Elm Street. Since the film was never examined by government investigators, the splice was first noticed by Robert Groden, who served as a consultant to the HSCA photo panel in 1978. From what Tina and Jim Towner told me over the years, they had no knowledge of how or when that splice was made. What is known is that the film was developed for them by The Dallas Morning News within a few days of the assassination; available records suggest the film was never seen by investigators until the HSCA. The only other time the film was out of the Towner’s possession was when LIFE magazine borrowed it from them in 1967 for publication in their November issue about Kennedy assassination photographers. 6.Sounds like the old Kodak/Jamieson shenanigans.